Der Doppleganger- Stylistic Features

I have written as Essay for the sylistic features for Der Dopplegnger- hope it helps =)

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  • Created on: 19-04-13 16:54
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De Doppelganger Franz Schubert
Schubert composed this piece in 1828, the very same year that he passed away. This piece was
composed during the romantic era. This piece is a Lied, which is a German song. Schubert
composed this for a piano and the voice has been used is a male tenor voice and but the piano
only uses the bass clef. Only in some parts of the piece does it changed to treble. It changes to
treble, this is the piano interlude. We can see and hear this happening in bar 12, where the piano
changes into treble clef and returns back to bass clef at the end of bar 14.
The key of this piece is B Minor, but we cannot see that it is in B minor as in the first four bars
the third is missing. Therefore we cannot establish whether it is a minor or major key. In bar 25,
the first note that is played is the third of the chord. The first four bars are repeated in bar 5,
this is creating an ostinati. The text that is sung by the singer has been taken from a poem by
Heinrich Heine. Every four bars is a new line of the poem. The piece has been written in ¾,
there are 3 crochet beats in a bar.
As we know only piano and voice has been used in this piece, the vocal range in this piece is
from a low B to a high G. As there are only two parts there is a homophonic texture. In bar 12
we can see that there is an 8part chord.
There is a tempo marking given on the piece, which is Sehr Langsam which means, very sow
also known as largo. The main word setting throughout the piece is syllabic, but in bars 5356
there is melissma. In bar 5 there is an example of word painting, as the same not has been
played which reflects the text being sung. The text sung is "the night is quiet". The repeated note
and the pianissimo piano being played have portrayed this.
There is a range of dynamics used for the piano in this piece, the dynamics range from pfff. It
being off pianissimo, and also end pianissimo possible (ppp) At a certain point of the piece there
is a dynamic marking at every bar in the piano part. We can see this from bar 30 onwards.
Schubert also used many crescendos and diminuendos. The voice has no dynamic markings as
this allows the singer to sing and be expressive when singing.
In bars 4347 we can see the piano ascending chromatically. Causing dissonance. In bar 31
there is high F being sung but in bar 32 there is a low F being sung. This really uses the
vocalist's range, and also creates tension. To end his piece Schubert used a Tierce De Picardie
in bar 59. He used the chord of C, which is the dominant of the dominant. But the use of the C
natural causes chromatisism. But the use of the Tierce De Picardie is as though Schubert wants
the listener to feel hope.

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