music history essay1 - Music History Dr. Waters 5 January...

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Music History Dr. Waters 5 January 2007 In Purcell’s Dido and Aeneas, Thy Hand, Belinda , he is showing the emotions by used non-scaled tones. Many of the dissonances are re-attacked on the strong beats of suspended notes. This piece prepares the listeners for the lament although it is a slow lowering of the seventh. In Lully’s piece, Armide: Enfin il est en ma puissance , it is a monologue in the form of a recitative which later becomes known as simple recitative in which Armide is accompanied by continuo. The meter changes freely between two, three, and four beats to accentuate the text. Another way Lully did this was by making accents on the downbeats. With a freer style, he allowed the singers to improvise to show emotion at caesuras and rests. The piece then changes to a measured recitative which is very melodic, and active bass, and harmonic background. It again changes to an air with a simple melodic line accompanied by continuo. The text here is syllabic in a simple style,
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This note was uploaded on 04/20/2008 for the course MUSC 321 taught by Professor Waters during the Winter '07 term at Ohio Northern University.

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music history essay1 - Music History Dr. Waters 5 January...

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