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The influence of classical music
The origin of all modern american music
The influence of classical music
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Being a jazz standard and commonly played by a military and other marching bands, this piece was first composed by Benny Golson and was first recorded for Blue Mitchell’s Riverside album Big 6 on July 2nd and 3rd, 1958. This piece was influenced by New Orleans marching bands, and “starts in long meter form and transforms back into regular time. From Leonard Feather's point of view, “the theme with its slight bugle-call orientation, has a period quality that ties the work
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
...John’s most famous pieces of music is the American march “Stars and Stripes forever”. In an act of 1987 by the U.S Congress, this song is now officially the National March of the United States of America. This song was composed on Christmas Day in 1896. He composed it just after he learned of the recent death of his band manager, David Blakely. The song was first performed at Willow Grove Park on May 14th 1897. The song is performed in the key of A-flat and follows the standard military march form.
Gwendolyn Brooks' "First fight. Then Fiddle." initially seems to argue for the necessity of brutal war in order to create a space for the pursuit of beautiful art. The poem is more complex, however, because it also implies both that war cannot protect art and that art should not justify war. Yet if Brooks seems, paradoxically, to argue against art within a work of art, she does so in order create an artwork that by its very recognition of art's costs would justify itself.
JAZZ written bye John Fordham-Erin District High School Library-Date of publication: 1993 by the Reader’s Digest Association-Publishing company: RD press-Page numbers: 64-65
This tune became a jazz standard due to its slow harmonic progression that sounds like blues, and Billie’s recording in 1936 is a true example of just that. The low, crawling music begins and drags on, while Billie begins to croon in a completely soulful way. What we see come from Billie in this is complete sincerity in the form of music, and she popularized this song and led it to become number twelve in the U.S. pop charts, further cementing her stardom. Ella recorded her version some time later in 1958, on her and Louis Armstrong’s Porgy and Bess. Again, Ella sings with clear dictation and is able to express her three octave vocal range freely. Her version does not invoke as much gut-wrenching emotion as Billie’s does, nor does it explicitly stick to the pure blues style, but it conveys the story and message as the lullaby that it is. With both Ella and Billie recording their renditions of this opera piece, interest in the opera and with jazz music has continued on.
Sparke, Michael. Liner notes. Live From the Las Vegas Tropicana. Music by Stan Kenton. Capitol Jazz, 1996.
The brass instruments in the background are played in ostinato form. This piece was written by Puerto Rican Juan Tizol, who played the trombone solo. Cootie Williams would later improvise on the piece, coming up with his own version of "Caravan."
The album ‘Kind of Blue’ by Miles Davis was released on the 17th of August 1959. Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. The style of the genre is called modal jazz a part of the cool jazz genre. I will be discussing the Rhythm, Melody, Harmony, Form and Structure and texture of the album ‘Kind of Blue. The Album ‘Kind of blue’ has five songs, called ‘So What’, ‘Freddie Freeloader’, ‘Blue in Green’, ‘All Blues’ and ‘Flamenco Sketches’. Since its release on August 17, 1959, Kind of Blue has been regarded by many critics as Davis's
In this assignment two Jazz works from two different decades will be compared. The 1959 recording, “Take Five” by Paul Desmond(Wikipedia, 2015) will be compared with “Hallelujah Time” by Oscar Peterson, recorded between1963 and 1966(Wikipedia, 2013). Firstly, the influence from the composer’s background and experiences on his composition will be discussed; secondly, the development of technology and its effect on the composition will be examined; finally, the use of instrumentation and compositional devices of each work will be discussed and compared.
According to Josef Skvorecký’s “Eine Kleine Jazzmusik” preamble, his story is set in Czechoslovakia in the 1940’s when Aryans tried to suppress Jazz music. Throughout the story, a band by the name of “The masked Rhythm Bandits” fought against the Aryans through Jazz. This was an example of symbolic fighting through music during that time period in Czech history. This first passage from his story starts at the bottom of page 232 and continues onto page 233. It states, “The more he doted on his Jazz trumpet, the closer he was drawn to Suzy. And Suzy, our sweet Suzy, was in turn drawn closer to the band and discovered within herself a pleasant, agreeable husky contralto voice and a genius for rhythm and syncopation… My heart beats to...
A man with the “big noise” saw playing from the soul and heart. The place is New Orleans and the starting point of the wonderful world of jazz. New Orleans is where people are creative and not judged by the way they play their music. Buddy Bolden was one such of a person.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
“Faith is taking the first step even when you don't see the whole staircase.” Martin Luther King Jr. The movie Facing the Giants is written and directed by Alex Kendrick, with some help from Stephen Kendrick. Main actors/ actresses that star in this movie include, Alex Kendrick (Grant Taylor), Shannen Fields (Brooke Taylor), Bailey Cave (David Childers), and Jason Mcleod (Brock Kelley). This movie is based not only on the game of football, but also on how to build your faith in things that can not be seen. This movie is strong on Christian faith, and provides the viewer a sense of strength. Facing the Giants is classified to be a Christian/ Drama. This movie is definitely a success. Faith, family, and strength are three major points that this movie pushes on viewers.
The whole composition was composed by Ralph Vaughan Williams (1872-1958). The three movements were the March, Intermezzo, and the March. The first movement was titled “Seventeen Come Sunday”. The piece was very light and martial. In addition, the piece moved quickly yet utilized both percussion, brass, and woodwinds in a way that played well with each other. In other words, each timbre was able to be observed. In addition, the dynamics ranged throughout the piece which gave the piece an overall good contrast. The first movement also included different styles within it where there were fast moving notes and then more longer harmonic notes.