Listening To William Kraft

This research paper is based on the actions of the serial killer named Randy Kraft. This paper will contain three separate theories that will be used to describe and possibly answer reasons why he did what he did. The three theories that will be included are rational choice and routine activities from the Choice Theory, the social strain theory from the Social Structure Theory and the social control theories from the Social Process Theory.

Another popular philosophy of music education discussed in this weeks reading, is that of Bennett Reimer, the teacher of David Elliott, known as the Aesthetic philosophy. This philosophy is “an experience-based philosophy of music education is one that focuses on and cherishes all the many ways music can be experienced and all the many music’s offering the special experience music provides.” (Reimer, 2005, p. 69)

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.

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]).

This journal is about the musical piece composed by a man named Benjamin Britten titled The Young Person’s Guide to the Orchestra. This piece was surprisingly interesting to me as it created different feelings of emotions through the instruments volume, sync, and rhythm. I do like various instrumental styles of music, however, I was hesitant about listening to a classical style orchestra. Throughout the piece it seemed the sounds would constantly change, which reminded me of the early black and white cartoons that relied on classical style music to show the emotions they were trying to make the audience feel. For example, I remember a scene from an episode of the old cartoon Popeye, when there was fast paced instrumental music in the background while Popeye was saving Olive Oyl from a dangerous situation and they both were running to get to safety. The xylophone from Bitten’s composition is what made me think of that exact episode of Popeye and Olive Oly running to get to safety.

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

Composers’ representations of the complex relationship between people and politics are influenced by various moral and social agendas, whereby a portrayal of reality and meaning is inherently subjective.

This book contains a speak by William Bolcom about his philosophy about composition and the process he had when he wrote a piece

Similarly, both authors recognize Foster’s influence on culture. Emerson asserts Foster’s influence reached worldwide while Tasker states Foster was able to resonate with a group of people. Foster’s songs are nearly a century old and people are still making them their own. While, both thesis statements show a positive facet of Foster, Emerson’s thesis also recognizes the negative aspects of Foster.

This practice of developing repertoire turned out to be a part of the present day that attracts audiences through famous melodies. Including syncopation in the second line beat and improvisational works.

An ongoing dilemma that people face when it comes to music is being able to separate the person from the music that they compose. And an even bigger dilemma is whether we should separate a person’s personal actions and/or morals from their music? It is my opinion that we should be able to separate a person’s actions, beliefs, and/or morals from their music and throughout this essay I am going to provide you with evidence that supports this claim using Richard Wagner as the primary example. Wagner died in 1883 and Adolf Hitler heard Richard Wagner’s work for the first time in 1901. From that moment on Hitler described about how captivated he was by Wagner’s music (Kerbjuweit).

Every time I hear about famous composers, like Bach or Mozart, the names themselves put me to sleep quicker than any anesthesia ever could. So, it was no surprise that I absolutely dreaded the idea of seeing a piece written by any of these composers. I attended Mozart’s requiem at the Seattle symphony, I grunted at the idea of paying $38 for something I wasn’t even interested in. How dare they charge an absurd amount for something that was written before time itself? I took my seat and looked out at the sea of older retired couples and couldn’t believe this would be my fate someday. Ludovic Morlot was conducting for the evening, I have never heard the name in my life and only learned of it from the magazine I was handed before taking my seat. Morlot is French born musician, and currently the music director for the Seattle symphony.

Thesis: Music is a unique form of sound powerful enough to manipulate mood, feelings, and cognition.

The exploration of the mind and the way our conscious mind perceives the symbols of our subconscious minds was new ground and it gave art a new voice with which to sing.

Because of Introduction to Music, my perception of classical art music has changed and more importantly, the course has impacted how I approach music in general. Before the class, I would have described art music as boring and dingy; however, after learning a plethora of musical elements, and after thoroughly studying the context of each piece, my interest for the genre grew along with my appreciation for it. To the average listener, Johann Bach’s Cantata No. 140, Wachet auf, I, sounds like atypical church music, presumably from Europe. It is not until one establishes a basic foundation, until one knows the fundamental elements of classical art music, that an appreciation can be developed. Without the first twelve chapters of The Enjoyment of Music, I would not have been able to understand the meaning behind the polyphonic texture and dotted rhythms; furthermore, I would not be able to understand the difference—nonetheless, the meaning—between the ritornello and the counterpoint, and the indirect ideas and concepts conveyed through them.