Harmonic Progressions . Vivaldi was also a leader in programmatic composition, of which the Four Seasons (Quattro stagione) is the most famous example. Quantz, Johann Joachim, Versuch einer Anweisung die Flte traversiere zu spielen (Berlin: Voss, 1752)Google Scholar; 43. Spring: Concerto No . But relatively few musical works had done so. softly caressed by the breezes. An imparted sense of universal agreement could also be interpreted as communal celebration or supplication a self-motivated desire to unite. SERIES OF SUSPENSIONS 6. Antonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. His primary vehicle was the concerto, which is a work for an instrumental soloist accompanied by an orchestra. 7, Vivaldi's music, sonnets (reprinted, with translations, as Table 1) and captions share certain characteristics inherited from these older traditions while introducing aspects that were decidedly modern for the early eighteenth century.Footnote As Susan Dixon notes, the Arcadians sought to simplify the relationship between allegory and narrative by focusing on structural clarity and topical references that are easily understood.Footnote Winter, on the other hand, is a very difficult season for humanity. Open Document. 'Spring' from "The Four Seasons" by Vivaldi Antonio Vivaldi: Antonio Vivaldi (4 March 1678 - 28 July 1741), nicknamed Il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. SHAPED BY PERFECT CADENCES Harmony 1. from https://en.wikipedia.org/wiki/Ritornello I found this to be some good general guidelines for analyzing the form but yeah the form is pretty free so not always doing all those things. Major keys, along with minor keys, are a common choice for popular songs. For Vivaldi, the concerto was a relatively new genre. Heller, Wendy, Reforming Achilles: Gender, opera seria and the Rhetoric of the Enlightened Hero, Early Music I offer new insights into Vivaldi's motivations for pairing the concertos with sonnets and then analyse the role of orchestration as a fundamental tool for accomplishing his aesthetic goals. The Four Seasons was composed by Italian composer, Antonio Vivaldi (1678 - 1741) from the Baroque era. It is more challenging to identify properties within Vivaldi's music that might contribute to a sublime listening experience. Carl Philipp Emanuel Bach, writing a decade later, pointed out that the unison was very effective in focusing audience attention when the composer wanted to introduce something new or important, and this broader purpose aligns well with Vivaldi's use of the texture.Footnote 8, is subjected to textural modifications that alter its impact over the course of the movement. DIM 7THS 4. Thus, according to Vivaldi's own words, the concertos contain musical representations of such extramusical elements as thunderstorms, barking dogs and people falling to the ground. Conventional Tonal Harmonies All free from modality, fully functional harmony. a note performed throughout a composition as a sustained bass note. These last aspects, in particular, provide a new understanding of the historical significance of Vivaldi's Four Seasons as a powerful demonstration of both the expressive potential of the concerto genre and the still underappreciated art of orchestration during the early eighteenth century. Vico, Giambattista claimed, in Scienza nuova (Naples: Mosca, 1725)Google Scholar, that terror is a component of the sublime. None the less, familiarity with these works has dulled our awareness of how little we actually know about them and the extent to which this cycle differs substantially from early modern approaches to the subject of the seasons.Footnote However, the music does enhance sublime aspects of the narrative in The Four Seasons. Love, a topic that had previously been a centrepiece of much pastoral poetry and drama (despite the pleas of reform-minded theorists), does not obviously figure in Vivaldi's narrative.Footnote 44/4 (1992), 337360 In blending ideas publicly discussed by Arcadian reformers with his own fondness for descriptive representation, as seen in numerous works, Vivaldi expanded his vision of the seasons to encompass both hardships and joys, presenting them as less of an idealized allegory than a cycle of physical encounters between humankind and the natural world. Most of the girls at the orphanage were destined for either husbands or a lifetime of service to the church, so they could not become soiled in this way. Throughout, a different texture accompanies each new gesture from the solo violin, emphasizing the episode's rhetorical fantasy. 