For my concert write up, I attended the UCR Chamber Singers Valentine's concert on February 9th at the Culver Center of the Arts in downtown Riverside. It was a mix of ensemble pieces, solos, duos, and trios. The setting for the performance was a beautifully lit spot in the center surrounded by art. The audience seats were set up close to the performance area, in about 5 or so rows surrounding the front half of the 'stage'. By the time the performance started, it was nearly full, seemingly diverse, and made up of all ages. Certain members of the audience were very responsive to each performance and it was very easy to tell who was engaged and enjoying the show. They showed this by smiling, laughing, making eye contact, and recording, or taking For example, I would say the song choices were gendered because everyone chose a song sung by their own gender, no one went the extra step to transpose a song done by the opposite sex. The closest would have been "Bésame Muchó" done by Alfredo Medina, this particular song is known to be very masculine and passionate because of the rises and range of the piano and vocal parts. Yet many of the songs resembled each other because we were to choose songs fit for a valentines theme. As for the audience, it was not gendered, everyone was intertwined with each other and the engaged members gave similar responses, nothing pertaining solely to their gender. Because it was an all vocal concert, the atmosphere remained neutral in terms of a gender divide, no one performed or acted particularly masculine or feminine. All of the performers voices were gendered in terms of expected vocal qualities and ranges. The exception was "Lay Me Down" performed my Nicholas Falo and Robert Yates because it contained strong use of the male falsetto which could be considered feminine. Overall, I would say the performance both did and did not live up to the gender ideologies described by Koskoff. The overall masculinities and femininities were limited because the environment simply did not call for it, if any male showed hegemonic masculinity of let's say California,
In this production, there are many different characters but if need be, one person can play multiple characters as some did in Kaufman’s production. There are twenty four characters in the play, including eight narrators but not including the parts entitled, “others”. Most casts for this play are all men due to the fact that the character’s in the play are men. However, if putting this show on at Oklahoma State, there would have to be some flexibility due to lack of one gender
In conclusion, this show focuses on many aspects, particularly gender roles and sexism. Although this show could have more diverse characters, it focuses on male and female stereotypes very well. I appreciate that there are several strong female characters who aren’t afraid to stand up for themselves and perform typically masculine
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
Within this film the sociological concept based around sex & gender is hit quite a few times. Missy, a new comer to her current school, tries out for the cheering team. She is put under lots of scrutiny from some of the members of the cheer squad. She is underestimated due to her appearance and she proves herself to the team. They already had a candidate in mind, but the captain lets the other two team members know that Missy will be on the team. Hearing this noise infuriated them and they called Missy an “uber dyke” which is a sex and gender stereotype. Missy was treated this way all based on the way she prefered to
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
I enjoy and listen to variety of music from classical music to rap music. I have attended many concerts, mostly symphony bands concerts. However, interestingly, through whole my life, I have never experienced jazz music and I have never been to jazz concert. Therefore, it was hard for me to decide which jazz concerts would give me most pleasure and exciting experience. I researched for jazz concerts listing and I have decided to go to the Ron Eschete Trio Concerts because it was held closed to my house and was free.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
Our last piece, “Seal Lullaby”, could be a wonderful song if we fixed a few elements. To begin, the soprano one’s should be a little quieter in measures 9 and 10; however, altos should sing out more during these two measures. Furthermore, the altos should be more confident in the notes and sing out more in measures 19-26 and 41-43. In measures 1-12 and 53-74 we should practice unifying our vowels. As for rhythms, the altos have to remember to hold out the tied note in measures 56 and 57. Lastly, we have to find an emotional connection to the song such as imaging yourself singing to an infant. In conclusion, I think the choir as a whole needs to be more confident in the notes for this piece.
Morton Gould’s Spirituals for Orchestra takes the listener through an entire range of emotions. In the beginning of the first section, “Proclomation”, the strings have a tenacious and unyielding quality about them between the more severe blasts of the snare drum. The music then transitions to an alternation between the violins and cellos. Though in this transition the music is quieter, there is a mood of anger or pain throughout the section.
On Wednesday, May 23rd, I attended the College Choir concert in the Reamer Campus Center. The choir performed a variety of songs, ranging from pieces in Latin to traditional American folksongs. Two of the pieces featured solos, and one even featured percussion instruments. Mrs. Elinore Farnum provided piano accompaniment for each of the songs, and performed beautifully. I was extremely impressed by the talented choir members and their ability to sing such a varied range of songs.
The performance I attended for the concert critique was a senior recital for Teresa Norton and Tracey Barnes. They played violin and piano respectively. The concert was at Goranson Hall and I immediately felt a sense of closeness and intimacy due to the smaller size of the concert hall, which added to the sentimental value of such a special performance. They played a total of three pieces, which included Liebesleid by Fritz Kreisler, Terzetto in C Major, Op. 74 for Two Violins and Viola by Antonín Dvorák, and Sonata for Violin and Piano, No. 17 in C Major, K. 296 by Wolfgang Amadeus Mozart. Overall, I really enjoyed going to the concert and experiencing Idaho State’s music department.
The Concert of Europe The Congress System, which took the form of a series of congresses and diplomatic meetings held between 1818 and 1822, can be regarded as a practical expression of the rather general concept of the Concert of Europe. The Concert of Europe was an attempt to regularize the conflicting ambitions of the Great Powers in the interests of Europe as a whole. As such, its effectiveness was dependant on the willingness of all five Great Powers to show moderation in the pursuit of their individual interests. Without this, it would be impossible to reach a consensus on important issues. Although The Concert’s main aim was to maintain peace, revolts in different areas of Europe such as Spain, Portugal, Belgium and France, made its peace making facilities harder to obtain due to the delicate circumstances.
Then audience members who were perfect strangers who were screaming loudest would turn to each other with knowing glances and smile because they were sharing the same excitement and connecting with one another over their love of this man’s music. There was no pushing or shoving to get closer to the stage – it wasn’t that kind of crowd. Instead, there was mutual respect for one another’s space within the confines of the too-small venue. Nobody wanted to be the person who ruined it for someone else. It was this respect that made the audience members’ connections with one another that much stronger – we were all here to listen to this wonderful man’s music and see his performance – and, of course, we were here to enjoy it.