Music Composition During Baroque and Renaissance Times - 1100 Words

Music Composition During Baroque and Renaissance Times (Essay Sample) Content: Name:Instructor: Course:Date: Baroque and renaissance improvisationEuropean culture has developed over many centuries. Various components define the civilization such as philosophy, literature, art, and most remarkably, music. Historians use unique names to differentiate the eras and trends associated with the periods. Baroque period started from 1600 to 1750 after J.S Bach passed away. He had a reputation of the greatest musician of the time. Initially, Baroque composition had an adverse meaning as it insinuated bad taste. The term derives from a word that implies asymmetrical shape. However, the negative perception of the songs genre has become positive. In fact, many enthusiasts of the composition still uphold the seventeenth and eighteenth-century styles. On the other hand, Renaissance symphony refers to music composed in Europe between 1400 and 1600s. The primary elements that motivated the development of the oeuvre are similar to the ones that shaped the Early M odern epoch. Examples of such issues include reformation of Protestants, commercial enterprise growth, enhanced discovery and innovation, as well as the resurgence of the artistic and literary heritage of the primordial Greece. The essay describes the Baroque and Renaissance improvisation, and the key dissimilarity between the eons (Wegman 410).Renaissance InventivenessThe discovery of music printing at the onset of the sixteenth century enhanced comprehensive recording of improvisation customs. The documents are available as published guidebooks, specifically in Italy. One of the major strides in music development was substantiation of the composer function in the last half of the fifteenth century. Previously, singers were collectively called improvisers or makers. However, older manuals did not provide details of the improvised issues of the approach the artists used. In 1997, Jessie Ann Owens provided additional evidence to prove that Renaissance musicians did not apply scores i n their composition. Modern anthropologists state that the existing autograph manuscripts and treatises about the practice is convincing (Davison and Willi 34).Another significant growth milestone in Renaissance Symphony is style revolution. The imitative texture grew massively towards the end of the fifteenth century. Researchers indicate that peak imitation interval occurred the inception of motets that Petrucci published from 1502 to 1508. Peter Schubert archived that improvisable canon in four voices was practicable. Further studies revealed that the canonic model was the most widely used four-voice imitation points (Cuming 2).Counterpoint also originated in the Renaissance treatises. However, Schubert contended that the name did not refer to written composition, but it means applied polyphony for artists. He constantly sought to understand the things that singers could improvise as well as the approach they followed. The approach to counterpoint, as applied in polyphony, comple tely differs with the regular understanding of the counterpoint (Cuming 4). For instance, Johann Joseph Fuxs Gradus ad Parnassum portrays it as the least intuitive, but the highest controlled written genre. Canon is a form arcane, and it is a very complex to make. As a result, only the guru musicians could create it (Hoffer 18).Baroque EraProfessional orchestras in the Baroque time were inexistent; thus, the quality of music was not impressive compared to contemporary entertainment. Many singers worked in professions that were unrelated to the leisure industry hence it could take an artist a lot of time to perfect musical expertise (Wegman 412).Ornamentation of vocals is another common phenomenon. Composers include content such as rhyme that makes the final work impressive to listen. Artists also use crude instruments to match specific sounds. Normally, the composition style utilizes intricate forms and excessive decoration, as well as other contrasting elements to produce movement, tension, or drama (Wegman 419).The lyrics also created have a tonal center and rely heavily on the systematic harmony. Singers discover the importance of chords on tonal axis, and they begin to apply the knowledge. On the other hand, lyricists devise methods of music modulation that made it more interesting (Chung, Brian, and Dennis 206).Baroque music shares similar elements with the Renaissance art such as the intense application of counterpoint and polyphony. Nevertheless, the techniques differ. One of the significant divergences between the styles is the fact that Baroque music strives to create a great deal of emotions than the Renaissance melodies. In addition, the former category represents exacting feelings such grief, exultation, piety, and affection. Renaissance tunes produced even flow with no metrical cadence; therefore, it contrasts with its successor that is anchored in beat model (Hoffer 92).Baroque Epoch InnovationPerforming artists involved in ancient music revival are often fascinated by the embellishment of the seventeenth and eighteenth-century lyrics. A large body of proof shows that the new performance style was better than its predecessor was because professionals had improved concerto knowledge such as notation, instrumentation and written literature (Davison and Willi 49). Features such as basso continuo accompaniment enhanced recitalists versatility in presentation of their content. For instance, a skilled vocalist could assist new composers to learn from the content created by seasoned persons (Hoffer 24).Music Composition Differences Between the Baroque and Renaissance Times Renaissance period Baroque time Addresses isolated issues with high clarity that spectators can understand easily. It does not strive to create a mental picture to the target group Words and rhythm focuses on creating an impressive appeal to the listener Used normal objects that humans relates with on daily basis Incorporates strange styles accompanied by ornate embellishment. Creativity extends to singing lyrics being based on elaborate abstract ideologies Creates worldwide appeal Develops extrem... Music