John Flinn

Music is sound organized by humans; audible statement that mirrors a way of life or a way of thinking; a language spoken directly, without translation, between people who understand. In this class we studied liberal arts, and how it uses general intellectual development rather than opposed training, to develop a musical analysis of music such as “The Ballad of Gregorio Cortez”. To develop an analysis, we group the organization of music into five musical elements rhythm, melody, harmony, texture, and form, and we find some type of organization or order in these pieces like pulse and background instruments to help identify these elements.

As a hook in his article “When Life Imitates Video,” John Leo describes the Columbine High School massacre which took place near the city of Littleton, Colorado in 1999. Leo claims the actions taken by the teen shooters are due to the violent video games that* many young people play. The rest of his essay builds from this idea, arguing that violent video games desensitize players and encourages dangerous and delinquent behaviors in young children and teens. To effectively convince his target audience, those who have not yet had exposure to the idea of a connection between video games and behavior, of this idea, Leo utilizes an appeal to pathos and logos.

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

Good Afternoon Ladies and Gentlemen of the Multi-cultural convention, I have been selected to address the statement, “The Language used by composers has the ability to present responders with opportunities to challenge their perception of self and the world”. I will be doing so by closely analysing the language used by Komninos in ‘Hillston Welcome’ and ‘Back to Melbourne’ and John

The Renaissance was an influential period in developing humanistic inquiry. The age is characterized by a deep commitment to education and the arts. People began studying science and creating art for its own sake; it was believed that engaging in such endeavors allowed one to lead a life of morality, and Renaissance artwork was devoted to core values concerning early Christian morality and learning. This paper discusses Joaquin des Prez's "Ave Maria"¦virgo Serena," and how demonstrates core values of Excellence, Community, Respect, and Personal Development, Responsible Stewardship, and Integrity. Attention is paid not only to the lyrics themselves but also to the formal technique of the song.

John J. Crittenden was the senator, born in Kentucky, who proposed the Crittenden Compromise, a proposal for a compromise between the Northern and southern States. The Crittenden Compromise proposed that there should be states that have slavery and that satisfy the southern demands but that the Missouri Compromise line should be redrawn. Although the southern states were willing to agree with this compromise, the northern states and the Republican Party were against this compromise for allowing future expansion of slavery and slave states. The Republican Party was unable to agree with this compromise since it did not solve the issue of slavery and the fugitive slave laws; the only difference this compromise provided was the reconfiguration of the Missouri Compromise line, which separated the slave and free states. John J. Crittenden was significant because his compromise was not able to be agreed upon by the South and the North; the break or the failure of this compromise further angered both sides of the United States.

My experience as a music major in SUNY Potsdam attributed toward my various reactions throughout this piece. Additionally, my fellow musicians at the Crane School of Music impacted the way I view this type of music. While I already came into college with an appreciation for classical music, my peers provided me with new ways to view this type of music, and I learned much by observing them play. Beforehand, I could not put into words the emotions and experiences I felt while listening to classical music. Interacting with and learning from my peers provided me a mean to do so.

In this paper, I will discuss the identity of Maxwell, derived from his performance at the Verizon Center. Maxwell’s performance represented his identity as a sensual male artist, whose appreciation for women grew from his mother playing the role of both parents. Furthermore, I will discuss how Maxwell’s influencers have played a role in his development as a Neo Soul artist. First, I will give background on the artist and the genre he belongs to. Next, I will provide background on the concert, such as the venue. Then, I will discuss aspects of his performance that mainly embody Maxwell’s identity. Finally, I will conclude with an overview of how Maxwell’s performance depicts his identity as a sensual, Neo Soul artist.

On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3-4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a comment or two about some extra-musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without

The second movement Scherzo, gave more of an elegant, royal ball sound. Where the women dress in gowns and the men in tuxedos, while drinking wine and dancing the night away. This movement has the rhythm of the Landler, an Australian folk dance. It conforms to the classic minuet and trio form though Mahler takes the first section beyond the standard repeat structure. The first three notes of the Scherzo and the Trio recall the birdcall theme from the first movement. If

Bergeron, paradoxically yet successfully, chooses to get to the core of the French mélodie by looking at it from a distance. Her focuses on the mélodie’s complex relationship with the German Lied, the pedagogical movements of the French language in the late-nineteenth century, and Claude Debussy’s opera Pelléas et Melisande in order to “examine the range of French expression [Debussy] puts on stage and how he represents that range in music” are all indirect yet inventive ways in which Bergeron embraces the challenges of defining this elusive vocal genre (xiii). Perhaps Bergeron sets out to define the French mélodie through indirect methods for exactly that reason; a genre as complex as the mélodie could not be fully understood if one attempted to get to its center through traditional means. Stating that French art song is “a musical repertory based on […] delicacy and restraint […]”, Bergeron clearly has a grasp on

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

Music is a very powerful tool. It has the power to bring happiness or sorrow. It can stir up old memories that someone has forgotten. In Berlioz’s case he uses one of his most famous pieces, Symphonie Fantastique to tell a story. Berlioz combines the use of instrumentation, rhythm and dynamics in a stunningly effective way that conveys to the listener a tragic tale of an artist, whose true love didn’t reciprocate his feelings leading him down a path of self destruction.

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

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.