Malagueña Analysis

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

The tonal tension portrays the anger and confusion that the character is experiencing. During the beginning of the movement, the vocal line is given much freedom for expression because the accompaniment is mainly comprised of block chords entering on each beat. As the emotions of the character intensify, the energy of accompaniment is also enhanced by repeating chords by use of compound eighth notes. The emotion of the vocalist and orchestra continues to increase because the vocalist makes their way to their high/head register to sustain notes to portray their anguish while the orchestra is playing arpeggiated chords set rhythmically to thirty-second notes. The movement ends with the vocalist sustaining and the orchestra arpeggiating the dominant (V) chord to leave the listener with a sense of unsettlement and discomfort (Berlioz, Les Nuits d’Ete).

The piece “Stakeout” by “The Tango Saloon” effectively uses instrumentation, harmony and rhythm to convey character in the song. The prominent use of organ in the piece contributes to the songs tense, foreboding character. The dissonance created by the organ and the use of a rotary speaker creates a thick, unnatural and disturbing timbre. The character of the song is also conveyed using auxiliary percussion. The ostinato arpeggio played on the xylophone in the chorus, along with the tubular bell strikes, shakers and heavy toms convey this character.

The musician evokes fear in the audience. In the first stanza, he says, "this town rips the bones from your back, it's a death trap/It's a suicide rap" (4-5). Springsteen successfully induces fear in the audience by using the word "suicide." He stresses that the town is a scary and dangerous place. Also, the word suicide reflects that he is unhappy with his life. He also uses the word "trap" to create a feeling of not being able to escape the dangers that surround him. On the other hand, the musician evokes sympathy in the audience. In the second stanza, the musician says, "Cause baby I'm just a scared and lonely rider but I gotta know how it feels" (10). Springsteen effectively evokes the feeling of sympathy among the audience by using the word "scared." He shows that he is afraid of missing out and not being able to experience the feeling of love. Using the word "lonely" also shows that he feels empty if he cannot experience affection from

There are many eerie stories in the Mexican culture. I didn't grow up with a grandma, so I didn't really know that story, till a few years ago. Well this is a short version of the story, la Llorona was a gorgeous young lady, she got married and her husband didn't give her attention. Her children got all the attention, and she got very jealous, so she drowned her kids in a river. So, to this day people say they hear her cry at night "oh my children, where are my children".The young woman walks along the rivers crying to find her children, La Llorona woman". La Llorona has many similarities to the Medea. She is one of the most is known in the Spanish language. The English language she is known as "the weeping known ghost in Texas. There are many stories about la

And when «she knows it's happening: that thing, that connection» between them, when she dances for him and «making him fall in love with her» she says to him: «We've got all we need. We don't need love. Don't diminish yourself – don't reveal yourself as a sentimental sap. You're dying to do it, but don't. Let's not lose this.» (p. 231). She knows she's driving him nuts, she knows that her rejection of his feelings makes him want to attach to her sentimentaly even more. She dances for him and teaches him what life really is. She – a 34-year-old illiterate janitor, teaches him – colledge proffessor, ex-dean, a member of highest rank of society class, what life is all about.

The third piece, “Danza del trigo” and “Danza final” from the ballet Estancia, by Alberto Ginastera created quite a few pictures in imagination. What started as a soft and

portray the early life of Ernesto Galarza, it also does a tremendous job of capturing the essence of

The song will be used as a hook in the culminating seminar to have an exciting and creative start to the presentation. It will also give the audience an introduction to the theme that is focused throughout the seminar, and the thesis that will be argued using the two

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

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.

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.

My first impression was that I was listening to a rock star. I had a notable physical reaction to the music; I felt a rush of adrenaline and my heart rate increased. The music was fast-paced and intense—undoubtedly physically and mentally demanding on Garrett. I am a pianist myself, and I felt a sense of empathy. I was exhausted on his behalf by simply hearing his talented performance. The music would slow down in some parts, only to pick back up with even more intensity and speed. The music aroused a familiar sense of pressure, such as the pressure to complete a difficult yet important task in a short period of time. The pressure and difficulty build to near unbearable proportions until the work is finally finished, and dissipates into the euphoria of accomplishment. If that scenario had a theme song, it could be Paganini’s “Caprice No. 24”. The music was passionate, chaotic, and ultimately satisfying. I felt that I had witnessed true mastery of the art of the violin in both Paganini’s written work and Garrett’s performance.

This afternoon, I went to the music concert hall where is located in the music building for the listening hour, a small noon-time concert which is performed by the staff and students from the music majors. Since it is a free noon-time concert, most of the audiences just wear the t-shirts and jeans to the concert. Dresses are not required for the concert. The performance today is given by the Ananda Jazz Ensemble. They have played “Running Away”, composed by Bob Marley; “Madalena”, composed by Ivan Linz; “Conejitos y Ananda”, composed by Abi Romero; “La Bikina”, composed by Ruben Fuentes; and “Chukaro”, also composed by Abi Romero. Because this is a Latin Americdan Journey, all of the music performed is jazz music. All pieces played in the concert are an ensemble of piano, bass, and drums. During the concert, I was trying to be a perceptive listener; I enjoyed the music with concentration and paid attention to the music’s unity and variety, such as the dynamics and tempos. I also tried to associate the music with a picture when I listened to it and understand the emotion in the music.