Comparing/Contrasting A Music Piece Assignment | College Homework Help

Music links:
https://www.youtube.com/watch?v=nCHSdNzo8ek (Dropbox version)

OUTLINE:
Intro
Paganini’s Caprice 24 is my favorite piece of music we’ve listened to
I got three versions
Caprice in A Minor, Op. 1, No. 24 – Midori (1989)
Hilary Hahn – Paganini – Caprice 24 (2013)
Paganini’s Caprice no.24 performed by Alexander Markov (2009)
Midori’s version does not include the finale, so it will not be discussed
Very different, but all bring out different aspects of the composition well.
Chunk 1: Opening
Midori (0:00-0:14)
Jumps right into it
Notes very clear, not much slurring
Very clean cut, definite pause after section
Played around the same volume the whole time
Hahn (0:00-0:24)
First 8 seconds not music
Played just a bit slower than Midori
Nots slightly more slurred
Definite pause at the end
Markov (0:00-0:31)
First 15 seconds not music
Played faster
Emphasis on the end of measures
No pause
Chunk 2: Fast jumps
Midori (0:15- 0:29)
Plays around with dynamics a lot, dramatic shifts from very quiet to loud
Pause at the end again
Hahn (0:25- 0:41)
Plays this section the slowest out of the three versions
Dynamics stay relatively the same, some slight variation
Long pause at the end
Markov (0:31- 0:43)
Fastest
Continues placing emphasis on the end of measures
Not much change in dynamics
No pause
Chunk 3: Out of tune
Midori (0:29-0:47)
First eight or so notes much slower than the rest of the section
Kind of hits the offputting notes, but things stay pretty on key
Brief pauses between sections
Hahn (0:41-0:58)
Dynamics stay mostly the same
Those offputting notes are hit harder and louder, and dynamics taper off at the end of sections but otherwise the same volume
Even shorter pauses than Midori, but the piece is overall slower
Markov (0:44-0:57)
REALLY leans into the off-key sounding notes, almost sounds like someone else is playing the violin for the first time next to him while he preforms
Very fast
Brief pause
All loud except for the end
Chunk 4: Two notes at once
Midori (0:48-1:18) 30
Notes slurred, but not too much
Dynamics mostly the same, rise a bit in some parts and lower in some parts but overall steady
Pause at end
Hahn (0:58-1:29) 31
Faster than the other two, closer to the pace of the rest of the piece
Final note quieter, but the rest is the same volume
Pause at end
Markov (0:57-1:34) 37
Dynamics played with the most, very smoothly
Notes most slurred
Slowest of the three
Pause at end
Chunk 5: Spider legs/hacksaw
Midori (1:19-1:56)
Starts very quiet, gradually grows
Dynamics played with more than other sections
Big pause at the end
Hahn (1:30-1:58)
Plays the fastest
Her shift is dynamics is less gradual
Pause at end
Markov (1:35-2:04)
Very sudden and severe shifts in dynamics
Really attacking those untunes notes
No pause
Chunk 6: Two notes sad
Midori (1:57-2:23)
Staccato/legato played with
Same volume whole time
Pause at end
Hahn (1:59-2:22)
Starts the loudest
Really overall has the least modulation
Pause at end
Markov (2:05-2:31)
Fast
Mostly legato
Quiet overall
Pause at end
Chunk 7: Naughty dance
Midori (2:22-2:47)
Fastish
Same volume
Lots of pauses
Hahn (2:23-2:41)
Faster than her other stuff
The same volume, a little quieter sometimes
Pause at end
Markov (2:31-2:47)
Fast
Loud
No pause
Chunk 8: Two notes argument
Midori (2:45-3:05)
Slowest version
Least slurred notes
pause
Hahn (2:42-2:59)
Slurred, all goes together
Flowy
Slowish
Pause
Markov (2:48-3:00)
Intense legato/staccato
Loud
Fast
Pause
Chunk 9: Raindrops
Midori (3:06-3:24)
Slowest
Pauses between sections
Big pause at end
Hahn (3:00-3:15)
Plays with dynamics, not too much though
Pauses between parts
Slows at end
Pause at end
Markov (3:01-3:18)
Has a huge range in tempo
Starts the slowest, ends up going the fastest
Staccato staccato staccato
Chunk 10: Mouse who’s hungry
Midori (3:05-3:53)
Stays pretty middle of the road, as usual
Big pause at end
Hahn (3:16-3:45)
I think she does the best in this section
Her gentle, conservative approach works well here
Small pause at the end
Markov (3:19-4:09)
Painfully slow
Very legato
Plays gently, quietly
Pause at end
Chunk 11: Two notes, stormy rowboat
Midori (3:54-4:46)
Leans into the “bad” notes way more
Most variation in dynamics (not much) and general approach
Hahn (3:46-4:24)
Also brings the most oomph to this section
Not a huge shift in dynamics or tempo
Shifts between erratic and beautiful well
Markov (4:10-4:53)
Makes the erratic beautiful
All over the place with articulation
Stays mostly forte
Conclusion
I like Markov’s best. Pushes the music to its limits, it has dramatic energy to it I think Paganini would enjoy. Very theatrical- makes for the most enthralling watching/listening experience. Huge variation in tempo, dynamics, articulation, and color. He also likes to put these big differences right next to each other to make the changes feel even more extreme. Keeps the audience engaged until the end.
Hahn’s was technically fine but didn’t have the same oomph as the others. Overall everything (tempo, dynamics, articulation, color, etc) had the least amount of variation. I feel like Hahn is a person very focused on making beautiful music, but this piece isn’t meant to be gentle and melodic. She tried to tame it, and in doing so turned it into something else completely.

