Beethovens Musical Form

Beethovens Musical Form Among the musical form these three forms are evident in the works of Ludwig Beethoven. The prelude, overture and sinfonie are among the musical forms which can be seen in the composition of Beethoven. These three forms evolved since the 17th century until now. To identify the similarity of prelude, overture and sinfonie it is best to describe each form. A prelude is a piece of music which is short; it has no particular introduction to succeeding movements of a work that are usually longer and more complex. It features single rhythmic and melodic motif that is used in every measure throughout the piece. Stylistically, the prelude is improvisatory in nature. The prelude can also refer to an overture, particularly to those seen in an opera or an oratorio. Prelude can be referring to as a preface. It can stand on its own or introduce another work. Overture in music is the instrumental introduction to a dramatic, choral (1911encyclopedia.org) or, occasionally, instrumental composition. It is used as an opening to a larger dramatic work such as an opera. Overture also referred to collections of movements, known as suites. (wikipedia.com). A sinfonie is a musical composition, the extended and used for orchestra. It does not imply a specific form. There are sinfonies that are tonal works in four movements with the first in sonata form, and it is often described by music theorists as the structure of a classical (reference.com) sinfonie. Evolution of Prelude The very first preludes were lute compositions of the Renaissance era. They were free improvisations and served as brief introductions to larger pieces of music or particular larger and more complex movements; lutenists also used them to test the instrument or the acoustics of the room before performing. In the 17th century in France the keyboard preludes started. During this century the duration of each note is left to the performer. The first composer who embrace the genre is Louis Couperin, and harpsichord preludes were used until the first half of the 18th century by numerous composers including Jean-Henri d’Anglebert (1629-1691), Élisabeth Jacquet de la Guerre (1665-1729), Franà §ois Couperin (1668-1733) and Jean-Philippe Rameau (1683-1764), whose very first printed piece (1706) was in this form. The last unmeasured preludes for harpsichord date from the 1710s. Prelude in the 17th century in Germany led to a sectional form similar to keyboard toccatas Johann Jakob Fr oberger or Girolamo Frescobaldi. Outside Germany, Abraham van den Kerckhoven (c.1618-c.1701), one of the most important Dutch composers of the period, used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint. In the second half of 17th century prelude are being paired with figures in the same key. Preludes were also used by some 20th century composers when writing Baroque-inspired suites. Such works include Ravels Le Tombeau de Couperin (1914/17) and Schoenbergs Suite for piano, Op. 25 (1921/23), both of which begin with an introductory prelude. Ludwig van Beethoven wrote two preludes, Op. 39; each one cycles through all of the major keys of the piano. Evolution of Overture Overture was formulated during the 17th century. As a musical form overture begins with the works of J-B Lully (1911encyclopedia.org). He devised the scheme that constitutes the typical French overture up to the time (1911encyclopedia.org) of Johann Sebastian Bach and George Friderich Handel. This French ouverture consists of a slow introduction in a marked dotted rhythm (1911encyclopedia.org), followed by a lively movement in fugato style. The slow introduction was always repeated, and sometimes the quick movement concluded by returning to the slow tempo, (1911encyclopedia.org) usually with new motivic material but occasionally recapitulating the opening, and this combined fast-slow material was sometimes also repeated. The operatic French ouverture was frequently followed by a series of dance tunes before the curtain rose. It thus became used as the prelude to a suite. (1911encyclopedia.org) Bach was able to use the French ouverture form for choruses, and even for the treatment of chorales. Thus the ouverture, properly so called, of his fourth orchestral suite became the first chorus of the church cantata. (1911encyclopedia.org). Evolution of Sinfonie In German, Symphonie was a generic term for spinets and virginals from the late 16th century to the 18th century (Marcuse 1975, 501). In the sense of sounding together the word also appears in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli (the Sacrae symphoniae) and Heinrich Schà ¼tz (the Symphoniae sacrae). (reference.com). In the 17th century, for most of the Baroque period, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used in operas, sonatas and concertos—usually part of a larger work. The opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements: fast; slow; fast and dance-like. It is this form that is often considered as the direct forerunner of the orchestral symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the 18th century. In 18th century the sinfonie has three movements, in the tempo quick-slow-quick. Symphonies at this time, whether for concert, opera, or church use, were not considered the major works on a program: often, as with concerti, they were divided up between other works, or drawn from suites or overtures. Vocal music was dominant, and symphonies provided preludes, interludes, and postludes. At the time most symphonies were relatively short, lasting between 10 and 20 minutes. Mozart’s early symphonies are in this layout. The early three-movement form was eventually replaced by a four-movement layout which was dominant in the latter part of the 18th century and most of the 19th century. The composition of early symphonies was centred on Vienna and Mannheim. The most important symphonists of the latter part of the 18th century are Joseph Haydn who wrote at .With the rise of established professional orchestras, the symphony assumed a more prominent place in concert life between approximately 1790 and 1820. Ludwig van Beethovens first Academy Concert advertised Christ on the Mount of Olives as the featured work, rather than his performances of two of his symphonies and a piano concerto. Beethoven dramatically expanded the symphony. (reference.com). His Symphony No. 3 (the Eroica), has a scale and emotional range which sets it apart from earlier works. His Symphony No. 9 takes th e unprecedented step of including parts for vocal soloists and choir in the last movement. Beethoven, together with Franz Schubert, replaced the usual genteel minuet with a livelier scherzo. (reference.com). The twentieth century also saw further diversification in the style and content of works which composers labelled as symphonies. Some composers, including, continued to write in the traditional four-movement form, while other composers took different approaches: Jean Sibelius Symphony No. 7, his last, is in one movement. (reference.com). Conclusion Prelude, overture and sinfonie are musical form that has been connected to each other to form a musical composition. Prelude if seen in an opera or an oratorio can be referred to as overture. Symphonies provided prelude. These three forms of music have been used by several musicians. Composer like Beethoven has used the three forms. Understanding the use of each form will enlighten the mind of those who are confused and not familiar in this form. References: See R. Simpson, ed., The Symphony (2 vol., 1972); D. F. Tovey, Essays in Musical Analysis: Symphonies (1935, repr. 1972); R. Nadeau, The Symphony (rev. ed. 1974); H. Chappell, Sounds Magnificent (1986). http://www.reference.com/search?r=13q=Symphony http://en.wikipedia.org/wiki/Overture http://www.webconfs.com/search-engine-spider http://en.wikipedia.org/wiki/Prelude_(music) http://www.1911encyclopedia.org/Overture

