本文的主要內容是音樂作品分析，在整首音樂作品中，主題都是成對出現的。第一小節和第二小節都是主音，而第四小節和第五小節是主音。凱里在女高音部分以音調的方式使用，因為它是通過一個主鍵在概念中聽到的。凱里開始在酒吧的第三拍，由於男高音的進入發生在基督在酒吧4。第5個更高的鍵是從最初的條目中獲得的。本篇幫寫論文文章由美國論文人EducationRen教育網整理，供大家參考閱讀。
The subjects appeared throughout the music piece in a pair. While both the bar 1 and 2 were tonic in nature, the bar 4 and 5 were dominant. The Kyrie was used in a tonal manner within the part of soprano since it was heard within the concept through a dominant key. The Kyrie starts on the bar’s 3rd beat due to which the entry of tenors took place in christe within the bar 4. The 5th higher key was achieved from the initial entry.
The tone of the minor was dominant within the bar 6 to provide with a harmonic effect and the C major was part of the bar 7 (Hove et al., 2014). It was found that the four parts of vocal were heard for the first time in the bar 8. These vocals coincided with the entry of alto within the Kyrie starting from A and had an entry higher than the first entry of bass. This was followed by the return of tonalities to the D minor.
It was found that the section of exposition proceeded with the next entry of two pairs in a reverse order. Hence, the initial one to enter was alto at b.8, the bass at b.9 and tenor at b.11 along with the b.1 positioned soprano. The contrapuntal style was followed in the middle entries of the piece ranging from the bars 16 to 38 (Roy, 2015). The keys used across the bars 16 and 17 were F major, 20 to 22 were followed by G minor, 23 to 25 entailed the C minor and the B major took place across the bars 27 to 32. Hence, the subjects continued to play within pairs but moved from the tonic and dominant keys to the exposition. The final bars of the Kyrie had evident return to the D minor (Straus, 2016). The movement came to an end with the bar 50. The fugue was found to end with the old combination of Gothic style and left an open sound for the audience to anticipate by the time Dies Irae approached.
It was identified from the analysis of the concert that the musical movement of requiem was designed with exceptional precision (Winckel, 2014). It is found that the focus was on the majestic slow movement entries to the progression of the movement with the pairs of tonic and dominant nature and reaching to the exposition (Deutsch, 2013). The music piece presented with a mysterious ambiance during the concert which provided with the much anticipated excitement to the audience.
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