Composition During Baroque and Renaissance Times - 1100 Words Music Composition During Baroque and Renaissance Times (Essay Sample) Content: Name:Instructor: Course:Date: Baroque and renaissance improvisationEuropean culture has developed over many centuries. Various components define the civilization such as philosophy, literature, art, and most remarkably, music. Historians use unique names to differentiate the eras and trends associated with the periods. Baroque period started from 1600 to 1750 after J.S Bach passed away. He had a reputation of the greatest musician of the time. Initially, Baroque composition had an adverse meaning as it insinuated bad taste. The term derives from a word that implies asymmetrical shape. However, the negative perception of the songs genre has become positive. In fact, many enthusiasts of the composition still uphold the seventeenth and eighteenth-century styles. On the other hand, Renaissance symphony refers to music composed in Europe between 1400 and 1600s. The primary elements that motivated the development of the oeuvre are similar to the ones that shaped the Early M odern epoch. Examples of such issues include reformation of Protestants, commercial enterprise growth, enhanced discovery and innovation, as well as the resurgence of the artistic and literary heritage of the primordial Greece. The essay describes the Baroque and Renaissance improvisation, and the key dissimilarity between the eons (Wegman 410).Renaissance InventivenessThe discovery of music printing at the onset of the sixteenth century enhanced comprehensive recording of improvisation customs. The documents are available as published guidebooks, specifically in Italy. One of the major strides in music development was substantiation of the composer function in the last half of the fifteenth century. Previously, singers were collectively called improvisers or makers. However, older manuals did not provide details of the improvised issues of the approach the artists used. In 1997, Jessie Ann Owens provided additional evidence to prove that Renaissance musicians did not apply scores i n their composition. Modern anthropologists state that the existing autograph manuscripts and treatises about the practice is convincing (Davison and Willi 34).Another significant growth milestone in Renaissance Symphony is style revolution. The imitative texture grew massively towards the end of the fifteenth century. Researchers indicate that peak imitation interval occurred the inception of motets that Petrucci published from 1502 to 1508. Peter Schubert archived that improvisable canon in four voices was practicable. Further studies revealed that the canonic model was the most widely used four-voice imitation points (Cuming 2).Counterpoint also originated in the Renaissance treatises. However, Schubert contended that the name did not refer to written composition, but it means applied polyphony for artists. He constantly sought to understand the things that singers could improvise as well as the approach they followed. The approach to counterpoint, as applied in polyphony, comple tely differs with the regular understanding of the counterpoint (Cuming 4). For instance, Johann Joseph Fuxs Gradus ad Parnassum portrays it as the least intuitive, but the highest controlled written genre. Canon is a form arcane, and it is a very complex to make. As a result, only the guru musicians could create it (Hoffer 18).Baroque EraProfessional orchestras in the Baroque time were inexistent; thus, the quality of music was not impressive compared to contemporary entertainment. Many singers worked in professions that were unrelated to the leisure industry hence it could take an artist a lot of time to perfect musical expertise (Wegman 412).Ornamentation of vocals is another common phenomenon. Composers include content such as rhyme that makes the final work impressive to listen. Artists also use crude instruments to match specific sounds. Normally, the composition style utilizes intricate forms and excessive decoration, as well as other contrasting elements to produce movement, tension, or drama (Wegman 419).The lyrics also created have a tonal center and rely heavily on the systematic harmony. Singers discover the importance of chords on tonal axis, and they begin to apply the knowledge. On the other hand, lyricists devise methods of music modulation that made it more interesting (Chung, Brian, and Dennis 206).Baroque music shares similar elements with the Renaissance art such as the intense application of counterpoint and polyphony. Nevertheless, the techniques differ. One of the significant divergences between the styles is the fact that Baroque music strives to create a great deal of emotions than the Renaissance melodies. In addition, the former category represents exacting feelings such grief, exultation, piety, and affection. Renaissance tunes produced even flow with no metrical cadence; therefore, it contrasts with its successor that is anchored in beat model (Hoffer 92).Baroque Epoch InnovationPerforming artists involved in ancient music revival are often fascinated by the embellishment of the seventeenth and eighteenth-century lyrics. A large body of proof shows that the new performance style was better than its predecessor was because professionals had improved concerto knowledge such as notation, instrumentation and written literature (Davison and Willi 49). Features such as basso continuo accompaniment enhanced recitalists versatility in presentation of their content. For instance, a skilled vocalist could assist new composers to learn from the content created by seasoned persons (Hoffer 24).Music Composition Differences Between the Baroque and Renaissance Times Renaissance period Baroque time Addresses isolated issues with high clarity that spectators can understand easily. It does not strive to create a mental picture to the target group Words and rhythm focuses on creating an impressive appeal to the listener Used normal objects that humans relates with on daily basis Incorporates strange styles accompanied by ornate embellishment. Creativity extends to singing lyrics being based on elaborate abstract ideologies Creates worldwide appeal Develops extrem...