Comparison of how The Flea and To His Coy Mistress Present and Develop

The Flea and To His Coy Mistress are two poems written by poets living during the Renaissance Period. To His Coy Mistress was written by Andrew Marvell and The Flea was written by John Donne. Both of these poets were well-educated 'metaphysical poets', and these poems illustrate metaphysical concerns, highly abstract and theoretical ideas, that the poets would have been interested in. Both poems are based around the same idea of trying to reason with a 'mistress' as to why they should give up their virginity to the poet. There is a similar theme running through both of the poems, in which both mistresses are refusing to partake in sexual intercourse with both of the poets. The way in which both poets present their argument is quite different as Marvell is writing from a perspective from which he is depicting his mistress as being 'coy', and essentially, mean, in refusing him sex, and Donne is comparing the blood lost by a flea bite to the blood that would be united during sex. Marvell immediately makes clear his thoughts in the poem when he says, "Had we but world enough, and time/ This coyness, Lady were no crime", he is conveying the 'carpe diem' idea that there is not enough time for her to be 'coy' and refuse him sexual intercourse and he justifies this thought when he suggests when she is dead, in ?thy marble vault?, and ?worms shall try that long preserved virginity?. He is using the idea of worms crawling all over and in her corpse as a way of saying that the worms are going to take her virgin ity if she waits until death. Donne justifies his bid for her virginity in a much longer and more methodical way, he uses the idea of the flea taking her blood and mixing it with his, ?It suck?d me first, and now sucks thee?, and then... ...n The Flea) were viewed as extremely inventive and clever in the eyes of the people reading them during the Renaissance period. The poets integrated ?metaphysical conceits? as focal parts of these poems. Along with these, they used effective language as a basis for their convincing arguments, they included subjects of periodical importance (e.g. ?courtship? and ?religion?), and use very clever structures that are manipulated in order to make the poem read in the desired way. The very clear indication of the theme in question was strongly aided by the way in which the personas portrayed the emotions they felt and the way they showed their attitudes towards the subject. Considering all these factors, the poets made critical arguments to the mistresses in order to alter their views, thus changing their minds, on denying the poets the sex that they desired so strongly.

