Solfège de L'objet Sonor by Terry Riley In C

This expressive claim of musical originality sets up a point of contrast with the idea of performances in a tradition of opera 's and concerts, that had been part of the more classical theory of art from

Talking about the performance art at that time, ‘Theater of Found Sound’ by Christian Marclay is one of the most popular works. (Fraenkel Gallery, 1979) He admitted the fact that he is under the influence of Marcel Duchamp and attempted to proceed experiment on composing phonograph records and turntables together. This fresh way in dealing with voice has arouse the awareness of musicians and artists in the following generation.

Music should be understood, but not at the expense of the performer creating a “right result” and in turn taking away from the listeners enjoyment of the work being presented.

To understand why music is a product of human intention and perception, we start by defining or understanding the nature of music. Music is defined as the sounds or combination of vocals and instruments in a way that it produces a form of beauty, expression, or harmony of emotions. Arguably, people compose or make music through many ways (Resnicow, Joel E., 20-29). While some people might compose music without incorporating instruments, others use instruments to produce beats that match with their sounds. However, to argue that the

In addition to the elements of music, musical concepts such melody, harmony, and texture are also important to “The Piece of Resistance.” The song’s melody was played in a smoothly, connected manner, which means it is best described as a legato. This smooth melody resulted in a consonance harmony in the piece. There is a distinct main melody played throughout the song played by the drums being accompanied by the other instruments. Ultimately resulting in the different sounds competing for attention, which is a characteristic of the piece’s polyphonic texture.

Bach’s complex compositional style incorporates religious and numerological symbols that fit perfectly together in a puzzle of musical code. Demanding unfaltering facility in dexterity, precise pitch, particularly in the multiple stoppings, as well as sensitivity to implied polyphonic and harmonic textures. These exceptional works may be the closest thing we have to a “perfect” composition, so why is it that musicians have drastically different alterations and interpretations of his works? It is as if quality, intensity, duration, and even pitch are subject to the performer’s adaptation. By mapping out these alterations performers make to Bach’s music, it becomes possible to map out their respective musical personalities.

inspiration for the composition of the piece, as it was written in French to make use of the language’s sound and enhance its decadence.

Throughout the many years of time, music has been associated with the lives of humans. Ranging from the oldest recorded music in 1888, The Lost Chord, to Motherese, or the way that mothers “sing” to their babies to communicate to them, to our modern music of radio stations blaring our favourite song while we drive from place to place. Music has found its place within human lives, intertwining its existence with ours. Incredibly enough, humans have found a way to harness music with our very hands and create elegant melodies from tools. Beginning with instruments that look like a guitar, instruments that look like a flute and instruments that look like a drum, we began making controlled music with rhythms and harmonies. As years passed and civilization began to grow, musicians came to be. These ancient musicians played music for others on the instruments that they would make and performed for many.

“Big, Big World”, the first time I listened this music is when I was in elementary school. A girl played the music in the classroom, and I was attracted by the sweet-sounding melody and the singer’s clean and mellow voice. I only knew a few english words and didn’t know who sang the song, but at that time, I started realizing the charm of english music. Afterwards, I learned more about english and translated its lyric by myself. I tried to sing “Big, Big World” and understand the meaning of the song.

With Tag Book, American drummer-composer Charles Rumback, a mainstay of the Chicago jazz scene, has his second release of the year on ears&eyes label with only nearly six months separating it from the previous release, Three. If the latter was a collection of three original compositions plus a rendition of Andrew Hill’s “Erato”, all of them complying with a 3/4 time signature, the newest album comprises five homogeneous pieces executed by the same trio with Jim Baker on piano and John Tate on acoustic bass.

All these pieces are beyond comparable since each piece is unique. Even though most of these compositions consist of bands, each band manages its peculiar structure and presentation of each musical piece. Both presented solo piano instrumentals are diverse even though they only use a piano. The technique, style, mood and presentation of each song is in the hands of the artists and composer, giving each harmony an exclusive place amongst the

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

A number of years ago, I had the opportunity to play a concert with Livingston Taylor (also known as “Budget James Taylor”), providing an opportunity for a folk-rock singer-songwriter to perform standards with a full jazz band – something not entirely different from the Stamey-orchestra relationship. Much like the Grinnell Symphony Orchestra, we only had one extended rehearsal with our guest after several months of rehearsing our charts; inevitably, there were some kinks to iron out in tempo, mood, and overall consistency. Unlike the GSO’s

The piece is a rhythmic composition, which includes parts for vocal, piano and drum. Between parts, there are structured interplay to provide interaction between therapists and clients. Apart from this interaction, Nordoff and Robbins also integrated four different melodic and rhythmic ideas into the piece, which helped to maintain the emotional interaction in a musical relationship.

On October 4th, I watched Louis Armstrong Live in Concert in Berlin in 1965. In this concert, I noticed Armstrong played a variety of songs with a variety of different tempos. The first song he played was more adagio and right after that his song picked up in tempo and changed to a more allegro with a vivace, lively feel to it. Each one of Armstrong’s songs had a different feel to it.