澳洲 代写-管弦乐介绍

本文主要试讲管弦乐介绍,可以看出,在第一乐章的开场主题中模仿了管弦乐的效果。它有深刻的节奏,和弦和三连音琶音。事实证明,作曲家决定在和弦的顺序和随后的和弦进行之后模仿旋律。低音部的旋律增加了A-B-C-D-E的旋律。在这些小节中,1-6和7-16之间的小节没有任何传统古典奏鸣曲中那样的对比关系。相反,它对传统音乐的意识形态表现有不同的创新。本篇澳洲 代写文章由澳洲论文通AssignmentPass辅导网整理,供大家参考阅读。

It has been observed that in the opening theme of the first movement imitated orchestra effect. It has incisive rhythm, chords and triplet arpeggio. It has been shown that the composer decided to emulate the rhythms after the sequence of chords and its subsequent progression of the chord. The melody in the bass line has an increased line of A-B-C-D-E. In these the sections —bars between 1-6 and 7-16, does not have contrast relation like those in any traditional classical sonata. Rather it has a different innovative take on the conventional ideological representation of the music. It has been developed with different kinds of variation instead of following to the conventional ideals. Schubert changed the keys frequently throughout the rendition of the sonata. For example, in bars 32-36, the keys are C major -A flat major- E major- C major- a minor- E major. Finally, it arrives at B major after transposition many times.
The second movement, Andantino (F-sharp minor), presents a lamentation. It is poignant melody that elucidates the sonata’s melancholy. There is an underlying sadness that has been clearly elucidated in these aspects. Like Schubert’s many other slow movements, this Andantino also possesses a dramatic middle section. This movement Andantino has direct connection with a Schubert’s song ‘Pilgerweise’ (D.789). (Music example) The text of the song is soliloquy it shares some of the most inner psychological description of a Pilgrim. Both pieces are in same key and emotion, with same intensified middle-section as contrast.
The fantasia style invades the transition. The transition between the different sections of the music ha scene done so efficiently. On analysis of the pieces it has been found that there is an accompaniment in the first episode that is static. It has a melody that has been shifting constantly between A and G sharp. The motif or the theme is also fragmented that it could hardly be found in the transition passage from bar 68 to bar 158. The climax part in this passage is of high contrast between the severity and the latter phrases. This shows a kind of aesthetics tendency of early Romantic period. The climax ends with chromatic scale in bar 120; with strength varying according to the order of “p-f-ff-fffz”, which is quite rare in Schubert’s other works. Apparently, under the influence of Liszt, sophisticated piano techniques of that time are adopted in this middle section.

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