The Turn of the Screw - A Look at a Criticism :: Henry James Turn Screw Essays

The Turn of the Screw - A Look at a Criticism There are many different ways to interpret The Turn of the Screw, by Henry James. Many critics over the past century have voiced their opinions about the story. Each critical analysis of the story disagrees with the beliefs expressed in another. Robert B. Heilman is a critic who wrote in the mid-twentieth century. He interprets The Turn of the Screw to be a representation of the conflict between good and evil. Heilman's points are clear and obviously well thought out, but there are flaws in his argument that make his interpretation questionable. In his 1948 essay, Robert Heilman explores the suggestion that The Turn of the Screw is a symbolic representation of the conflict between good and evil. Heilman interprets the apparitions of Peter Quint and Miss Jessel as evil forces. He explains that the ghosts only appear to the governess because evil lurks in subtlety before it strikes. It is the duty of the governess to "detect and ward off evil." She must protect the children from the awful ghosts. The governess describes Miles and Flora as beautiful little cherubs whose only fault is their gentleness (James, 18-19). Heilman views the children's beauty as a "symbol of the spiritual perfection of which man is capable." Heilman explains the ghosts' attempts to reach the children by explaining that evil forces will always try to conquer and possess the human soul. Heilman continues to draw from the descriptions of Miles and Flora to support his theories. He points out that the two children are described as having an "angelic beauty " and a "positive fragrance of purity" (James 9, 13). The governess describes them as if they are perfect and beautiful in every way. This repeated vision of beauty, radiance, and innocence parallels the image of Eden. The house at Bly also resembles this image, "I remember the lawn and the bright flowers..." (James 7). The governess makes mention of the "golden sky" and of Flora's "hair of gold," which Heilman believes connects Bly and Flora with these images of golden hues (James 7, 9). Robert Heilman perceives that the ghost of Peter Quint is a direct representation of the serpent that plagues the Garden of Eden. Heilman supports this with the description of Quint found in the text, "His eyes are sharp, strange- awfully; .

The Indian Uprising (a Critique) :: essays research papers

Any author's primary goal in story writing is to convey an idea or topic to their reading audience. The conventional wisdom on this thought is that the clearer this is conveyed, the greater the appeal to the reader. However, some authors feel the need to resist this trend and forge new paths that sometime leaves the meanings of their stories obscure and hidden from the average reader. Donald Barthelme has taken this optional approach with his story "The Indian Uprising". There are several reasons that I did not fully enjoy this post-colonial short story. One, its "point" is vague and this is a challenge to my current reading abilities and two, it rambles along its disjointed timeline to the point that I became easily lost. However, there is something that the story brought to light that I am now more fully aware of than before reading this story. That is my own abilities of intellectual analysis. It is these areas that I wish to elaborate upon.Donald Barthelme's deliberate twisting of the subtleties in meaning in his story is intriguing. However, as a recent popular movie so elegantly put it, it left me dazed and confused. I couldn't seem to figure out what the point or moral of the story should be. Was this a story of a battle between cowboys and Indians, as it suggests in its title? The story starts off leading you to take this as a real possibility with lines such as "We defended the city as best we could. The arrows of the Comanches came in clouds."(123). Or was it a story of love set in the time of war? "...we issued entrenching tools to those who seemed trustworthy and turned the heavy-weapons companies so that we could not be surprised from that direction. And I sat there getting drunker and drunker and more in love and more in love." (124). Although the story bounces between these two main "insinuations", it is never clear to me what or who the story is about and I found this to be an unfulfilling reading. In retrospect my previous readings of literature have been more of the atypical writing style. One that leaves you comfortable and secure and without guesswork "The Indian Uprising" avoids this style at all cost. The author's intent on writing in the style of a collage, although fascinating, is very confusing. I will be the first to admit I'm not the most avid of readers, but having to read a story two or even three times and still not fully perceiving its meaning made it an even more arduous read.

