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НазваUnderstanding Music (реферат)
РозділІноземна мова, реферати англійською, німецькою
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Тип документуРеферат
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Understanding Music

MUS 100

Work Report

by: Vladislav Exxx

Wolfgang Amadeus Mozart

Symphony No. 40 in G Minor, K. 550

Instructor: Dr. Timothy M. Crain

DePaul University

11 November 2002

I. Work Analysis

	Being an admirer of the music of Wolfgang Amadeus Mozart, I chose to
analyze  Mozart’s Symphony No. 40 in G Minor. An early analyst and
critic of Mozart’s music, Otto Jahn called the Symphony No. 40 “a
symphony of pain and lamentation.” Another critic said it was “nothing
but joy and animation” (Kramer 480). While these two remarks may be used
as extreme ways to interpret the symphony, its character and mood are
captivating and touching.

	The standard instrumentation for this piece includes woodwinds (flutes,
oboes, clarinets, and bassoons), strings (violins, violas, cellos, and
basses), and brass (horns), The instrumentation does not include any
percussion or heavy brass. The horns are used sparingly, only to add
density to the tone or emphasize the crescendos and sforzandos.

	The symphony itself is comprised of four movements:

		Movement One – Molto allegro

		Movement Two – Andante

		Movement Three – Allegretto

		Movement Four – Allegro assai

The first movement of the symphony opens in a minor key with a piano but
agitated principal theme that repeats itself throughout the movement.
Such an opening is not a usual one; a listener may have expected some
sort of an introduction to precede such a theme, but Mozart decides to
omit any prelude, thereby establishing a certain feeling of restlessness
or anxiety. The first movement exhibits frequent interchanges between
piano and forte. Of all the sections of the first movement, only the
development is played in a major key with disjunct motion. This,
combined with other expressive elements, further contributes to the
movement’s general uneasy mood. The meter here is duple simple, and it
remains constant throughout the movement. The first movement is
presented in the Sonata-allegro form, with a motivic structure quality
in the principal theme, and a homophonic texture.

Obediently following the sonata plan, Mozart slows down his second
movement to andante. Violas play the principal theme and are later
joined by the first and second violins, imitating one another. The
dominating strings maintain dynamics within range of piano, but
sforzandos are contributed by the basses. The meter in this movement is
duple compound, and like in the first movement, this one is composed in
sonata-allegro form. Homophonic accompaniment in an E-flat tonality
supports a wide-range, but conjunct-motion melody that is characterized
by regular periodic structures.

The third movement is in triple simple meter with the orchestra once
again dominated by the strings. The minuet and trio form naturally
divides the movement into three sections with different keys, dynamics,
and a da capo. The minuet section and its a da capo are played forte and
in a minor key, while the trio is piano and in a major key. The tempo
remains allegretto throughout the entire movement. Unlike the second
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