Deep River Barbra Conrad Journey

This activity challenged my critical listening skills and developed my ability to appraise music and use aesthetic sensitivity while concentrating on listening to identify the music elements. It was evident that the composer manipulates all the musical elements and qualities to accurately portray the narrative of the Moldau. Elements of music include duration, pitch, dynamic and expression, structure and style, timbre and texture (REF). For example, duration includes rhythm, beat, accent and tempo, that I was able to identify with the loud, triumphant calls of the hunter’s horn, the dominating French horns, and trumpets playing sharp, rhythmic notes. Also, pitch refers to the register of the note in a sound patter (REF). I was able to identify the cheerful mood of the melody that moves in an up and down pitch. Dynamics and expression are evident in the pattern of intensity and volume of the sound with loud trumpets as the river passes the rapids or the bassoon playing low and dark sounds that I thought contributes to dramatic

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

This speech is Karl Paulnack’s welcoming address for incoming freshman students. He addresses that music isn’t apart of arts and entertainment rather music is an invisible force that helps us piece ourselves together. Paulnack believes that music is an essential part of life and goes to prove it by telling his experiences with it. He describes the first moment he truly understood music and the impact it has on people. Paulnack portrays the day after 9/11 after he struggles to find any meaning in being a pianist. After a long time of questioning himself he observes the city and notices something. He sees that in this time of grief and sadness people are singing. From this he learned that music is a form of expression, it allows people to express their feelings when they have no other words to describe them. Paulnack goes on to describe what he says was the most important concert of his life. He and a friend were playing a concert at a nursing home. During their performance, one man began to cry, it was at that time Paulnack knew the man was a veteran. After Paulnack and his friend finished the piece, they announced that the piece they were playing was Aaron Copland's Sonata, which was a work

Often music is consisted not only by sounds made from musical instruments, but also by voice and verbal messages. The structure of the voice, or as Roland Barthes describes it ‘the grain of voice’ is the element in a certain piece of music which is responsible for creating the emotions when listening. The grain and the lyrics make the signified and carry out the message. The vocal part of music is formed of words, text, which communicate and make the representation and expression of what it is sung - talked about. According to Barthes the emotive modes of the voice and the changes of the tones from low to high is what delivers the final message and makes us feel the music. (Barthes, R. 1977 [1972]).

Frank Ocean’s “Seigfried” and Bessie Head’s “The Deep River: A Story of Ancient Tribal Migration” reveal the power of society to narrow individuals’ choices to extremes. The narrative of Head and the poetry of Ocean prove that quests for individuality is not always welcomed. It is typically understood that most matters are of many nuances (not black and white), however the collective society through groupthink may hold a monolithic stance. A stance which tasks outcasts to decide between two opposites. In our specific example, the two extremes are seclusion and conformity.

The dynamic increases to fortissimo at mm. 73 as the texture thins and harmony becomes very clear for a brief section. In this second closing theme G major, G augmented, and E minor7 in the bass are strongly arpeggiated before four octaves of C, D and G quickly reaffirm the key of G. This cadential crash is followed by some of the softest and lightest material of the whole movement, which due to the surrounding measures is proved to still be part of the second closing theme.

In addition to the elements of music, musical concepts such melody, harmony, and texture are also important to “The Piece of Resistance.” The song’s melody was played in a smoothly, connected manner, which means it is best described as a legato. This smooth melody resulted in a consonance harmony in the piece. There is a distinct main melody played throughout the song played by the drums being accompanied by the other instruments. Ultimately resulting in the different sounds competing for attention, which is a characteristic of the piece’s polyphonic texture.

The author contrasts the differences of the whites in the blacks through simply imgrey of a, cabret, place of entertainment (TRinity). She goes to the “ New World Cabaret, with a white person,” and mentions that her “color comes” (Hu 1061). This means that she feels the music on an instant level. Further evidences suggest so when “it constricts the thorax and splits the heart with its tempo and narcotic harmonies.” (Hur 1061). The mixture of smilies and metaphors create imagery that convey sound and feelings of listening to music. Although she really feels the music in her body as her “ pulse is throbbing like a war drum” (hur 1061). This initially contracts the white man she came with the culture of Blacks, portraying that their culture is very vivid and worth celebrating. Hur even shows her emotions when she says, “I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeeooww! I am in the jungle and living in…” (hur 1061. The way she sees things in her head clearly shows her how instinctively the jazz music made her happy as part of her

Music can also be a differentiating factor for social and economic classes. In lecture twelve (Roma music), the clear distinction between the romungre and vlachs musicals groups proved that music influenced this separation. The types of instruments used, or lack of, tell of the people’s standing in the social and economic ladders. For instance, romungre music is professional, urban, and was played in elaborate settings. In the video excerpt shown during lecture, the well-dressed man played the violin, while the other members played other various instruments such as the cimbalom and piano. The possession of the various instruments is clear evidence that the people in that community have extra money to spend on these luxurious items. In addition to the aesthetics of the performance, the sounds produced by these instruments also suggest a level of sophistication and class. The song began with a sow tempo, which offers a smooth timbre. The tempo then sped up, which showed the virtuosity of performers, suggesting the affluence of the performers, because he was

Moments of poignant abstractionism are delivered in the electronic-tinged “Time Takes Its Return” while “Where Worlds Collide”, a typical Binney creation well structured from root to branches, rejoices with plenty of life. Weiss enchants with his percussive clear-sightedness, and after the torrential bursts from guest saxophonist Shai Golan, Sacks shows why he’s one of the most rhythmically daring pianists in

Boschnak’s “Expositions” tears into a puissant rhythm and groove after an intriguing intro featuring the deep tones of the bass clarinet, which, together with bowed bass reinforces the foundation’s density with swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows, momentarily complemented with clarinet punctuations, disembogues in a bridge that leads to a vocalized ostinato interlude, obsessively iterate by the guest

Both movements in this sonata began with slow introduction played by cellist, and later accompanied by the piano. The first movement, Andante, was first gentle and soft, giving me a sense of serenity and peace. However, the tempo suddenly increased after the abrupt shift to Allegro vivace. The sudden change in tempo, rhythm, and dynamic surprised me like a ringing alarm suddenly wake me up from a sweet and placid dream, bringing me back to the cruel reality. The second movement, Adagio, also started with a slow introduction but both performers played together instead of just the cellist. As the second movement progressed the tempo became faster and the melody became more playful and animated, along with unexpected pauses. The second movement reminded me of the story of Alice in Wonderland. I could imagine a little girl experiencing a wonderful adventure in the wonderland and encountering and playing mysterious characters and objects. I enjoyed all three sonatas performed by Anton Nel and Bion Tsang, but I especially loved the Sonata in C major, Op.102, No. 1, by Ludwig Van

A Look into Different Interpretations of the First Movement of Moonlight Sonata: The Piece that Portrays an Assortment of Emotions

Distinctive harmonic departure from the classical sonata form convention fills the movement with drama. In classical sonata form convention, tonality is to be established in the first theme with no ambiguity so as to make contrast with the second theme, which is normally set in the dominant. In the first movement of Beethoven’s sonata Op.31

Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.