Family structure in the United States Essay

During WII nuclear families were the most common family type. Men were the main breadwinners and the women stayed at home, taking care of the children. This has now shifted to shared and even reversed roles, as dual-earner families are also on the rise. Since WWII, there has been a rise in types of families such as extended, single parent and step. â€Å"Of all the households in 2005, 57% were couple families compared with 70% in 1971. The biggest fall has been in couple families with three or more dependent children† (Fisher Et Al 2012) There are many reasons why family structures have changed since WWll. The biggest factor has been divorced, with a dramatic increase from only 339 divorces in 1971 to 2,360 in 2015 (nisra.gov.uk 14/09/17). There are now approximately 1.7 million lone-parent families in Britain making up about 25% of families. This was due to the Divorce Reform Act of 1969 taking force in 1971. The social stigma of divorce was no longer as big an issue and financial independence is now increasing for women, making it easier on women to leave their husbands (www.theguardian.com). This devalued marriage, with many choosing not to legally marry. 36% of adults in Northern Ireland remain single (NI Census, 2011). Cohabitation is on the increase, with almost 6 in 10 babies being born to either unmarried parents or a single mother. The numbers are greatest in Belfast and Derry (The Belfast Telegraph, 23/9/15). Cohabitation during and after WW2 would have been seen as unforgivable with hardly any couple doing so. Lots of factors have changed to make couples living together out of wedlock more relaxed. There has been a decrease in social stigma and a decreasing church influence, with only 1 in 10 people now regularly attending church (www.bbcnews.co.uk). However, Northern Ireland has the highest level of churchgoers in the UKwww.faithsurvey.co.uk. Only 36% of marriages take place in church comparing to 1960 when all marriages took place in a church (www.stp.pembrokeshire.sch.uk). The introduction and accessibility of contraception have had an influence on family structures. This has had a major effect on couples starting their families, especially if they are concentrating on building their career. According to BBC News (4/12/11) in Britain in the 1960’s, the pill was available only to married women who felt their families were complete. By 1974 all women, including those who were single could have the pill prescribed. When contraception was more widely used it affected the UK by couples having smaller families. They were able to plan if and when to start and family and how many children to have. The NI Census shows a reduction in the average household size from 2.65 in 2001 to 2.54 in 2011. Many couples are now childless. The Sunday Times magazine (Christina Patterson, 20/10/13) backs up this information stating that â€Å"It is estimated that, by 2018, 25% of British women of childbearing age will never have a baby†, and this increases to a th ird of women with degrees. The dependence of women working in WW2 and the suffragette movement meant that the roles of women changed significantly and by the 1960’s, 38% of women were employed (www.bbc.co.uk). The equal pay act was passed in 1970 giving women their rights, however, according to ONS statistics on average, women are paid over 19% less than men. Followed by the Sex Discrimination Act, then shortly after women finally won the right to 14 weeks’ maternity leave in 1993 and more in recent years. These acts allow women to work in within a working environment fairly and being paid the same as men which means that single parents have a better opportunity of coping on their own rather than being having the stress of finding a partner (www.bbc.co.uk). Statistics back this up by stating that there are now approximately 1.7million lone parent families in Britain – this makes up about 25% of all families (Fisher et al 2012) There has also been an increase in families based on same-sex civil partners as a result of legislation in 2004. The first same-sex civil partnership took place in Belfast in December 2005. The number of same-sex marriages in Northern Ireland from 2005 to 2015 have gone up and down throughout the years due to media portrayals. In 2005 there were 12 same-sex marriages increasing to the highest number is ever been in 2010 at 116. The numbers have decreased since then to 89 in 2015.

College Essay Essay

Do we send students to college to grow personally and intellectually or strictly to develop work related skills? In your opinion what should be the purpose of a college education and what do you hope to gain from your personal experience? College is a big step for anyone, especially teenagers, who is still growing up. Unlike in high school where the main focus is the curriculum, college also focuses on developing personality. College is not about papers and tests; it is about growing personally and intellectually while developing work related skills to help in life. A college education involves more than books and tests. It should be an experience a student should never forget. At Southwestern University, the school motto is â€Å"Be Southwestern. † To â€Å"Be Southwestern† students have to be determined and focused. To â€Å"Be Southwestern† students have to be involved. During my visit to Southwestern University, I noticed that for such a small school there are so many opportunities available to learn in variety of environments and participate in campus life. At Southwestern University the campus life consists of music, plays, Greek life, athletic events, religious interests, and preparation for the study abroad program. I have never been out of this country, and one thing I like about Southwestern is the study abroad program. Personally, I have always wanted to go to Italy. Not just because I am in love with Italian food but because it’s so different from America. I want to go to a college that allows me to see the world and experience new things. A college education should help you meet your desire to explore and interact with the world around you. Another thing I like about Southwestern University is how much help is available for students from professors. I want to go to a college that has small class sizes and cares about me as an individual. Every Southwestern University student I’ve talked to has said the professors will know who you are, will always be available for assistance, and will always help you succeed. At Southwestern University, a student is not just a number. The professors there are dedicated to a student’s personal success. Instead of going to a tutor, a student can schedule a simple meeting with the professor to discuss theclass. A little help can go a long way. As a student at Southwestern University, I hope to continue to strengthen my sense of pride and leadership. I have played the game of softball my entire life and hope to continue to play competitively in college. In my college softball experience, I hope to gain a greater inspiration to push myself harder than ever before both, academically and athletically. I hope one day when I look back on my college career I can say that Southwestern made me the student-athlete I always wanted to be. Through my college experiences, I will see the world in a new perspective, developing new intellectual light in a variety of subjects, and engaging in challenging curriculum and discussions. I want to find out who I am and what kind of person I will become, and I strongly believe Southwestern University will help me do that. A college education should additionally develop an individual’s appreciation for history. I go to a high school that is starting to make its history; however, I want to go to a university that has its history already established. As the oldest school in Texas, Southwestern University has many traditions. I want to be able to engage in these traditions and perhaps help make some new ones while I’m there. I don’t just want to be a part of history – I want to make history. A college experience should be one of the best times in a person’s life. The professors, the activities, and the history of the school should help one develop personally and intellectually as a student. I know that my time spent at Southwestern University will make me stronger, confident, and a more independent thinking individual who is ready to face not only challenge of working environment but also whatever life throws at me.

