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Symphony No. 6 (Bruckner)
The Symphony No. 6 in A major, WAB 106, by Austrian composer Anton Bruckner (1824–1896) is a work in four movements composed between 24 September 1879, and 3 September 1881 and dedicated to his landlord, Anton van Ölzelt-Newin. Only two movements from it were performed in public in the composer's lifetime. Though it possesses many characteristic features of a Bruckner symphony, it differs the most from the rest of his symphonic repertory. Redlich went so far as to cite the lack of hallmarks of Bruckner's symphonic compositional style in the Sixth Symphony for the somewhat bewildered reaction of supporters and critics alike. According to Robert Simpson, though not commonly performed and often thought of as the ugly duckling of Bruckner's symphonic body of work, the symphony nonetheless makes an immediate impression of rich and individual expressiveness: "Its themes are exceptionally beautiful, its harmony has moments of both boldness and subtlety, its instrumentation is the m ...
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Anton Bruckner
Joseph Anton Bruckner (; ; 4 September 182411 October 1896) was an Austrian composer and organist best known for his Symphonies by Anton Bruckner, symphonies and sacred music, which includes List of masses by Anton Bruckner, Masses, Te Deum (Bruckner), Te Deum and List of motets by Anton Bruckner, motets. The symphonies are considered emblematic of the final stage of Austrian German, Austro-German Romanticism because of their rich harmonic language, strongly polyphony, polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their Consonance and dissonance, dissonances, unprepared modulation (music), modulations, and roving harmony, harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed respect, even humility, before other famous musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his ...
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String Quintet (Bruckner)
Anton Bruckner's String Quintet in F major, WAB 112 was composed in 1878/79 in Vienna. History Bruckner's superior Joseph Hellmesberger Sr. requested Bruckner for a string quartet. Instead of a string quartet, Bruckner composed a viola quintet, starting the composition in December 1878 and ended it on 12 July 1879. Bruckner dedicated the Quintet to Duke Maximilian Emanuel in Bavaria. When looking at the score, Hellmesberger found the scherzo too challenging for the group to perform. In response, Bruckner wrote a less demanding, eight-minute long Intermezzo in the same key as alternative to the scherzo. The first three movements were premiered by the Winkler Quartet with Franz Schalk joining on second viola on November 17, 1881 in Vienna.L. Nowak It was not until 1885 that the Hellmesberger Quartet played the Quintet with the original scherzo, Hermann Kupka joining on second viola. Duke Emanuel was pleased by the composition and gave Bruckner a diamond pin. In all, there were ...
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Oboes
The oboe ( ) is a type of double-reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites. The most common type of oboe, the soprano oboe pitched in C, measures roughly long and has metal keys, a conical bore and a flared bell. Sound is produced by blowing into the reed at a sufficient air pressure, causing it to vibrate with the air column. The distinctive tone is versatile and has been described as "bright". When the word ''oboe'' is used alone, it is generally taken to mean the soprano member rather than other instruments of the family, such as the bass oboe, the cor anglais (English horn), or oboe d'amore. Today, the oboe is commonly used as orchestral or solo instrument in symphony orchestras, concert bands and chamber ensembles. The oboe is especially used in classical music, film music, some genres of folk music, and is occasionally heard in jazz, rock, pop, and popular musi ...
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Orchestration
Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble, such as a concert band) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g., melody, bassline, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra. In classical music, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this are Ravel's orchestration of Mussorgsky's solo piano work Pictures at an Exhibition and Malco ...
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Bruckner Rhythm
The Bruckner rhythm is a 2 + 3 ( duplet + triplet) or 3 + 2 rhythm in Anton Bruckner's symphonic music, where it occurs prevalently, and in many different ways. One example is in the main theme of the first movement of Symphony No. 4, from bars 43 forward: Bruckner also used the rhythm with a single pitch repeated, and this is the only way it occurs in Symphony No. 2 (e.g., bars 20 and 122). In Symphony No. 6, the Bruckner rhythm occurs to a much greater extent than in previous works, in several parts at slightly different times. At first it occurs as a string ostinato high in the violins' range against a melody of different rhythm in the cellos (bar 3), while at bars 195–209 it serves to articulate hexatonic cycle block chords.Kevin Swinden, "Bruckner and harmony" ''The Cambridge Companion to Bruckner'', ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckne ...
