During the twentieth the century there has been an extraordinary number of major works written for the guitar by composers who do not themselves play the instrument. The purpose of this research paper is to look at works of composers such as Manuel de Falla, Manuel Ponce, Joaquin Rodrigo , Mario Castelnuovo-Tedesco and others in order to understand the importance of the relationship between composer and the guitar player. …show more content…
Besides writing for the guitar, he composed for orchestra, chamber groups, violin, cello, and voice. Ponce?s relationship with the guitar began right after Segovia?s concert in 1923. In his review to the concert he wrote: ?Andres Segovia is an intelligent and intrepid collaborator with the young Spanish musicians who write for the guitar. His musical culture allows him to transmit faithfully through his instrument the composer?s thought and so to enrich daily the guitar?s not very extensive repertoire?(Segal 218-219). Segovia asked Ponce to write works for the guitar. In response Ponce produced the four movements Sonata Mexicana and the setting of a Mexican folksong, La Valentina. Ponce?s and Segovia?s relationship became more than mutual professional connection, it developed into close personal friendship which allowed Segovia to impose his creative preferences on Ponce?s compositions (Segal 221). In one of his letter, Segovia gave specific instructions on what type of music he needed for each performing occasion. For instance, in Concierto del Sur Segovia suggested using rasgueado chords to accompany the development of second theme ,and these were indeed added by Ponce to the piece. Ponce accepted Segovia?s participation in the creative process but he still was able to make his own decisions (Segal 225). Under a close working relationship, Ponce viewed the guitar …show more content…
Entre Olivares was written for Manuel Lopez Ramos, Argentinean guitarist and pedagogue. Rodrigo was inspired by Andres Segovia and dedicated two of his works to the maestro: Tres Piezas Espanolas and Fantasia para un Gentilhomre. Rodrigo once said: ?I thought that the only worthy of Segovia would be to place him with another great guitarist and composer?Castper Sanz. I consulted with Segovia himself, who approved the plan, but not without first warning me of the difficulties of its realization, saying that I would have to work with themes which were short?? (Turnbull 114-115). Rodrigo?s close relationships with the guitarist and his ability to deliberate his opinions and suggestions inspired the composer to create a numerous number of works for the
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”.
"The guitar is shaped like a woman, with a neck you hold and a body you hug against yourself."(Santana 114). Carlos Santana, a very accomplished fourth generation Latino musician, is a very romantic man with his music. He was born on July 20, 1947 in Autlan Mexico, the middle of seven children (biography.com). His parents are Josefina Barragan and Jose Santana. His father was an accomplished professional violinist and as a child Carlos learned to play the instrument from his father, though he did not enjoy the tones it created. Eventually he picked up the electric guitar, for which he developed an ardent passion. How has Carlos Santana's music been a positive impact in Latino culture? Although Carlos Santana's music was heavily influenced by drugs and alcohol, he has been a positive influence on Latino culture because of his musical innovation, resilience in adversity, and world-wide philanthropy.
Reading both passages of the two explorers, Christopher Columbus and Álvar Núñez Cabeza de Vaca, gives a great description of how the world was back in the 1500s. Now, although both were Spaniard explorers, each had different experiences and discoveries. One of the differences is how they approached exploring the new world. For instance, Columbus went to find new land in the west, while Cabeza de Vaca went as an expedition to already found lands. In addition, Columbus had a lot of success, while Cabeza de Vaca since the beginning, because of Narváez, “endured many disasters” (Baym, et al., 2013, p. 28). Furthermore, Christopher Columbus considered most important to find more land, and especially the route to reach Asia.
Juan Ponce de Leon is most recognized as the Spanish explorer who discovered Florida. However this was not his only achievement or contribution to the Spanish empire. Prior to discovering Florida he helped fight off the last of the Moors in Granada, he prevented the Indians from attacking the Spaniards in Hispaniola, he served as the first governor of Puerto Rico, discovered other geographical features off of Florida’s coast all while never giving up on his quest for gold or to gain the same recognition as Christopher Columbus.
Soto’s “Black Hair” is a perfect example of a poem that is effective through close analysis of certain concrete images which hold the key to the foundation of the poem and its underlying themes. In this poem, the universal themes of family and culture are hidden under the figure of Hector Moreno, the image of the narrator’s hair, as well as the extended baseball metaphor about culture. Although the title may seem ordinary at first glance, the challenge that the poem presents through its connection of concrete images and themes is very intriguing, and the themes are made clear through the effective use of certain poetic elements.
In essence, the corrido genre is legendary for its hard-bitten lyrics of drug traffickers plus gunfights, and moreover functions as a genus of musical tabloid, singing of regime dishonesty, the lives of émigrés in the United States, in addition to the scuffles of the Zapatista insurgency in Chiapas. Although principally anonymous to English speakers, narco corridos top the leading Latin charts and govern radio playlists equally in the United States as well as points south. Examining diverse recent studies, the authors present in-depth examinations at the songwriters who have changed groups like the trendy Tigres del Norte into permanent celebrities, as well as the upcoming artists who are hauling the narco corrido into the 21st. In proving for the poetry as well as social demonstration at the back the ornate lyrics of in...
In 1539 Hernando de Soto and five hundred adventurers began on a journey of exploration that would take 4 years and would travel through 10 states in the southeast United States. His goal was to discover a source of wealth, preferably gold, and around his mines establish a settlement. During his travels through La Florida he encountered numerous groups of native peoples, making friends of some and enemies of others. His expedition was not the first in La Florida; however, it was the most extensive. In its aftermath, thousands of Indians would die by disease that the Spaniards brought from the Old World. De Soto would initially be remembered as a great explorer but, would be later viewed as a destroyer of native culture. However, in truth de Soto was neither a hero or a villain but rather an adventurer.
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the
Morales, Ed. The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond. Cambridge, Massachusetts: Da Capo, 2003. Print.
People do not take into account the impact that colonialism had on Mexico and Mexico’s culture of dance and music. The merging of Indigenous tradition and European culture left a strange mark in Mexico, where both those diverse cultures were combined into its own Mexican identity. There is no bigger example of this than the traditional Mexican dance, of the state of Michoacán el danze de los viejetos or in English the dance of the old men. What the dance used to represent pre and post the conquering by Spain is radically different, since Mexico itself changed through colonization. The dance of the old men is still being danced now but the original meaning and what it represents now has changed,
Antonio Stradivari, a man known by many as on of the greatest luthiers of all time. The question at hand is why? From as early as the early 1700’s Stradivari was well known in the music world and still is. His instruments are reproduced in order to fool consumers into buying an instrument that has the same design as a Strad. There are also luthiers that try to replicate Stradivari’s beautiful design for their own satisfaction. Antonio Stradivari’s instruments have become socially and technically popular over time due to his superior craftsmanship, and for others, its large price tag. Stradivari’s life, affecting how his instruments were made, changed the perception of his instruments technically and socially.
Music has shaped the lives of people throughout history. Even in its earliest forms, music has included use of instruments. One of the oldest musical instruments known is a variation of the flute; the original flute is thought to date back nearly 67,000 years ago. Tonight we are going to move throughout the eras with a history of instrumental music. This concert will begin with the Renaissance Era and continue through time until we have reached modern instrumental music.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
This paper will be discussing the origin, roots history and evolution of Salsa music. The paper will also discuss some of the most successful Salsa musicians including Celia Cruz, Edi Palmeiri, Willie Colon and the Fania band or Fania All Star.
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).