Search results
Results From The WOW.Com Content Network
A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source. The German term Tondichtung (tone poem) appears to have been first used by the composer Carl Loewe in 1828.
Magoun thought that formulaic poetry was necessarily oral in origin. That sparked a major and ongoing debate over the extent to which Old English poetry, which survives only in written form, should be seen as, in some sense, oral poetry. The oral-formulaic theory of composition has now been applied to a wide variety of languages and works.
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.
The tone poem is scored for a small orchestra of cor anglais, oboe, bass clarinet, two bassoons, four horns, three trombones, timpani, bass drum, harp, and divided strings. The cor anglais is the voice of the swan, and its solo is one of the best known solos in the orchestral literature for that instrument.
Tone Poems may refer to: Symphonic poem, a form of orchestral composition; 3 Tondikter (3 Tone Poems), by Wilhelm Peterson-Berger; Tone poems (Strauss), group of works by Richard Strauss; Three Tone Poems, by Charles Tomlinson Griffes; Tone Poems, by Michael Glenn Williams; Tone Poems, by Dave Grisman and Tony Rice
Traditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). [1] The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation.
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
Sound poetry evolved into visual poetry and concrete poetry, two forms based in visual arts issues although the sound images are always very compelling in them.Later on, with the development of the magnetic tape recorder, sound poetry evolved thanks to the upcoming of the concrete music movement at the end of the 1940s.