Schoenberg Listening Journal

Elements:
- No clear tonality
- Difficult to tell, but maybe triple simple meter
-Moderato-ish tempo
- Incredible amount of dissonance
- Playing style is erratic in nature, not sure if intened or interpreted
-Performed by Piano and Full orchestra, but do not work in conjunction
-Polyphonic at every point

Structure:
-Strophic structure, not really having clear motif or idea to come back to, simply a musical progression with no repetition
-Makes sense, as the very essence of 12-tone composition is to avoid similarity/repetition

Context:
-Composed by Arnold Shoenberg
- One of many 12-tone pieces composed by him
- Composed during impressionist period

Franz Schubert - Der Konig in Thule Listening Journal

Elements:
-Minor Key
-Duple Simple Meter
-Moderato Meter
-One piano and one female soprano voice
-Vibrato in voice
-subtle rubato in between phrases


Structure:
-ABA, or binary structure
-Piano plays almost constantly, but at certain points slows down and then stops for a couple of seconds
-At the points where piano pauses, voice does as well
-Piano pays cylcing chord sturcutre throughout piece, switches between A and B sections

Context:
-Composed and published in 1816
-Original poem was written by Goethe
-Poem was very well recieved and covered by a number of other composers
-Poem is spoken in German language
-Romantic Era Piece

The piano accompaniement really serves as a background, adding to the tone and modd of the poem.  The piano does not seek to be in the spotlight, just to add to the qualities of the poem.

From a melodic standpoint this piece fluctuates back and forth.  At the beginning of the prases, these fluctuations are small, then they increase in the middle until they reduce at the end.  The piano chords rise then fall wuickly, only to slowly rise again.

Haydn First Movement Analysis

Elements:
-String quartet, with two violins, one viola, and one cello
-C major
-Allegro Tempo
-Violin carries main melody
-6/8 time

Structure:
-Motif established at the very beginning of the piece is repeated throughout
-PIece modulates into minor key, then back into different major key
-Deceptive cadance towards the end of the piece, then ends with authentic cadence
-For a period, only the two violins play, while cello and viola wait out
-Seems to have binary structure, contrinually changing keys throughout

Context:
-Classical era music
-Composed by Franz Joseph Haydn
-Would be played in a formal setting, royals would likely be the intended audience

Concerto Listening Journal: Mozart Piano Concerto No.21

Elements:
-Alberti-like bass, but not quite so
-Mostly Chromatic
-Piano is clearly the center of the piece and performance
-Seems like Piano and Strings are taking turns
-Duple simple meter
-Moderato tempo
-String Orchestra and a piano
-Polyphonic, except when in subject


Structure:
-Subject is immediately established, nothing else is happening
-Sibject visited a few times throughout the piece
-Towards the end of the piece, the entire orchestra stops for the piano (for a couple seconds)
-Piano never plays chords, only single notes
-Piano plays in syncopation to the string orchestra (except in subject)
-Piano is moving along scales often

Context:
-Composed by Wolfgang Amadeus Mozart
-Austrian
-Probably Composed in Late 1700s or early 1800s

LG Fugue Analysis

1.
Meausre 1- D minor
Measure 15- D minor
Measure 24- C minor
Meaure 26- C minor
Meaure 32- Eb Major
Measure 36- Bb Major
Measure 50- D major
Measure 54- Bb Major
Measure 57- D minor
Measure 57- C# minor

2.  The forms for the pieces are fairly similar.  As the subject is establishe din the beginning, each starts to envelop it further as the piece progresses.  The subjects in each piece seem to be similar as well, with each being only a couple of measures long.  As the pieces progress, the subject becomes harder and harder to identify.  Both piece also use pirmarily minor keys, with a few major keys scattered in there.

Although there are similarities, there are also some differences.  I would argue that the Beetheoven takes the subject into a more complex setting.  Not only do the notes around the subject become louder and evenlop the subject, but the subject modulates into a wide variety of new keys.  While this is true in the LG fugue, it doesnt go to the same extent that the Beethoven does.

3.  I think Musicians of the Baroque era would like this piece.  It has many simlarities with the popular style in that time, and without the context of  Lady Gaga, nothing about the piece is all too extrodinary. Some might think that it is a little simple, but I think they would still like it overall.   

Listening Journal: Passacaglia

Elements:
-Double simple meter
-Moderato to Allegro tempo
-Noticeable dynamic Change throughout the piece
-Played on a modern piano
-Syncopation is apparaent in most of the song
Structure:
-Piece is based heavily on chordal motif
-This motif is repeated in many different ways throughout the song
-The first time is played without any extra notes to establish the motif
-The volume of the piece will gradually crescendo over time, then suddenly drop in volume
Context:
-This was composed by Handel, a German composer
-It would have been composed somewhere from 1600-1750
-This piece is early-baroque
-It would have been played in more formal environments

L'Orfeo Listening Journal

Elements:
-Harpsichord, along with several other string intruments
-What seems to be a full choir
-Messenger is played by soprano male
-Orfeo is played by low tenor male
-Euricide is played by soprano female
-Is both monophnic and homophonic
-Little Vibrato in the voices
-Fixed meter in choir and insturmental parts, not so in solo parts

Structure:
-Cycles between the Choir,  Messengar, Euricide, and Orfeo, instruments (which accompany the choir as well), and other important characters
-Choir changes to monophnic in dramatic kissing scene
-Only a couple of string instruments play the last, tragic scene
-Group choir scenes are accompanied with wild dancing

Context:
-Early Baroque Era Oera
-Written by Claudio Monteverdi
-In italian, based off of Greek myth of Orpehus
-A couple of hours in total (this is an excerpt of the opera).