Behind my instrument Essay Example | Topics and Well Written Essays - 1750 words

Behind my instrument - Essay Example What is meant by this is the fact that instrumental music ultimately came to be a type of music that was played in the absence of voice. Although dissertation length response would necessarily be required with regards to determining specifically when this change was first exhibited, the following analysis will instead focus upon the unique mechanisms through which instrumental music is presented; focusing specifically the manner through which instrumental music mimics voice-like qualities within the piece of Jervy Hou’s â€Å"A Breathtaking Piano Piece†. It is therefore the hope and goal of this author to present instrumental music, with regards to the piece in question, as a highly developed and non-simplistic style that requires the individual musician to be even more cognizant of unique nuances and the means through which musical technique can help to extend the body and that of the music in question. Further, by leveraging music theory and understanding the way in w hich key developments and ideas are represented throughout all types of music, the reader will be able to come to a more informed level of understanding concerning the core elements of how instrumental music is able to uniquely mimic vocal performance. ... In almost an identical manner, the instrumental piece in question â€Å"A Breathtaking Piano Piece† allows for a series of pauses between melody and harmony and a series of dynamic brakes that help to mimic the voice like nature of the music that is being represented. Furthermore, the interplay between the left and the right hand of the piano solo allows for the listener to imagine that a type of cooperation between the accompaniment and the â€Å"voice† of the individual performer is taking place. In much the same way that a due West incorporates a series of pauses movements, breasts, nods, and facial expressions so that the duo can communicate nonverbally with regards to the passion, feeling, and pointed entry that the music must make, the same elements are represented with regards to the way in which an interplay is engaged between the melody and harmony of this specific piano piece (Gordon 33). Further, the relationship and the give and the give and take between mel ody and harmony within the piece closely represents the way in which such an interaction would take place between two or more musicians. Rather than belaboring this point with proof after proof, the reader can and should point to the way in which the harmony and melody flow together within the first 25 seconds of the piece; helping to emphasize the mechanisms through which a mimicry of voiced expression and melody within the instrumental approach exists alongside this. Furthermore, a level of mimicry with regards to the way in which harmony and melody coincide and/or a subtle level of communication between the left and the right hand of the pianist is only a very small portion of the way in which the particular piece tries to mimic