Donny Mccascalin Essay

When hearing” Oblivion” for the first time the audience’s first interpretation may be vastly different than what the upbeat and playful rhythm may lead the listener to believe. “Oblivion”, a song written and performed by Claire Boucher a.k.a. “Grimes”, is a song with electronic beats, synth-pop tones, and almost inaudible, child-like vocals. Yet, when reading the lyrics the audience can uncover the darker meaning behind the “playful” song. The lyrics suggest a state of cluelessness or unawareness of one’s surroundings, as well as revealing Boucher’s experience with a sexual assault and the effects of the assault. Through the use of imagery, repetition, and the overall tone of the song the audience can view a traumatic event through the lyrics in “Oblivion”.

The experience of moving into the world can challenge individuals attitudes and beliefs. Into the world explores the aspects of growth, transition and change. The novel ' The Story of Tom Brennan' by J.C Burke explores the different ways individuals grow when they are taken out of their comfort zones and venture into new experiences. This concept is also conveyed within the song 'Fast Car' By Tracy Chapman and the film 'Charlie st Cloud' Directed by Burr Steers. 'The Story of Tom Brennan' follows the lives of the Brennan family after the events of a fatal car accident, it shows how Tom the protagonist struggles to cope with his past, similarly the song 'Fast Car' is a representation of an escape, a women seeking to flee a life she finds

Louis Armstrong, one of the most influential figures in jazz music, enjoyed a career that spans across 50 years, and through different eras of jazz. Nicknamed” Satchmo”, “Pops”, and” Ambassador Satch”, Armstrong could do it all, he sang, occasionally acted, composed music, but was most famous for his cornet and trumpet playing. Although Armstrong is well known for his amazing trumpet play, he also influenced the direction that jazz music during his time was headed. Over the course of this paper I will concisely go over his early life, and focus more on his music career.

Mark Wade is a proficient double bassist and composer who has been playing in NYC for two decades, showing off his fluid, athletic sound. The follow-up to his widely recognized debut album, Event Horizon, is entitled Moving Day and like its previous, features a classic trio with Tim Harrison and Scott Neumann on piano and drums, respectively. Together, they achieve an impressive triangular tightness that can be heard without delay on the first track, the 6/4 post-bop wonder that gave the album its title. It kicks off with the pianist delivering an ostinato, which, minutes later, is reutilized by the bassist to install the groove. The bandleader embarks on an effusive back-and-forth solo, discharging equal parts of melody and rhythm, and the energy doesn't faint when Neumann unleashes his clear-sighted chops over a rock-inflected vamp.

It features guitarist Scott Hesse’s rapid runs and cascading ostinatos, saxophonist Greg Ward’s emotional yet electrifying phrasing over dynamic rhythmic activity, and Marquis Hill's diaphanous melodicism delivered within a storytelling that bears fragments of swing.

Also, the frenzied “Crooked Teeth”, extremely playful in its carefree posture, encompasses high-pitched intonations and flutter-tonguing technique as part of its rebellious manners. This deflection into avant-garde territory finds a sequence with the closing tune, “Spirits”, a strenuous classic authored by the iconic saxophonist Albert

With the commencement of the second song, a cello was added. This changed everything. The roller coaster had reached a climax of intensity which fascinated all. As the cellist tuned her instrument, she gave off this alluring essence. The cellist presented a mysterious persona which was nothing short of intriguing. The song began abruptly and continued thereon likewise. But it was the cellist captivated viewers. The cellist gave rhythm and signals with the nod of her head. The mood was set by the strum her bow made across the strings. During the fast section, it was like a patient had broken out of the insane asylum. Her swiftly moving hands and steady trilled fingers entranced anyone who was listening. The amount of power and authority the cellist held was astonishing. The eloquence and accuracy that she possessed were the final few pieces needed to complete the concert experience.

Swedish pianist Bobo Stenson’s musical aesthetics is all elegance and graciousness. He earned a sterling reputation while accompanying the brilliant saxophonist Charles Lloyd, who detected the perfect touch in his pianism to better serve his musical intents. Besides the latter, the saxophonist Jan Garbarek and the trumpeter Tomasz Stanko also benefited with his lush chords and beautiful textures to enrich their albums.

