Musical Piece Analysis: From Baroque to Impressionism
Musical Piece Analysis
Badinerie
1. Binary form. 2. 2/4 time signature. 3. Allegro tempo. 3.1. Anacrusic upbeat. Regular rhythm, important rhythmic syncopation. 4. Abundant, undulating melody. 4.1. Trills, especially in the main melody. 5. Accompanied melody. 5.1. The orchestra accompanies, with the flute taking the lead. 6. The flute is the main instrumental voice. 6.1. The flute and continuo carry the melody. 7. Part of a suite. 7.1. The final dance of the suite. 8. Profane, purely instrumental, cultured music. 9. Baroque style. 10. 18th century. 11. From Suite No. 2 in B Minor, BWV 1067. 12. Johann Sebastian Bach.
Symphony No. 5
1. Binary form. 2. 2/4 time signature. 3. Allegro con brio tempo. 3.1. Acephalous upbeat, with a prominent timpani. 4. Characteristic notes of the work. 4.1. Wave-like progression with 3rd and 4th in C minor. The work is continuous, with piano, forte, and crescendo dynamics. 5. All possible textures: homophonic, contrapuntal, accompanied melody. 5.1. The exposition explores different textures. 6. Symphonic orchestra. 6.1. The wind section (flutes, oboes, clarinets, bassoons) is important. 7. Sonata form movement. 7.1. Innovative drawing of parts, with the first theme present throughout the work. 8. Purely instrumental, profane, cultured music. 9. Romantic style. 10. 1805-1808. 11. Allegro con brio (1st movement) from Symphony No. 5 in C Minor, Opus 67. 12. Ludwig van Beethoven.
Gregorian Chant
1. Free rhythm. 2. Moderate tempo. 3. Verbal. 3.1. The work has a thetic start, with the beginning of the sentence matching the initial beat. 4. Typical of Gregorian ensembles. 4.1. Syllabic chant, based on the 8th Gregorian mode. The text is in Latin. 5. Monophonic texture. 5.1. The chorus sings in unison. 6. Male voices. 6.1. A cappella performance, without instruments. 7. Gregorian chant. 7.1. Hymn-stanza form, with the same music for all stanzas. 8. Cultured and religious vocal music, an old Gregorian song. 9. Medieval period. 10. 19th century. 11. Veni Creator Spiritus. 12. Although attributed to Mauro Radish, it is anonymous.
La Donna è Mobile
1. Ternary form. 2. 3/8 time signature. 3. Allegretto tempo. 3.1. Thetic rhythm, built with vivacity. 4. Syllabic text setting, although there are some melismas. 4.1. Melismas in the melody. 5. Instrumental accompaniment is important. 5.1. Voice and orchestra. 6. Tenor tessitura. 6.1. Acute aria. 7. Orchestral introduction. 7.1. Vocal and instrumental, cultured music. 8. Romantic style. 9. 1851. 10. “La donna è mobile” from Giuseppe Verdi’s Rigoletto. 11. Giuseppe Verdi.
Where You Go with a Manila Shawl
1. Binary form. 2. 2/4 time signature. 3. Lento habanera tempo. 3.1. Anacrusic upbeat. 4. Leaps in the melody. 4.1. Accompanied melody. 5. Popular style. 5.1. The melody is in D major. 6. Tenor voice. 6.1. Soprano and flute, whistles, oboes, clarinets, bassoons, trumpets, etc. 7. Duet from a zarzuela. 7.1. Zarzuela style. 8. Culmination of the scenic and theatrical farce and operetta genre. 9. Nationalist style. 10. 1894. 11. “Where you go with a Manila shawl” from La Paloma. 12. Tomás Bretón.
The Afternoon of a Faun
1. Several bars of ternary subdivision (6/8, 9/8, 12/8). 2. (6/8, 9/8, 12/8). 3. Very moderate tempo. 3.1. Rhythm is the least important element. 4. Wide melodic range, with a predominance of conjunct motion. 4.1. The melody is a special element of the work. 5. Various textures, with airy scores. 5.1. The harmonic language was considered revolutionary. 6. Orchestration is paradigmatic of impressionism. 6.1. Free form, based on a plea-conductor. 7. The overall impression is of a succession of dispersed moments. 7.1. Instrumental, cultured, programmatic, orchestral music. 8. Impressionist style. 9. 1892-1894. 10. Prelude to the Afternoon of a Faun. 11. Claude Debussy.