Act I Continue Act II: An Analysis Of Music

With means to express oneself, helps one overcome the difficulties of life. This approach represents the entire nature of the hip hop culture, especially when dealing with social justice issues. Today, the hip hop culture association revolves around raps (lyrics) and the rappers which reflect how consumers receive messages about social justice issues. Unlike breaking and graffiti, the music/lyrics penetrate society more. However, for this analysis, the focus will rely on a visual element with a connection to hip hop music. Even though a music video would make sense as a visual means of expression, this analysis has more interest in the cover art that goes with a hip hop album. Also, this focus will lead to the question of how important is art

Throughout history, music has evolved and branched off into many different categories, each of which have distinct styles and orchestrations; there is classical music that is centuries old and today there is modern contemporary music that is often synthesized or played with electronic instruments. There are also many ways that the two styles can cross over each other; this is seen in popular music and a lot of video game music. Though many people cannot see any similarities between modern and classical music, modern music is really an evolution of classical music; the roots of modern music go back to classical era.

New York critic Carlton Sprague Smith identifies three forms of music-folk, urban and art music- that dominated the American scene in the 1950s. Folk music was a rural form and the commercial music developed in the major cities. Popular music was inherently hybrid as various musical styles overlapped, merged and developed. Popular music took a middle-space between traditional music (folk, country, vaudeville and Broadway) and serious composition (between classical and avant-garde music). Rock ‘n’ roll and its varients was treated as lowbrow culture and its artistic merit recognised only in the

Seussical the Musical was not my first choice, but the show quickly grew on me. My primary goal in this project for me was to complete anything asked of me as well as learn all I could about the entire design process. Working on my drafting skills and learning how to collaborate with another designer were additional goals I wanted to work on.

Mainly homophonic, with a long held note on “for the mouth” in the sopranos, while the other

In section 6:55-7:55, the instrumentation moves from the full band crescendo at 6:55- percussion, timpani, tuba, Euphonium, French horn, Trumpet, Bari Sax, Tenor Sax, Alto Sax, Bassoon, Contrabass Clarinet, Clarinet, Oboe, and Flute; onward to the clarinet (7:04) and brass fading away into solid underlying cords (7:21) for the trumpet solo (7:25). The rhythm in this minute of the song is consistent with the rest of the song slightly faster but with great strength. Tempo remains the same for most of the section but is more punctuated for the refrain from the Columbine Alma Mater (6:55-7:02) “We are Columbine! We are all Columbine!”. The beginning of the trumpet solo (7:25) is actually

One of the defended aspect of music, is how versatile this art can be, meaning that music can be expressed with different interpretations. Music has many genera’s, which makes this form of art so appealing to many people, because not everyone listen to the same sounds and rhythm. There are varies songs that truly appeals to me, for many reasons. My top five songs are as follows: Riding Solo by Hippie Sabotage, One Love by Bob Marely, Can’t Hold Us by Macklemore and Ryan Lewis, Boom by Major Lazer and finally Juicy by The Notorious BIG. Being from Jamaica, has had a huge impact of my choice of music I listen to. I listen to reggae, hip-hop, rap and r&b. I choose these songs because they have helped shape who I am today. Major Lazer and Bob

The music class, called Art of Active Listening, caught me by surprise. During the beginning weeks of the first semester, I was nervous about where this course would take me. I entered college with no background knowledge of music but was excited to take on a new challenge. This course never involved music notation or theory which was very beneficial for me, but it did provide skills and techniques that I can use throughout my everyday life. Some critical points we covered during the semester were focusing on the meter, interpreting the meaning of the lyrics, and using the background music to guide us in the direction the composer/artist wants us to go. One artist that touches on a variety of main points covered in this course is Jack Johnson. Multiple Jack Johnson songs revolve around his incredibly moving lyrics and his use of background instruments to set a tone for the listener. Some songs I will be analyzing are “Tape Deck”, “Upside Down,” “Never Know,” and “Staple it Together.” Music is not all about the lyrics and message the artist is conveying. The use of active listening provides a sense of appreciation because the listener is capable of hearing things many others cannot.