I am Angus mckinnon and I am 14 years old. Through my 14 year being alive and have changed quite a lot. When I was 6 years old I joined my first rugby union club with my best friend at the time and my dad as the coach. At the time of me joining rugby it was almost a tradition my dad played it and my older brother, they basically were my reason and influence to play the great sport. I played rugby for another 6 years until I turned 12 and I never wanted to turn to another sport. But when one of my friends came over with a PlayStation game he got for his birthday. I was shocked as when I saw the cover, it was a soccer game the one sport I hated the most but that the day my passion for soccer started. Now aged 14 I enjoy playing both sports equally. I am very lucky to be part of this great school Marist College Ashgrove where I can play both rugby and soccer. I am not only grateful for the sport here at Marist college Ashgrove but I am also great for the education and religious opportunities. That teach us here at Marist College Ashgrove we are taught to act as marcelin did and to pray to Jesus trough Mary.

His debut feature album as a leader, “Evolution: Seeds and Streams” may include some loose elements from these artists here and there, but has more to do with the Cinematic’s musical posture where the sonic descriptions are deeply connected with visual stimulation. However, the mood and sound here are quite distinct from that band, thanks to the addictive sounds of the kora, a 21-string lute-bridge-harp

For a composer, the modal system is useful for delineating a melodic “home” known as the final tone. A note called the reciting tone acts as the secondary “home” for the melody. The balance between these two “homes” creates drama for the listener. As the melody hangs on the reciting tone it often creates a type of tension that is resolved when the melody returns to the final tone. PHRYGIAN SKELETONS refers to the modal “skeletons” upon which tonight’s music is built. The selections chosen for tonight’s performance can be seen as a gallery of techniques that composers have used to handle the Phrygian mode. This mode stands out at once when one hears the idiomatic minor second interval that separates the final tone from tone above it (typically

The unmistakable woody sound of Swallow’s electric bass introduces “Silent Spring”, in a nostalgic start that shifts to plaintive in the moment that the dramatically orchestrated laments of the Orchestra arise. Bley, cleverly taking advantage of the horns, doubles the tempo for an energetic trumpet improvisation.

Here is when have Miles Davis, for the third time setting the stage for style of jazz with two back to back albums In a Silent Way and Bitches Brew (Scaruffi). One might have assumed that fusion was a grasp towards commercialism, with rock music being the leading sound at this period, but these releases of Miles’s still have the experimental heart of jazz. In a Silent Way boasts a regular jazz quintet, but with two pianists, an organist, and a guitarist (Scaruffi). The result was a hushed, curious ambient sound that was the quiet of the storm to Miles’s more ambitious Bitches Brew. Bitches Brew was the true kick-start to fusion: the ambitious double LP blurred rock and jazz together into a torrential, impressionistic landscape that inspired many musicians, and pushed the agenda that the combination of jazz and rock could have artistic integrity (Scaruffi). Multiple fusion bands formed as a result of Bitches Brew alumni. Electric pianist Joe Zawinul joined forces with Wayne Shorter to start the fusion band The Weather Report, gaining a diverse group of players such as the talented electric bassist Jaco Pastorius (Blumenthal 147). John McLaughlin, another Bitches Brew alumni formed the band Mahavishnu Orchestra which has recorded notable albums such as The Inner Mounting Flame (Scaruffi). An analysis of In a Silent Way states that “...wasn’t exactly jazz, [but] it certainly wasn’t rock” (Freeman 26), and this genre ambiguity of the album held a precedent for fusion jazz becoming a whole new entity rather than jazz or rock

Although largely improvised, almost every composition off this album follows a similar ebb-n-flow-like structure. Take the track “Night Mxcmpv1 P74” for instance, Lanois initiates the listener’s experience with swathes of ambient bliss but is then kicked into full lunacy as Funk’s zany drill and bass peppers in and out of a veil of shimmering chords. This unusual marriage of synthetic styles has only been accomplished by one other electronic artist prior, by none other than Aphex Twin with his masterful body of work.

Beginning with sudden, energetic burst of violins, piano, electric guitar, electric bass, and a drum kit, the song’s intro is heavily syncopated and rhythmically varied. After a short call and response section between the piano and rest of the band, every instrument in unison performs a rising, 8th note riff that connects to the verse. It is here when the vocals come in where the intro’s powerful energy slides into a less driving, more mellow mood. The intro grabs the listener’s attention, but once the lyrics come in the music slides back to allow the singer to be dominant.