Music Essays Mozarts Piano Sonata Number 13

Music Essays Mozarts Piano Sonata Number 13 Mozart’s piano sonata number 13, K333, composed somewhere between 1779 and 1783. The first movement of Mozart’s piano sonata number 13, K333, composed somewhere between 1779 and 1783, (depending on the historical scholar), is a splendid, nimble piece of composition.   It is full of agility and complexity but manages to still be both very accessible and structured.   It also reflects Mozart’s admiration of and influence by Johann Christian Bach, a contemporary of Mozart’s who died in 1782.   Most musical scholars familiar with both composers agree that the opening motif of K333 bears a very flattering similarity to JC Bach’s Op. 5 no. 3 and Op. 17 no.4 piano sonatas.   Another overall source of influence is the style of the concertos of the time, grandiose and ebullient in style.   The first movement contains numerous concerto-esque flourishes that stray from the standard sonata paradigm, thereby adding an element of boldness to the piece. As far as the genre of piano sonatas go, K333 is otherwise fairly textbook in its construction. What is the significance of this?   The foundation of the sonata structure is the contrast, juxtaposition, and unification, of two musical keys.   Generally, these two keys are known as the ‘tonic’ and ‘dominant.’   The sonata establishes these two themes in an expository beginning section, followed by a development section in which, following the establishment of the second key, the tonality is deconstructed and its component musical segments are modified, explored, expanded upon, etc.   At the end of this development section, the piece returns to the tonic key in order to recapitulate the material from the exposition, â€Å"without the shift of key that characterized the exposition, thus harmonically unifying what was previously contrasted material.† (Edexcel, 2001)   The sonata as a general paradigm, then, is inherently a fascinating exercise in ‘voice leading,’ or the way in which individual musical parts, or ‘voices’, interact to form chord progressions.   Individual composers were noted for their particular voice-leading styles, as each possessed particular eccentricities and tendencies when it came to tackling the challenge of creatively transitioning from chord to chord within progressions, movements, or entire pieces.   The particular rules, if you will, of the sonata were always challenges that afforded composers, e.g. Mozart, the opportunity to showcase their voice-leading creativity; specifically, how to navigate the tension and journey between the sonata’s tonic and dominant keys.   K333 is no exception and the Edexcel piece is helpful in providing a launching point for understanding Mozart’s approach to K333: K333 is written in 4/4 time and is in the key of B-flat major; it specifically proceeds as follows, per the standard sonata conventions of the time: Exposition: bars 1-63. Development: bars 64-93. Recapitulation: bars 94-165. Bars 1-10 present the tonic key, which is B-flat major.   The musical theme(s) used to present the tonic key is/are known as the ‘first subject.’In bar 10, Mozart restates the opening of the piece, except transposed an octave lower.In bar 12, Mozart ‘drops’ an E-natural in the RH (right hand).   The significance of this note is that it introduces a C-major dominant 7th harmony that marks the transition of the piece to the dominant key, F-major, and is a good example of Mozart’s interesting voice-leading choices.In bars 13.4, 14.4, and 15.4, the RH sprinkles a descending group of semiquavers (also known as sixteenth notes) which illustrate that Mozart is, even early on, playfully exploring variations of the first subject – even before the introduction of the second.In bar 17.3, Mozart ‘drops’ a B-natural in the LH (left hand).   This note creates a G major dominant 7th harmony, which further punctuates the evolution away from the tonic key of B-flat major.In bar 22, Mozart accentuates the piece with an arpeggiation of a C major chord.   As the piece transitions to the key of F major, the C major chord is to become the new dominant chord; therefore, the arpeggiation is a preview or announcement of sorts of the impending transition.   This is one of many different stylistic manifestations of creative voice-leading.Bars 22-30 introduce the second subject, in the key of F major as mentioned above.   There are rhythmic similarities, however, to the first subject despite the key change.In bars 31-35, Mozart teases the listener by flirting with a transition to the key of G-minor, transitioning briefly for one bar before returning to F major and proceeding traditionally.Bar 64 commences the development section.   The quaver (eighth-note) rhythmic triads featured in Bar 1 are reintroduced and embellished upon by Mozart between bars 64 and 70.Bars 71-86 showcases Mozart’s further propensity to toy w ith the sonata structure by bending its rules without breaking them, per se.   He changes keys here here into F minor briefly, which is unexpectedly dramatic and concerto-like, and the right hand darts to the highest possible F note on a piano.   The darkness suggested by the F minor flirtation is explored further with brief tangents into C minor, E flat minor, and G minor between bars 75 and 86.Bars 87-90 feature an F major dominant 7th chord, which uses the chord of F to signal the imminent transition into the recapitulation section, which will take the piece back to B-flat major.Bars 94-105 feature the commencement of the recapitulation, a complete replica of the initial exposition until Mozart tosses in an A-flat chord in the RH at bar 105, continuing even in the recapitulation to introduce unusual elements.Bars 119-143 features the reappearance of the second subject in nearly identical form as its original presentation, except transposed to the tonic key.Bars 152-165 compri se the coda, which is mostly a duplication of bars 50-63 of the exposition with some flourishes thrown in, showing Mozart refuses to completely adhere to structure for structure’s sake. What is pleasurable about the piece overall, then, is clear.   Mozart is faithful to the stylistic requirements of the genre, not deviating from the overall structure, while being creative with the execution of the interplay between the two keys he employs.   Furthermore, Mozart’s voice-leading technique is bold and enhances the piece’s complexity, particularly the mood-darkening introduced by his transitions into minor keys, including F minor, and also in his methods of announcing transitions between keys by flourishes or arpeggios. Finally, it is worth mentioning that other technical elements, though perhaps unmoving to an expert, are nonetheless astonishing to a layperson or non-musician.   The tempo Mozart utilizes is astonishingly brisk given the acrobatics required by the composition.   To appreciate the piece is also to appreciate the skill necessary for a person to perform it competently, much less expressively. BIBLIOGRAPHY Mozart, Wolfgang Amadeus.   Piano Sonata No. 13 in B flat, K.333, circa 1781 Mozart: Piano Sonata in B-flat K333, first movement in Edexcel A Level Syllabus Analysis [book on-line] (Edexcel, 2001, accessed 11 June 2005); available from http://www.musicteachers.co.uk/resources/k333.pdf

