Musical film

to more set classes, and how much of the similar voice-leading properties are retained. There are, however, multiple questions that I am not sure about the spaces created in the paper, as well as those by Tymoczko and many others, in terms of its musical value. I am also not sure about the use of the pitch-class clockfaces and the current representation of pitch center of balance, and I wonder if there is

key before modulating to another major key with chromatic phrasing before returning to the original key. The piece contains numerous overlapping notes and unusual rhythms adding to the complexity and sound quality. La plus que lente contains long musical phrases with notes played in a smooth manner with very few breaks between the notes alluding to the waltz itself. Within the piece, there is dramatic contrast between rhythms and volume in various sections. The gradual crescendo from ‘piano’ (soft)

5 things I believe we need to work on as an ensemble is tone quality, rhythm, intonation, dynamic changes and articulation. I believe this because the judges mentioned these things more than 3 times altogether. One of the judges commented that we should blow more air as we play so we don’t go flat or sharp. Another comment was that we should know other people’s parts in the ensemble. Some people in the ensemble play their parts way too loud that we can’t hear the woodwinds when they have the melody

The sixteenth notes in the red box acts as a junction into having the two soloists switch roles and gives the intro to the second theme a lot of suspended and anticipated notes in the sequence. Moreover, the blue box in figure 7.1 represents the exact same lyrical line in figure 5.2 except this time the roles are now switched; the first violin solo showcase the moving sixteenth notes first, followed by a group of eighth notes with the second violin solo, then the second violin solo repeats the sixteenth

On Wednesday, March 16, 2016 at 5:00 p.m., the Division of Music at Bob Jones University presented the Woodwind Ensembles and performed eight movements. Robert Chest and Esther Waite directed the performance in Stratton Hall at Bob Jones University. The program included Toccata in G Major for Flute Quintet by Theodore Dubois; Suite for Four Equal Clarinets by T. Stewart Smith; Trio in B-flat Major, Op. 51, No. 1 by Tranquille Berbiguier; Divertimento for Clarinet Quartet by Alfred Uhl; Trio in A

occurs when the frequency of a vibration forced on an object matches the object’s natural frequency and a dramatic increase in amplitude occurs” (Hewitt 521). Resonance causes the tubes of varying lengths to produce different pitches. Tubes used in musical instruments are either open at one end, or open at both (excluding the rain stick), which allows for nodes and antinodes to form within the tube. Nodes are “pivot” points on

for “Vanya and Sonia and Masha and Spike” to begin. The show did not have an empty seat from opening night Oct. 8 to the closing matinee Oct. 18. “Every time the lights faded I just kept hoping it wasn’t over. I wanted more,” Joel Caballero, CMU musical theater freshman, said. “The writing of the show was so relatable about the older characters. I felt I could be looking at myself it 40 years, which honestly, was a big wakeup call.” “It was really funny, but also made you think. The actors did a

This aim for this project was to create a remix or mashup of different songs of our choice. We were to create the project on programs like Audacity or GarageBand. The intended audience for this remix was anyone that is interested in music. There is no specific age limit to this project considering it was made to be appropriate for everyone when making it. The purpose of this project was to gather an understanding on using programs like Audacity and enhance our skills. There were many design features

plagiarism in the use of making music today and looking to see if musical quality has suffered. Some may argue that the quality of the music has suffered, this maybe true but is it only a problem that lies within sample-based music? I will look to put forward my argument and ideas as to why I think music on the whole may have suffered and it is not just down to sample based music. “Musical borrowing is a pervasive aspect of musical creation in all Genres and all periods.(From J.C. Bach to Hip Hop:Musical

Music, ed. Jarmila Gabrielova, and Jan Kachlik (Prague: Institute of Ethnology, 2007), 311-12. Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quartetly Vol 62, no.1 (January 1976): 150. The piece begins with sopranos without organ introduction (only later Dvořák added two bars of introduction in the orchestra version). The musical structure is mainly polyphonic, in which every voice at one time or another presents the theme and no voice is limited to the role of mere accompaniment