本文主要讲述的是巴洛克风格，研究发现，巴洛克风格的旧风格被纳入了该方案，因为它可以明显地识别。音乐在设计中表现出大胆，加强了和声性质的细化(Deutsch, 2013)。研究发现，只有凯里和内向的节目是完全得分的声乐方面。双簧管和长笛并不是音乐的一部分，而贯穿音乐会安魂曲部分的弦是低频的。该管弦乐队包括2个小号，2个低音管，和管风琴，夯实和3个长号(Hove et al.， 2014)。本篇美国传播学论文代写文章由美国论文通AssignmentPass辅导网整理，供大家参考阅读。
It was found that the old styles of Baroque were incorporated within the program since it can be identified evidently. The music showcased boldness within the design and enhanced the refinement of harmonic nature (Deutsch, 2013). It was found that only the Kyrie and Introitus within the program were completely scored in terms of the vocals. The oboes and flutes were not part of the music and the strings used in the music throughout the Requiem part of the concert were low frequencies. The orchestra was found to involve 2 trumpets, 2 bassoons, and organ, tamps and 3 trombones (Hove et al., 2014).
There were no horns within the music pieces. The Dies Irae was found to be unique music piece within the concept. It was found that there was no vocal work within the orchestral introduction of the piece. The strings and wind instruments were identified to play the major role within the support to the voices (Roy, 2015). The strings had accompanied the accented notes within the Dies Irae that enhanced the overall musical intensity during the concert and provided with a dynamic mood to the audience.
However, a mysterious and dark atmosphere was developed with the transition from the Tuba Mirum to Rex Tremendae. It was found through the deeper analysis that such environment was developed due to the use of a solo trombone at the starting point of the Tuba Mirum. This indulged the audience towards an ominous effect.
It was identified that no solo performances were made expect of the two movements. The totals of four soloists were involved within singing the Tuba Mirum. It was found that the soloists performed majority of the part in turns (Straus, 2016). Hence, there was no vocal that overlapped within the Tuba Mirum. The analysis of this piece identified that the mors stupebit was used within the bar 18 of the piece that transition to the F minor with the quavers that repeated. It was found that the rhythms within the Rex Tremendae were dotted in nature. Therefore, the sound piece provided an illustration of the regality from the era of Baroque.
It is to consider that the subject of Kyrie initiates with the rhythms move slowly in a majestic manner (Winckel, 2014). However, the subject of Christe moves in a fast manner with the use of the sequential semiquavers. Hence, the analysis indicates that both the old and new forms were integrated within the music piece to provide with more subtlety to the tones. This coupled integration can be identified throughout the music piece of Kyrie. It is found that the parts of the instrumental double the voices in the introduction. The bar 1 is initiated with the subject of Kyrie in the bass (Deutsch, 2013). This took place on the note A that transition from the D minor of chord V. While the subject of Kyrie was introduced through bass, the subject of christe was introduced through altos.