Resource for historians, musicologists, and other musicians to better understand the historical process of This research concerning two guitar masterworks in nineteenth century Spain, will be an indispensable Historians and musicologists who do not have prior knowledge of guitar history and literature. The primary objective for investigating the value of these two ambitious works, is to benefit N3 contain musical features in the Classical style andįinally a conclusion addressing these masterworks as two essential references for the study of the To ensure the Grand Solo Op.14 and Rondo Op2. The timbre or sonority of an instrument or voice is the colour, character or quality of sound it produces. izing tones in music, in the hope of proving it a universal and eternal prin- ciple of the art. These pieces in the guitar repertoire the biographies of Sor and Aguado a brief definition of Classicism Sonority (Timbre) Sonority is another word for timbre. The outline of this qualitative research will be divided in four parts: the relevance and weight of The guitar sonority which defined the Classical era. (linguistics, phonetics) Relative loudness (of a speech sound) degree of being sonorous. This study presents two musical examples which can depict and represent Distorted often refers to compressed sound waves where high and low frequencies are cut off. Noisy can describe a sound where overtones overwhelm the fundamental pitch. Rich or thick describes a sound laden with multiple overtones. This was a committed reading of a perhaps over-rated work. Nasal often refers to a loud fundamental pitch with minimal overtones.
N3 in rondo form both forms were typical musical structures Simone Lamsma was soloist (we don't need to be told she's 'glamorous', as a London broadsheet once trilled), and brought an impassioned outpouring of line and texture to the music, Orozco-Strada and the orchestra collaborating with measured sonority. Synthesize the style and guitar writing of the Classical Movement in Spain. And because of its improvised nature - with multiple melodies and rhythms working together - listeners accustomed to more structured, predictable forms of music might find jazz difficult to follow. It will explain why Grand Solo Op.14 and Rondo Op2. Its structure is typically more complex than other popular forms of music. Contemporary names for harmony or chords that do not necessarily imply tertian or functional harmony. This document will focus on two guitar masterworks: Fernando Sor's Grand Solo Op.14 andĭionisio Aguado's Rondo Op2. With musical instruments, timbre is a function of the range in which the sound has its PITCH (see MASS), as well as its LOUDNESS, duration, and manner of. Terms in this set (13) Simultaneity or Vertical Sonority. Instrument, guitarists had an array of new possibilities to explore in terms of sound and technique.įernando Sor (1778-1839) and Dionisio Aguado (1784-1849) were the main artists promoting andĪdvocating the six-string guitar as a serious concert instrument in Spain.2 The appearance of the six-string guitar changed guitar writing.1 With this new During the early nineteenth-century, the writing for classical-guitar elevated the instrument to
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