Schoenberg An Atonal Listening Journal

Here is Schoenberg’s Piece for Piano Opus 33a:

This piece is classified as atonal, meaning that it does not fall into a certain key but moves freely throughout all keys. In its atonality it maintains the dynamic contrast and development of ideas that had been used by composers such as Chopin in the later Romantic era. For example, there are sections later in the piece that feature an increase in dynamics, tempo, and the density of notes played.
At time mark 1:14, in a note punctuated by an accented tri-tone in the bass of the piano, the piece seems to pick up the pace and form a more complex rhythm than the shorter, straight rhythm of notes played up to that point. Also, at 1:40, the same occurs again in the bass and treble, with accented notes and patterns, that lead to a swift increase in velocity. This is followed by a completely staccato section, and then moves to a contrasting legato section afterwards.
Finally, in the last 30 seconds or so of the piece, Schoenberg creates phrases that are suddenly cut off by a sudden release of the sustain pedal. Schoenberg ends the piece in a tone cluster. The notes that form said tone cluster can be related to a cadence, even though the piece cannot cadence due to its atonality.
This piece is clearly an example of Schoenberg’s atonal phase. There are no harmonic patterns or rhythms and the piece does not have a “home tone”. This is also present in the seeming randomness that doesn’t follow a predictable direction with its nonexistent melody as well.

Lied Listening journal

For this listening journal I will be analyzing Shubert’s use of piano accompaniment and general melodic qualities in his lied “Ständchen”.

The Piano accompaniment is very simple in block chords that seem light a bouncy. Most of the piano part is played in staccato-like quarter notes changing chords only between measures or to put in a light embellishment to make the piece a bit more interesting. At 2:54 the piano becomes rushed to keep up with the voice which seems agitated or upset.

The intro that the piano plays gives a base for tempo changing back and forth between two chords. The left hand holds this beat on different chords all throughout the piece, with a few exceptions where there is a pause in the music or the piano is the solo part that is playing.

The melody is in a major key that switched over to minor for a measure or two at a time. Whenever the right hand plays an embellishment, that idea is often brought to the foreground by growing in dynamics, and the left hand plays softer.

The biggest focus of the piano is to keep a tempo and to fill in where there is no voice part. The right hand is used in the breaks of the voice to play a simple chromatic rhythm and then when the voice reenters, the piano goes back to the block chords.

Haydn String Quartet Listening Journal

String Quartet no. 62 Op. 76 by Franz Joseph Haydn

II. Poco Adagio

Musical elements

Tempo – Adagio
Timbre – four string instruments: two violins, a viola, and a cello
Texture – homophonic with the violin leading
Meter – duple simple (4/4)
Eighth note lines with chromatic motion
Use of staccato style in accompaniment to contrast with legato melody
Embellishments in first violin part

Structure

ABA form:
    1. legato, polyphonic opening section
    2. homophonic middle section with staccato accompaniment and legato melody
    3. return of first section

Clearly recurring melodic theme
Initial melody builds on itself with embellishments and ornamentation as the piece progresses

Context

Era: mid-classical
Composer: Haydn
Country of origin: Austria

Haydn String Quartet Listening Journal

String Quartet no. 62 Op. 76 by Franz Joseph Haydn

II. Poco Adagio

Musical elements

Tempo – Adagio
Timbre – four string instruments: two violins, a viola, and a cello
Texture – homophonic with the violin leading
Meter – duple simple (4/4)
Eighth note lines with chromatic motion
Use of staccato style in accompaniment to contrast with legato melody
Embellishments in first violin part

Structure

ABA form:
    1. legato, polyphonic opening section
    2. homophonic middle section with staccato accompaniment and legato melody
    3. return of first section

Clearly recurring melodic theme
Initial melody builds on itself with embellishments and ornamentation as the piece progresses

Context

Era: mid-classical
Composer: Haydn
Country of origin: Austria

Haydn String Quartet Listening Journal

String Quartet no. 62 Op. 76 by Franz Joseph Haydn

II. Poco Adagio

Musical elements

Tempo – Adagio
Timbre – four string instruments: two violins, a viola, and a cello
Texture – homophonic with the violin leading
Meter – duple simple (4/4)
Eighth note lines with chromatic motion
Use of staccato style in accompaniment to contrast with legato melody
Embellishments in first violin part

Structure

ABA form:
    1. legato, polyphonic opening section
    2. homophonic middle section with staccato accompaniment and legato melody
    3. return of first section

Clearly recurring melodic theme
Initial melody builds on itself with embellishments and ornamentation as the piece progresses

