I did attend the Symphony Orchestra Concert. In the concert, there were different kinds of audience that did attend or participated. The audience mainly comprised of listeners and as normal there can be no artistic production without the participation of an audience, for example in a live symphonic orchestra or opera performance. Essentially, audience development in any performance requires a good understanding of who the audience is. In this particular concert, I was among the audience because of the interest in engaging with the performance and also assisting in the case study. There was also an occasional audience that came along to the event because of different factors with a very low attendance rate.
Symphony was the piece that was performed. It infers to an elaborate instrumental composition in three of more movements written for an orchestra with far grander propositions and more different elements (Jones, 32). Similarly, symphony orchestra infers to a convert performed by symphony orchestra. It utilizes orchestral instruments at some point in time, such as oboes, flutes or even violins in octaves. Further, in the Baroque orchestra, most of the brass experiments used did not have any valves; however, they were commonly set up to be played in the key D major. Some of the features included decorative like the art similar to the period. Its texture was polyphonic since the melody was not as important as the interplay that was present between the parts. It also had minor and major keys since during the time majority of the odd scales began to disappear leaving two models that became the scales known. Moreover, the Baroque orchestra has musical accompaniments, but before this, most of the music was mainly Capella. However, during the Baroque orchestra period music doubled the vocal line with an instrument that became much more intentional and sounded natural in the sense that everything worked well. Similarly, the orchestra was also accompanied by instrumentation.at that time; the violin began to replace viol's that used the orchestra to grow. Years later, there came horns.
The sitting arrangement of the instruments in the orchestra followed the essence of the Baroque orchestral music that was polyphonic counterpoint and was usually played on a keyboard instrument, such as the harpsichord or organ, lutes, and a harp. Furthermore, the continuo part was designed to a figured bass and would hold the music together. This arrangement enabled the director of an orchestral performance to be the first keyboard or violin player. The sitting arrangement was as below;
(Source: Buelow, 12)
Variety and Unity in Baroque orchestral music were emotionally stated. It depicted a basic mood at the beginning and maintained was able to maintain the mood throughout, like grief and joy. Rhythm, melody, and dynamics also expressed the mood. With regards to the structure of the baroque music, they are much more intricate and elaborate. Furthermore, the music also standardizes the idea of tonality where a single tome in a musical scale is the central focus of the piece.
The primary purpose of the gigue from Bach's Orchestral Suite is that is a lively baroque. The gigue has a contrapuntal texture and has accents on the third beats in the bar, making it be lively. It has two sections with each section starting as a fugue whereby the theme that is used in the first part is being changed into the second part.
Normally, a gigue is slower. They have the ability producing an immense variety of rhythmic and meter movement. It also has a single melodic idea with a balance of homophonic melody with chordal harmony and polyphonic textures, and the movement of the song are in a binary form.
Buelow, George J. A History of Baroque Music. Bloomington, IN [u.a.: Indiana Univ. Press, 2004. Print.
Jones, Richard D. The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit. , 2013. Print.
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