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Dido 6 Aeneas Analysis

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Dido and Aeneas Lament Analysis


copyright 2003 by Larry J Solomon

Lamento [It. lament]. !rom The New Harvard Dictionary of Music" #andel" $%&'() A song o! mo*rning or great sadness and an important element in Italian opera o! the $+th cent*ry. . . . the lamento arose to prominence along ,ith monody. -onte.erdi/s Lamento d'Arianna o! $'0& ,as the !irst celebrated e0ample and ,as p*blished separately in its monodic .ersion and in -onte.erdi/s arrangement o! it as a madrigal. 1he lamento ,as prominent in mid2$+th cent*ry 3enetian operas" e.g." those o! 4a.alli" and ,as o!ten treated as .ariations on an ostinato bass o! a descending tetrachord. Dido/s lament !rom 5*rcell/s Dido and Aeneas belongs to this tradition.

-*sic Analysis 5rogram Sheet


A. Full title of composition ___Dido and Aeneas____________ Era___6aro7*e______ Date composed ___$'&%_____ Movement? or part? _____Aria e0cerpt !rom opera____ B. Composer's first and last name __8enry 5*rcell____ Composers dates:__ $'9%2$'%9_ D. Composer's nationality _____:nglish_____________________ enre___;pera_____ E. !mportant c"aracteristics and distinctive tec"ni#ues $al%ays fill in medium& '. dynamics : not notated" constant (. tempi: slo," constant ). meter: simple triple *. r"yt"m patterned: +. te,ture: homophonic constant< bass do*bled in octa.es -. medium: .oice and orchestra" transcribed !or .oice and =eyboard accompaniment .. tim/re: not e0ploratory> 0. t"ematic structure: theme in bass chromatically descends !rom tonic to dominant 1. t"ematic development: none< it is simply constantly repeated literally in the bass '2. melodic3r"yt"mic cadences: .ocal cadences t,o meas*res be!ore the harmonic cadences?bass< cadences on ,hole notes ''. "armony: e0cl*si.ely tertian trichords and se.enth chords tetrachords(< some borro,ed chords

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Dido 6 Aeneas Analysis

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'(. "armonic cadences: tertian a*thentics at the end o! !i.e2meas*re theme" and hal! cadences a!ter three meas*res in the .ocal part. '). "armonic motion: root mo.ements mostly by seconds and !o*rths" ,ith occasional thirds< !ast harmonic rhythm ,ith chords changing on almost e.ery beat '*. tonality: constant) @ minor< no mod*lations '+. pitc" ran5e: D$ to @9< A.9 octa.e large range '-. form: normal passacaglia B minor =ey" slo," theme repeats in bass" simple triple meter '.. Music and 7e,t: a. -inor =ey B traditionally associated ,ith dar=er moods than maCor b. Slo, tempo B traditionally associated ,ith dar=er moods than !ast tempi c. relentlessly repeating bass B create a sense o! doom or !ate d. chromatic notes B create greater tension and stress e. 1hird omitted in !inal cadence B creates sense o! emptiness !. tritones and other large leaps in the .ocal line B create a sense o! drama and stress

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Dido 6 Aeneas Analysis

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Dido 6 Aeneas Analysis

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Dido 6 Aeneas Analysis

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Dido 6 Aeneas Analysis

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2003 @D:S1

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