Cakeout Dagoie Saloon Analysis

I found this piece very interesting; it tells a clear story, and has a dissonant accompanist which makes it sound stylistically similar to the music of musical theatre.

Everything in this piece was thought of in specific detail in order to portray the intent as well as possible. For example, in this work there are three distinct sections and for each new section, there is a new song that is played. The songs used in this work are ‘Something About John Coltrane’ by

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

In literature, it is common for authors to apply different stylistic techniques in order to assist in providing the readers with a message. This idea is prominent in Steven Galloway’s The Cellist of Sarajevo, a novel which follows the story of three characters in the war-torn city of Sarajevo. Despite the fact that the characters never meet, they are each unified by a cellist and the song he plays for twenty-two days to honour the citizens who lost their lives while waiting in line for bread. Throughout the book, a recurring idea is that of hope for the future of Sarajevo, which is shown through the contrast of symbols from the beginning of the novel to the end, the cellist himself, and the adagio that the cellist plays. It is evident from the meaning created through objects and people that Galloway is able to use symbolism to enhance the idea that a city which once was destroyed can still be repaired.

This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rendering it, clawing it until it breaks through to the jungle beyond. I follow those heathen - follow them exultantly. I dance wildly inside myself; yell within, I whoop... My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know.

Romanticism was the era of passion and feelings, and not just music for the sake of it. Music in the romantic era had a poetic and philosophical meaning. In the lyrics, the composer has tried to convey a story about a boy making sense of a satisfying yet confusing relationship with a rich girl. Simon sings with a passionate yet calm tone in his voice. This portrays the soft and rather philosophical story about money and love the lyrics try to convey. Romanticism has influenced the song since the delivery of Simon’s voice with the blending of the instrumentation support each other in the composer's message. This allows the message to be portrayed in more than one way. However, the biggest influence on this piece is not from romantic music, but from folk music.

The key ideas are depicted throughout the transitional piece. These ideas are shown through various images, quotes, police reports stories told by bystanders. The crime committed is talked about within the song constantly and this is also shown in the newspaper article. The audience of the music and also the transformed text is anyone who keeps up with current

The audience thinks only of her body while viewing the dancer. This is juxtaposed by the simile of her voice “like the sound of blended flutes” (3). The narrator does not see her as a sexual object, as the audience does, but notices her voice and its beauty. The narrator describes a “picnic day,” (4) juxtaposing the peace and freedom of nature to the chaos and repression of the nightclub the dancer is in.

The cover version of Roxanne (El tango de Roxanne) uses classical instruments to create a genuine tango feel; violins, viola, cello and Spanish guitar. The song consists of many layers of instruments creating a thick texture at times. With the violins being the base of this, the viola and Spanish guitar both have solos instead of consistent melodies throughout the song, giving short but addictive glimpses. As violins are presented in a certain way for this song, it is known that the genre for this version is tango. The structure of the composition in the style of tango creates sexual temptation. This creates the atmosphere for the style of dancing and is reflected in the scene for this song. This genre was an excellent choice as it flows with the story line and amplifies the prostitution through the style of music. One may say that it appeals to dancers, and the age groups of teenagers and above, as the sexual captivation could be a luring

The cello and organ provide the basso continuo, following the figured bass. The modulation in bar 10 to A major ends in a V7 - I, providing strength to the piece. This differs from Sonata pian’e forte which is in the Dorian mode with lots of root position chords (bar 1 and 2) and suspensions (bar 3). The melody is mostly stepwise and the tierce de Picarrdie in bar 4 gives a sense of balanced phrasing. This is felt again in bar 8, due to the consonant 4th. The modal harmony in bar 13 creates an imperfect cadence to mark the end of the A1 section. An interesting phrygian cadence (IVb - V) is used in bar 16 leads into a short circle of 5ths (bar 17) and then a perfect cadence in F major with a 4-3 suspension (bar 20). This ‘busy-ness’ before cadences was not uncommon, due to the very expressive works that were composed in this era.

“Traces VI” and “Traces VII” are great avant-garde compositions. The former brings some madness and the right amount of ambiguity to an instrumental conversation; the latter, is oddly percussive, strategically layered, and becomes minimalist as it moves forward.

The pattern of the song has a beat that repeats itself at a fixed rate. In addition to the fixed rate, the song has an accent where one beat is emphasized and this can be heard by the increased volume of that specific note. Towards the end of the song, the melodic contour of the song can be described as a descending melodic contour as the pitches descend from high to low. This is done by the artist holding out their voices for a lengthened amount of time. Furthermore, the phonic structure of this piece can be described as a monophonic piece. Monophony means that the performers play the same pitches with the same rhythms. Even though the song incompasses a wide varitey of instruments, the rhythm of the song stays relatively the same Another important aspect of the song is the dynamics. The beginning of the song can be classified as a crescendo because of the increased musical sound from the instruments, however, towards the end there is a decrescendo as the volume falls off and the artists holds on and extends the last note. The crescendo in the beginning of the song is interesting to note because the song starts off acapella and gradually the volume begins to increase when the first musical instrument comes into play. Last but not least, this piece of music contains a lot of repetition. The vocal repetition of the songs title serves as a

The return to the home key can be seen as a relief from the “dissonance” produced by the passages of second themes in E major and b minor. Yet, the tonality on G major is not distinctive enough to induce a home-returning emotion in the listeners. Therefore, the composer restated the opening of the first theme in G major and continues with arpeggiando passages (Fig. H) (mm.288-295) establishing the dominant of the home key. The coda (mm.295-324) consists only