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Essay / Research Paper Abstract
A 4 page research paper that examines Schubert's Fantasy in C Major, Opus 15, known as the "Wanderer," and Liszt's Sonata in B minor. The writer argues that these works are similar in their conception as each work presents fragments of the regular sonata form, but does so within a single work that flows together with the smoothness of a single uninterrupted movement (BBC Radio 3). The following analysis of each work explores the musical qualities, harmony, tonality, rhythm, etc., of each work. Bibliography lists 2 sources.
Page Count:
4 pages (~225 words per page)
File: D0_khsclz.rtf
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Unformatted sample text from the term paper:
the regular sonata form, but does so within a single work that flows together with the smoothness of a single uninterrupted movement (BBC Radio 3). The following analysis of each
work explores the musical qualities, harmony, tonality, rhythm, etc., of each work. First of all, the student researching this topic will note that both works are for the piano
only, which necessarily limits the tonal color. Schuberts "Wanderer" fantasy begins with an energetic motif that consists largely of a simple rhythm, one long beat, followed by two short. The
works deserves its name because it "wanders" harmonically between keys. In this work, Schubert takes this one incredibly simple idea and builds a fascinating piece of music on it. He
reverses it (short short long) and extends it, but it remains evident throughout the entire work, tying the piece together as a whole. The Wanderer begins with an Allegro
"movement" that is very energetic. In the opening bars, the right and left-hand play together in a motif that resembles a quick-time march; however, the hands are quickly split, so
that each hand expresses the rhythm motif in a different manner. The BBC Radio 3 commentator points out that Schubert, within 10 bars, begins to "play" with the opening rhythm,
extending it, varying it. Schubert accomplishes extending the rhythmic motif by added extra beats at both the beginning and the end of the pattern. After introducing new thematic material in
this manner, the extension seems to take on a life of its own. Yet, beneath it, one can always hear variations on the basic rhythm of long-short-short. The allegro
"movement" flows smoothly into what can be described as slow "movement," which introduces a change in mood, moving the "feel" of the music from one of vigorous movement to
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