Art Blogging Contest

Please vote for Musical Perceptions in the Art Blogging Match of Doom

Monday, February 07, 2005

Mozart: The abduction from the Seraglio, Act II, no. 8, mm.9-18

Measures 9-18 of this aria show a parallel period with asymmetrical phrasing. The first four measures (9-12) have a phrase that ends in a half cadence. The consequent phrase then takes up the next six measures (13-18) ending in an authentic cadence. The second phrase has a cadential extension repeating the rhythm of the measure previous to it and then finally ending in the next measure.
The structural phenomena of this piece is quite dull, but then again this is opera, and opera is boring. Totally kidding...vocalists please don't kill me. The aria starts in A and stays that way throughout the period. The dynamics stay at piano throughout the whole piece, although when I listened to it the dynamics varied more than the score says. Tempo is slow all the way through, and meter does not change. I'm not sure if we're supposed to talk about the measures selected or the whole piece but there are some register changes from bass cleff to treble cleff and back to bass clef. This gives some contrast in the accompaniment since alot of the aria is the same 16th to dotted quarter then 16th again back to dotted quarter pushing the listener to stay interested.

1 comment:

John Styx said...

How dare you talk about Mozart in that manner?!?!?!? But seriously, the accompaniment is not going to be the focal point, we're showing off the voice here. Also remember that the way we hear it not is probably not the way it was performed, with varying degrees of ornamentation to perk up interest. Also remember it's much harder for a vocalist to show intense dynamic contrast. And I'll come down off my soap box now!