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THE ELEMENTS OF MUSIC

The music industr has e!"erienced numerous chan#es from the ear$ centuries to the

%1st centur& Ho'e(er) some of the music as"ects ha(e not under#one si#nificant chan#es&

The ne' artists on$ com*ine se(era$ contrastin# as"ects of the music to ma+e it a""ea$in#&

This artic$e e!amines three music "ieces that create different ima#es in the minds of the

$isteners&

,io$in Sonata No& 1 in - Ma.or) C& 1/0 I& is the first "iece& The "iece is of the

orchestra$ 2enre and 'as first "u*$ished in Fe*ruar %314& Each sonata is uni5ue 'ith a

distinct co$or) s"ecia$ characters and 'ritten in a "ecu$iar a form& ,io$in Sonata No& 1 in -

Ma.or) C& 1/0 I& is a music "iece for a (io$in and a continuo) 'hich is "resented * a $ute and

a har"sichord& It is a (er di(erse and sudden in terms of its structure as the (io$in "$as the

ro$e of a so$o instrument6 $ute and har"sichord accom"an it throu#hout the 'ho$e music

 "iece& The introduction "art of the sonata is *ased on the so$o "arts for the (io$in) 'hich are at

this "oint in a Lar#o tem"o 'ith Me77o Forte dnamics& The sim"$e #round *ass) "$aed *

the $ute and the har"sichord) #i(es "$ent of room for the (io$inist to "resent the so$o "art6

ho'e(er) the music $ines of the (io$in are (er (irtuosic and re5uire (er di$i#ent studin# in

order to "erform them at the re5uired and desired $e(e$& The de(e$o"ment "art of the sonata is

 "$aed in Presto tem"o 'ith Fortissimo dnamics& The coda *ecomes e(en more dnamic as

it $eads to Fortississimo dnamics in Prestissimo tem"o&

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-$thou#h this music "iece $asts for $ess than % minutes) it #ras"s the attention due to

its di(erse e!"osition and (irtuosic so$o of the (io$in& ,io$in Sonata No& 1 in - Ma.or) C& 1/0

I& It creates and reminds a "erson of the "rocess in(o$(ed in 'ritin# a no(e$ or *oo+& The

 "erson *e#ins * concentratin# on the to"ic) "roceeds to co$$ect a$$ the re5uired materia$s for

'ritin#) and fina$$ *e#ins 'ritin# the no(e$&

The second "iece is the 2nossiennes) com"osed * Eric Satie in the $ate 18 th centur&

The music ser(es as a #ood re"resentation of the Fo$+ #enre as the are hi#h$ e!"erimenta$

in terms of structure) form) and rhthm& 2nossienne 9: 'as com"osed in a minor +e 'ith

the *ass $ine main$ centered on D and C minor +es& This music "iece is "$aed in Lento

tem"o so$e$ on the "iano& It is (er emotiona$ and $i#ht& Ho'e(er) the "iece is sad& It sounds

as a nosta$#ia that a "erson mi#ht e!"erience6 for some reason) this "articu$ar music "iece

e$icits such an association& It a$so sounds more $i+e a *ac+#round music that does not re5uire

 "recise thin+in# and concentration& Contrar) it $eads a "erson to "ersona$ ref$ection and

memories& This music) therefore) creates the ima#e of a mournin# cro'd& Eri+ Satie is

considered to *e as the forerunner and ori#inator of the musica$ mo(ements such as the

im"ressionism) "rimiti(ism) constructi(ism) minima$ism) and neo;c$assicism& Satie has

in(ented the #enre of <furniture music= that does not need s"ecia$ $istenin#6 for e!am"$e)

uno*trusi(e me$odies "$aed at the store or the e!hi*ition& For this reason) it is (er eas to

concentrate on other thin#s 'hi$e $istenin# to the music of Eric Satie&

Char$es I(es 'as an -merican com"oser of the 18th centur& Scher7o for Strin#s 'as

com"osed in 183: for (io$a) t'o (io$ins) and ce$$o& Char$es I(es’ music for the strin# 5uartet

is uni5ue in its content and ori#in& It is com*ined 'ith the fra#ments of tunes that the

com"oser +ne') and it is a (er e!"erimenta$ 'or+& It is *ased on the com*ination of (arious

rhthmic su*di(isions in the measure6 it starts 'ith : a#ainst > and transforms into % a#ainst

8& The "iece is a crescendo t"e& The structure of the tem"o is a tri"$e meter 'ith three "arts

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startin# 'ith Lento) $eadin# to -$$e#r and endin# 'ith Lento& Scher7o for Strin#s creates in a

 "erson the ima#es of the ste"s of the "edestrians and c$atterin# of the hoo(es of the horses on

the streets of Ne' ?or+) 'hich are re"resented * a com"$e! "o$"hon& The 'ho$e idea of

the music and its inter"retation * the com"oser deser(e to *e ac+no'$ed#ed& -$on# 'ith the

forei#n no(e$t music) I(es *rin#s a more #round*rea+in# messa#e of the characteristic of the

 "ostmodern art the inte#rit of a 'or+ of art can *e understood as e5ua$it of hi#h and $o')

 "rimiti(e and so"histicated& @hthm and intonation of e(erda music ; ra#time and match

#enres featured in c$assic scher7o A are refracted here in fanc "o$"hon&

,io$in Sonata No& 1 in - Ma.or) C& 1/0 I& * Heinrich I#na7 Fran7 (on Bi*er)

2nossienne 9: * Eric Satie) and Scher7o for Strin#s * Char$es I(es are the three 'or+s

that are not usua$$ "erformed or ana$7ed * the musicians& The reason is that the Eric Satie

and Char$es I(es’ 'or+s re"resent the a(ant;#arde or modern st$e of music that differs from

the common$ +no'n c$assica$ music& The "iece * Bi*er is a$so (er hard to "erform to its

com"$e!it& It is ri#ht to conc$ude that Bi*er 'as (er ta$ented and famous for his (irtuosic

techni5ues& Ho'e(er) it is a$'as si#nificant to stud and "erform such music as it

 "redis"oses the de(e$o"ment of the Musicians and the rea$i7ation of "otentia$& Each "iece is

en.oa*$e to $isten& The 'or+s a$so ac5uaint a "erson 'ith the com"osers& It is a$so c$ear ho'

the different com"osition of music creates different ima#es in the audiences&