Walking in and seeing everyone sitting in their seats waiting for the show to begin was exciting. The hall sat a little bit less than 200 people and it got very noisy considering almost everyone was having a conversation at the same time. Before the show began, I sat in my chair thinking about how we all had one thing in common, the love of music, and it gave me a relieving feeling. We were all there to see Jeanie Darnell, Michael Baron, and Helen Tintes-Schuermann perform a feast of American songs.
Jeanie Darnell is a soprano soloist that is known for her “wonderfully bell-like tones.” (program notes). She has been a featured soloist with many different ensembles and has had the opportunity to perform around the country. Accompanying her is Michael Baron, an award-winning concert pianist. He plays many different compositions of
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Sunflowers consists of 3 poems written by Mary Oliver: The Sunflowers, Dreams, and Sunrise. Lori Laitman made sure that these 3 poems flowed right into each other when performed. The Sunflowers is in through-composed form with no key signature due to the fact that it uses both major and minor tonalities and has a constantly changing meter. Typically in a soprano voice, it has a homophonic texture that is constantly changing dynamics. Its melody moves disjunctively, having Darnell make large leaps from interval to interval. This piece had a sense of playfulness and sincerity and clearly eased into the second piece. Dreams, the second piece of Sunflowers, shares some of the same characteristics as The Sunflowers such as, through-composed form, changing tonalities, changing meter and same timbre. Tempo and dynamic levels change along with the meter. It also has a homophonic texture but in certain areas it mixes with polyphony. It’s melody movement changes from conjunct to disjunct and has and has a softer
Eugene J. Fisher says that Christians tried to have the Jews try to forgive the Germans for the Holocaust. Fisher also says that Catholics say that the Jews should wait at least a decade to forgive the Germans for the Holocaust. Fisher is leading more to the side of the Catholics and that the Jews should not forgive the Germans till a little later in life. I agree a little bit with Fisher because I believe that the Jews should forget about the past and move on, but they should also remember the history of their past.
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
Thank you Mr. Wiesenthal for letting me be able to read and respond to your book The Sunflower. The Sunflower has showed me how ruthless it was for Jewish people in the Holocaust. In your book Karl, an SS solider, tries to get your forgiveness for the wrong he has done to the Jewish population. For a person to ask for forgiveness means that they have realized that they have done wrong and want to repent for their mistakes. The big question in your book was “What would you do?” I would’ve done exactly what you did I wouldn’t have granted the solider my forgiveness because he didn’t deserve it.
Overall, I was very impressed by the concert and I feel that the rest of the audience was also. The expectations for the members of the Chamber Orchestra are high and those were met but I feel that the expectations for the choral group were not as high. My expectations for the choir were not very high and they were immensely exceeded. The level of talent in that group was something that I was really not expecting at all. Emotionally, I was brought in by The Lord Nelson Mass and it was an interesting experience. Technically, I feel that everyone was flawless though I do not have a lot of experience in music. The type of music performed will never be my favorite; however, it is something that I can really appreciate.
In reference to music we can indentify specific aspects of pitch, including harmony and melody. Harmony refers to the relationship of sounds that happen simultaneously while melody refers to the relationship between sounds that occur one right after the other. “Classical Gas” has a melody, which means it has a hummable tune accompanied by a wide pitch range. Some notes are leisurely and low, while others burst into rapid, loud sounds. “Cat’s in the Cradle” also has a melody, however, its pitch range is much narrower than “Classical Gas”. It does have high and low notes, but the high notes seem to mostly come during the chorus of the song, rather than randomly throughout the piece. “Classical Gas” is mostly presented in a conjunct, or stepwise motion, however, some leaps, or disjunct motions are prominent and repeated throughout the song. F...
Many artists, authors, and composers have put the beauty and warmth of the sun in their work. The Dutch painter Vincent van Gogh created landscapes that expressed his joy with bright sunshine. The American poet Emily Dickinson wrote a poem called "The Sun," in which she described the rising and setting of the sun. The Russian composer Nicholas Rimsky-Korsakov included a beautiful song, "Hymn to the Sun," in his opera The Golden Cockerel.
Robert Frost’s poem Desert Places (1936) begins to stimulate the reader’s visual senses in the first stanza. The poem begins, “Snow falling and night falling fast/ground almost covered in smooth snow,” (Frost, 1936; pg. 654, line 1&2. The sunlight motion suggests a “balance of upward and downward, rising and falling” (Harris, J. 2004), resplendent in nature and indirectly influences the reader spiritually and emotionally. Jane Kenyon’s Let Evening Come (1990), uses sunlight to project an image of a slow moving late afternoon sun, which will soon slip into the darkness of night.
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
These performers would come on stage for their acts, followed by waves of cheers, and the emcee would then provide comic relief, as well as call up the next act. Apart from my friend, there was one performer who truly stood out for me; she was a singer from Northwest DC, and the beauty in her singing was not necessarily the flawlessness of her singing style or her being able to hit each note, but the amount of emotion she carried in her lyrics. Her song was about her trouble in finding love and her harsh luck in relationships, and for a moment, I truly felt as if I could feel the pain she was emulating. There were countless times in which it was almost as if she was going to break down on stage, as the waves of emotion continued to flow throughout her and to all of the audience. The performance was truly touching, and a crucial reason for the quote I highlighted at the very beginning; seeing music as a play, it is not always the script that makes a play truly special, at times it can be the acting and the emotions of the characters that can generate empathy from a great deal of the audience.
The second piece was a piano composition by Thalia Ventimilla called Ecuadorian Afternoon. This piece had a very relaxing melody and a “walking speed” tempo. It was not fast and not slow. The intensity of the piece started out high and gradually declined, then built up to decline again. This went on in a series of decrescendos, rising and falling with lots of chords being played.
Musical concerts are undoubtedly an incredible opportunity to experience a great aesthetic pleasure by listening to the musicians perform in front of your eyes. The power of music can hardly be overestimated – it can transfer a number of messages, thoughts and feelings through the performed sounds. Therefore the one can comprehend the music in the best possible way only when it is heard live. Musical concerts are often revelatory and highly impressive experiences to me. This essay thereby aims to provide my reflections and impressions of the concert of Gregory Porter & the Metropole Orchestra which I had the opportunity to attend in Nashville, TN.
I arrived at about 1:30pm, was handed a brochure at the door, and took my seat. Usually I would sit in the back, but I decided to sit in the middle so there would be a good aesthetic distance between the performers and I. I sat about five rows back, somewhat in the center. The person in front of me was a little tall, but it didn’t distract from the performance. The stage was
People often look at others and judge them based on their appearance. It is something everyone does based on human nature, but nobody knows what that person 's story it. Maybe that lady is dressed in ratty clothes because she works two jobs to support her family. People base these judgments on race, sex, and economic class. I often feel misjudged by people and it is hard because people do not know my real story. On the exterior, I look like a middle class white male and that is what I am, but I am much more than that. Nobody would see me and know that I am a Latino and guess how I got to where I am today. Everybody has a different background and everybody has created their own personal history different from the rest of the
By the twelfth song which was the last I could still feel the atmosphere, the pride and the gratitude of the people. We were just happy to be in their presence. For the last song the whole crowd moved together in a bizarre, alternative. dance. I am a sassy girl.
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.