Anish Agrawal November 19, 2011 The Dimensions of Art Dr.

Grace

Overture to “La Gazza Ladra”
Gioachino Rossini (1792-1868)
The scale of the orchestra gives a composer a tremendously variable range. The orchestra can overwhelm us with diverse timbres and volumes. The degree of loudness or softness in music is called dynamics. As I listened to this music, I could relate the use and breadth of dynamics with the use and breadth of palette in painting. The conductor skillfully treated the orchestra as his instrument which at times employed greater force in the production of a tone and created wider sound waves. This caused greater stimulation of the auditory nerves.

Symphony No.4 in A Major, Op.90(“Italian”)
Felix Mendeissohn (1809-1847)
In this large work, the composer explores the full dynamic and tonal range of the orchestral ensemble. The symphony evokes a wide range of carefully structured emotions through contrasts of tempo and mood. The sequence of movements began with an active fast movement, changes to a lyrical slow movement, moves to a dancelike movement, and closes with a bold fast movement. The opening movement takes a specific shape in which the theme is introduced, alternated, and repeated. Some particular instruments introduce a second theme, but underneath it, we can hear the cellos and basses reinforcing the initial theme. We

can hear throughout the movement a series of long crescendos as well as short, quite passages. These contrasts intensify the sense of power and drive.

Piccola Misica Notturna
Luigi Dallapiccola (1904-1975)
Harmony and tonality both have considerable importance in stimulating our senses. Listening to this piece was a strikingly different experience. Harmonic progression that leads to a full cadential resolution leaves us feeling fulfilled; unresolved cadences puzzle and perhaps irritate us. Major or minor tonalities have significantly different effects: major sounds positive; minor, sad or mysterious. The former seems close to home, and the latter exotic. Atonal music sets us adrift to find the unifying thread of the composition.

Pines of Rome
Ottorino Respighi (1879-1936)
This piece represented a program music, which comprises instrumental music associated with a story, poem, idea or scene. Images were triggered and stimulated our imaginations and senses to wander freely in tune with the musical development. When melodic contours were disjunct and tempos rapid, the pattern and response changed. In conclusion, it remained for us as we responded to music to analyze how each of the elements available to the composer had in fact become a part of the channel of communication. The composer had put together a work that elicited sensory responses from us.

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