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Trois Mélodies, Op. 7 (Fauré)
''Trois mélodies'' is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of "Après un rêve" (Op. 7, No. 1), one of Faure's most popular vocal pieces, "Hymne" (Op. 7, No. 2), and "Barcarolle" (Op. 7, No. 3). The songs were written between 1870 and 1877, and published in 1878. They were not, however, originally conceived together as a set of three; the opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications. "Après un rêve" In "Après un rêve" (''After a dream''), a dream of romantic flight with a lover, away from the earth and "towards the light", is described. However, upon awakening, the dreamer longs to return to the "mysterious night" and the ecstatic falsehood of his dream. The text of the poem is an anonymous Italian poem freely adapted into French by Romain Bussine. Dans un sommeil que charmait ton image Je rêvais le bonheur, ardent mirage, Tes yeux étaient plus doux, ta voix pure et s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Song
A song is a musical composition intended to be performed by the human voice. This is often done at distinct and fixed pitches (melodies) using patterns of sound and silence. Songs contain various forms, such as those including the repetition and variation of sections. Written words created specifically for music, or for which music is specifically created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs composed in a simple style that are learned informally "by ear" are often referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs. These songs, which have broad appeal, are often composed by professional songwriters, composers, and lyricists. Art songs are composed by trained classical com ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions By Gabriel Fauré
Composition or Compositions may refer to: Arts and literature * Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation * Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters * Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker * Digital compositing, the practice of digitally piecing together a video Computer science * Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hunga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Public Domain
The public domain (PD) consists of all the creative work to which no exclusive intellectual property rights apply. Those rights may have expired, been forfeited, expressly waived, or may be inapplicable. Because those rights have expired, anyone can legally use or reference those works without permission. As examples, the works of William Shakespeare, Ludwig van Beethoven, Leonardo da Vinci and Georges Méliès are in the public domain either by virtue of their having been created before copyright existed, or by their copyright term having expired. Some works are not covered by a country's copyright laws, and are therefore in the public domain; for example, in the United States, items excluded from copyright include the formulae of Newtonian physics, cooking recipes,Copyright Protection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sixteenth Notes
Figure 1. A 16th note with stem facing up, a 16th note with stem facing down, and a 16th rest. Figure 2. Four 16th notes beamed together. In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation. Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tuplet
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. Terminology The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (''Oxford English Dictionary'', entries "multiplet", "-plet, ''comb. form''", "-let, ''suffix''", and "-et, ''suffix''1"). An alternative modern term, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tie (music)
In music notation, a tie is a curved line connecting the heads of two notes of the same pitch, indicating that they are to be played as a single note with a duration equal to the sum of the individual notes' values. A tie is similar in appearance to a slur; however, slurs join notes of different pitches which need to be played independently, but seamlessly ( legato). Ties are used for three reasons: (a) when holding a note across a bar line; (b) when holding a note across a beat within a bar, i.e. to allow the beat to be clearly seen; and (c) for unusual note lengths which cannot be expressed in standard notation. Explanation A writer in 1901, said that the following definition is preferable to the previous: Other sources: Ties are normally placed opposite the stem direction of the notes, unless there are two or more voices simultaneously. The tie shown at the top right connects a quarter note (crotchet) to a sixteenth note (semiquaver), creating a note as long ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eighth Note
180px, Figure 1. An eighth note with stem extending up, an eighth note with stem extending down, and an eighth rest. 180px, Figure 2. Four eighth notes beamed together. An eighth note (American) or a quaver ( British) is a musical note played for one eighth the duration of a whole note (semibreve). Its length relative to other rhythmic values is as expected—e.g., half the duration of a quarter note (crotchet), one quarter the duration of a half note (minim), and twice the value of a sixteenth note. It is the equivalent of the ''fusa'' in mensural notation. Eighth notes are notated with an oval, filled-in note head and a straight note stem with one note flag (see Figure 1). The stem is on the right of the notehead extending upwards or on the left extending downwards, depending primarily on where the notehead lies relative to the middle line of the staff. A related symbol is the eighth rest (or quaver rest), which denotes a silence for the same duration. Eighth note ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barcarolle
A barcarolle (; from French, also barcarole; originally, Italian barcarola or barcaruola, from ''barca'' 'boat') is a traditional folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, two of the most famous barcarolles are Jacques Offenbach's " Belle nuit, ô nuit d'amour", from his opera ''The Tales of Hoffmann''; and Frédéric Chopin's Barcarolle in F-sharp major for solo piano. Description A barcarolle is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably in 6/8 meter at a moderate tempo. While the most-famous barcarolles are from the Romantic period, the genre was known well enough in the 18th century for Burney to mention, in ''The Present State of Music in France and Italy'' (1771), that it was a celebrated form cherished by "collectors of good taste". Notable examples The barcarolle was a popular form in opera, where the apparently artless sentimental style of the folklike song could be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Tone
In music theory, a leading-tone (also called a subsemitone, and a leading-note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, ''the'' leading tone refers to the seventh scale degree of a major scale (), a major seventh above the tonic. In the movable do solfège system, the leading-tone is sung as ''ti''. A leading-tone triad is a triad built on the seventh scale degree in a major key (vii in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii7). Walter Piston considers and notates vii as V, an incomplete dominant seventh chord. (For the Roman numeral notation of these chords, see Roman numeral analysis.) Note Seventh scale degree (or lower leading tone) Typically, when people speak of ''the'' leading tone, they mean the seventh scale degree () of the major scale, which has a strong affinity ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gabriel Fauré
Gabriel Urbain Fauré (; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his ''Pavane'', Requiem, '' Sicilienne'', nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the Ecole Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
