Comparison Of Debussy's, Igor Stravinsky, And

Improved Essays
Claude Debussy’s, Igor Stravinsky, and Arnold Schoenberg, helped push the transformation of music in the 20th century. Tired of the tender melodies and the emotional tone of the romantic era,these composers experimented with tone, rhythm, and melody eventually defining news styles of music. The purpose of this paper to identify the similarities and the differences between Debussy’s La Mer, Stravinsky’s Right of Spring, and Schoenberg’s Erwartung. Claude Debussy’s La Mer is an orchestral composition that was part of a collection of impressionistic pieces. It starts out with light plucking of the harp with bass accompaniment. The texture builds as the other strings and wildwoods join the harmony. Out of the three pieces, the melody in La Mer

Related Documents

  • Improved Essays

    This piece begins with a tranquil woodwind choir with other instruments gradually joining in. The tempo is andante, as it is moderately slow, yet more of a simple pace. This work takes advantage of dynamics heavily, as it varies from pianissimo with a solo flute to a gorgeous and strong fortissimo dynamic of the whole ensemble. This piece also varies in texture quite a bit, as it alternates between monophonic soloist sections and grand homophonic sections of the whole band. Most of the melodic lines are smooth and legato, yet are disrupted by the pointed and staccato figures of the percussion section that underscore the longer lines of the wind instruments.…

    • 707 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    For this first discussion I have chosen "Stravinsky: The firebird, Finale" and "Duke Ellington: The "C" Jam Blue". These two differed in a variety of things. For "Stravinsky: The firebird, Finale" I felt like it was more like orchestra music while "The "C" Jam blue" was more like jazz. I felt like the pitch for " The Firebird Finale" was more high than "The C Jam". Also the dynamics for " The Firebird Finale" fluctuated a lot in tone.…

    • 314 Words
    • 2 Pages
    Improved Essays
  • Superior Essays

    Stegemann discusses Saint-Saëns appearances, performances, and reception in German soil, and briefly touches upon the consequences of friendship with Franz Liszt (1811-1886). Ultimately, Stegemann deconstructs Saint-Saëns relationship with Germany as an emulsion. On the one hand Saint-Saëns is indebted to the German tradition for the use of classical forms and instrumental music; on the contrary, his efforts to garner acceptance is stifled by geopolitical afflictions of war and a lukewarm reception as composer. For the purpose of this thesis it aids in constructing a better picture of how the composer handled his relations abroad. The penultimate paragraphs of this essay provide a surprising statement by the composer towards his attitude of the German…

    • 1374 Words
    • 6 Pages
    Superior Essays
  • Superior Essays

    The melody is strong throughout while its harmony is consonant, and its timber is warm while its form is rondo. Its heterophony texture gives it its complexity and…

    • 1088 Words
    • 5 Pages
    Superior Essays
  • Improved Essays

    This is just the skin of a body that transpires many more surprises when its guts are exposed. The impressionistic “Plate Shapes” is a complex vortex of rhythms and sounds that advances moderately yet compulsively. It feels like a nonstop train running, hastened by Jon Irabagon’s sopranino runs and Sara Schoenbeck’s inquisitive bassoon. Expressing freedom, this trip is a paradise for the instrumentalists and true explorers who alternately dive into unisons, ostinatos, and impromptu ideas in the form of deft phrases and motivic figures.…

    • 561 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    Pictures are worth a thousand words, but classical music is worth far more than that. From medieval to baroque to romantic, classical music has been used to eloquently articulate emotions in a way in which words do not suffice. Emotions can be generalized as jovial or lugubrious, stern or radiant, but classical music mixes all them. Modern 20th century composer Dmitri Shostakovich composed a range of musical works, ranging from operas to symphonies. However, one work often overlooked are his pieces for string quartets.…

    • 1019 Words
    • 5 Pages
    Improved Essays
  • Improved Essays

    The nasal feeling of the muted trumpet with the lyrical playing of the upper woodwinds allows for there to be an undulating effect happening with continuous build until its final release into the next portion around 6:20. This section repeats the opening motive throughout and it passed around typically having a contrasting interjection from an opposing section. This ensemble in particular does a great job at being stylistic in complex meter changes and they really emphasize a difference between chordal textures and pointed…

