After listening to the Overture and Belinda, describe what is happening musically in each song. In addition, specifically address the characteristics of Baroque music that are found in these selections.
Due April 2, 2009
Subscribe to:
Post Comments (Atom)
10 comments:
Overture-
As the Overture begins, you first hear the prominent stringed part in major which is favored in Baroque music. Also, a few measures in, the disjunct intervals become very distinct. At first, the song starts out without that steady rhythm, but as the Overture goes on and the instruments perform the 'running' eighths, the beat becomes very steady and very prevalent. The tempo is moderate, maybe even a little fast. Throughout the Overture, the dynamics remain consistent with little variation.
The overture begins slowly, at an adagio tempo. The rhythm of the overture begins in a more complex way than it ends; there is much variation in the first few measures but when the tempo changes to an allegro moderato. Then we hear mostly eighth notes until the overture ends. The melody is more conjunct in the adagio part of the overture; by the allegro moderato part it becomes much more conjunct in all parts. The adagio part has a more polyphonic texture and rhythm than does the allegro moderato section in which the rhythm is generally the same, and the different instruments seem to develop the same melody, making a heterophonic and homorhythmic texture. The running eighth notes cause a staccato sound in the violin section.
In Belinda, the tempo is consistently allegretto grazioso. The rhythm is again more complex as is the beginning of the overture. The melody is mostly conjunct too. The harpsichord and bass help develop the soprano's melody, making a heterophonic texture. This is also true when the choir joins in with Belinda; the harmonies work heterophonically to develop the E flat major melody.
In the Overture, the beginning starts with the subtle dynamic marking of "piano." There is a gradual cresendo (not marked) as there is a variation of the main theme. This illustrates the build-up of the collaborated melody with all of the parts in the section marked "Allegro moderato." The tempo, overall, speeds up as there are the consistent eighth notes (both individual notes and chords in the harpsichord). The rhythm in the beginning is really texturally diverse; however, as the song continues, a listener can sense the same "eighth note pattern" persisting in all of the parts to create a very "fluid" melody. The ending is abrupt after the continual eighth note progression, but there is a slow retardation to complete the piece.
Belinda-
Immediately from the point that the woman begins to sing, we know that this piece by Purcell is an opera which is prominent in Baroque times. Also, it should be noted that her voice is very vibrato. In comparison to the Overture, the tempo is much slower at an adagio. As with this tempo and the woman singing the melody, we recognize the flowing melody associated with Baroque music, and also the intervals are very conjunct opposing those of the Overture.
Belinda provides a definite contrast to the Overture. The harpsichord and the chorus really provide a collaboration and elaborate on the melody when Belinda sings. Even though Belinda has the melody, the chorus strengthens the definite rhythmic and textural qualities in her part. During this song, there is a definite dynamic contrast to the Overture. The crescendos and dynamic markings contribute to the full effect of the song... the gradual build-up to an elaborate "chorus and Belinda melody." The texture in this song is created by the use of articulation and the addition of accents and rhythmic detail. The rhythm changes from Belinda's section to the section with her and the chorus. This provides a great diverse combination of rhythmic difference and allows the listener to see the change and variation of her original theme. Lastly, this song provides a great emotion evoked by both Belinda and the chorus. With the powerful dynamics and beautiful "flow" of the music, there is a lot of expression evoked. Overall, this piece was not only different from the Overture, but also interesting to listen to because of its precise dynamics, texture, rhythm, and expression.
Overture-
The Overture begins in a slower adagio pace that is countered with a flowing melody line. The overture is performed by a chamber ensemble, which is a trait of the Baroque period. After the overture has introduced the form there is an expansion off this form as the two violins begin an allegro moderato portion of the piece where the five instruments are heterophonic and all follow a pattern of eighth notes that causes them to be homorhythmic. This portion of the overture is also more disjunct as the first violin, and also the second wiolin exercise a wider range in their register. The overture closes with a subtle reiteration of the beginning as they slightly slow down right at the end.
Belinda-
Belinda is the first vocal piece of Purcell's "Dido and Aeneas". The soprano vocalist that sing Belinda's part uses vibrato and in her singing. The melody of the pre-chorus part of the song is rather conjunct and flows lyrically. The tempo of the peace is graceful as it is written allegretto grazioso. The chorus's entry into the piece establishes a heterophonic texture as the four parts work together to expand the melody and also are homorhythmic as they follow the same patterns.
