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Essay / Research Paper Abstract
A 3 page essay that discusses in detail a musical analysis of the first movement of Tchiakovsky's first symphony. Only the first movement is discussed. Bibliography lists 2 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khts113.rtf
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Unformatted sample text from the term paper:
and demonstrates Tchaikovskys gift for organic thematic growth (Brown 109). The first factor that is evident in this work is that harmonic elements are kept to a minimum, with virtually
no harmonic movement (Brown 109). Against a two-note accompaniment in the violins, the first theme (A) enters with the flute and the bassoon two octaves apart (Brown 110). This "fresh,
airy tune" has a Russian flavor that derives from its high content of fourths and repetitive nature (Brown 110). At bar 20, this theme start over again with the violas,
however, this time, Tchaikovsky provides a chromatic motif with the flutes that provides a bridge between the first two phrases, as this is when a new musical idea (B)
is introduced (Brown 110). The first theme (A) begins a new course at this point, and there are indications of a tonal excursion, which is stated briefly by the
flutes; however, using a neopolitan sixth, the melody is quickly pulled back to the chord of G minor, as the theme begins again for the third time (Brown 110). At
this point, only one phrase of the first theme is heard, as a "fully formed B" now dominates the score (Brown 110). As a musical concept that complements, yet also
contrasts with the A theme, the B theme is "admirable," but also has "wider ramifications" since it is chromatic (Brown 110-111). Due to this element, the B theme has a
"maximum range of options as the third note of the triad" (Brown 111). Tchaikovsky utilizes this from bar 40 onwards, producing an exciting harmonic contrast by juxtaposing two "emphatic E
naturals against the constant B flat and G in the violins, which offers the "hint of challenge" to the tonic (Brown 111). By bar 58, the tonic has still proven
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