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).

Music Journal: Gabrieli

Musical Elements:

-Free Meter
-Four Voices, 2 male, and 2 female
-Also a singing choir
-Mostly Polyphonic, with some Homophonic
-Organ is being played in Background
-Voices are in constant motion
-Very little vibrato
-Several  authentic cadences trick us into thinking that it has resolved
Structure:
-Not very chromatic, mostly chordal

Structure:

-Sacred
-Starts off sounding very oordinary for the time, then changes to a verse of Hallejula at the end, with most voices singing in Unison
-From about halfway through the song, th choir joins the four voices.
-No verses are repeated, it is a chronological progression

Context:
-Giovanni Gabrieli was Italian
-This is a sacred piece, meant to be sung in a church
-Composed between 1544 and 1612
-Composed at a time when Secular was becoming more and more common and Sacred less and less

Ockeghem - "Miserere pie Ihesu / Mort, tu as navré de ton dart"- Analysis

Musical Elements:
-Free Meter
-All Male voices
-Liturgical
-Entirely Homophonic
-Four Voices
-Mostly Syllabic and Nuematic (occasional melisma)
-Voices are constantly moving, but stay in unison (apart from chant)
-Voices are accompanied by what I believe is some kind of early harpsichord, an early cello, and some other kind of chordophone.
-No vibrato

Structure:
-Choir and solo parts, where high voice leads the solo
-also a chant part where all voices sing
-Responsorial, moves back and forth between high voice and rest of the choir
-Ordinary, not proper

Context
-Litrugical/Sacred
-Sung in the latin language
-Would have only been sung in church
-Probably composed between 1450s and 90s

Léonin - Messe du Jour de Noël Analysis

Musical Elements:
-Free Meter
-All Male Voices
-Liturgical
-Organum
-Molstly syllabic in monophonic part, melismatic in homophonic part
-Monophonic part is sometimes nuematic
-Seems like the forward voice in homophonic part changes.

Structure:
-Responsorial
-Changes between monophonic and homophonic in two parts
-Ordinary, not proper
-Simple binary form, chants can start with monophonc or homophonic parts

Context:
-Liturgical/sacred
-From France
-A Christmas mass, only to be sungat that time of the year
-Only would have been sung in a chruch