 

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6P Double spaced

 

PIECE: Paganini 24 Caprice

Versions-

 

INSTRUCTIONS:

  • Compare and critique three different renditions of the same piece of music
    • Can choose your music
      • Doesn’t have to be from the class, but it’s encouraged
    • Suggested shorter piece (agree)
      • a movement of sonata or symphony
    • Six pages, Times new roman pt 12, double space
    • Try to get the best renditions possible, but ones that are still different
      • GOOD: professional, can hear differences right away
      • BAD: different instruments (things that are too different), by a nonprofessional (ex. child)
    • Discuss the styles (tempo, dynamics, articulation, and color)
      • Say which ones you like and why
      • It should be clear which one is your favorite but like in a professional way
  • Intro
    • Paganini’s Caprice 24 is my favorite piece of music we’ve listened to
    • I got three versions
      • Caprice in A Minor, Op. 1, No. 24 – Midori (1989)
      • Hilary Hahn – Paganini – Caprice 24 (2013)
      • Paganini’s Caprice no.24 performed by Alexander Markov (2009)
    • Midori’s version does not include the finale, so it will not be discussed
    • Very different, but all bring out different aspects of the composition well.
  • Chunk 1: Opening
    • Midori (0:00-0:14)
      • Jumps right into it
      • Notes very clear, not much slurring
      • Very clean cut, definite pause after section
      • Played around the same volume the whole time
    • Hahn (0:00-0:24)
      • First 8 seconds not music
      • Played just a bit slower than Midori
      • Nots slightly more slurred
      • Definite pause at the end
    • Markov (0:00-0:31)
      • First 15 seconds not music
      • Played faster
      • Emphasis on the end of measures
      • No pause
    • Chunk 2: Fast jumps
      • Midori (0:15- 0:29)
        • Plays around with dynamics a lot, dramatic shifts from very quiet to loud
        • Pause at the end again
      • Hahn (0:25- 0:41)
        • Plays this section the slowest out of the three versions
        • Dynamics stay relatively the same, some slight variation
        • Long pause at the end
      • Markov (0:31- 0:43)
        • Fastest
        • Continues placing emphasis on the end of measures
        • Not much change in dynamics
        • No pause
      • Chunk 3: Out of tune
        • Midori (0:29-0:47)
          • First eight or so notes much slower than the rest of the section
          • Kind of hits the offputting notes, but things stay pretty on key
          • Brief pauses between sections
        • Hahn (0:41-0:58)
          • Dynamics stay mostly the same
          • Those offputting notes are hit harder and louder, and dynamics taper off at the end of sections but otherwise the same volume
          • Even shorter pauses than Midori, but the piece is overall slower
        • Markov (0:44-0:57)
          • REALLY leans into the off-key sounding notes, almost sounds like someone else is playing the violin for the first time next to him while he preforms
          • Very fast
          • Brief pause
          • All loud except for the end
        • Chunk 4: Two notes at once
          • Midori (0:48-1:18) 30
            • Notes slurred, but not too much
            • Dynamics mostly the same, rise a bit in some parts and lower in some parts but overall steady
            • Pause at end
          • Hahn (0:58-1:29) 31
            • Faster than the other two, closer to the pace of the rest of the piece
            • Final note quieter, but the rest is the same volume
            • Pause at end
          • Markov (0:57-1:34) 37
            • Dynamics played with the most, very smoothly
            • Notes most slurred
            • Slowest of the three
            • Pause at end
          • Chunk 5: Spider legs/hacksaw
            • Midori (1:19-1:56)
              • Starts very quiet, gradually grows
              • Dynamics played with more than other sections
              • Big pause at the end
            • Hahn (1:30-1:58)
              • Plays the fastest
              • Her shift is dynamics is less gradual
              • Pause at end
            • Markov (1:35-2:04)
              • Very sudden and severe shifts in dynamics
              • Really attacking those untunes notes
              • No pause
            • Chunk 6: Two notes sad