Baroque Qualities-
Characteristically of Baroque the Overture and Belinda contain heterphonic tendencies along with being dynamically privy to piano. The dynamic changes are also very subtle. In accordance to Baroque music, these two pieces are both very theatrical musically and the tone and timbre of Belinda remains the same throughout her operatic singing.
The Overture displays the presence of wider leaps in the melody during the "running eighths" pattern described above, which is also a Baroque characteristic.
Overture-
The Overture begins in a slower adagio pace that is countered with a flowing melody line. The overture is performed by a chamber ensemble, which is a trait of the Baroque period. After the overture has introduced the form there is an expansion off this form as the two violins begin an allegro moderato portion of the piece where the five instruments are heterophonic and all follow a pattern of eighth notes that causes them to be homorhythmic. This portion of the overture is also more disjunct as the first violin, and also the second wiolin exercise a wider range in their register. The overture closes with a subtle reiteration of the beginning as they slightly slow down right at the end.
Belinda-
Belinda is the first vocal piece of Purcell's "Dido and Aeneas". The soprano vocalist that sing Belinda's part uses vibrato and in her singing. The melody of the pre-chorus part of the song is rather conjunct and flows lyrically. The tempo of the peace is graceful as it is written allegretto grazioso. The chorus's entry into the piece establishes a heterophonic texture as the four parts work together to expand the melody and also are homorhythmic as they follow the same patterns.
Baroque Qualities-
Characteristically of Baroque the Overture and Belinda contain heterphonic tendencies along with being dynamically privy to piano. The dynamic changes are also very subtle. In accordance to Baroque music, these two pieces are both very theatrical musically and the tone and timbre of Belinda remains the same throughout her operatic singing.
The Overture displays the presence of wider leaps in the melody during the "running eighths" pattern described above, which is also a Baroque characteristic.
The strings part (typical in Baroque music) introduces the Overture in a major key. It begins legato and peaceful, then picks up into a lively stacattoed section, characterized by crescendos and decrescendos that follow the phrasing of the pulsating eighth notes (unaccented, accented). There are also trills and sixteenths to embellish the endings of phrases, leading to a resolution.
Belinda is done in a mournful minor key at and andante tempo. It begins piano a legato cello part and harpsichord in the background to emphasize the song's mood and somber texture (predominant Baroque Era musical intruments). Dido is tormented, as the title suggests, the color of her voice is dark and accentuated by vibrato. The phrasing begins softly, but rises with crescendos to show her distress. The section in between Dido and the response from Belinda and the choir is another strings section that follows the same dynamic phrasing. Belinda answers with a confident mezzoforte dynamic and staccattoed words in order to demonstrate her attitude about Dido's situation. The choir also responds confidently with a forte dynamic. The song temporarily shifts into major key before resolving on a minor chord.
Some excellent comments which I'll address in a minute. First need to make some corrections. Both songs are in minor, not major. More specifically c minor (which is the relative minor of E flat Major). Note that both the Overture and Belinda begin and end on a c minor chord. Another correction that needs to be brought out is the adagio section of the Overture is conjunct while the allegro section becomes disjunct. Remember conjunct melodies move more stepwise, while disjunct have more skips. Be sure to review these items.
Some of the Baroque characteristics some of you touched on:
subtle dynamic changes
use of chamber orchestra
steady beat (noticeable in the allegro section of the Overture)
Ornamentation
Some other characteristics of this period to look at:
Binary form (A-B). Both songs are AB
Use of chromaticism
Monodic texture - beginning of Belinda
The opening of the Overture seems dramatic and drawn out, as if the notes are being pulled across the page. This is typical of the continuity of rhythm and flowing sounds in Baroque music. About a minute in the tempo picks up and the tension starts to build. From here, the passage becomes varied, with certain repeated pieces throughout -- also characteristic of the Baroque era. Just as the tempo remains constant until a minute in, the dynamics do as well. When they finally shift it is a distinct change in the piece that can be easily noticed.
In Belinda, there seems to be a kind of upbeat mood. The light soprano voice carries along the song until the chorus enters, producing a much fuller and stronger sound. The texture becomes heterophonic as each section can be heard clearly. Although the tempo remains quick, it is graceful and in step. This opera is a nice beginning to Purcell's magnificent work.
Post a Comment