17 Kolneder, Walter, Performance Practices in Vivaldi, trans. 53 Other natural occurrences are similarly evoked. Violons en basse as Musical Allegory, The Journal of Musicology For this, we do well to take a fresh look at the pairing of sonnets and concertos. Fertonani, Cesare, Antonio Vivaldi: la simbologia musicale nei concerti a programma (Pordenone: Tesi, 1992), 339 and 6396Google Scholar, and Vivaldi's interpretation of the seasonal cycle as a dynamic relationship between humanity and the natural world is therefore capped by a harmonized, conventional texture that conveys a message of resilience in the face of wild extremes.Footnote The addition of citations from the sonnets made the letter cues superfluous. CONVENTIONAL TONAL HARMONIES 2. Antonio Vivaldi - Four Seasons - Spring Tone Colour, Rhythm, Tempo, Dynamics And Pitch The tone colour of this piece is very bright and cheerful. Full title. These possibilities allowed Vivaldi to highlight the challenges and rewards of using the concerto genre to suggest narrative content. Quantz, Johann Joachim: On Playing the Flute, trans. There is no preparation for the change of tempo and new melodic material at bar 101, which comes as a complete surprise. Example 1 Antonio Vivaldi, L'Estade, first movement, bars 170174. The solo parts, therefore, were often quite difficult, and allowed the player to show off her capabilities. The correlation between musical and poetic passages, however, is easy to hear. Brover-Lubovsky, Bella, Tonal Space in the Music of Antonio Vivaldi (Bloomington: Indiana University Press, 2008), 249 We also acknowledge previous National Science Foundation support under grant numbers 1246120, 1525057, and 1413739. As depicted in Vivaldi's cycle, nature is an array of forces (geological, meteorological and climatological), objects and living organisms that have the potential to oppose human interests, such as the provision of food, shelter and physical comfort. 39 47 For example, Cecil Forsyth warned that writing parallel octaves for the viola and cello can, in some circumstances, create a feeling of emptiness in the alto- and tenor-registers. His set of violin concertos known as The Four Seasons (Italian: Le quattro stagioni, 1725) are the most famous. Google Scholar. Enjoy Antonio Vivaldi's Spring (La Primavera), 1st Movement Allegro from the four seasons. 50 Opera Ottava, Location of full-ensemble parallel monophony (FEPM) and related passages in. Google Scholar. 19 They are all violin concerti. Sirocco, Borea, e tutti i venti: Wind Allegory in Venetian Music, in Musik Raum Akkord Bild: Festschrift zum 65. Hostname: page-component-75b8448494-spc8s Vivaldi's Opus 8 was first published in 1725 by the Le Cene Firm. 26 The Italian violinist and composer Antonio Vivaldi (1678-1741) was particularly fond of program music, and he produced a great deal. Compared to the complex allegorical narratives of seventeenth-century seasonal depictions, Vivaldi's cycle exemplifies this new aesthetic orientation, with limited metaphorical and allegorical references and a narrative that can be easily understood (at least on a basic level). Taking into account the sonnets and the concertos, we can now see how both serve as part of an artistic enterprise demonstrating affinities with important new trends in early eighteenth-century aesthetics. 40. Instead, unwanted infants were deposited at orphanages via the scaffetta, which was an opening just large enough to fit a newborn. Sonnets had often been used as explanatory tools for visual art, literary works, card games, geographical accounts and emblem books.Footnote One more solo passage and a final ritornello close out the movement. This movement, a complex scene fluctuating between languid sighs, birdsongs, gentle breezes and violently contorting winds, concludes with sonic allusions to utter devastation: the downward rushing scales, scored as FEPM, seem to repeatedly crush everything into the ground (the final low g is the bottom note of the violins range, and the open string produces an appropriately explosive sound). PDF Student 3: Low Merit Naturally enough, the citizens of Venice wanted to hear the girls perform. 45 Published online by Cambridge University Press: Vivaldi also established a convention of using ritornello form for the quick opening and closing movements, with a contrasting slow movement in between. 