              • Midori (1:57-2:23)
                • Staccato/legato played with
                • Same volume whole time
                • Pause at end
              • Hahn (1:59-2:22)
                • Starts the loudest
                • Really overall has the least modulation
                • Pause at end
              • Markov (2:05-2:31)
                • Fast
                • Mostly legato
                • Quiet overall
                • Pause at end
              • Chunk 7: Naughty dance
                • Midori (2:22-2:47)
                  • Fastish
                  • Same volume
                  • Lots of pauses
                • Hahn (2:23-2:41)
                  • Faster than her other stuff
                  • The same volume, a little quieter sometimes
                  • Pause at end
                • Markov (2:31-2:47)
                  • Fast
                  • Loud
                  • No pause
                • Chunk 8: Two notes argument
                  • Midori (2:45-3:05)
                    • Slowest version
                    • Least slurred notes
                    • pause
                  • Hahn (2:42-2:59)
                    • Slurred, all goes together
                    • Flowy
                    • Slowish
                    • Pause
                  • Markov (2:48-3:00)
                    • Intense legato/staccato
                    • Loud
                    • Fast
                    • Pause
                  • Chunk 9: Raindrops
                    • Midori (3:06-3:24)
                      • Slowest
                      • Pauses between sections
                      • Big pause at end
                    • Hahn (3:00-3:15)
                      • Plays with dynamics, not too much though
                      • Pauses between parts
                      • Slows at end
                      • Pause at end
                    • Markov (3:01-3:18)
                      • Has a huge range in tempo
                      • Starts the slowest, ends up going the fastest
                      • Staccato staccato staccato
                    • Chunk 10: Mouse who’s hungry
                      • Midori (3:05-3:53)
                        • Stays pretty middle of the road, as usual
                        • Big pause at end
                      • Hahn (3:16-3:45)
                        • I think she does the best in this section
                        • Her gentle, conservative approach works well here
                        • Small pause at the end
                      • Markov (3:19-4:09)
                        • Painfully slow
                        • Very legato
                        • Plays gently, quietly
                        • Pause at end
                      • Chunk 11: Two notes, stormy rowboat
                        • Midori (3:54-4:46)
                          • Leans into the “bad” notes way more
                          • Most variation in dynamics (not much) and general approach
                        • Hahn (3:46-4:24)
                          • Also brings the most oomph to this section
                          • Not a huge shift in dynamics or tempo
                          • Shifts between erratic and beautiful well
                        • Markov (4:10-4:53)
                          • Makes the erratic beautiful
                          • All over the place with articulation
                          • Stays mostly forte
                        • Conclusion
                          • I like Markov’s best. Pushes the music to its limits, it has dramatic energy to it I think Paganini would enjoy. Very theatrical- makes for the most enthralling watching/listening experience. Huge variation in tempo, dynamics, articulation, and color. He also likes to put these big differences right next to each other to make the changes feel even more extreme. Keeps the audience engaged until the end.
                          • Hahn’s was technically fine but didn’t have the same oomph as the others. Overall everything (tempo, dynamics, articulation, color, etc) had the least amount of variation. I feel like Hahn is a person very focused on making beautiful music, but this piece isn’t meant to be gentle and melodic. She tried to tame it, and in doing so turned it into something else completely.

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