Responsibility and Personal Growth in Harry Potter and the Deathly Hallows - Literature Essay Samples

In Harry Potter and the Deathly Hallows, it immediately becomes apparent exactly how much Harry Potter has grown since the first book in the series. In the beginning of the novel, Harry looks around 4 Privet Drive, his childhood home, and reflects on how he has grown since he first discovered he was a wizard. Soon after this reflection, Harry talks with the Dursleys, who are upset and angry about having to leave their home. It is only when Dudley Dursley, Harry’s cousin and long time bully, says he wants to go into hiding that his parents agree to flee to safety, and during this decision, Dudley says to Harry, â€Å"I don’t think youre a waste of space† (Rowling 40), and it is with these words that Dudley makes one of the first acts of responsibility and personal sacrifice seen in the book. Dudley convinces his parents to make a responsible decision and protect themselves from Voldemort, and sacrifices his reputation with his parents to apologize to Harry in his own way. This act shows just how much Dudley has matured through the series, and introduces the major theme of the novel: responsibility through sacrifice. This theme appears multiple times in Harry Potter and The Deathly Hallows, with great importance to both the plot, and Harry’s journey into adulthood. According to a study done by the University of Massachusetts, society views â€Å"responsibility for self† and â€Å"responsibility for others† (Lowe 7) as two of the most important aspects of adulthood. These two aspects explain the decisions the three main characters make while hunting for horcruxes and trying to defeat Voldemort. For Harry, he feels personally responsible as the one who must kill Voldemort because he is the Chosen One, and Dumbledore tasked him with finding and destroying the horcruxes before he died. This is made clear when he says to Aberforth, â€Å"Your brother knew how to finish You-Know-Who and he passed the knowledge on to me. I’m going to keep going until I succeed – or I die. Don’t think I don’t know how this might end. I’ve known it for years† (Rowling 568-569) He also feels responsible to his loved ones and the wizarding community as the only one who can protect them from Voldemort, which is implie d when he states â€Å"sometimes you’ve got to think about more than your own safety! Sometimes you’ve got to think about the greater good! (Rowling 568). For Ron, he feels personally responsible as a pure-blood to protect those with impure blood from Voldemort’s regime, as exemplified by his disdain of the word â€Å"mudblood† (Rowling 489), and fierce protection of Hermione. And for Hermione, she feels a responsibility to protect herself and other muggleborns. Due to her activism in matters like S.P.E.W., Hermione likely also feels responsible for house-elves, goblins, and other non-wizard races that would be in danger under Voldemort’s regime, which is made apparent when she says to Griphook the Goblin, â€Å"We protest! And I’m hunted quite as much as any goblin or elf, Griphook! I’m a Mudblood Mudblood, and proud of it! I’ve got no higher position under this new order than you have, Griphook!† (Rowling 489) Because of these responsibilities, Harry, Ron, and Hermione each make sacrifices to help them succeed on their quest. Harry ends his relationship with Ginny Weasley in order to focus on his mission to stop Voldemort, and to protect her from danger (Rowling 117). Hermione erases the memories of her parents and sends them to Australia to protect them as well (Rowling 96-97). And Ron leaves his family and the cozy lifestyle he had grown accustomed to in order to help Harry (Rowling 99). The sacrifices made by these three characters are truly indicative of the level of maturity they have obtained. If this were their first or second year, it is unlikely they would have been able to make these choices and live up to these responsibilities. But since the trio are now adults, they are capable of making these difficult decisions in order to do what is necessary to finally defeat Voldemort. Another great example of the relationship between responsibility and adulthood can be found when Harry is told the Tale of The Three Brothers. In the novel, the tale is meant to introduce the the concept of the Deathly Hallows. However, the