18 15 44 . The use of any expressive medium to represent the cycle of the seasons was an audacious artistic venture. The solo violin uses a wide range of melodic-rhythmic ideas to change rhetorical styles from languid to comically grandiloquent. The Summer concerto is filled with evocations of physical peril, so it quite reasonably contains the most passages with FEPM. 2 In the opening ritornello, Vivaldi imitates a bagpipe by having the violas, cellos, and basses sustain long notes outlining the interval of a fifth. The ritornello comprises two different cells, each orchestrated with a different texture. In the middle section of the Spring concerto, where the goatherd sleeps, his barking dog can be marked in the viola section. Antonio Lucio Vivaldi (4 March 1678-28 July 1741) was an Italian Baroque composer, virtuoso violinist, teacher and cleric. The underlying message here, as with the cycle as a whole, is one of balance.Footnote The textural resemblances extend even further, as both passages are essentially built upon a two-line framework, with a harmonically enriched melody in the violins (travelling in parallel thirds) and a simpler bassetto line in the viola part an example of what I term a unison bassetto, where any number of instruments can be assigned to play a bassetto line in unison.Footnote Antonio Vivaldi's "Spring", from The Four Seasons op.8 no.1 (The Contest Between Harmony and Inspiration) . In fact, his choice of the sonnet as a poetic form provides some important clues about Vivaldi's broader aesthetic concerns. Underneath, the leafy branches rustle in the violins, who play undulating, uneven rhythms throughout, while the faithful dog barks in the violas. Vivaldi's Four Seasons | Analysis & Structure - Study.com In order to find the motivation for this change, we must consider other, non-musical aspects of Vivaldi's cultural milieu. Google Scholar. 4 See 8), works that were highly popular in his own day and are among the most ubiquitous examples of baroque music for many modern listeners. 25 It is joyful and exuberant. 30 This same shift has been noted in depictions of the seasons by John Milton (Paradise Lost, 1667) and James Thomson (The Seasons, 17261730). Vivaldi was exceptionally good at his job, and soon the girls at the orphanage became the best musicians in the city. Given the difficulty, even impossibility, of understanding the mechanics of this natural world and overcoming its challenges to human desires, it became increasingly difficult to reduce nature to an Arcadian construct of the pastoral realm that provided a welcoming setting for people to escape the institutional controls of urban centres. See Vivaldi Four Seasons "Autumn" - Analysis of 1st movement 114 (January 1973), 2324 47, Spring and Autumn are given a much gentler treatment that is aided by a sparing use of the sharply focused textures found in the Summer and Winter concertos, and through frequent sonorities that balance richer harmonizations of individual lines with more relaxed levels of rhythmic activity. Google Scholar; The four seasons is a violin concerto created by Antonio Vilvaldi . 15 In addition to signifying the physical force of the fall itself, the passage serves a syntactical purpose: FEPM is used to highlight the prolonged harmonic stasis of the frozen landscape by emphasizing, even exaggerating, the movement's first full cadence (in bar 51!). Long before commentators began to identify and discuss the concept of orchestration, these early eighteenth-century products demonstrated the orchestra's ability to capture the listener's imagination in ways that powerfully translate experiences of the changing seasons into a sonic experience of profound artistic value. The unnamed shepherds, villagers and hunters in Vivaldi's seasons are characters defined not by their mythological associations, historical fame or family lineage, but by their actions (and reactions) to their environment, which receives so much attention as to virtually become a character in an opera-withoutwords. Brover-Lubovsky, Bella, The most striking textural juxtapositions at Vivaldi's disposal involve use of the tutti unison, or what I have elsewhere labelled full-ensemble parallel monophony (FEPM for short) on account of the sonic difference between true unison and parallel octaves (the latter being present in most tutti unison examples).Footnote 33 Google Scholar, and For Cohen, it was inevitable that Thomson's poems would evoke sublime experiences because he explored a wide span of the natural world, including its dark and terrifying side, rather than limiting himself to beautiful and idyllic topics.Footnote Once again, the sequence of events in this passage is striking. Costa, Gustavo, Melchiorre Cesarotti, Vico, and the Sublime, Italica 49 ANTONIO VIVALDI AND THE SUBLIME SEASONS: SONORITY AND https://doi.org/10.1017/S1478570617000070, Musical Representation and Vivaldi's Concerto, Journal of the American Musicological Society, Vivaldi: The Four Seasons and Other Concertos, Op. Example 3a Vivaldi, L'Inverno, third movement, bars 109116, Example 3b Vivaldi, L'Estade, first movement, bars 17. 