The Bublebee Sips Honeuy

The concert I attended was called the Faculty and Student Recital, which took place in the Cisco Auditorium on April 11, 2017. The music that was on the program was mostly what is called “classical” music, as well as a Chinese Folk Song, an electronic composition, and variations on an Indian Tala. In the classical pieces, the instruments that were used were the violin, the piano, the cello, and the oboe. In the electronic composition, the computer was used to make music. In the Chinese Folk Song, the piccolo was used to imitate the unique timbre of a Chinese flute. In the Indian tala, drums from Ghana were used to imitate the rhythm and sound of Indian drums. The piano, the violin, the cello, and the piccolo all originate

The pieces played in this performance were Humoreske by Bernard Alt, Ecos Armonicos by Craig H. Russell, Concerto Grosso by Ralph Vaughan Williams, Finlandia by Jean Sibelius, Concerto for Bass Tuba by Ralph

However, the most dissatisfying part about this piece was that it was difficult to understand at first due to the language barrier, but through the performance, enthusiasm, and efforts put forth by the singers, the piece was surprisingly enjoyable. In addition to the great attributes of the piece and the performance as a whole, there was a clearly, recognizable beat. Along with a sense of phrasing, that was notable when the choir members took short breaths. Other aspects such as meter, tempo, syncopation, subdivision, and rhythmic patterns that was also recognizable and noted, but will be mentioned in the later half of the

From an audience perspective, it appears the movements were based off bird like movements as the music has nature noises highlighting bird calls. The dancer’s movements embodied the bird like qualities and movements. Furthermore, the dancers were also not afraid to let their bodies go, there was no holding back with their movements.

Although lines, technical form, and tricks were being executed beautifully the Beethoven out played the dancers and I craved the larger dynamic of the group I had seen previously. Once exhaustion set in, I then saw the unison at the end differently each dancer became more authentic, with more to offer the rich context. A line of gestures formed while the dancers added an interesting groove, each finger gun alongside each surrender became a conversation within who is fighting and who’s questioning. The dancers move up stage fading from sight, and we are left with only their silhouettes.

The dancers’ movements throughout the performance seem to challenge and uphold gender binaries at the same time. At the beginning, when only female dancers are present their movements are agentive, strong, quick, and athletic-characteristics not usually allowed for female dancers. Their movements are similar to the wild and physical movement of Louise

The Senior Dance concert, 9 o’ clock showing consisted of seven dance pieces. The first piece was called “Heavy Dew”, this piece was comprised of a six-person group dance. The backdrop was a blue shading. The sounds in this piece were waterfalls, and rainforest sounds. The movements made me feel as though the dancers were creatures in a wilderness or a rainforest, it was fast paced. For the first part of the performance the group of girls are dancing in front of the audience together, then as the music turns to be more serious and intense, there is just one dancer on the stage. Then, once all the dancers come back onto the stage, the music starts to soften and slow down again and the lights begin to dim for the remainder of the performance.

The first song that they played was an instrumental titled “This Was Us.” The instrument that

Surprisingly, the children were quite attentive as they watched the concert. A few parents, unlike their children, did not pay attention. Rather, they used their phones, but it did not serve as a distraction for myself. Furthermore, the concert followed their introduction with a jazz variation of Twinkle Twinkle Little Star. Jazz and blues derived from North America. Murray Low, the pianist, began with a solo. He encouraged the audience to sing together, or a call-and-response. It was a reminder of the call-and-response form of the work songs in North America, except that the piece that the trio performed was not exactly a work song. The work songs were primarily used to coordinate production and to pass time (Titon). One example of the call-and-response is the YouTube video, “Rosie.” The leader starts with a line and the rest respond next. The bassist, Germaine, and the drummer, Krosnick followed. It was a least favorite due to the context of the blues; it expressed a heartbreak and sadness, which does not mix well with the piece (Titon). The second piece was Un Nuevo Dia, a samba piece which originated in Brazil (Titon). Samba is performed during celebrations such as carnival in Brazil (Titon). It was my favorite since Samba Batucada was blended. During the samba piece, the children sitting nearby came out of their seats and began dancing. They urged their parents to dance with them. The third piece was Mobius Trip, a blues piece. The blues originated from North America, and the piece incorporated blues elements such as improvisation and the “blues music (and jazz and reggae) shifts into and out of polymeter, playfully teasing the boundary” (Titon). The fourth piece was Gallope, which is an Afro-Cuban piece. It uses a clave-based rhythm and improvisation (Titon). Throughout the concert I have noticed that each musician held eye-contact and a

After the individual pieces we played Swahili Folk Hymn, directed by Mrs. Duker. We played this song well, it is a fairly easy song to play. This song definitely placed a special focus on the percussion, and they did a good

The evening of June 9th started with the Douglas Dunn Dancers expressing themselves lightly and freely at the sound of Bill Cole’s UnTempered Trio. Bill Cole and Ras Moshe assured the serpentine oriental melodies that, juxtaposed or not, often deviated to more emancipated explorations, while Lisette Santiago was

The first piece they played was the “Sextet for Horns” which was created by Gregory Kerkorian. Kerkorian is an American composer who wrote works for orchestra, concert band, chamber music and educational work (“Gregory Kerkorian”). This piece consisted of a brass instrument the horn.

Jessica Lang Dance’s concert showed at the Irvine Barclay Theater on February 19, 2016 was successfully launched with stunning exhibitions in one night. For my specific concert, it was held on the second floor at entryway number five. As I was expected, the stage was fairly small, and has two levels incorporate the lower and upper (balcony), in the mean time of looking at the stage, the concert began right about five minutes later. The main scene of an opening performance was a male dressed in tight clothing, the dance is called Solo Bach. With the blissful music and splendid stage, the artist conveys the audience to an appreciated mindset with his spectacular opening. The movements are not so complicated, rather simple and delicate as he proceeds throughout the entire performance. At every end of each display, there was a small break between each showing.

The speed that was employed in the piece was very moderate and was well handled by the chorus of singers who sounded buoyant and fresh at all times, even to the very last stage of the performance. The arranged movement that was used in the piece provided the contrast between different levels of vocals in a very intimate manner and way. This was very instrumental in providing the path that paved way for the difference between innocence and experience by the two different groups of performers. It gave a clear

Bolero is a one-mvt. Work that starts solftly and ends as loudly as possible. The structure was based on the repetition of only two melodies. Approached as a self-imposed orchestration challenge, it contains a persistent underlying triplet rhythm that is similar to what is found in the Spanish dance music of the same name. The goal was to use a basic rhythmic underpinning of Spanish dance music to convey character, rather than to rigidly follow any particular dance form. Its theme and rhythm are repeated to the point of obsession w/o any picturesque intention in a moderato assai