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Where did the Nocturne come from?
What does Nocturne mean in music?
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Why is night a nocturne?
History. The term nocturne (from French nocturne "of the night") [1] was first applied to musical pieces in the 18th century, when it indicated an ensemble piece in several movements, normally played for an evening party and then laid aside.
The origins of the nocturne, that swirling music of the night that is so strongly identified with Chopin, is as cloaked in mystery as the darkest moonless night. Unlike the brilliant light of day or even the half-light of dusk, night evokes a deeper, more profound temperament, suggesting a restlessness and dreaminess.
Nocturne, (French: “Nocturnal”), in music, a composition inspired by, or evocative of, the night, and cultivated in the 19th century primarily as a character piece for piano. The form originated with the Irish composer John Field, who published the first set of nocturnes in 1814, and reached its.
- The Editors of Encyclopaedia Britannica
- Nocturne Op. 9 No. 2 Backstory
- Pop Culture
- Sound and Style
- Nocturne Op. 9 No. 2 Form
- A Section
- A Section, Part 2
- A Section, Part 3
- Nocturne Op. 9 No. 2 Phrase Length
- B Section
- Coda
Chopin’s Nocturne in E flat major, op. 9, no. 2, was composed between 1830-1832, when Chopin was around 20 years old. He dedicated his op. 9 nocturnes, a set of 3, to Maria Pleyel, the wife of an acquaintance of Chopin’s. Chopin was Maria’s piano teacher, and he dedicated many of his works to students. Before we talk too many other details, I want ...
Chopin’s nocturne in E flat major has made its way into many movies and TV shows, such as The Five Year Engagement, Bones, Dexter, Mad Men, Hannibal (the series) and the Simpsons. A lot of times, this nocturne plays while a character reminisces or has deep thoughts. The band Muse uses this nocturne as an outro for their song “United States of Euras...
At its best, this nocturne op. 9 no. 2 radiates a certain coolness and detachment. It’s crisp, it’s clear, it just gets you. Like that sharp, intellectual world traveler friend who always has useful insight on your life. At its worst, this nocturne is sloppy and overly sentimental. It’s like that drunk friend who is trying to explain their feelings...
So first of all, we’ll talk about the song form of Nocturne op. 9 no. 2 – the overarching structure of the piece – and then we’ll go in and listen to some examples. This piece is a slightly more elaborate version of rounded binary form. The form looks like this: But all 4 A sections aren’t identical – they become more ornamented and elaborate with ...
We’ve already listened to the opening measures of this nocturne, which is the A section. The first time we hear this melody, it’s very bare-bones and unembellished. In future repetitions, the melody becomes increasingly chromatic, and these chromatic notes add a feeling of anticipation, like you’re trying to reach something. Let’s take a listen to ...
The chromatic tune really tugs at us listeners. There’s this melancholic thread running through this entire piece, but instead of sounding lethargic (as melancholic songs can do), it really pulls us and creates suspense. Literally he uses a lot of suspended notes. The third time the A section comes around, after the B section, the main change/embel...
The final time we here the A section, it is virtually identical as the previous time, save for the little end pattern, the descending waterfall-y part. This time there’s a prolonged set of shorter, staccato notes, then a sudden burst of 32ndnotes.
One thing that’s fun about this nocturne is how symmetrical it is. The entire piece is built on 4-bar phrases. The A section is 4 measures, the B section is 4 measures, everything is 4 measures until you get to the coda. Not only that, but Chopin uses proper cadences to end his phrases. Bb7 – Eb, or V7 – I. This is called a perfect cadence, and it ...
If Chopin plays by the rules in the A section, the B section is when he lets his hair down. Not in the way you might expect – it doesn’t soundwild or crazy. It sounds very simple and elegant. But we go on quite the modulation journey here (modulation is where the sound of the “home key” shifts. Since this song is in Eb major, Eb is the “home key”)....
The first part of the coda has echoes of the B section, in its harmony and simplicity. After that, we see an echo of the A section – the descending line that concludes all the A section is seen here (but altered), with that V-I pattern tying things up nicely. Let’s take a listen – see if you can hear the similarities of the A and B sections in this...
Jul 14, 2017 · As music developed through the Classical era, a composer named John Field (1782-1837) began writing nocturns in a different way: his nocturnes were character pieces for piano that specifically created feelings of the night (mostly through a beautiful soaring melody over arpeggiated accompaniment).
Aug 18, 2023 · In the 19th century, the term “nocturne” took on a new meaning, especially in the works of John Field, an Irish composer. Field’s Nocturnes, published in 1814, laid the foundation for the genre’s development, reaching its pinnacle with the works of the iconic Frédéric Chopin.
The genre of the piano nocturne was created by the Irish composer and pianist John Field (1782–1837), to whom Chopin referred. The nocturne, perfectly suited to the mood of the era, evokes with its very name romantic images of the night, the moon, and all the shades of lyrical and dramatic expression associated with them.