46 On the full-ensemble rhythmic unison see Lockey, The Viola as a Secret Weapon, 186188. Drone. It is also simple and repetitive, giving the impression that it might really be folk musicthe kind of tune one might hear at a country dance. Vivaldi lived from 1678 - 1741, which was during the Baroque period (1600-1700) and he was a Baroque composer. To command an audience's attention, artists needed to be able to dramatize, allegorize or even defamiliarize the mundane. Google Scholar. But when hearing these passages, we are reminded that spring is a much gentler season, which provokes feelings of joy rather than of misery and dread. Vivaldi's similar quest for verisimilitude explains why his narrative includes intense experiences of awe-inspiring, uncontrollable power that subsequent writers associated with an emotional and psychological response to the sublime. This study could equally well examine his use of several other scoring patterns that create a rich palette of rhythmic, harmonic and registral effects.Footnote 41 Google Scholar. A caption tells us that this passage represents the Sirocco wind. Likewise, although it can be argued that The Four Seasons is closer to a series of episodes than a continuous plot, I use the word narrative because the cycle permits a listener (in both Vivaldi's day and ours) to establish a cause-and-effect chain of events. Forsyth, Cecil, Orchestration, second edition (London: Macmillan, 1935 24. 29 On harmonic-rhythmic scoring see Nicholas Lockey, The Viola as a Secret Weapon in Antonio Vivaldi's Orchestral Revolution: Sonority and Texture in Late Baroque Italian Music (PhD dissertation, Princeton University, 2013), 192195. 12 There is a tangential allusion to the traditional depiction of the summer harvest when the Summer concerto sonnet concludes with the destruction of stalks of corn, but the theme of tending crops is no longer the focus in Vivaldi's vision of summer. Praz, Mario, Sonetto, Enciclopedia italiana di scienze, lettere ed arti (Rome: Istituto dell'Enciclopedia Italiana, 1936)Google Scholar, reproduced at Treccani: La Cultura Italiana www.treccani.it (20 December 2016). The harmony is polyphonic it has more than one idea when there was a solo it was accompanied by another violin providing it with some harmony. Throughout this article I use words such as representation, depiction and narrative with reference to both sonnets and music of The Four Seasons. 52 For example, the bare-fifths drone in the viola and bass that accompanies the violins melody in the finale of the Spring concerto, representing the rustic sound of bagpipes, has a textural precedent in the first movement of Vivaldi's Concerto for Two Violins in A minor, Op. 39 In addition, bar 145 of the Winter finale is almost a direct copy of bar 127 of the Summer finale, and the violin figures in bars 142144 and 150152 of the Winter finale invert ideas, scored as FEPM, in alternating bars in a passage from the Summer finale (bars 8596). )%2F02%253A_Music_for_Storytelling%2F06%253A_Stories_without_Words%2F6.04%253A_Antonio_Vivaldi_-_The_Four_Seasons_Spring, \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}}}\) \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{#1}}} \)\(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\) \(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\)\(\newcommand{\AA}{\unicode[.8,0]{x212B}}\), 6.3: Modest Mussorgsky - Pictures at an Exhibition, 6.5: Chinese Solo Repertoire - Attack on All Sides and Spring River in the Flower Moon Night, Esther M. Morgan-Ellis with Contributing Authors. However, the general framework that had been emerging over the previous decade or two called for a melodic line (or perhaps two) in the uppermost voices, inner voices that supply what I have termed harmonic-rhythmic scoring and an active bass line that may or may not occasionally supply melodic gestures in response to prompts from the treble parts.Footnote When Vivaldi began writing The Four Seasons, the solo concerto had already acquired a wide array of textural templates for fast and slow movements. The significance of The Four Seasons results at least as much from their use of the orchestra's affective range as from the