Wherein The Beast Is Ever More And More Analysis

I found this piece very interesting; it tells a clear story, and has a dissonant accompanist which makes it sound stylistically similar to the music of musical theatre.

This very much represents the physical crossing from the ‘normal’ world into a world which is not seen from the outside, and pushed to the edge of society, and further resembles a glimpse of hope for the patients’ recovery. In the later scenes of the play, during the performance of Mozart’s opera, the entire theatre has been transformed into something completely different, with its white walls, the bright, colourful costumes, and Mozart’s “music of the spheres” echoing within the once dark and dismal place. The new theatre in all its splendour metaphorically resembles the transformations of the characters themselves, and from this, the audience is encouraged to realise the significance and therapeutic nature of art, in this case theatre and music: “the music of this opera will keep the world in harmony”, especially in contrast to hopeless treatments such as shock therapy. Through his play, Nowra also encourages the audience to agree with his personal view that war is unnecessary, and in a way is a kind of madness itself, due to its chaotic and uncontrollable nature.

His feelings of betrayal are translated to his sleep, as he dreams of his dad playing "fiddle and bow" to a "malignant" dance, the intensity of the words, reveal how serious the bond between mother and child are, and how hurtful a brush aside is to a juvenile's spirit.

In the third stanza, the diction of “heaven” and “noble” allows the speaker to craft an image of an almost godlike juggler. This view of the juggler creates the tone of amazement and ardent which breaks through the previous gloomy description of the earth in the first stanza which “falls/ So in our hearts from brilliance” (lines 3-4). This reveals that the world the juggler has made, unlike the earth which the speaker doesn’t appear to have fond feelings of, is a joyful and light-hearted place that the speaker is easily captivated by. As the juggler “reels that heaven in” (line 16), creates an atmosphere of an almost unearthly experience. This description of the juggler as a master of spiritual elements allows readers to view how the speaker's attitude is uplifted and enlightened.

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rendering it, clawing it until it breaks through to the jungle beyond. I follow those heathen - follow them exultantly. I dance wildly inside myself; yell within, I whoop... My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know.

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

Long-revered altoist phenomenon David Binney is certainly proud of having created a very personal style within the modern jazz, mirrored along the nearly 30 years of his notable career. He has played with other ingenious artists such as Chris Potter, Bill Frisell, Donny McCaslin, Craig Taborn, Scott Colley, Edward Simon, Brian Blade and Kenny Wollesen. Those collaborations spawned truly exhilarating albums – Free to Dream (Mythology, 1998), Welcome to Life (Mythology, 2004), Out of Airplanes (Mythology, 2006), Cities and Desire (Criss Cross, 2006), Graylen Epicenter (Mythology, 2011) – that should be on the shelves of any jazz lover. In addition to his own projects, Binney has always a very busy schedule as a sideperson. The immensity of his

An African folk groove enriched with wha-wha infusions, vibraphone melodic inspiration, and eccentric soprano drives are keys to turning “Life is Limitless” in an elated celebration. This rapture is disintegrated, giving its place to a radiant spirituality, when the following track, “Universal Harmony”, begins to spin. This tranquil prayer, a true moment of inspiration, acquires further elasticity when the drummer reinforces the triplex kinesis reserved for the improvisations.

Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.

At this moment, Rob MacGregor is kneeling on the ground all dirty, bruised, with a look of defeat as he is sentenced to death. His adrenaline kicks into gear, as he breaks away and falls into the river. As MacGregor is drifting away with the stream, he is being shot at and chased. The look on his face is no longer defeat, but a look as if he can conquer it all. The song choice is supposed to amplify the amount of energy MacGregor currently has. It is supposed to keep one on the edge of their seat, waiting to see if MacGregor successfully escapes. This song has such an unsettling feeling of suspense that will help depict the courageous act MacGregor is on as he drifts down the river from Montrose’s men.

The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

For this essay I will be unraveling two poems to find a deeper meaning from The Norton Anthology of World Literature, Volume B. The two poems are “A Lover’s Prize” by Beatrice of Dia and “The Wound of Love” written by Heinrich von Morungen. Heinrich and Beatrice are considered to be medieval lyric poets; however, Beatrice was a medieval lyric poet from France and they are known as troubadour. Beatrice just so happened to be apart of southern France’s trobairitz which was just a tribute to some of the best troubadour of their time. She was married to the Count of Viennois, Guilhem de Poitiers but she was having an affair with another troubadour who went by the name Raimbaut d’Orange and their poetic style was quite similar. However, when it comes to Heinrich von Morungen not much is known about him. From the little we know about Heinrich, we find that, his style of writing fit into the category of Minnesang which means “songs of love”. His lyrics (that have survived) are also some of the greatest in early German history. Nonetheless, these writers have both put forth some impressive work.

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.