Musi History Essay Example | Topics and Well Written Essays - 750 words

Musi History - Essay ExampleIt is discernable that Ravel is not seen here as a minimalist. Rather, he scores points for being able to flirt at heart a theme.Ravels beginning brings one to a cheery internal place. The middle of the piece becomes roughly frustrated and slightly complicated with a a couple of(prenominal) swirls of menacing notes, but they largely subside within a few bars of symphony. Ravels minuet then comes to a peaceful close. Ideally, this piece is suited for lounge medicinal drug at a wedding hall, because it has the elegance and grace that one might expect in elegant dining music. Ravels Minuet begins in the tone of piano, a light tone. The notes in Ravels arrangement generally stand alone, for the more or less part. It seems like it would be a relatively moderately difficult piece to play on the piano, though not impossible. Ravels piece changes its loudness briefly to mezzo forte (medium loudness) but retreats to pianissimo, which is very soft. As Minue t ends, he is on the softer side of the scale.In Claude Debussys Hommage Haydn, he winds all over the place, but it is with definite purpose-ultimately having a beginning, a middle, and an end. He starts out slow, being very intentional as to the path on which he is freeing to bring his hearer. There is a light, airy feel to the music, as though one were sitting at the kitchen table at breakfast on a bright, sunny morning. All at once Debussy takes the attendant by storm on a crescendo of sounds with several changes in scale in the background, until thither is a groundswell of competing audio, which includes a darker tone to the music. This is the climax. Ultimately, however, this darker tone is resolved within the last half-minute or so of the piece, and the listener is once again allowed back into the realm of the sunny kitchen dreamscape.Hommage Haydn is a piece that begins in doux et expressif, sweet and expressive, and in the tone of piano, which is a light tone. In the pian o piece, there are quite a few notes which must be held put down to carry over to the next note, which indicate, at least at the beginning, a slowness to the piece. Very soon, however, quicker notes appear, and one can tell that the piece eventually moves faster. Ultimately it slows down again by the end. There are differences and similarities between these two pieces that tell volumes about Maurice Ravel and Claude Debussy, their musical comedy styles, and perhaps their philosophies as composers. Ravels Minuet is a charming piece that could be used as chamber music or in some other entertainment venue, because, to be frank, of its blandness. Although it is an exceptional piece of music, it does not locomote much from being background music that one might hear played by a pianist at the dinner party of a well-to-do socialite. Minuet begins cheerfully, as does Hommage. That is about where the songs similarities end. Debussys Hommage goes on to get to a frightful crescendo come fr om out of nowhere in the middle of the piece, which strays from the sensible, plodding and measure nature of Minuet. These piano pieces speak a great deal to both Ravels and Debussys sense of style as