tale also serves as an allegory about behaving maturely towards death. In the story, three brothers narrowly escape Death, and as a reward, Death grants them each a gift:So the oldest brother, who was a combative man, asked for a wand more powerful than any in existence: a wand that must always win duels for its owner, a wand worthy of a wizard who had conquered DeathThen the second brother, who was an arrogant man, decided that he wanted to humiliate Death still further, and asked for the power to recall others from DeathAnd then Death asked the third and youngest brother what he would like. The youngest brother was the humblest and also the wisest of the brothers, and he did not trust Death. So he asked for something that would enable him to go forth from that place without being followed by Death. And Death, most unwillingly, handed over his own Cloak of Invisibility. (Rowling 407-408) The moral of the tale is that the only way to defeat death is to be mature and accept him with open arms. The first two brothers are irresponsible, and seek to gain power and humiliate others. This attitude towards responsibility are exemplified in Dumbledore and his dark past. When Albus Dumbledore’s mother died, Dumbledore came home to take care of his sick, younger sister Ariana. However, instead of focusing on taking care of Ariana, he made plans for world domination with Gellert Grindelwald. Dumbledore’s desire for power caused him to ignore his responsibilities to his family. In his own words, â€Å"I wanted to escape, I wanted to shine, I wanted gloryI was selfish, Harry, more selfish than you, who are a remarkably selfless person, could possibly imagine† (Rowling 715-716). Because Dumbledore refused to swallow h is pride and temporarily sacrifice his access to power to take care of his family, he became indirectly responsible for the death of Ariana. Ariana’s death forced Albus to realize how important his responsibilities to others were, and marked the point where he gave up trying to become powerful and truly entered adulthood. The difference between Dumbledore and Harry is that Harry, unlike Dumbledore, immediately understands the responsibility he has to others. As Dumbledore states: â€Å"the true master does not seek to run away from Death. He accepts that he must die, and understands that there are far, far worse things in the living world than dying† (Rowling 720-721). Harry sacrificing himself to defeat Voldemort as his parents and mentors tell him he is â€Å"so brave† and they are â€Å"so proud of [him]† (Rowling 701) is the clearest evidence that Harry is now an adult. He understands that he is responsible for defeating Voldemort, and does what is necessary to accomplish that goal. This theme of becoming a responsible adult and sacrificing yourself for others is truly universal. It even appears in the first ever Western literary work, The Epic of Gilgamesh:Like the brother who wants the all-powerful sword, Gilgamesh sees himself as invincible, a fighter who cannot be beaten. Like the brother who wants the stone that brings loved ones back from the dead, Gilgamesh wishes he could resurrect his friend Enkidu. But after much exploration and consideration, Gilgamesh makes the same choice as the brother who takes the cloak that makes him invisible to Death; both men accept their mortality in the end and go peacefully to their deaths. (Whited 321)This theme is so universal, because everyone grows up and is faced with responsibilities. Harry Potter sacrificing himself in order to save the wizarding world is a massive sign that he is now an adult. He is able to make important decisions about his responsibilities, and do what is right for the people he loves. Work Cited Rowling, J.K. Harry Potter and the Deathly Hallows. London: Bloomsbury Publishing, 2007. Print. Lowe, Sarah R. â€Å"Defining Adult Experiences: Perspectives of a Diverse Sample of Young Adults† Journal of adolescent research vol. 28,1 (2012): 31-68. Web. Whited, Lana A. â€Å"From Sorcerer’s Stone to Deathly Hallows: The Failed Quest for Immortality in the Harry Potter Series.† The Harry Potter Series, edited by Lana A. Whited and M. Katherine Grimes, Salem; Grey House, 2015, pp. 306–325. EBSCOhost, felix.albright.edu/login?url=http://search.ebscohost.com.felix.albright.edu/login.aspx?direct=truedb=mzhAN=2018580939site=ehost-live.