Protest In 1908, By Philip Glass: Music Analysis

There’s a power in music that makes people unify and let their voices be heard. Music brings the world together music proves that it has the power to bring people together. Protest songs are the voices of democracy. They represent us society, to make a change in the world. Protest songs show that we are unhappy about choices that were made by Congress.

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

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.

Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and

Philip Glass’s music has wild rage from opera to film; scores to symphonic etc. During his minimal period, he was likely to use cyclic structure and simultaneous repetition. However, in around 1980s, Glass gradually departed from minimal music and created clearly neo-tonal compositions.

In this essay I will be discussing the extent that Dmitri Shostakovich adhered to and rebelled from the conventions and traditions that were normalized in classical music and I will offer varied examples of the many times Shostakovich has obeyed and dissented within music throughout his career. The career span of Shostakovich extends from 1926 when he presented his first major work, Symphony No.1 to 1970 when he presented Quartet No. 7.

There are many great composers throughout the centuries. Each composer has a story to tell that is very interesting, when you dig deep for the information. Every composer has their own way of making, composing and producing music. Irving Berlin is no exception. Berlin is an extraordinary composer, and when examining his story amazing facts are found. Berlin is not just a musician and composer, he is a man of many hats. Berlin’s life is extremely compelling.

During the civil rights movement in the 60’s nonviolent protest was a popular method of expressing beliefs. While methods such as marches and boycotts were certainly beneficial, there is another aspect that is not often considered: music. “African American spirituals, gospel, and folk music all played an important role in the Civil Rights Movement.” Activist musicians had many songs that they used in a variety of ways, such as providing motivation during protests or strength against harassment (Music in the Civil Rights Movement). Though on the surface, music might not seem like it could make much of an impact, music definitely had a crucial role in the civil rights movement. In their interview with the Southern Oral History Program, folksingers

He does not create scores with orthodox musical methods and his music can be unpleasant or even irritating to some; yet by using a technological process, he reveals a naturally occurring acoustic phenomena and demonstrates it an unforgettable physical form. In the simplest way one could imagine (play-record-play-re-record-repeat), Lucier successfully guides the audience to pay attention to listening itself, to sound itself, to the space that we stand in, to the effect that the surrounding environment may have upon us. Other composers may deliver emotions or opinions through their works, but Lucier manages to erase all these subjective judgements, triggers a self-reflecting thinking process and initiate a borderless experience that all audience shared

Drawing upon literary modes and textual form, both composers construction of diversity is explored through the psychological and emotional impact a landscape has on an individual. This, shaping the audiences’ response to understanding “our” place in the world, such that through representation composers meaningfully engage with the audience and shape their response.

In this essay, I will be discussing the music of Jewish composers who were unable to showcase their pieces, due to the massive animosity towards their race, despite having composed several outstanding pieces of music. Although they were persecuted severely during the Nazi era, they too contributed to the international music community. For many of the Jewish composers, the rise of the Nazi Party in Germany and Austria was an increasing danger to their safety in the country. They had to make difficult choices to survive –To stay in Germany and remain oppressed in their very own country, or to leave, and be detached from their own cultural roots forever.

Arnold Schoenberg believed that the developing harmonic language of the late nineteenth century had led to a musical crisis. He felt that tonality had been stretched to its absolute limits, and that what was to be said within its confines, was already best done by the great composers before him. Schoenberg believed he existed within a lineage of composers, and therefore, was the successor to deliver the next big innovation in music. This idea of pushing music forward is not a novel one though; we have long observed similar acts of musical righteousness. Simply consider the first chorus in a symphony as in Beethoven’s Ninth, or a requiem text that is not in Latin as in Brahms’ Ein deutsches Requiem. Our concern here, however, is not with the number of times in which the musical world has been overturned. Rather, it is whether or not Schoenberg is a credible addition to that tradition of innovative composers.

Accordingly a sense of discomfort pervades confronting texts of the era as composers experiment with subject matter by amplifying humanity’s growing dissension with towards the values and ideas that shaped

At the point when one considers fanciful specialists, it would shock no one that the names of Beethoven and Michael Jackson would emerge in the discussion. On one hand, you have the "Lord of Pop", who is most generally known for his commitments to contemporary music and move everywhere throughout the world. While, on the other, you have an expert arranger and musician; a musical wonder from a youthful age. Both were masters in their privilege. In this paper, we will make an examination of two individual pieces particular to both men and the effect they had upon society on a more general level.

As the play is a memory play the lighting is usually quite dim to give