The stage and the crowd were always filled with commotion, always having the ability to bring enthusiasm into the night. There was no time to let our attention go from the performance on the stage. The third movement, called the Dandy, was a frightening movement, filled with intense fluctuations of registers and volume. The Dandy began with loud, high-pitched vocal singing with flute playing on the background. Moreover, this third movement was filled with fast tempo of both vocal singing and instruments being played, such as the high-register flute and piano that were performed. The intensity skyrocketed in comparison to the prior second movement. The audiences and I were shocked by the movement, clueless on whether to praise and applaud for …show more content…
such a terrifying performance. Yet, the movement has managed to inject a powerful emotional state of terror within me. Surprisingly, with its high intensity, the instruments used in the third movement were only piccolo, clarinet, and piano. This third movement has horrified us all, but it surely has shown an extraordinarily unique style of music composition. Truly, Pierrot Lunaire is an extraordinary piece with phenomenal compositional freedom. The fourth movement, called ‘A Pallid Washerwomen’, started with soft medium-pitched melody which was slow in pace, differing largely from the third movement. The fourth movement did not involve extreme fluctuations, it was fantastically composed to inflict a sense of pity to the listeners. I felt a great sense of sympathy, and I imagined those people stranded on the street, living in extreme poverty, having to work harder everyday than the rest of the society, but only to receive a life full of disrespect. As I glanced through the rest of the audiences, some had tears watering their eyes, while some wrapped their palms around their faces, showing expressions of sympathy. The beauty of Pierrot Lunaire did not come from the fact that it was composed by a revolutionary composer, but it comes from its unique ability to tell different tales intensely like no other musical piece can. Prior to the fifth movement, all the audiences and I expected the fifth movement to have opposite characteristics and dynamics to the fourth movement. As true as it was expected, the fifth movement, called Valse de Chopin, was filled with high intensity and surprising loudness and registers. The fifth movement started with low piano notes and flute, but followed by a fast and loud vocal singing. The tempo increased gradually, and I remembered clearly, the highest pitch of the movement with colossal volume in the middle of this fifth movement. The fifth movement brought distinct expressions on the listeners faces in comparison to the fourth movement, from sadness to excitement respectively. The intensity and density of the fifth movement was high, filled with piano, flute, bass clarinet, clarinet, and later. Even with such powerful intensity, the fifth movement was still enjoyable to the ear. Pierrot Lunaire has never stopped captivating the audiences’ attention through its musical discipline and unique compositional style.
The sixth movement, called Madonna, possesses extreme fluctuations of registers, volume, and tempo. Madonna began with slow tempo and medium pitch clarinet playing, accompanied by draggy vocal singing. The volume was low and the texture was smooth for the first one-third of the movement. Nevertheless, it gained intensity in the middle of the movement, with loud vocal singing and high-pitch instruments being played. It was ear-piercing to the audiences and I, as we showed a sense of discomfort through our facial expressions. The concrete floor beneath the thousands of audiences seem to shake due to the thunderous sound. I remembered there was a same continuous rhythm of cello plucking that acted as the background of the vocal singing. With tremendous intensity, the Madonna has exceeded my expectation of compositional freedom, as it combines both slow and medium volume dynamics in the beginning with the insane intensity of high volume and fluctuating registers in the middle of the movement. Throughout the movement, audiences displayed differing expressions, from being relaxed to enthusiasm. At the end of the movement, nonetheless, the sixth movement received a warm welcome, as the audiences applauded with some cheering on Schoenberg’s special
production.
