Orchestra Music

This statement is pointing at the increased disconnect between the likes and preferences of the youth population or rather the younger entrepreneurs and the ideas that are increasingly propagated by the orchestra players. It should be noted that a large number of individual donors and institutional funders are questioning the continued investment in orchestras, yet the musicians continue to build their hopes on the efficiency of renewed fundraising efforts without considering the change or dynamic nature of the feelings of younger generations regarding this type of music. In essence, the orchestra musicians simply want to ignore their current need for gratification and instead pay attention to ideas that are alien to them. This should point to what is already wrong with the orchestra world of music. Of course, there are people who are attracted to it simply because it sets them apart from the masses who would not feel at ease paying excessively for a type of music that does not offer gratification to their immediate needs. However, a vast majority would only feel comfortable paying for music that appeals to their souls. Essentially, it should be clear that the financial problems that are attributable to the

Today, classical music by many can be seen as a dying genre of music. Not often do people attend concerts to be moved emotionally, for entertainment, or as a means of socializing. Though groups such as 2Cellos, Piano Guys, and the YouTube Symphony Orchestra have recently driven people back to concert halls and have them watching classical performances online. The YouTube Symphony Orchestra has made a significant movement to this genre of music by live streaming their performances (one in 2009 and the other in 2011).

A symphony is an extended classical composition for an orchestra, found in Western Art Music. It often consists of four separate and unique, sections known as movements which are, in some way however, related to one another. The symphony as a genre began developing during the late 17th century and continued to do so up until the late 18th century. This important genre of Western Art Music is closely related to the development of the orchestra. It is therefore critical, in understanding the symphony, to investigate the development of the orchestra.

During the performance, the players showed their talents in playing a romantic piece which targets adults. Through this song, the performers communicate a message about the French culture and their love for jazz music. I would attend another concert to establish if there are any changes in the instruments used in playing the song. The presented factor stems from the fact that the performers are constantly transforming from classical to jazz music with the changes in time. Furthermore, I would attend another concert in the future to understand if there are any variations in the instrumentation. The Chamber Music Houston- Quatour Ebene performance suggests that musicians are increasingly embracing the use of modernized instruments which are easy to play during a concert. Also, the jazz performance changed my opinion about music. I now acknowledge that singers can be passionate and playful while on stage to create a sensible mood for the audience, therefore changing my perception on the style of music. At first, I thought that the music was the only instrument of communication while on

The paper at hand is a music appreciation of The New York Philharmonic’s performance of Gustav Holst’s The Planets at Avery Fisher Hall, New York, on 7th July 2013 at 3:00 p.m. This tenth season of Summertime Classics, presented by The New York Philharmonic, features Bramwell Tovey, who has been the host as well as the conductor of this series since its commencement in 2004 (Gilbert, 2013, p.1). Tovey, a Grammy-winning conductor is renowned all around the world as a highly versatile musician due to his “artistic depth” as well as “charismatic personality” that reflects in his works as a composer and pianist (p.1). On the other hand, The New York Philharmonic is an orchestra group that is comprised of highly talented musicians who by playing musical instruments such as violins, piccolo, cellos, trombones etc are able to bring in the essence of the works done by original composers (Keller, 2012, p.7).

Originally, orchestras are full of auditory experience. Now, many orchestras attempt to increase audience engagement by adding more experience. In the interview, Calgary Philharmonic Orchestra introduces a program named “Cirque Musica Holiday Spectacular” (Calgary Philharmonic Orchestra, 2015). This is a Christmas performance especially in a holiday season, in which Calgary Philharmonic Orchestra collaborate with circus, offering the audience a chance to watch daring aerialists being suspended high above the orchestra and gymnasts performing stunning feats, while listening to the music. When circus meets with orchestras, give the audience are treated with a visual and auditory experience.

I attend the concert “UA Philharmonic Orchestra” on Friday, October 10, 2014 at 7:30 p.m. The performance location is Crowder Hall, School of Music, University of Arizona. This hall has 544 seats. The concert has two programs. The first program will feature Ludwig Van Beethoven’s Symphony No. 1 in C Major conducted by Matthew Spieker. The second program is "Dance of the Tumblers" from “The Snow Maiden” by Nikolai Rimsky-Korsakov and "Danzón No. 2" by Arturo Márquez. The conductor is Ace Edewards. He is a doctoral student. The two programs are instrumental music. The group of the instruments used in the performance is: group of violin, group of viola, group of violoncello, group of bass, group of flute, group of oboe, group of clarinet, group