During the second world war it is well known that Nazi Germany used a lot of propoganda to help publicise their aim for a German controlled aryan race, as well as to make their anti-semetic ideas known. This propoganda often came in the form of posters, public announcements and radio broadcasts, however, one often overlooked aspect of Nazi Germany’s propoganda is music. Adolf Hitler believed that music had a unique significance and power to be able to seduce masses of people. It is because of this that the Nazi party placed tight and strongly enforced restrictions on what the people of Germany, as well as German occupied countries, could and couldn’t listen to from 193o to 1945 so that only anti-Jewish and pro-nazi ideas would be put forward to the public through music. The Nazi party used the medium of Jazz music to spread their propoganda throughout Germany and allied countries. However, major alterations were made to the genre because of its African-American and there for evil roots. These alterations included restrictions like the inability play instruments that required the plucking of strings, the saxophone, vocal improvisations (scat), as well as percussive items such as the cowbell, flexatones, cajons and brushes. This, in the mind of Hitler, ensured that the propoganda filled music could be spread to the masses while maintaining racial and moral purity. Three examples of this anti-Jewish propaganda music are “You’re Driving

What is progress in terms of music? Progress like in anything is innovation, something new or something people have never seen or heard before. When it comes to music so many things have already been done and so many things have been recycled within new pieces of music. In the first half of the 20th century major progress was made in music, this progress was done by composers like George Gershwin and Igor Stravinsky. The two composers although of diverse musical genres and particular time periods had a common theme, they both created music that pushed the boundaries for their respective styles. Gershwin with his early Jazz pieces and Stravinsky with his early neoclassicist work both created pieces that are still performed in the 2000’s.

Adorno, Theodore W. "On the Problem of Musical Analysis." 169-87. Vol. 1. 2nd ed. Translated by Max Paddison. Hoboken: Wiley, 1982.

What makes a classic movie, a classic? Some people may say it is the actors or actresses in the movie, the directors, or the setting. Although all of these components are important in a movie, they do not make the movie a classic. A classic movie is all about connection the movie makes with its audience. The more emotion the movie can draw from its viewers, the more the viewers can connect with the movie. Having a good plot and story is a must to consider a movie to be a classic. A classic movie also needs to be memorable to the audience. With a classic it is all about the lasting impression on its viewers (Weeks par. 5). The new 2016 movie, Sing, meets all the requirements to be a classic. Sing is an animated musical comedy directed by Garth Jennings and Christophe Lourdelet. Sing is rated PG, and has won the Top Box Office Films from ASCAP Film and won Outstanding Music Supervision from Hollywood Music In Media Awards in 2016 (Awards par. 1). The movie, Sing, is about a Koala named Buster Moon who hosts a singing contest to help his failing theater business. Sing is a classic movie that connects with the viewers, has a good story, and is memorable to the viewers.

Can you imagine that it has been 50 years since the classic and heartwarming movie “The Sound of Music” was released? It is most meaningful for me because when the movie came out in movie theaters on March 2, 1965 I was 8 years old and my dad took me to see this movie. Two years later the movie was again in theaters, I have just forgotten what holiday time it was released for, and this time I went with my mom and my dad had passed away. Here are some interesting and perhaps unknown facts about “The Sound of Music”.

After his retiring from the public musical life, at the height of his career (his last opera is dated 1829), the Maestro lived enough to see a new fruitful creative period in his old age. From 1857 on, he wrote pieces of chamber music far several instrumental formations and had them performed at Parisian musical soirées. He, however, thought their publication unadvisale as if they were sins of his old age, Péchés de vieillesse. Really they are a collection of "Salonmusik": a quite original one of sublime quality, written with humour and refiniment but full of genuine emotion and wanting in any trace of sentimentalism, too. However the light and ironic relation Rossini had with musical conventions did not preclude him tram facing new expressive forms. Several years later, some characteristics of this art are still present in the miniatures by Erik Satie. Un Mot à Paganini (Elégie), for violin and piano, and Une Larme, Thème et Variations for cello and piano (both compositions are still waiting far their publication) are certainly the gems of this recording. At the beginning of Un Mot à Paganini, a short motive is insistely propounded by piano, as a kind of sigh constantly repeated and developed contrapuntally by figurations of violin, having similar expressive purposes. During the melodic repetitive modulation of piano, there is a moment a harmonic metamorphosis is proposed in: the above mentioned characteristics of an unconventional way of preceeding reveal themselves just

Present in throughout the Hindu, Greek, and Judaic cultures, is the divine and meticulous use of music in various ways. Similarly between these cultures, music is symbolic of the most important and sacred concepts. The musical elements often exist to celebrate parts of the culture, to provide an element of sound to express spiritually, and to worship one or more Gods. Furthermore, music has occupied a central place in Hindu, Greek, and Judaic cultures, in which there are intrinsic musical principles, an arrangement of different instruments, and several forms and textures within all three cultures.