On July 21rst at 7:00 p.m. on the University of Illinois Quad, the University of Illinois Summer Band presented its annual summer twilight concert series. Lt. Kelly Cartwright and Joe Buscuito both conducted this performance. The songs that the band performed at an exceptional level were The Chimes of Liberty, Armenian Folk Songs, Scarborough Fair, Cowboy Rhapsody, The Sound of Music, and La Mandolinata. The band played all the songs in a harmonious way that was delightful to listen to. The instruments involved in preforming the featured songs were an entire concert band including woodwinds, brasswinds, percussion, and strings.
The band started the concert off with the selection The Chimes of Liberty. There is a prominent chimes part halfway through the
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This was a symphonic one-movement work based upon five Armenian folk songs. It is apparent that the rhythmic and harmonic features of this piece were expanded in a way that they still stuck with in the realm of the symphonic-instrumental. The performance was very expressive, as it was rhythmically animated. That aspect of the performance made it highly entertaining for the audience.
Following Armenian Folk Songs was another folk song called Scarborough Fair. This song is the final movement in the work “Three Folk Song Setting”. The song started out softly with a very quiet dynamic. The song starts to build then takes a pause as a flute solo begins. This solo is accompanied by bells, chimes, and vibes. As the song continues it is ended with an intense finish that spotlights the brass and woodwind choirs.
The band then played Cowboy Rhapsody which had many familiar tunes. This work features four cowboy songs that give the audience the feeling as if they are out in the wild west. The first part of the composition had a very upbeat melody with a fast tempo. This performance reminds me of a tone poem rather than a melody, although it is in fact a
The Concert Band. New York: Rinehart and Company, Inc., 1946. Print. The. Rhodes, Stephen.
The concert I attended was a Junior piano recital held at The Florida State University College of Music in the Dohnanyi Recital Hall. The pianist was Kaisar Anvar. The pieces performed were:
A lovable, heartwarming story of love is one of “ Seven Brides for Seven Brothers”. A story of seven men who have no guidance find themselves in love. The two main characters in the play are Adam and Millie. By being husband and wife they help the story out with their own love and romance. The seven brothers fall in love with seven beautiful woman and through out the play we see al the ways they try to get their gals. The singing in this play helps us figure out the songs: “Bless Your Beautiful Hide”, “Goin Courtin”, and “Sobbin Woman”. The style of music they use to get this point across is old fashion, traditional music.
This work is directly inspired by Der Blaue Reiter Almanach. Primarily a work of prose, it consisted of plays, essays by leading artists and musicians detailing works of the era, and commentary on art, music, theater, and related subjects. The Brooklyn Rider Almanac is conceptually a modern recreation of this idea in music, in that musicians are providing a commentary of artists or their work through their music. In a way, The Brooklyn Rider Almanac approaches the idea of cross-disciplinary art from an opposite prospective as the Onomatopoetic Project. Many of the works presented during the concert as a part of The Brooklyn Rider Almanac were inspired by looking an artistic muse or idea as an inspiration to create music that reflects the muse. Artists from classically trained composers to jazz and rock musicians contributed to this collection of works, and the results are both fascinating and inspiring. One great example of this is Necessary…Henry by Albanian Cellist Rubin Kodheli. Inspired by the jazz musician Henry Threadgill, this work incorporates the styles of rock musicians like Jimi Hendrix into and what could be perceived as the farthest possible medium from rock: the string quartet. Like Threadgill’s earlier use of non-jazz instrumentation and ideas in jazz works, Kodheli uses sounds from the rock genre like virtuosic guitar-like riffs, rock groves, and highly
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
I chose to do my concert critique on Eric Clapton-MTV unplugged full concert-HQ January 16, 1992 at Bray Film Studios in Windsor, England. Eric Clapton is my favorite rock n roll singer which has a mixture of genres. The concert was inside and on stage. The audience was seated up close to the stage which made the atmosphere comfortable; Eric and the band showed much warmth and connected with the crowd it wasn’t like the band was untouchable.
This track was released in 2009 as part of the soundtrack for the film Avatar. This piece was recorded by the Hollywood Studio Symphony under the direction of James Horner. Overall, this piece is written in two parts, both parts conveying the overall feel of wonder for the listener as they watch the scene. The first part features woodwind soloists, with the strings at a mostly piano dynamic. The second part features the percussion ensemble with occasional choral elements in a forte dynamic. The piece opens with a held D from the upper strings at a mezzo piano dynamic. The solo clarinet then comes in, creating the first four bar musical theme (could you call it a motif?) At the end of the first theme, a tin whistle is heard playing an alternating 16th note triplet figure. A piano to mezzo piano cymbal roll takes the piece into the piano countermelody under the main melody as the tin whistle continues at varying intervals. The initial melody is harmonized and toward the end of the theme (Major 6ths eventually alternating between perfect fifths), then the strings come up to a mezzo forte dynamic, leading the line towards the new themes in the oboe solo and eventually flute solo. In terms of balance in this section, the strings almost always stay below the solo winds (unless they’re in unison with a repeating theme), and the tin whistle soars above the entire ensemble for the majority of the first section. The strings then lead the ensemble into the next section, shifting gears to a percussion feature. Then, there is a crescendo to a forte with the full string section, vocals, and percussion. There is then an ensemble decrescendo starting with percussion, next vocals, then strings, until all that is left is a bass-range sustained harp, piano, piano strings, and a viola solo. A high-range percussion and choral section with choir then decrescendos to
The music accompaniment to this piece comes from one or two pianos which work in almost perfect collaboration with the dance so that neither one overshadows the other. While no other instruments are used, the melody of the piano changes from scene to scene in order to depict Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this vaudeville-like tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror of it.
On Wednesday, October 26, 2016, there was a combo jazz ensemble that performed at the Florence Kopleff Recital Hall. The jazz ensemble consisted of Josh Holland on trumpet, Andrew Venet on bass, J. Paul Whitehead on piano, and Ryan McDaniel on drums. The songs that they performed that night were; “Blue Bossa” by Joe Henderson, “My Funky Valentine” by Joshua Holland, “My One and Only Love” by Gut Wood, and “Jig-a-Jug” by Joshua Redman. Throughout the night, they played a combination of combo jazz and bossa nova.
"Crude with a tang of the Indian wilderness, strong with the strength of the mountains, yet, in a way, mellowed with the flavor of Chaucer's time--surely this is folk-song of a high order. May it not one day give birth to a music that shall take a high place among the world's great schools of expression?" (47)
The choir opened with “I Sing the Greatness of Our God” by Fred Bock and words by Isaac Watts. This piece began with the organ playing the melody softly in triple meter. The choir came in on an off beat and sang a homorhythmic arch contour. The choir began softly and crescendoed quickly. After the introduction, the first verse was sung alternating between the men and women, they started out acapella. The choir came back together and sang the chorus of the song in unison and crescendoed with the organ until they were singing fortissimo. This piece had an overall allegro tempo and had a generally repetitive theme. It was apparent that
Vaslov Nijinsky was the choreographer for this ballet. He was considered the greatest male dancer of the 20th century and his works were known for their controversy. In this ballet Nijinsky’s choreography far exceeded the limits of traditional ballet. And for the first time the audience was experiencing th...
There were different types of music mentioned in the play. Work songs were one of the types of music mentioned. In the play, The Charles family men sat around the table and sang a work song reminiscing on the days of the past. Work songs, which are c...
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 song, Anna's Theme, begins with a haunting solo female voice, singing a melody that never resolves, moving only in circular motion with the last note of a phrase beginning the next. Slowly, the violin blends itself into th...