영국 음대 졸업했거나 영국 음악전공재학생이신들중에 뮤직 히스토리 에세이 도와주실 과외 선생님 구합니다.!!! > 과외/레슨

안녕하세요 ~
뮤직 히스토리 선생님 과외 해 주실분을 구합니다.
영국에서 음대를 마치신 분들중,
악기 전공도 좋고,
대학교 1학년 수준의 에세이인데,
뮤직 히스토리 레슨을 도와주셨으면 합니다.

아래와 같은 토픽에 자신있으시거나
가능하신분은
바로 연락 부탁드립니다.
문자 남겨주시면 전화 드리겠습니다.
'영사유케이 뮤직 히스토리 과외선생님' 으로 남겨주세요 ~~ ^^

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감사합니다.

1)    Assess the importance of Monteverdi’s contribution to the development of Baroque music, making reference to specific musical examples.
OR
What musical techniques does Monteverdi utilize in order to express character, mood and situation in his opera Orfeo? Demonstrate with detailed reference to selected scenes and illustrate with musical examples.
 
2)    What musical techniques does Purcell utilize in order to express character, mood and situation in his opera Dido and Aeneas? Demonstrate with detailed reference to selected scenes and illustrate with musical examples.
 
3)    Choose three characters from Mozart's 'The Marriage of Figaro' and discuss the musical devices applied by the composer to illustrate their defining traits. Provide examples from the score.
 
4)    Beethoven's music has been constructed as heroic, sublime, masculine, as 'organic', and as searching for the infinite. Discuss any one or two of these constructions with reference to two of Beethoven's works.
 
5)    Define and discuss the concept of programme music in the 19th Century, making particular reference to Berlioz’ Symphonie Fantastique.
 
 
6)    Discuss either Schubert’s or Schumann’s approach to setting words in lieder, making particular reference to either Die Schöne Müllerin or Dichterliebe. Consider such matters as the literary sources, the vocal line, harmony and tonality and the respective roles of the voice and piano. Give a general context and examine a few songs in detail.
 
7)    Discuss the contribution of either Schumann, Chopin or Liszt to the Romantic piano repertoire, focussing on a few well selected examples. To what extent can they be regarded as innovatory in style, harmony or musical form?
 
8)    The philosopher Roger Scruton has written about Wagner's music with reference to love and the sacred. What do these ideas mean in this operatic context? Discuss with examples drawn from Wagner's mature operas.
 
 

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