Economic Development and Culture Essay

According to Easterly (2001), attempted remedies to underdevelopment (like loans, FDI, population control) are generally determined by non-economic factors such as demographic variables, cultural characteristics, and political systems. In the following paragraph, Easterly demonstrated the devastating implication of a single path to economic development in many Third World countries. Now, the assumptions of both classical economists and political economists are under attack. There is one element that both these theories ignored: culture. Sociologists and cultural anthropologists often argued that there is no single path to economic development when culture is taken into consideration. Market institutions and free trade instruments have usually low adoption rates in many underdeveloped countries (Easterly, 2001). The reason is not obvious. Traditional methods of production and exchange often obscure economic principles. These traditional methods of production and exchange constituted a significant part of culture. For example, in the 1950s, the so-called ‘trickle down approach’ became popular in the West. The idea is simple. The adoption of technology flows smoothly from the capitalist class to low income agricultural families (Easterly, 2001). Translated into income, the rate by which the capitalist class accumulates wealth is correlated with the rate by which low income agricultural families accumulates capital. In short, the approach benefits all individuals who adopt prescribed technologies (since these technologies increase production and improve efficiency). Such approach was enthusiastically received by Third World countries in the 1950s and 1960s (Easterly, 2001). However, after two decades of trial, it was clear that it failed to produce the desired results. Farmers did not adopt the prescribed technologies, as what the proponents of the approach expected. Several studies were conducted to determine cause of the failure. Culture was seen as the ‘culprit’ variable in those studies. Third World farmers failed to adopt prescribed technologies because: 1) such technologies were antithetical to traditional beliefs and farming practices, and 2) culture did not permit them to use such technologies. These results generally struck down the traditional economic approach to development. Economic principles are not the sole determinants of economic development. Easterly (2001) summarized the role of culture in economic development. His main propositions are as follows: 1) Many economic policies failed because it never incorporated elements of cultural life. Such can be said of the ‘trickle-down approach’ used by many Third World countries in the 1950s and 1960s; 2) Culture decides which and how economic policies should be undertaken. For example, an economic policy that fosters information liberalization in an Islamic country is doomed to failure. An economic policy should be socially accepted; 3) Culture provides an avenue for feedback for implemented economic policies. Culture is itself a collective entity that dictates which economic policies are sustainable in the long-run. Acceptance is not the issue, rather the long-term utility to the society; 4) Culture provides individuals, groups, and institutions the necessary moral information of specific policies. When viewed from the social exchange theory, it is these moral information that enable individuals and groups to rationally weigh the benefits and costs of particular economic policies. In the book Culture Matters, Patterson’s essay successfully showed that economic models failed to explain the persistent social and behavioral chaos that defines inner urban life (Culture Matters, 494). Patterson argued that economic models only explained the tangible elements of economic life; that is, economic models only touched issues like income, consumption, savings, and investment (Culture Matters, 495-98). When those economic models were used to explain behavioral differences across individuals, groups, and classes, they ended in self-insufficiency. However, Patterson’s essay revealed another striking fact. Cultural differences, behavioral outlook on wealth, and socio-religious beliefs were seen as determinants of income, investment, and savings. Groups that have a positive outlook on wealth and investment have tendencies to adopt capitalist principles. Groups which adhere to conservative religious beliefs tend to view capitalist principles as ‘unChristian. ’ In short, cultural differences determine economic development. To restrict economic development to the twin principles of free trade and non-government intervention is misleading. If a country wanted to experience economic development, it must take into consideration non-economic variables. Political culture, ideology, socio-religious beliefs, and systems of exchange are some of the non-economic variables that influence economic decision-making patterns. Works Cited Culture Matters. Ed. By Lawrence Harrison and Samuel Huntington. New York: New York Basic Books, 2000. Easterly, William. The Elusive Quest for Growth : Economists’ Adventures and Misadventures in the Tropics. MIT: The MIT Press, 2001.