Traditional purposes of various events and situations, including an orchestra concert, become overshadowed by what society deems as eye-catching. As a composer, Igor Stravinsky takes it upon himself to discuss the issue at hand. Igor Stravinsky expresses his contempt toward the source that receives the public’s attention and respect, the orchestra conductors, through his abundant use of similes that create a despicable image of the conductors, his sarcastic diction which displays Stravinsky’s bitterness, and his metaphors that symbolize a greater meaning behind them. The mention of politics initiates a negative or rather, a tense mood, which works to Stravinsky’s advantage in portraying his disdain as he criticizes that “conducting, like politics, rarely attracts original minds, and the field is more for the making of careers and the exploitation of personalities - another resemblance to politics -

In this project, the student mentoree learned about the field of conducting an orchestra. The mentoree had the experience of getting to work with children of all age and level difficulty. She had the opportunity to learn and mark a score of music and conduct to the students in a piece of music. The mentor and the mentoree went over all of the different types of time and key signatures. They also did twenty hours of practicing the piece of music the mentoree will be performing the final performance.

Music, one element of life although altered, molded, and crafted has continued to strike the curiosity in our imagination from century to century. Music is an experience for everyone from the most musically devoted students and teachers to the concert audience and even the individuals simply listening to the radio throughout their daily activities. Music is one aspect that appeals to the variety of individuals in the world despite their differences in belief, personality and culture. Music is one of the only elements of life that allows us as individuals to enjoy something cohesively. The mystifying element that we call music almost seems impossible to define but Aaron Copland, one of the many renowned composers and conductors of the 20th century, attempts to condense the idea of how we as listeners analyze and evaluate music in his book, What to Listen for in Music. This book written upon a, “compilation of lectures he had given at Manhattan’s New School for Social Research” defines the aspects of how we listen and evaluate music, what aspects of music we should analyze, how both as a combination create the aesthetic of music we enjoy as listeners (Copland vii).

The feeling I get as I listen to each section of the orchestra is that they have something to say to each other and that the texture is linguistic and emotional as the string section sets the heart of the melody and the percussion and woodwinds imitate or answer with their own melody.

Music has always been apart of my life ,from the tender age of six years old we have ever been apart. The art form of musical arts will forever intrigue me and compel me to push myself to my musical limit. The history of the evolution of music through the centuries is quite alluring. The formulation of musical intellectually concepts and leaps of faith that composers at the time

Music is one of the greatest human creations (DeNora, 2000). It plays an integral role in human society worldwide irrelevant of race, gender, age, wealth or well-being (Kemper & Danhauer, 2005). Indeed according to Batt-Rawden (2010), playing different music in diverse situations can introduce listeners to the desired and relevant atmosphere. In most circumstances, music is played to entertain people, but it can also form part of an accompaniment in sad situations. Music is often the fulcrum that influences the listener by creating a unique ambience and atmosphere (Bernatzky, Presh, Anderson, & Panksepp, 2011). Chamorro-Premuzic and Furnham, (2007) adds that music can be a medium to enhance communication,

In 1878, the great Russian composer Pyotr Ilyich Tchaikovsky composed the opera Eugene Onegin, a riveting and tragic tale about a young woman who falls in love with a man named Onegin, only to marry a prince in the end and leave Onegin in despair. When an individual watches a performance of Eugene Onegin, the production bombards their senses. Lights, motions, costumes, but most importantly music. Imagine you are sitting in the back of the Bolshoi Theater in Russia, watching Eugene Onegin for the first time, you are sitting in the back, in a high balcony far from the actors. At the climactic moment where Onegin cries out in despair for his unattainable love, people around you weep, you feel sad too. However, the opera is in Russian, you cannot understand a single word, nor can you see the expressions and movements of the actors very well. How does music elicit such a reaction, and how does one define a ‘climax’ in music? Using Jerome Bruner’s The Narrative Construction of Reality, I will identify and analyze three main qualities that make music a powerful narrative. All ten of Bruner’s qualities of a narrative arise in music but I will focus on the three most important. These are narrative diachronicity, hermeneutic composability and canonicity and breach. Also, I will differentiate music’s narrative character from a ‘universal language’ as it is often called. It is important to differentiate the two because many people have noticed that music causes an

The two pieces that will be compared are Haydn’s “Surprise Symphony No. 94” and Radio Head’s “Pyramid Song.” The two will be examined based on multiple music concepts such as; meter, contrast, repetition, balance, musical features, texture and form. I will also share my own personal thoughts of the two pieces, otherwise known as affective response. The organization of the essay will be as follows. The musical concepts will be explained for each piece and then compared to one another. Lastly, my own interpretation and emotions for the pieces will be shared.