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Trois Chansons (Ravel)
''Trois Chansons'', M 69, is a composition by Maurice Ravel for a cappella choir, set to his own texts. Ravel began the composition in December 1914 in response to the outbreak of World War I, in which he hoped to be enlisted to fight for France. While he waited for months, he wrote text and music of the three songs in the tradition of 16th-century French chansons. He completed the work in 1915, and it was published by Éditions Durand in 1916. The songs were premiered in 1917, performed by a choral ensemble conducted by Louis Aubert. They remained his only composition for a cappella choir. History Ravel composed the ''Trois Chansons'' in response to World War I, beginning the work in December 1914, when he was in Paris waiting to be drafted. He was determined to fight for his country. In November, he took daily driving lessons, aiming to join a supply department, and passed the test in December. He then began to write the first of three songs, which was published as the cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice Ravel
Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism, baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, ''Boléro'' (1928), in which repetition takes the place of development. Renowned for his abilities in orchestration, Ravel made some orchestral arrangements of other compose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Minor
A minor is a minor scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has no flats and no sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The A harmonic minor and melodic minor scales are: : : Well-known compositions in A minor *Johann Sebastian Bach ** Violin Concerto in A minor, BWV 1041 *Ludwig van Beethoven ** Violin Sonata No. 4, Op. 23 ** String Quartet No. 15, Op. 132 ** Bagatelle in A minor, "Für Elise" * Johannes Brahms **Double Concerto, Op. 102 * Frédéric Chopin ** Étude Op. 10, No. 2 ** Étude Op. 25, No. 4 ** Étude Op. 25, No. 11, ''Winter Wind'' ** Mazurka Op. 17, No. 4 ** Mazurka Op. 59, No. 1 ** ''Boléro'', Op. 19 ** Prelude No. 2 in A minor, Op. 28/2 ** Waltz in A minor, Op. 34, B. 150 * Franz Liszt ** Transcendental Étude No. 2, ''Fusà ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stephen Sondheim
Stephen Joshua Sondheim (; March 22, 1930November 26, 2021) was an American composer and lyricist. One of the most important figures in twentieth-century musical theater, Sondheim is credited for having "reinvented the American musical" with shows that tackle "unexpected themes that range far beyond the enre'straditional subjects" with "music and lyrics of unprecedented complexity and sophistication." His shows address "darker, more harrowing elements of the human experience," with songs often tinged with "ambivalence" about various aspects of life. He was known for his frequent collaborations with Hal Prince and James Lapine on the Broadway stage. Sondheim's interest in musical theater began at a young age, and he was mentored by Oscar Hammerstein II. He began his career by writing the lyrics for ''West Side Story'' (1957) and ''Gypsy'' (1959). He transitioned to writing both music and lyrics for the theater, with his best-known works including '' A Funny Thing Happened on the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
D♯ (musical Note)
D (D-sharp) or re dièse is the fourth semitone of the solfège. It lies a chromatic semitone above D and a diatonic semitone below E, thus being enharmonic to ''mi bémol'' or E. However, in some temperaments, it is not the same as E. E is a perfect fourth above B, whereas D is a major third above B. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the D above middle C (or D4) is approximately 311.127 Hz. See pitch (music) for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on D * D major: D E F G A B C D * D natural minor: D E F G A B C D * D harmonic minor: D E F G A B C D * D melodic minor ascending: D E F G A B C D * D Melodic Minor Descending: D C B A G F E D Diatonic scales * D Ionian: D E F G A B C D * D Dorian: D E F G A B C D * D Phrygian: D E F G A B C D * D Lydian: D E F G A B C D * D Mixolydian: D E F G A B C D * D Aeolian: D E F G A B C D * D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Mode
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equivalent in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Major
A major (or the key of A) is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the only key where the Neapolitan sixth chord on  (''i.e.'' the flattened supertonic) requires both a flat and a natural accidental. The A major scale is: : In the treble, alto, and bass clefs, the G in the key signature is placed higher than C. However, in the tenor clef, it would require a ledger line and so G is placed lower than C. History Although not as rare in the symphonic literature as sharper keys (those containing more than three sharps), symphonies in A major are less common than in keys with fewer sharps such as D major or G major. Beethoven's Symphony No. 7, Bruckner's Symphony No. 6 and Mendelssohn's Symphony No. 4 comprise a nearly complete list of symphonies in this key in the Romantic era. Mozart's Clarinet Concerto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beethoven ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and edit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
F Minor
F minor is a minor scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature consists of four flats. Its relative major is A-flat major and its parallel major is F major. Its enharmonic equivalent, E-sharp minor, has eight sharps, including the double sharp F, which makes it impractical to use. The F natural minor scale is : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The F harmonic minor and melodic minor scales are : : Music in F minor Famous pieces in the key of F minor include Beethoven's ''Appassionata Sonata'', Chopin's Piano Concerto No. 2, Ballade No. 4, Haydn's Symphony No. 49, ''La Passione'' and Tchaikovsky’s Symphony No. 4. Glenn Gould once said if he could be any key, he would be F minor, because "it's rather dour, halfway between complex and stable, between upright and lascivious, between gray and highly tinted... There is a certain obliquen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
