On October 19, 2017, I attended the Thursday, 8:00 PM Fall Band Concert. The Neuqua Valley Music Department presented the Wind Symphony, the Wind Ensemble, and the Wind Orchestra. One of the most impactful elements of the performances was the ability of the composer and the performers to express a message to the audience through the music itself. This concept was most prominent in Irish Tune From County Derry by Percy Aldridge Grainger. The title page of the music had the inscription, “Lovingly and reverently dedicated to the memory of Edvard Grieg.” Additionally, the tune was in memory of other Irish childhood friends in Australia. When the melody was played the second time, more instruments, like the horns, trombones, and woodwind instruments, …show more content…
In this piece, Grainger incorporates many close harmonies and suspensions, especially during the melody. Similar to the second movement, Largo, in Georg Philipp Telemann's Concerto in C Major, in which the main focus were the suspensions, Grainger has incorporated those into the music. When one section of the band holds its note and crescendos, another section moves to the next chord, or a new section enters. For example, while the woodwinds, saxophones, and horns hold a dotted half note, the trombones, baritones, and tuba come in to create that suspension. This performance was also very similar to the concepts we discussed in regards to Enigma Variations by Edward Elgar. Comparable to how Elgar dedicated his work “to [his] friends pictured within,” Grainger dedicated Irish Tune From County Derry to Edvard Grieg and his other Irish friends. For the Nimrod variation in Enigma Variations, Elgar used it as a way to demonstrate his appreciation for Augustus J. Jaeger, who encouraged him to continue composing. For Grainger, he used the music to illustrate his gratitude for Grieg, who had influenced him and his enthusiasm for
In the first line Zuger notes, “Human history marches to the beat of what?” (Zuger). This exquisite sentence intrigues the reader so that they wonder what this review is about. A couple other rhetorical questions are presented following this line. The line “A big band?”
At the same time, “a growing number of American composers of art music became active participants in this televised war.” Arnold showed several examples of variations of art music that composers created. These included music in which “composers satirized their own troops” and “actively wrote genuine laments for their own soldiers wounded and killed.” Many composers “intensified the horror in its portrayal of war. Composers use electronic machine gun fire, sounds of actual bombs exploding, indeterminant sections with singers shouting and screaming, and other realistic sounds.”
Bagpipe music is an imperative piece of this festival, as it is a national symbol. Numerous looked for advanced education and entered the callings at all levels, especially as doctors and legal advisors; the national parks are a tribute to their presence and adoration for America 's characteristic
As a younger composer in Germany, Grainger would compose in a conventional style, however after being introduced to the Frankfurt group of elite composers in 1896 by one of their members Cyril Scott (3), Grainger would begin to develop his own compositional style. One of his most celebrated examples of his compositional method is ‘Hill Song No.1’. In some notebooks that survived from this time, Grainger himself had: “sketched some ideas for an 'Australian Bush Style' inspired by photographs of what he called 'raw' Australia and his memories of the country between Melbourne and Adelaide”(1.) Percy was clearly moved because of the way that he interpreted the visual aspect of the Australian outback as a child and although he was already rejecting the classical European method of composition, this feeling would undoubtedly inspire him to write Hill-Song No.1, that was described by english music critic Wilfred Mellors as his 'most radical attempt to create music totally aboriginal, independent of a priori rules and regulations'. (1) This piece flows in a continuous and often randomly seeming way, he puts in best in one of his program notes: “My aim is to let each phrase grow naturally out of what foreran it & to keep the music continually at a white heat of melodic
On Wednesday, the 18th of May, I attended and participated in the Final Band Concert of the year. Throughout the year, all band students continually practice pieces and the Final Band Concert is the only concert to have every band student in it from fifth grade all the way up to twelfth. This concert is always very special because it is both the first large concert for the fifth graders and the last for many students. The concert started from the Fifth Grade Band, then to the Junior 6th Grade, Advanced 7th and 8th Grade band, and finally to the High School Concert Band. The concert began exactly on time at 19:00.
Author Jean-Aubry believes that “it is certain that had Granados received a more methodical teaching, he would have achieved a steadier way of expressing himself and greater variety of style”. One of Granados’ most notable ‘defect’ as a composer is his often overuse of a theme. Yet, despite all of this, Granados’ compositions still possess a certain level of charm and familiarity that make them appealing to listeners. Jean-Aubry goes on to state that: Perhaps he would have lost some of his characteristic qualities - that unique spontaneousness, that musical instinct which gave him, in spite of his refinement, some likeness to those troubadours of yore, inventors of themes who never troubled themselves about purity of style, haunted as they were by the desire for communicating their feelings in the most direct way.
For a long time in American history, there has been a desire for “Irish” music. What qualifies as “Irish” has been left to interpretation; a concept that will be further explored in this thesis. The first Irish Catholic immigrants in seventeenth century America were, in many cases, indentured servants and treated poorly. The music the Irish brought with them took on romantic associations among the white Anglo-Saxon Protestants (WASP) Americans, as well as among the Irish themselves.
Music has a powerful impact on people, and can change people in a dramatic way. When people go to concerts, they don’t only listen to the music being played, they also look at what music and songs they are playing or singing, and the order of the songs. The order of the concert has an effect over whether the audience will enjoy the music or not. Above, I listed what I think the order of the songs should be. The concert repertoire should be in this certain order, based on our concert’s intended purpose, what our audience is feeling during the concert, and what Christmas means to each individual in the audience and performing.
The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song.
The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).
I attended to a concert performed by the San Francisco Symphony Youth Orchestra on November 13th this year. This concert took place in the Davies Symphony Hall in San Francisco. I chose to attend to this concert because I have never been to a performance by any youth orchestra, I was curious to see how their performance would compare to other orchestras. The first of the three piece that were performed in this concert was Maenads’ Dance, from The Bassarids, composed by Hans Werner Henze. A variety of instruments were used in this piece, including woodwinds, brass, percussion, and strings.
This essay analyses Steve Reich’s Music for 18 Musicians, and how this minimalistic piece of Steve Reich’s later days proves to be a work of an alternative paradigm to many of his other earlier works. Music for 18 Musicians is an alternative paradigm to Steve Reich’s earlier works in various aspects. These aspects include harmony, rhythm, and instrumentation, which will the elements described and explained in this
During the duration of the 10 minutes I thought that the song was very similar the whole time. It was all fast paced and when all five guys seemed to play the song the same through. The only time it changed was when an instrument stopped or started playing. The instrument I noticed the least in this piece was the ----- because of its low sound and the other four instruments could be played with high pitches/sounds.
A B C D C B A. Rhythmically this work has two distinctive features: the regular pulse of the piano and percussion and the rhythm of the human breathing in the vocal and wind parts, and the interaction between them brings about a remarkable effect of wave motion. The vibraphone player in this piece functions as a “conductor” by indicating when the players have to switch from one section to the next, or when the harmony or melody should change within a
And again at measure 72 with the decrescendo into measure 73. However the beginning of the song was loud with no attempt at dynamics. The style was joyous and happy like a celebration in measure 13 with the slurred notes of the saxophones or measure 41 with the staccato notes from the band. The tribute section of the song (measure 54) was played very nicely accenting the sad mood of the literature. The tempo got rough at measure 91 with the change as the drummers, the director, and the band were not entirely together for a few measures.