    • 471 Words
    • 2 Pages
    Improved Essays
  • Decent Essays

    Richard Rogers

    • 172 Words
    • 1 Pages

    Music electrifies life, remaining present through every moment and milestone, imprinting itself into the minds of people. Across the expanse of the earth, music remains a universal form of self expression, stirring passion and creativity within human minds. Richard rogers, a 20th century musical compose, represents as a single instance of music’s impact on an individual. In turn, the music that Rogers created lives on even decades after his death. Richard Rogers’s name doesn’t mean much on its own, usually requiring a pairing with Lorenz Hart or Oscar Hammerstein to ring any bells.…

    • 172 Words
    • 1 Pages
    Decent Essays
  • Improved Essays

    Musical Rhetoric

    • 585 Words
    • 3 Pages

    With new methods of composition came new ways of conveying emotions in dramatic settings. Musical rhetoric can be identified in terms of articulation of form, text declamation, and text painting by studying the scores of Monteverdi’s Orfeo and Lully’s Armide. Orfeo contains several examples of musical rhetoric in its various forms.…

    • 585 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    Throughout this movement, imitative polyphony was the predominant texture as the melody created in the woodwinds was echoed by various other instruments. This portion was characterized by its dark and somber tone. The absence of the drums heard earlier left a weak beat and a suppressed…

    • 660 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    Symbolism In Opera

    • 1233 Words
    • 5 Pages

    The term “symbolism” was misinterpreted as “music that mimics certain objects or emotions”. Geoffrey Allan Wilson evaluated the music and poetry in the works of Debussy and Mallarmé. Instead of the assumption of music was composed for imitating the various elements of the poetry, a more subtle paradigm that shows the similarities and contrarieties of the two media. This study complements the deficiency of McRoberts’. A comprehensive research focuses on the aesthetics of Debussy and the relationship of his aesthetics and…

    • 1233 Words
    • 5 Pages
    Improved Essays
  • Improved Essays

    Richard Wagner Essay

    • 593 Words
    • 3 Pages

    Richard Wagner (1813-1883) was a composer of the Romantic period. In addition to his title as a composer, Wagner was also a theorist, author and librettist. He is most commonly associated with the operatic genre, in which he is known for his lengthy and dramatic works. Wagner was a revolutionist of his time and sought to reform the operatic genre by using theories he developed to write operas in such a way that they served the drama. In this essay, Wagner’s ideas of Gesamtkunstwerk and leitmotiv will be discussed, referring to his theories and ideas about language, music, drama and poetry.…

    • 593 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    Für Elise Analysis

    • 728 Words
    • 3 Pages

    The piece of music that I’ve selected to write about is a solo piano composition named Für Elise that was composed by Ludwig van Beethoven. Für Elise literally translates to “For Elise”, a title that has raised many questions and few answers. The main reason that I’ve chosen this piece of music to write about is because it is a piece that is very well known, even to people who are not involved in music, and “is a common catalyst and inspiration that causes many people to become interested in the piano.” Für Elise is a revolutionary piece of music, and to support this claim we must first examine the fundamental elements in the piece as well as the emotion and visualization that makes this piece so impacting.…

    • 728 Words
    • 3 Pages
    Improved Essays
  • Improved Essays

    When Claude Debussy composed his piece, La Mer (Movement II, Play of the Waves) between 1903 and 1905, he found inspiration in Katsushika Hokusai’s artwork, The Great Wave off Kanagawa. Because the song is based off of artwork, one with expect for it to be programmatic, and it meets those expectations. The title, La Mer, is customary for absolute music because it is telling of the idea that will be produced in the music. The music then follows through with the title by audibly depicting the sea in the artwork and real life.…

    • 615 Words
    • 3 Pages
    Improved Essays
  • Superior Essays

    Pentathlon Translations

    • 1205 Words
    • 5 Pages

    4 ANALYSIS OF THE MATERIAL In this chapter I will first use the five different aspects from Peter Low’s Pentathlon Principle to analyze the translations. Thus, firstly I will be analyzing the musical features of the translations; the rhyme, rhythm, naturalness, sense and singability. Lastly, I will analyze the translations according to Johan Franzon’s three aspects of music translation, and I will analyze whether there has been used re-creation, hook-translation or reverent translation in the translations and which method in mainly used. 4.1 Rhythm…

    • 1205 Words
    • 5 Pages
    Superior Essays