brilliance of Vivaldi's melodic, rhythmic and harmonic invention. These two passages are, in fact, the only places in the entire cycle that feature the bassetto during what is otherwise a tutti period. Once we become aware of the winds again (bars 155 to the end), they are no longer mere winds but ominous and violent forces in the imagination of the terrified shepherd (in a manner akin to the way Boris is haunted by hearing disturbing echoes of the bells that once announced his coronation in Acts 2 and 4 of Mussorgsky's Boris Godunov). His set of violin concertos known as The Four Seasons (Italian: Le quattro stagioni, 1725) are the most famous. As one of the most important forms in Italian poetry, the sonnet has intimate musical connections, not least through its name (meaning little sound or short melody) and metrical structure.Footnote Homophony means there are two different melodies played at the same time, polyphony meaning many sounds happening at the same time. She seems content to interject lively, virtuosic passagework at the appropriate points. He is known mainly for composing many instrumental concertos, for the violin . Morgan, Luke, The Monster in the Garden: The Grotesque and the Gigantic in Renaissance Landscape Design (Philadelphia: University of Pennsylvania Press, 2016), 164171 'The Four Seasons': A Guide To Vivaldi's Radical Violin Concertos 23/1 (2006), 153185 Google Scholar. Anne de Dadelsen (Winterthur: Amadeus, 1979), 8085 11 See, for example, Lauterbach, Masked Allegory, 310313; Kauffman, Deborah, In using terms such as illustrate, depict and represent, I therefore mean that Vivaldi used musical ideas to suggest an object, organism, sensation or emotion to his audience through the interplay of topoi and mimesis; these suggestions are to some degree clarified and expanded in the accompanying sonnets and captions. Vivaldi's Concerto in Am: cello alternates between conjunct scalic figures and large leaps outlining chords. La primavera, "Spring," the first of these, was the best known during his lifetime. 9 Vivaldi's project also mirrors Arcadian reform ideas in another important way that, as discussed earlier, sets them apart from previous seasonal depictions: an expanded focus on describing natural elements such as plants, animals and the weather. The birds appear with the first solo episode, which requires two violinists from the orchestra to join with the soloist in imitating avian calls. Yet for all their inventiveness, virtuosity and occasional surprises, Vivaldi's concertos do not possess the sheer unpredictability that Burke implies is necessary for sublime music, nor do they aspire to the noble sentiments (and religious overtones) that elicited praises of sublime grandeur for works such as the oratorios of Handel and Haydn. Venetian orphanages were not the squalid workhouses we know from Victorian literature. hasContentIssue false, SONNETS, VERISIMILITUDE AND ARCADIAN REFORM, REPRESENTING NATURE, INVOKING THE SUBLIME, Copyright Cambridge University Press, 2017. The sound is meant to remind the listener of a bagpipes drone. Whereas visual artists created vivid imagery by using, for example, contrasting textiles in a tapestry or colours of paint on a canvas, Vivaldi heightened the affective experience of his four concertos through orchestration that is, the effects created through the artful manipulation and combination of specific sonorities and textures. Roberts, Helene E. (Chicago: Fitzroy Dearborn, 1998), volume 2, 793795 Huray, Peter le, The Role of Music in Eighteenth- and Early Nineteenth-Century Aesthetics, Proceedings of the Royal Musical Association Vivaldi's cycle is much closer to Thomson's treatment than Milton's, and this is undoubtedly one of the reasons why the concertos strike post-Enlightenment audiences as prescient of late eighteenth- and early nineteenth-century sensibilities.Footnote In this respect, Thomson's conception of nature's raw power is similar to that found in early romantic literature. Vivaldi is recognized as one . To counteract the lively rhythms of the obbligato cello, Vivaldi uses the viola to create a sostenuto line of the utmost simplicity: a harmonic backdrop not unlike some of the horn and oboe writing found in orchestral music from a few decades later, sometimes referred to as the wind organ effect.Footnote Vivaldi may have wanted to demonstrate similar potential in the relatively new genre of the solo concerto, where the opportunity for a dialectical relationship between solo and tutti passages offered numerous ways to contextualize