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Mozart’s “Turkish March” and its later adaptations This essay explores various functions of W.A. Mozart’s Piano Sonata No.11, third movement: Rondo Alla Turca. It is widely known as the “Turkish March” because it mimics the sound of Turkish Janissary bands. This song has remained its high popularity in the world by various adaptations. In the following discussion, I will explore its primary function as an education tool, and respective secondary functions in contemporary societies as a…

This semester, even though it is not over yet, I learned a lot about myself. Going away to college was a huge adjustment but I adjusted well the first couple of weeks and now Athens feels like home now more than ever. I knew going away to college was going to be a challenge but I was excited for a fresh start. For the skills category, I learned finally how to study effectively. In high school, I never studied because I could just show up and do my homework and get a B or higher. I never could…

The Menuets from Bach’s Cello Suite No. 1 in G Major explores the tonality of G Major and what can be done to make it sound engaging, dance-like, and captivating. Both Menuet I and Menuet II function as individual movements, yet they contribute to and complement one another. Both explore different rhythmic patterns and tonal aspects, all the while staying and maintaining in the same realm of G Major. I will be talking about rhythm and how it drives the melody forward, shift of tonality and…

When people listen to Tchaikovsky’s repertoire they would say his music exudes passion, energy, and depth. The first movement of the Piano Concerto No.1 in B-Flat Minor by Peter Ilyich Tchaikovsky exhibits elements of true orchestral genius utilizing its range to the fullest in combination with the complex and intricate yet powerful fingerings of the solo pianist. What perplexes yet entertains the audience is the contrast from the beginning of the piece where the introduction is lyrical,…

Melody- There's this basic riff repetition being played. As simple as it may be, there is melodic contour which takes shape when the direction changes. This song uses disjunct motion, the intervals change quite a bit. A lot of the singing seems to be staccato, adding to the long pauses. There's also legato that's connecting the song. Harmony- There is no vocal harmony, when he continues the singing, for a breath of time, it adds an echoing effect. The chords are played in a pentatonic format.…

The first part with the original definition of the tempo - Non allegro - begins with a clear rhythm in the pianissimo of the violins, against which there flashes a brief, of only three sounds, the motif of the English horn, repeated by the clarinet, and then descending all the way to the bassoon and bass clarinet. This is a kind of premonition of the basic images that will unfold further. In the meantime, another theme comes into Fortissimo: tough, angular, in the jerky sounds of the orchestra…

Song no. 2 displays how Shostakovich uses uncertainty in major-minor mode to evoke folk-like flavor. In the orchestral introduction of song no. 2 mm. 1-18, the music sounds as if in an F# minor key, but the E major chords in mm. 16-18 that proceeds to the A major chord in m. 19 provide a certainty that the music really is in the key of A major (fig. 15), with the submediant chord at the beginning of the song gives the song a minor flavor. Fig. 15: The dominant chord in mm. 16-18 in song no. 2…

This essay will focus on comparing “Die Lindenbaum”, the fifth Lied from the Song Cycle, Winterreise by Franz Schubert with “Lucy, I Remember Your Name” (2009) by John Cooper of the band Skillet (www.youtube.com/watch?v=d7sjrjiOYYQ). While there are several similarities between the two pieces, there are noticeable differences; such as, the time periods in which the two pieces were composed. “Die Lindenbaum” was written in 1828 during the Romantic period to be performed with a piano…

The Trombone solo last for the better part of 17 measures accompanied by a continual reconstruction of triples weighted over doted rhythms. Scholars describe the work as having qualities evocative of death and renewal. Section B is in relation to a sense of renewal. Its timbre and balance is different from its adjacent section. More specifically, the trombone with its brass qualities is comparable to the bugle calls of war. The imagery delineated through this intuitive use of the trombone…

IV. Second Movement The second movement is in a compound ternary form. It is in simple quadruple time in E major with the tempo of Adagio. It is nocturne-like (Zi, 2001, p. 94) and it’s meant to give the audience a peaceful feeling. Introduction: The opening of the second movement has used muted strings, woodwind, clarinet and bassoon. These instruments slowly modulate from the previous C minor to E major using chromatic notes. Fig.16 Exposition (A): In preparation for the first theme to…