Therapsids :: Biology Essays Research Papers

The Amazing Cheesy Adventures of Professor Sanderson's Paleobiology Class! Part 1: Therapsids I hope you guys have as much fun reading this as I did writing it. ^_^ *** The Amazing Cheesy Adventures of Professor Sanderson's Paleobiology Class! Investigation 1: Where did mammals come from? Or: Therapsids! ** Professor Sanderson's class was popular. Partly this was because he was a well-meaning psyinstructor; the images he crafted were neat, cohesive, and usually entertaining. Mainly, though, it was because he was a young male teacher at an all-girls' college, who had the fortune to resemble Jai from "Queer Eye For the Straight Guy." These two factors led to an unnaturally high enrollment in Paleobiology 101. No less than fifty-two girls sat chittering in the classroom before he appeared each day, punctually, at 10 a.m. Most were more intrigued by *his* anatomy than that of the long-dead tetrapods to which he devoted his lectures. Today's attendance was especially high. It was a Field Trip day. The term wasn't literal. There was no trip involved---simply the students closing their eyes and falling into the trance-like state from which the professor led their excursions. There, in the collective canvass of their psyches, he would build that day's lesson, sculpting visceral images from his expansive knowledge of biology and his even more expansive creativity. Today's lesson was mammalian origins. "Where do we come from?" he had asked, by way of preamble. "We all know the basic answer, or think we do. Apes, right? And apes from primates, and primates from mammals, all well and good. But where do mammals come from? I mean, what did mammals evolve from, and what were the major evolutionary steps they took to get there? Doesn't that sound fascinating? " The class eyed him warily. A few actually listened. The rest swooned. "Today we're going to try and explore that question. If you'll all take out your textbooks, flip to page 137, lean back, orient your touchpads, and close your eyes..." he waited while the actions were performed. "We'll be going to the Permian. That's the time right before the Triassic period, which started the age of the dinosaurs. It's approximately 300 million years in the past." (1) He briefly surveyed the class, then looked thoughtful for a moment. "Wait. I guess I should give you a little background first," he relented. "The main thing we're going to see today is a group of animals called the therapsids.

Will Doing a Master’s Get Me a better job?

Many students wrestle with the decision whether to take up Postgraduate study at the end of their Undergraduate degree. For some students this is to put off the thought of getting a ‘real-job’ for another year (which is a bad reason to do a Master’s!), but for others it is seen as a route to further develop their education, themselves, and – ultimately – their employability. But that invariably comes with a cost: another year of course fees, accommodation and bills, and remaining a poor student. So how do you know if Postgraduate study is for youToday we look at whether a Master’s is for you†¦Post-Graduate Study To Get a JobOne of the most commonly cited reasons that students give for pursuing Master’s courses is because they feel the qualifications will boost their salary. On first impressions, the statistics suggest that people with master’s qualifications are more likely to find work than those with undergraduate degrees – and they’re likely to earn a slightly higher wage. Data from the Higher Education Statistics Agency (Hesa) shows 86.6% of postgraduates were working in professional positions six months after graduating, compared with 64% of first degree graduates. Sounds great, right?A Master’s is not a Magic TicketHowever, students need to remember that there isn’t an explicit labour market for Master’s qualifications. This means that many master’s graduates – especially those with generalist rather than vocational qualifications – will still be competing against first degree graduates for jobs. If you’re studying a technical master’s – for example in a pharmaceutical or medical subject area – then it’s likely that this will enhance your employability above an undergraduate. However, if you’re doing a master’s of a more generic nature that’s not essential to the advertised job, employers will probably view you in the same way as other graduates.What does this mean?This would mean that those graduating with Master’s degrees need to highlight to employers that recruiting someone with an additional qualification will benefit their organisation. If you’ve done a more general master’s course that isn’t required by a prospective employer then you need to show what skills you’ve gained – research skills, lateral thinking and so on. You should show that you’re able to study something in-depth and do good critical analysis, a transferable skill in all walks of employment.Funding I ssuesFinding funding to study a Masters isn’t easy and for a lot of students, a lack of funding means that continuing university study isn’t an option. Some universities may have scholarship opportunities or offer discounts to students who move from undergraduate to postgraduate level. You don’t get a student loan either for Master’s Study – so you need to be sure it is definitely what you want before committing to it.How do I get the most out of my Master’s Degree?To get the most out of a Master’s degree you need to have a clear goal and an idea of what you want to get out of it. If you want to get into industry, then think strategically – make sure that you’re getting work experience or going on placements and that this links in with your studies. Put as much research into finding a postgrad course as you did when searching for an undergraduate course – and think about the end game. Ultimately its important for students not to embark on a postgraduate course just because they think that it will make them more employable. You will need to explain to employers what benefits their qualification will bring, but there is no denying that – if you a clear goal and reason for study – that enhancing your skills with a postgraduate degree will enhance your employability.

The Problem Of Death / Illnesses - 1300 Words

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