Thursdays at Cal State L.A. seemed like any other typical day- warm, busy, and tiring. However, on December 2, 2015, something was particularly different; not only was it the last day of class before finals, but there was also a Mariachi concert directed by Cynthia Reifler Flores. As I was walking towards the State Playhouse, I thought about how the music would be composed. The first thing that I expected was the music to have a quick, upbeat tempo, something that would be played at a festival or a party. I walked through the screen door and was given a pamphlet. In it contained detailed information about their programs, musicians, Flores’ biography, and the prodigious mariachi group. After waiting for what seemed like an eternity, the doors
In 1940, Messiaen was called up to serve in the army as a hospital orderly, but was soon captured by the Germans and taken to a prisoner-of-war camp. Here, suffering from food deprivation and extreme cold, he had the idea of composing a piece for the End of Time. There were four musicians on the camp – himself (a pianist), a violinist, a cellist and a clarinettist – and so he wrote a quartet. Performers of the work need to consider the circumstances under which the piece was composed and also the reaction it created at the first performance of it. This was in front of the entire prison camp in January 1941 where, says Messiaen, ‘never have I been listened to with such attention and understanding.’
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
The details of intense experiences are often times not easily lost to others who acknowledge secondhand wonder when it is conveyed passionately. In other words, there are stimulating occurrences within even the most mundane lifetime that provide incredible sensory and a life changing incentive. Furthermore, this experience has the overwhelming power to convince others to pursue that event’s awe. An example of such an influential event is expertly playing an instrument and marching deliberately within The Pride of the Devils in front of a populous crowd. The primary reveal of The Pride’s strength is portrayed within the time-withstanding moments of the pregame exhibition as well as the enduring image of the half-time show. Because of the precise
I knew there was word painting within movements, but I did not think it was something that one could see. The pianist was heavily engulfed in the music. It appeared as though his body was telling a story. The look on his face through the slower parts was breath taking. If there was pain to be felt his face would have given it away. One could tell when the song was serious because his body would tense and his brows would entangle in a web of thought. In terms of my rollercoaster these were the times I found myself laughing. Yet, the completion of my concert experience did not stop there. I was only half way there and I would not be whole until the music had me intrigued and
During a musical performance many elements to be looked are not easily recognized by the average critic. A musical performance has multiple interactions taking place between the music, text, performers, audience, and space that all can contribute to a great performance. Overwhelming majority of the audience does not realize so much can be looked at during a single performance. At a performance by the University of Maryland Marching Band I was able to analyze the Musical Sound, Contexts of the Performance, and Interpretation of the Performance.
Thoron, Elise. "Ovations Offstage." A Study Guide for the School-Time Performance. Hannaford Hall, Portland. Hannaford Hall, Portland. 3 July 2013. Reading.
Overall time helped demonstrated the masses’ movement unity as they moved with the time and the individual’s struggle as she moved contrary to the group’s time. The dance began with a lively Bach movement, which created a feeling of excitement as the mass of dancers moved with increasing speed. The short duration needed to complete movements, regularity of the music, and repetition of dance patterns of the group established their synchronization with time. In contrast, this allegro tempo created a nervous, rushed feeling for the individual woman, which established her contradiction to the groups perception of time. The sharp, sudden adagio tempo change in Part 2 created an uneasy mood, while establishing distrust and tension between the individual woman and the masses. The stillness of the mass dancers in response to the woman in Part 2 exemplified this segregation. As the tempo slowed in Part 4, an element of sadness and isolation was apparent in the individual woman’s movement. In contrast, this tempo change for the group created an intimacy between the individual heterosexual couples. This intimacy further isolated the individual women and demonstrated her movement against groups perception of time. The changes in tempo of music and dance movement complimented the third element of dance, dynamics or
On November 16th, 2013, I attended a concert choir, fall choral concert. This event took place on the Wheaton College Campus, in the Edman Chapel at 7:30 pm. The chapel was well-lit, with long pews for the audience to be seated. The concert began with the audience looking up into a balcony, where the ensemble stood in neat rows. They watched the conductor, who stood on a stage in front of the audience, waiting for their cue.
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
performance to a major degree reflects the spirit of the times, and some of today's 'authentic' performances have less to do with historical accuracy, attempting rather to produce a performance which, in John Eliot Gardiner's words, will 'excite modern listeners.' (Sartorius)
..., intensity, and length. The entire movement had a feeling of rising to a maximum point which could not be surpassed. In the third movement the flute and the piano played together and played nearly the same thing, with the exception of the flutes higher notes. This to had an increasing in intensity and tempo.
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.