Listening, 20th Century : Fanfare For The Common Man By Aaron Copland Essay

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

Henry Wallace shared a similar vision of a future world peace and progression, but he opposed Luce’s methods in achieving it. Wallace was born in a town in rural Iowa and was deeply influenced by the culture. He admired the agrarian lifestyle and strong sense of community, both of which would influence his values later in life. After patenting a successful strain of corn that produced greater yield and resisted disease better than normal corn, Wallace built a large business where he learned valuable public service experience. He would go on to become the Secretary of Agriculture and eventually Vice President under Franklin Roosevelt.

The novel is able to share how music is of great importance and is able to affect people’s moods and thoughts.

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

Of the many great composers during this era, Wagner stood out to me because of the intensity of his composition from 1851 in “The Ride.” The song pulls at my emotions in a theatrical telling of a battle scene from which warrior maidens emerge. These women are attendants to Odin, who sought out the souls of those heroes lost in battle. The Norse myths story is told through the feelings I experience when I hear this composition. The tempo is fast and amped. It pulls me into the sounds and I want to hear what happens next. I feel the announcement of these heroic soldiers and the challenges they fought through. It starts fast, lightens up, and then comes back with stronger build up. I feel the drama in the battle as if it’s happening in front of me. There are moments while listening where I caught myself holding my breath. This draws out feelings of enthusiastic anticipation which reminds me of the music written for a screenplay. The song finishes with a final, proud, horn blast and then leave me with some tension in the fast-paced ending of thrills. I’m drawn in and

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out

The 1920’s where a time of conservatism, it was a time of great social change. From the world of fashion to the world to politics, forces clashed to produce the most explosive decade of the century.

If you live in the United States, you probably are aware of the American Revolution. Most educated adults in America can name at least on hero of pre-Revolutionary America such as Samuel Adams, John Hancock, Paul Revere and Thomas Jefferson . But to what extent did these few men, credited with our freedom, actually participate in events that lead up to the revolution? How many countless men remained unnamed and unnoticed despite the work they put into the Revolution? These men have often been overlooked in textbooks, despite the fact most of the freedoms we have now are derived from their brave actions. But why did these men get the wheels of a revolution turning? What was the reason they had for their actions, the very ones that led

disappointment. It was a decade classified as the "roaring twenties." Men returning from World War I had to deal with unemployment, wheat farmers and oil companies were striking it rich, new modern conveniences were being thought up, and fashion was a major issue among the rich.

The culture of the 1920s was unlike anything seen before. With newly found freedoms and booming industries, the 1920s were a time of prosperity where life was energetic and thriving. Evidence of this unique time in American history can be found in the artwork of the decade. The social changes of America in the 1920s are displayed in John Held’s magazine advertisement for Arrow shirts.

I enjoyed learning about them and looking at it. Prior to doing more research on them, I just thought their work wasn't art and just random things put up/built in places. Now that I know more about it, I am able to fully understand it and enjoy it better. I couldn't live with this in my house, it would take up too much space. Theoretically however, I think I would enjoy having this in my house. I t has a nice meaning behind it and it would be nice to see everyday. It is aesthetically successful in my opinion, it just works so well. I would say this art piece is a mix between formalism and Imitationalism. I believe both are what makes an artwork aesthetically successful. The whole thing, from how it was constructed to the meaning behind it, are the reasons why I think this piece is

1 in G Major, BWV 1007. I really loved this piece because the first part, the prelude, is super familiar and it helped to know the music beforehand so I could just follow along with the melody. The other two movements, Sarabande and Gigue, were new to me but just as exciting and pleasant as the prelude. Technique-wise, this entire piece is lovely and Dr. Snyder executed it very well. The notes were very clean and precise, and his use of vibrato and rubato were excellent. Because he was a soloist, it did not matter whether he kept tempo since he did not need to maintain a rhythm with anyone else, unless the music instructs the musician to keep a steady tempo. It is the same with dance, if one is a soloist, that person does not have to worry about matching the movements of another dancer. I also enjoyed that the Sarabande was so peaceful. It was quite flowy, smooth, and overall gentle. I especially loved the intro to this movement, with a grand entrance that figuratively just filled me with anticipation for the rest of the song. It was also just the right amount of time; it was not too long or too short. I also really liked the Gigue. One reason is because it’s different than the prelude and the Sarabande, so it gives variation to this collection. This last movement was very lively and cheerful, a difference compared to the previous two movements. When I listened, I could imagine a village scene with little kids dancing around a maypole, and it just made me

After a minor wobble of the director stand, a few adjustments and giggles, Symphony No.1 in D major began. The first movement started off with an eerie introduction, with the first two notes morphing into a birdcall as well as main theme but a very magical sound. It made for a very soothing, romantic time. Throughout the piece I felt as if it told a story as most music does, what I came to believe it was a love story. The Allegro begins in the cello with the second Wayfarer song, “Ging heut morgen Ubers Feld,” (I Walked this Morning over the Field). With a light and happy tone in the beginning as if two lovers had just met, this was the main theme of this movement. Suddenly there was a deep, heavy part maybe one of despair in paradise but that only lasted for a short period as it came to a victorious ending of happily ever after. (Kahn)

The second tool Berlioz employed in this symphony is rhythm. Berlioz uses a wide variety of rhythms in this piece ranging from quick, scurrying passages to calm, smooth melodies. The rhythm used in conjunction with the instrumentation helps to further expand upon the idea that Berlioz is trying to portray. The beginning of the fourth movement is supposed to be one of dread, the artist has just killed his love and Berlioz uses a slow and heavy melody to express this. The parts where Berlioz uses the horns to represent the crowd cheering are quick, giving a feeling of rejoice, of victory