Context

Era: mid-classical
Composer: Haydn
Country of origin: Austria

Haydn String Quartet Listening Journal

String Quartet no. 62 Op. 76 by Franz Joseph Haydn

II. Poco Adagio

Musical elements

Tempo – Adagio
Timbre – four string instruments: two violins, a viola, and a cello
Texture – homophonic with the violin leading
Meter – duple simple (4/4)
Eighth note lines with chromatic motion
Use of staccato style in accompaniment to contrast with legato melody
Embellishments in first violin part

Structure

ABA form:
    1. legato, polyphonic opening section
    2. homophonic middle section with staccato accompaniment and legato melody
    3. return of first section

Clearly recurring melodic theme
Initial melody builds on itself with embellishments and ornamentation as the piece progresses

Context

Era: mid-classical
Composer: Haydn
Country of origin: Austria

Mozart Listening Journal

Listening Journal – Mozart Piano Concerto No. 22 in E flat, K. 482

https://www.youtube.com/watch?v=8hgaxI3JRgg

Excerpt: 0:00 – 6:00

Musical elements

Timbre/Instrumentation – full orchestra (violin, viola, cello, flute, clarinet, brass) piano
Staccato style in strings
Hemiola is present, often used to transition between themes
Meter – duple simple (occasionally duple compound)
Texture – homophonic
Many scalar runs in right hand of the piano
Dynamic level varies heavily from fortissimo to piano

Structure

Orchestral exposition
Piano exposition
Section with call-and-response between piano and orchestra
Harmonic sequences are present during 3:20 – 3:30
Portions of unison with orchestra (see 3:50 for example)
Sections of transition/hemiola between duple simple and duple compound (for example around 5:50) Complex meter

Context

Era – mid-classical
Time period – late 18th century
Composer – Wolfgang Amadeus Mozart
Country of origin – Austria
Sanctity – sacred

LG Fugue Assignment

1. The subjects are at 1 (D minor) i, 6 (A minor) V, 15 (D minor) i, 24 (C minor) vii, 26 (C minor) vii, 32 (Eb Major) II, 36 (Bb Major) vi, 54 (G minor) IV, 57 (D minor) i

2. The two pieces are very similar in form. They both provide a subject which is repeated throughout the piece in different voices and that the piece starts and ends on the vi of the key of the piece as a whole. While both of the piece are technically in fugal structure the Lady Gaga piece uses a stronger and faster meter and tempo.Both pieces are in minor key and the piece both use the V chord in the second iteration of the subject. This allows for easier pivoting between the keys and creates a stronger sense of fugal structure. Bach’s fugue has more major chords in it’s iterations, but the LG Fugue is a lot nicer for me.

3. I feel like the musicians of the Baroque Era might enjoy this piece just because it follows fugal structure and it is upbeat. The song is something you could almost dance to and it feels light and airy.

Gabrieli’s 8th Sonata

Gabrieli’s 8th Sonata is a piece made for a Brass octet composing of 4 trumpets and 4 trombones. The piece is split into an antiphonal structure. The piece starts with a small trumpet solo then adds the trombones for a bass part. The piece starts off with a homophonic texture then moves to a polyphonic texture for a short time then moves back to monophonic texture. After a small solo the piece finishes with a polyphonic texture. The piece is major with cadences on 5 and 1. The piece is an allegro tempo with a duple compound meter. The piece is definitely late renaissance and you can tell that it is Gabrieli by the Antiphonal structure of the piece. This sonata is very well written and I like the focus on the brass texture and the way the two instruments play off of each other. The piece sounds like it is in ternary form with an A, A prime, B, A prime progression. I really enjoyed the piece and its upbeat tempo. The dynamics changing between piano, mezzo forte, and forte really bring out the playfulness of the piece.

L’Orfeo’s Toccata

The L’Orfeo toccata written by Monteverdi has a very distinct and familiar timbre. The piece features string instruments including a violin and viola. It also features a drum and some basic wind ensemble instruments including a trumpet and a version of the clarinet. This is a more modern version of the piece so it uses the modern day versions of the instruments. It is a short piece that sounds much like a fanfare. It is played at the beginning of L’Orfeo. The piece starts out with an allegro tempo in duple simple meter. It has a forte dynamic that lulls to a mezzo piano at 33 seconds. The piece is a binary form and the two parts are distinctively shown through a short cadence at 33 seconds. The beauty of the piece comes from the simple melody which is played by the trumpets and is given a firm base by the strings. It has a homophonic texture and is written in the Late Renaissance/Early Baroque Era. I enjoy this piece because of its simple, memorable rhythm.