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But melodically the loss was enormous. We of this generation have by study to win back some small sense of the value and beauty of the intervals of the ancient scales, varying in each scale, a sense that was once free and common to everyone who knew anything of music at all. Purcell and his immediate predecessors and contemporaries came into what Hullah rightly called the "transition period."
The score is richer and more solid than that of any of his earlier works, and the orchestration shows no falling off in ingenuity and resource. Melodically 'Madama Butterfly' is perhaps not so fresh or abundant as 'La Bohème, but the composer's touch is firmer and surer in handling dramatic situations.
This method of "imitation" was employed by all the polyphonic composers. Continuity was assured; lovely or unlovely harmonic dissonances were always arising, and being resolved through the collisions and onward movement of parts; the music, both melodically and harmonically, could be as expressive as the particular composer's powers allowed.
It has Italian color in spots Schumann said that, melodically, Chopin sometimes "leans over Germany into Italy" and is a masterly one in sentiment, pulsating with amorousness. To me it sounds like a lament for the splendors, now vanished, of Venice the Queen. In bars 8, 9, and 10, counting backward, Louis Ehlert finds obscurities in the middle voices. It is dedicated to the Baronne de Stockhausen.
There could be nothing handsomer, for example, than young and graceful trapezists swinging melodically in turquoise blue doublets against a fine peacock background or it might be a rich pale coral all the artificial and spectacular ornament dispensed with.
Song of a Spirit Record E. Sung by a medium when possessed by a spirit. Melodically this song is quite in contrast with the Dawak. This one is distinctly melodic in structure, though there are suggested harmonies. These harmonies are mostly tonic and dominant alternating one with the other.
Lies, all lies, even though she lie melodically with charm and with apparent conviction. We have passionate love-songs sung by guileless individuals who would be inexpressibly shocked if you explained to them the meaning of the sentiment to which they had been giving utterance.
All are phenomena of harmonic notes striving melodically onwards, either upwards or downwards. Although little has been done in the invention of new combinations, the character of the harmonic structure has changed considerably since the eighteenth and early nineteenth centuries. This is evident at first glance on comparing a score of Haydn or Mozart with one of Wagner or Liszt.
The fact that this motive is given four times rhythmically and melodically intact, besides recurring frequently throughout the composition in one or another of the accepted forms of modification, argues that this melodic germ was a familiar tone-figure to the singer, one that he could apply to most any syllable on which he wished to dwell.