The Irish song “The Dingle Set” features a fiddle, a flute, and many other instruments, including stringed instruments, clapping and human voices. This piece is set to a very quick tempo that only changes when it abruptly stops at the very end of the piece and it is in a duple meter with a very distinct melody played by a fiddle with harmonies underneath it. All of the instrumental parts are either homophonic with the melody or the piece can be considered polyphonic with other parts playing underneath such as a stringed part outlining the downbeats. It has two sections, the first of which has the pattern AABB twice with the whole ensemble playing full. After that, the ensemble drops out the the fiddle plays both parts solo, then variations
In the article “Twoness in the style of Oscar Micheaux” by J. Ronald Green critiques the common theme of twoness which was a common debilitating dilemma for black film in America concerning American Social Codes. African Americans face the possibility of two identities at the same time but somehow resolve individually for her or himself. The point is made that African Americans are American citizens, but are hindered by the color line which sets them up to be positioned to understand two sides to the American hegemony. Hegemony consists of leadership or domination, either by one country or social group over others. American black cinema acquiesced in segregation, placed white cupidity off limits as theme, rehashed white Hollywood stereotypes
In this chapter of Davidson and Lytle’s After the Fact: The Art of Historical Detection, the authors use the raid on Harpers Ferry in 1859 and in particular the attack’s leader, John Brown, a radical abolitionist, to explain the massive increase in tension between the North and the South before the dawn of the American Civil War. After explaining the main premise of the raid and its immediate outcome, Davidson and Lytle use historical records and analyses made by historians from the 20th century to explore the possible reasons and motivations behind John Brown’s infamous attack that would define him as a martyr to some and an insane criminal to others. The attack goes down in history as the triggering event behind the American Civil War; Harpers
In the poems “Feliks Skrzynecki” and “St Patrick’s College”, Peter Skrzynecki explores the relationship between understanding and belonging through his experiences, both with his father and at school. Brandon Sanderson delves into the effects prejudice can have on acceptance in the novel “Mistborn: The Final Empire”. These texts all demonstrate how inclusion can be prevented by a reluctance to accept or engage. Peter feels estranged from his father in “Feliks Skrzynecki” and disconnected with his school in “St Patrick’s College”. The concepts of disconnection and estrangement are further revealed in “Mistborn: The Final Empire”, along with perceptions of exclusion. Collectively, the texts
“At Last” starts off with a strong harmony of a combination of strings including violins, violas, and cellos. As vocal comes in, the sound strings back off and drum kit kicks in with a classic three- fourths meter.The strings give people a
The setting of Wes Moore’s, Discovering Wes Moore has an incredible impact on him and helps him make some of the biggest choices of his life. Wes grows in the Bronx during his early childhood years. He lives in a dangerous neighborhood in which drugs are in use. He makes friends in the neighborhood. However, his mother wants him to get a proper education, so she sends him to Riverdale. Wes makes friends at this school and keeps the ones in the neighborhood. Wes is feeling torn apart while living in the Bronx. He feels that “[He] was too ‘rich’ for the kids from [his] neighborhood and too ‘poor’ for the kids at his school.” (Moore 43). Wes does not feel like he belongs anywhere, which leads to reckless behavior.
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
The majority of the pieces featured a rather slow steady beat, provided by the drum and the piano, while the other instruments (mainly the brass section) were used to play the main motif along with some minor ornamentations. The third song they played, one of my favorites, was simply a steady 4/4 tempo kept by the drum, with some minor variations. The saxophone and trumpets took turns drifting in and out to carry the melody. The saxophone player delivered an entertained solo which consisted of very light and amusing trills, this created a very soothing and relaxing
The first song, Magnificat in C, was one of the longer songs performed, and featured many solos by Union students. This song is in Latin, but due to the English translation the audience received prior to the performance, we were able to follow along and comprehend the lyrics. This song demonstrated the various parts of a choir and allowed the sopranos, altos, and tenors to express themselves through sectional solos.
Traditional music and dance in Ireland have strongly survived throughout the years. Music in Ireland today has not strayed too far from that of the mid twentieth century’s music. Think back to the St. Patrick’s Day parade. Even though the year is 2014, men are wearing kilts playing old-style Irish instruments to the songs of the Irish as they are led by the young women wearing brightly colored costumes and dancing the Irish step dance. One can hear the rich sounds of the bagpipe, the beating of the drums and the sharp, up beating sounds of the fiddle as they parade past. Add something!
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
The idea of infinity has been around for thousands of years. It it impossible to even
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
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...
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.