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Rhythm
Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years. The Oxford English Dictionary defines rhythm as ''"The measured flow of words or phrases in verse, forming various patterns of sound as determined by the relation of long and short or stressed and unstressed syllables in a metrical foot or line; an instance of this"''. Rhythm is related to and distinguished from pulse, meter, and beats: In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur ...
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Cadence (music)
In Classical music, Western musical theory, a cadence () is the end of a Phrase (music), phrase in which the melody or harmony creates a sense of full or partial resolution (music), resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a chord progression, progression of two or more chord (music), chords that conclusion (music), concludes a phrase, section (music), section, or composition (music), piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in de ...
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German Sixth Chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods. Conventionally used with a predominant function ( resolving to the dominant), the three most common types of augmented sixth chords are usually called the ''Italian sixth'', the ''French sixth'', and the ''German sixth''. Augmented sixth interval The augmented sixth interval is typically between the sixth degree of the minor scale, , and the raised fourth degree, . With standard voice leading, the chord is followed directly or indirectly by some form of the dominant chord, in which both and have resolved to the fifth scale degree, . This tendency to resolve outwards to is why the interval is spelled as an augmented sixth, rather than enharmonically as a minor seventh ( and ). Al ...
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Dominant Seventh Chord
Domination or dominant may refer to: Society * World domination, structure where one dominant power governs the planet * Colonialism in which one group (usually a nation) invades another region for material gain or to eliminate competition * Chauvinism in which a person or group consider themselves to be superior, and thus entitled to use force to dominate others * Sexual dominance involving individuals in a subset of BDSM behaviour * Hierarchy Music * Dominant (music), a diatonic scale step and diatonic function in tonal music theory Albums * ''Domination'' (Cannonball Adderley album) or the title track, 1965 * ''Domination'' (Morbid Angel album), 1995 * ''Domination'', by Domino, 2004 * ''Domination'', by Morifade, 2004 Songs * "Domination" (song), by Pantera, 1990 * "Domination", by Band-Maid from ''World Domination'', 2018 * "Domination", by Symphony X from ''Paradise Lost'', 2007 * "Domination", by Way Out West from '' Way Out West'', 1996 * "Domination", by Within t ...
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Exposition (music)
In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied. *In sonata form, the exposition is "the first major section, incorporating at least one important modulation to the dominant or other secondary key and presenting the principal thematic material." *In a fugue, the exposition is "the statement of the subject in imitation by the several voices; especially the first such statement, with which the fugue begins." In sonata form The term is most widely used as an analytical convenience to denote a portion of a movement identified as an example of classical tonal sonata form. The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. If the exposition starts in a minor key, it typically modulates to the relative major key. There are many exception ...
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Motif (music)
In music, a motif () or motive is a short musical idea, a Salience (neuroscience), salient recurring Figure (music), figure, musical fragment or succession of notes that has some special importance in or is characteristic of a musical composition, composition. The motif is the smallest structural unit possessing theme (music), thematic identity. History The defines a motif as a "melodic, rhythmic, or harmonic cell (music), cell", whereas the 1958 maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject (music), subject. It is commonly regarded as the shortest subdivision of a Theme (music), theme or Phrase (music), phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". The New Grove Dictionary of Music and Musicians, Grove and Éditions Larousse, Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove a ...
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Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a musical composition, composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or Motif (music), motif, a subject is usually a complete phrase (music), phrase or period (music), period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as "[a]ny element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often musical form, structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative music, generative theory's scope of analysis. In different types of mus ...
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