The musical style of this piece is West Indian soca (sokah) music. The performance is by Black Stalin and the title is “Black man Feeling to Party.” The social setting of the performance is a concert setting. This particular function of this musical style is for entertainment, parties, and dance. The ensemble set up for the performance is arranged with the band behind the performer, (as known as the artist) who is in the front and center of the stage. The four backup singers are also behind the artist; however, they are not directly behind him they are located to the left back side of the stage. The audience is facing the performer and the band. The bands instruments used for this performance constant of a piano, two electric guitars, a drum set, two trumpets, one trombone, and two saxophones.
The performer and the band are on a stage that is elevated higher than the ground the audience (fans) is on. For this performance, and the majority of others performances in this musical style there are no seats in the audience. This allows a different type of interaction between the fans and the artist. The musical style of this piece consists of calls (from the artist) and responses (from the audience). The artist engages the audience by calling out actions to them. For
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Brooklyn was one location that many artists came to call their second home for creating and distributing their work. As per profess Ray Allen’s article, The Brooklyn Soca Connection: Frankie McIntosh and Straker Records, North American and British record labels produced and distributed soca music. These labels saw benefits for the labels (not the artists) to do these productions and distributions. In producing music through major corporate label, the authenity of the music can be altered. As in the case of soca music it did, however it did not receive the same attention at Reggae and similar music
The importance of these, is that it would bring the attention of the audience. The band performed about 13 songs in total. It was a mixture of Banda songs and Corridos. The band’s songs talked about a lover and the longing of a loved one. The audience reacted in a good way. They were dancing of the floor section and they were cheering on the band, others were singing along with the singers meanwhile, others were recording them on their cell phones.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Throughout the piece, we see the use of audience as active participants to amplify the didactic message of the play. In the literature we see many instances where the author uses this cognitive distancing as a way to disrupt the stage illusion and make the audience active members of the play. Forcing the audience into an analytical standpoint as opposed to passively accepting whats happening in their conscious minds. This occurs time and time again in the fourth act of the play. The characters repeatedly break down the fourth wall and engage the audience with open participation. We see this in the quotation from the end of the fourth Act of the play:
During the late 19th century and early 20th century, a form of Mexican folk music called the corrido gained popularity along the Mexico-Texan border (Saldívar). Growing from the Spanish romance tradition, the corrido is a border ballad “that arose chronicling the history of border conflicts and its effects on Mexican-Mexican culture” (Saldívar). A sort of “oral folk history,” the corrido was studied intensely by Américo Paredes, who then constructed his masterpiece, George Washington Gomez, around the “context and theme” of the corrido (Mendoza 146). But the novel is not a traditional corrido, in which the legendary hero defends his people and dies for his honor. Instead, through its plot, characterization, and rhetorical devices, George Washington Gomez is an anti-corrido.
While the musician?s were playing, I was surprised how the audience was. Most of the audience was talking loud, drinking alcohol and eating snacks. Some audience was even clapping hands and humming along with the song. This was quite an opposite environment compared to the concerts I went to. Sometimes the audience was so loud that I could barely hear the songs. It was interesting that even though the crowd was so loud, the musicians seemed very comfortable with it. They played the song as if the audience?s voice was also part of their song. When audience was loud, they would play loud and when audience became quite, they played very soft and tender. It might be to get audience?s attention. But, it seemed the m...
Native American music has many different musical styles. Within every Native American tribe there is a variety of musical styles and instruments. In response to the research that I have conducted, there are three main musical styles that are going to be my point of focus. The Sioux Grass Dance, the Zuni Lullaby, and the Iroquois Quiver Dance are the principal methods which contribute to Native American music.
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
The content is written in the style of the blues not only in the music but in the social perspective of the times in Harlem in respect to the sufferings and struggles of the African-American past and present experiences, and what they were going to encount...
Performing- The performing stage is where everyone is clearly aware on what they’re doing and the purpose of what they’re doing. Everyone is able to share their ideas with others. Confidence is showed among the team members as their able to communicate to other team members without help or assistance from the leader. They can take charge of their own ideas. The team focus on achieving their goals .Although the team can disagreement with...
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Ray Allen, Lois Wilcken. "Island Sounds in the Global City: Caribbean Popular Music and Identity in New York." 1-6. Illinois: University of Illinois Press, 1988.
This semster, I spent a lot of time appreciating Latin America music, watching videos, and enjoying their beauty in the media center. Some albums such as Antonio Carlos Jobim’s “ACJ Songbook and Carlos Santana’s “Music of the Andes” impressed me deeply. In particular, since I have hectic workload this semester and always feel tired, I become quite relaxed as I listened to Jobim’s “ASJ Songbook”. I really admire its elegence and usually feel refreshed after I leave the media center. In addition, some Tex-Mex tracks gave me a perpective of regional culture of the border along Texas and Mexico. I really learned a lot from from these songs.
Like many Indian arts, Indian dance also has its root in religion. Without the religious and cultural background of India, the growth and beauty of Indian dance is not possible. In ‘Natya Shastra’, there is a small story about the origin of Indian dance. According to Hindu mythology, dance first existed in heaven. There was always a constant conflict between the Asuras and the Devas for wealth and power. The Devas were tired of the Asuras’ greediness and jealousy.
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.