Here is the synopsis of our sample research paper on Ravel's 'Bolero'. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
Maurice Ravel's 'Bolero' is believed to be one of the most popular pieces of classical music that has ever been written. In 3 pages, the writer of this paper provides an analysis of Bolero that includes an overview of the type of composition, the dynamics, tempo, melody, harmony, and an overall impression. Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: JR7_Ravel.doc
Buy This Term Paper »
Unformatted sample text from the term paper:
underpinnings of a musical mind with significant influences from other artists, but also arguably demonstrates the repetitive elements and the largeness of sounds that are frequently attributed to individuals displaying
mental illness (Laurance 1). Ravel composed "Bolero" after having a conflict with conductor Fernandez Abros over the rights to orchestrate some works based on Albenizs Ibera.
As a result, Ravel composed "Bolero," a ballet for orchestra composed in just five months and it opened at the Paris Opera in November of 1928 (Orenstein 98).
One of the notable characteristics of this work is that the tonal elements as well as harmony and melody are held constant through out its entirety until the very end,
when Ravel chose to transition quickly from C into E major and the rhythm is also varied slightly in the last segment. "Bolero" also incorporates the use of sounds
consistent in Spanish music, which includes the repetitive use of snare and drum beats, a simple rhythmic pattern until the final measures, and "the harmonic underpinning of C to G
is heard for no less than 326 measures" (Orenstein 201). The basic rhythm of the piece consists of eighth plus a sixteenth triplet, an eighth plus a sixteenth triplet
and finally an eighth plus an eight, and a number of variants of this form. "The triplet in sixteenths is meant for the castanets and in the bolero is
introduced by the dancers who play them" (Stuckenschmidt 231). The first four measures are marked by Ravels attempts to demonstrate this rhythm, through the thematic concentration of the drums,
and supported by a pizzicato in the violas and violoncello on the strong beats in each particular measure (Stuckenschmidt 231). It has been suggested that the culmination of rhythm
...