Nordic Folk Music

Section one is introduced with a pedal solo which is used to maintain the rhythm of a ¾ pattern that is consistently present throughout the entire piece and initiates the ostinato theme. A significant part of section one can be distinguished in measure 33 where the melody of both hands shifts to the swell organ manual. Also, the melody switches again to the choir organ manual in measure 49.

The Puck that I chose is a character from Norse mythology, Loki. I chose this one because they resemblance each other in many ways. Just like Loki, Puck is mischievous that likes to prank mortals and immortals. Puck seems to enjoy that he is getting people in trouble and we see these when he says” My mistress with a monster is I love”. Puck says these as he enjoys his mischievousness. Like Loki, Puck has a big role in the play because it is him who created the biggest problems and it is also him that fixed the problem. I think that Loki is very similar to Puck because, in Asgard, he created problems with the gods and also played with humans.

Black folk traditions like spirituals and “ragged music” evolve into the blues, ragtime, and jazz.

Although music can sometimes sound the same, there are very different genres. Jazz and Rock n’ Roll are as closely related as they are different. Jazz is often thought to be mostly of saxophones, even though the saxophone has a nice jazz feel, but are they really the most common jazz instrument? Rock n’ Roll music is thought of as deep bass, when really the bass is not the only guitar playing. Misconceptions are made about both genres, even if they are half true. While the differences can be slight or extreme, they are two very similar genres of music.

The music accompaniment to this piece comes from one or two pianos which works well with the dance so that neither one overshadows the other. There are no other instruments used, the melody of the piano changes from scene to scene in order to project Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The story begins with the politicians in masks that are arguing in a non-naturalistic way using their postures and gestures for example: standing up with masks facing the audience wearing white gloves reaching their hands out with open palms portraying careless emotion. The show ends the same way which gives an impression of Jooss trying to say that there will always be arguments between higher statuses that don’t help the general public but they use their powers for their own entertainment. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror

The music is rebellious and its uncompromising intensity is uncatagorizable for its urgent flooding past genre definitions. Miles’ music of the five-year period is unlike any music that preceded it, and still, 30 years later, so original, so Progressive, and so inadequately described.

Miles Dewey Davis III was a phenomenal jazz trumpeter from the late 1940’s who composed several timeless jazz classics and would soon become immortalized within the genre. While attending the Institute of Musical Art, Davis skipped several classes only to participate in jam sessions with his mates, Dizzy Gillespie and Charlie Parker, who too will become popular musicians. Davis and Parker often collaborated during the late 1940s, exploring with the capabilities of what one can improvise with harmonies and rhythms. Alongside musical innovation, Miles formed unique jazz groups which had included instruments that typically aren’t present within the genre, like the tuba and the french horn. Miles had become a heroin addict within the 1950s, and

Though, in spite of waves of cultural differences causing ebbs and flows of the rising and falling of war and peace, the cohesive effects of music seems to ignore cultural differences by giving them reasons to celebrate their commonalities. And the almost infinite number of sounds that creates the musical kaleidoscope of jazz perhaps best embodies music’s cohesive elements.

It is opened by a sustained major seventh chord on the tonic (C major) to establish a misty morning scene. The oboe continues to introduce a bird-like pattern followed by a triple meter slow string melody with drones richly harmonising in the cellos and basses. This rhythm; crotchet, minim, crotchet minim, is widely used in Delius’s works. There are passing tones which creates discordance at times when played against the harmonic roots. The strings flutter on the final held note and then the clarinet plays the traditional cuckoo call. Throughout the middle section which is based around the Norwegian folk song, “In Ola Valley” this cuckoo call is reintroduced several times. The strings play a small looping pattern before the end of the managing to create simple yet rich new harmonies. A major chord dies away to silence. This ending is also similar to Lark Ascending as both pieces fade away into

Miles Dewey Davis was born on May 26, 1926 in the great state of Illinois. The 20th century proved to be a very trying period for African Americans all around the country with the equal rights being a myth. African Americans were seen as a lowly entity that was not to be interacted with. With the times being so against the “black man”, Mr. Davis fought through the adversity to piece together some of best instrumentals to date. Now I don’t want to turn this into a paper about his fight through segregation. I want to spend some time evaluating and analyzing his music and comparing it to today’s music and music tastes of my own.

“Pagodes” makes use of just a few short melodic ideas. The piece is in a loose ternary form, however, the B section makes use of elements heard in the A section. The first idea (bars 3-4) is repeated verbatim three times after it is first heard. This becomes an ostinato as it is repeated in full and broken into parts throughout the piece. A two bar scalic countermelody is heard in the middle of the texture at bar 9. At bar 11 a new idea is introduced that uses all 5 notes of the pentatonic scale. At bar 15 the trill-like triplet idea is introduced. A whole-tone melody is introduced at bar 33, the beginning of the B section. These few motifs undergo little melodic variation occurs; Debussy layers these melodies and transposes them in different octaves to create a rich contrapuntal texture that is reminiscent of gamelan’s busy and dense multi-layered texture. Western musical tradition had placed emphasis on strict forms as a method of melodic development and contrast, such as the Classical sonata form. Debussy was keen to move away from these conventional ideas of melodic development, instead taking inspiration from the more free-form and layered approach to

Scottish folk music also traditional Scottish music is music that uses the forms that are identified as part of traditional Scottish music. There is evidence that there is a growing culture of popular music in the late medieval Scotland, but the only song with a melody to survive from this period is "Pleugh Song". After the Reformation, the tradition of popular secular music continued, despite efforts by Kirk, especially in the lowlands, to suppress dancing and events such as weddings cent. The first clear reference to the use of the Highland bagpipe they will be used at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development pipeline including MacCrimmons family, Macarthurs, MacGregors and Mackays

For centuries, the Tuareg, traditional nomadic Berbers, inhabited the Saharan regions of North Africa - Niger, Mali, Libya, Algeria and Burkina Faso known not only for hosting incredibly violent successions of political struggles but for giving birth to a musical revolution. Since the 20th century, Tuareg tribes across the region have risen against Nigerian and Malian authorities when their voices failed to be heard to guard their independence and personal freedoms. During these events, traditional Sahelian folk music transformed into a revolutionary guitar driven style called al-guitara to convey messages inspiring the resistance and the nationalist political movement known as tanekra. Neighbor powers pursued mineral wealth and territory; yet, the Tuareg resisted to being dominated.

Italian folk music reflects the area’s history, language, and its ethnic composition. Italian folk music can identify the region, it is from. In the North the music is symbolic with intelligible lyrics and a very strict tempo compared to the Southern region, which has a more stained vocal style (Italian Music). Folk music began developing with the shift from writing in Latin to Italian around 12th century Italy (Italian Music). Italy’s diverse variety of folk music represents the cultural uniqueness and each’s regions own individuality.

The fourth movement, “Omnia sol temperat” is sung in a completely different way. It begins with a male soloist singing, accompanied softly by violins. The way Orff chose to display this movement shows that there is no defined rhythm he is following. The soloist singing in a profound masculine voice sets the tone for this movement.