melodic-rhythmic gestures and tonal architecture in a purely instrumental work. Vivaldi doesn't reject this theme entirely, but places more emphasis on emotional and psychological responses to the events of each season than was typical in earlier treatments, especially fearful anticipation in summer and winter.Footnote To judge from The Four Seasons, Vivaldi believed that indifference to human suffering and the seemingly inscrutable causes behind changing conditions of the natural world merited a less bucolic representation of nature. For the next appearance of the ritornello (bars 2536), the canonic build-up to the FEPM cadential gestures gains an air of inevitability by the addition of a downbeat pulse from the basso continuo in each bar. His best known work is a set of violin concertos entitled Le quattro stagioni, or The Four Seasons.. In addition to FEPM, elevated drama is brought to these works through the use of full-ensemble rhythmic unison, a texture that, when combined with stile concitato rhythmic activity, can provide a different kind of heightened intensity.Footnote Copyright 1996 Cambridge University Press. 49 For an overview of this effect see Spitzer and Zaslaw, The Birth of the Orchestra, 464467. Summer is depicted as a source of many physical challenges, but Vivaldi deliberately saved FEPM for the very close of the first movement to indicate that the preceding battling winds are only part of a building storm. Yet by far the most fascinating uncertainty about these pieces involves the motivation behind their narrative content, as there has been surprisingly little attention paid to Vivaldi's decisions about what to represent within each season and how those choices locate his work within traditions of depicting and interpreting the seasons. If so, this opens up entirely new ways of thinking about eighteenth-century instrumental music. 30 August 2017. Antonio Vivaldi, Gloria :: The Choral Singer's Companion Vivaldi was therefore helping extend into the realm of the solo concerto an art of orchestration that was already being developed in multiple genres.Footnote 3 Made up of four pieces, each concerto is musically written to portray each of the four seasons. 29 Viswanathan, S., Milton and the Seasons Difference, Studies in English Literature, 15001900 50 Antonio Lucio Vivaldi (Venice, 4 of March of 1678 - Vienna, 28 of 1741 July) was a composer and late Baroque musician, one of the pinnacles of the Baroque, of Western and universal music, his skills are reflected in having laid the concert's foundations the most important of his time. The orphanage developed a clever means by which to facilitate public performances without upsetting social convention. Legal. In 1725, Antonio Vivaldi's "Le quattro stagioni" was published. Following a homophonic tutti period (with solo interjections), two further tutti periods (starting at bars 82 and 114) take up the descending scales of the canonic imitation only now there is no gradual increase of intensity, for the entire ensemble plays the canonic subject in FEPM. { "6.01:_Introduction" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.02:_Hector_Berlioz_-_Fantastical_Symphony" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.03:_Modest_Mussorgsky_-_Pictures_at_an_Exhibition" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.04:_Antonio_Vivaldi_-_The_Four_Seasons_Spring" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.05:_Chinese_Solo_Repertoire_Attack_on_All_Sides_and_Spring_River_in_the_Flower_Moon_Night" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.06:_Catherine_Likhuta_-_Lesions" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.07:_Anoushka_Shankar_-_Raga_Madhuvanti" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "6.08:_Resources_for_Further_Learning" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()" }, { "03:_Music_and_Characterization" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "04:_Sung_and_Danced_Drama" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "05:_Song" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()", "06:_Stories_without_Words" : "property get [Map MindTouch.Deki.Logic.ExtensionProcessorQueryProvider+<>c__DisplayClass228_0.b__1]()" }, 6.4: Antonio Vivaldi - The Four Seasons, Spring, [ "article:topic", "license:ccbysa", "showtoc:no", "authorname:emmorganellis", "concerto", "Antonio Vivaldi", "arpeggio" ], https://human.libretexts.org/@app/auth/3/login?returnto=https%3A%2F%2Fhuman.libretexts.org%2FBookshelves%2FMusic%2FResonances_-_Engaging_Music_in_its_Cultural_Context_(Morgan-Ellis_Ed.