Piano Reflection

violin and piano recital performed by Dr. Khachatryan on piano and his wife, Mrs. Neglia-Khachatryan on violin. Together they performed three pieces, two of which being sonatas and containing individual movements. Violin and Piano Sonata, No. 6 in A Major Op. 30 No. 1, composed by Ludwig Van Beethoven had 4 movements. Violin Sonata No. 3 in D Minor Op. 108, composed by Johannes Brahms. They finished the recital with a piece by Franz Schubert called Fantasy in C Major for Violin and Piano D. 934. It

sense of conflict and pain that is heard throughout the piece. This first movement has a great variation of dynamics as well. There are long sections of fortissimo that, to me, sound like the intense fighting, and then there are sections of piano and mezzo piano that, to me, sound like lulls in the scene where the soldier notices something very sad right before he is whisked back into the fight. This sense of a fight scene is also noted with the technical styling of the movement. During the intense

acoustic piano: The well versed and the completely oblivious. Most other recording engineers tend to secretly break a sweat when looking forward to a critical gig recording the piano. Miking the piano is the big brother of miking the acoustic guitar. The complex tones and harmonics emanate from the whole instrument. For this reason, you will need mics that can handle a large frequency range with minimal off-axis coloration. Keep this in mind when choosing the right mic for the job. Get the piano ready

The piano in “Two Kinds” by Amy Tan is a vital symbol to the story. The piano was first introduced when June and her mother were watching television. The narrator illustrated that the piano music on the television, “…was being pounded out by a little Chinese girl, about nine years old, with a Peter Pan haircut” (Tan 384). This closely resembles the description of June, and most importantly, the mother seemed to judges the girl has harshly as she did to June. This is evident when June argued, “maybe

On September 12th, 2017, I attended a piano concert by Jeffrey Jacobs that consisted of some various 20th century repertoire composed by Ian Dicke, Béla Bartok, George Crumb, and Dr. Takuma Itoh. All of these pieces were extremely fascinating to listen to, and I enjoyed every minute of it. The first two pieces on the program, entitled “Intermezzo” and “Soliloquy,” were both written by Dr. Itoh. Both works contain contrasting differences in themes, difficulty, and structure.

"At the point when Melissa Smey, official chief of the Arts Initiative and Miller Theater at Columbia University welcomed the group of onlookers for a late evening show of the music of Gyorgi Ligeti – displayed by Taka Kigawa, piano and Jennifer Choi, violin, both individuals from the current chamber gathering Either/Or and autonomous French horn player Rachel Drehmann – she said, "In the event that you haven't been to one of our Pop Up Concerts before … What took you so long?" It's a decent question

and how all these elements relate to the “big Idea” of having something or someone to hold onto can make you stay focussed and not give up. An important aspect of polanski is the use of aural elements such as diegetic and nondiegetic sound of the piano playing which is a motif throughout the visual text as we see the same piece of music being played either by Szpilman himself or as background music the song is played in the beginning and also in the scene parallel to the scene where he encounters

Project Title “How to be a Reflective Educator with Children (the Value of Critical Reflection)” Introduction Children have the right to be listened and heard; it is critical that as educators we let the children know that their opinions in matters concerning them, such as what experiences they would like to engage in, is valued. These positive outcomes will extend to the children reciprocating this with other peers, as they begin to interact positively with others. Rationale Throughout this Degree

with behavioural and emotional issues from a broad variety of differing backgrounds and life experiences. As a consequence, I constantly have to be very creative in my professional practice. Employing the three concepts of Brookfield’s critical reflection allows me to challenge any assumptions I may have and offers me the opportunity to evaluate the effectiveness of my teaching practice. My area of improvement was in specifically, the delivery of English with learners who were demotivated and disengaged

Throughout this piece of writing I am going to "critically discuss the assertion that teachers themselves, are their own most important resource when it comes to the development of their professional expertise." When evaluating this claim I will address a number of topics including reflective practice, professional expertise and the correlation between them; as well as this I will refer back to the GTCNI framework and what it has to say about teacher effectiveness and the variety of tools that teachers