Sensamaya's Song To Kill A Snake

This evening, the camp received a copy of the violent General Antonio Lopez de Santa Anna’s speech to his soldiers, and it as absolutely nonsensical! He disrespected our proud Texans by claiming us all as killers and wretches! The half begotten, son of a leprous donkey doesn’t realize how he idiotically spoke of his country in such a guiltless and faultless tone. It had been they who abolished the federal system and supported a tyrannical ruling! He even had the nerve to call his country generous! The blockhead of a general stupidly declared that they would incarcerate and punish our noble Texans. I assure that I shall make him pay for my wife and child who are also with me. I shall protect them with every last ounce of myself, even if that

The Studies in the Arts: Dominican Culture course examined multiple topic that relates to the culture of Dominican Republic, the political system during the past and the present, and all forms of music and sports that are popular in the country. The introduction to Antihaitianism in the Dominican Republic was first introduce at the beginning of the course. Antihaitianism is defined as the, “prejudice against, hatred of, or discrimination against Haitians and their language, culture, and race”. The two race have been in conflict due to sharing of the same island. For a long period of time, the Dominican army would kill the Haitians with weapons. During the 20th century the government and other political party wanted the island to be separated.

Pessimism ran high as I entered the Organ Recital Hall with low expectations due to my less than medium experience at the previous UCA concert I attended. On the contrary, the It Could Be Anything New Music Ensemble turned out to be a rather enjoyable experience. Directed by Dr. Wesley Ferreira and Professor Andrew Jacobson, the It Could Be Anything music ensemble featured the newer works of recent composers that embody the feeling of new music culture. The ensemble included various musicians and instruments, such as a violin, cello, flute, oboe, clarinet, bassoon, saxophone, trumpet, trombone, piano, and various percussion instruments. The Four songs featured in this performance were “New Year’s Harmattan” (2004), Robin Cox’s “Choros No. 7” (1924), Heitor Villa’s “Lobos” (1887-1959), and ending the performance was a shortened version of “Worker’s Union” (1975).

The author shows that Isabel is very musical. She especially shows this with her thoughts. She relates everything to her music; she is always thinking about her culture and she lives the journey like it’s a song. She sees everything that happens on her journey as music. When they were bailing water out of their boat she said “It sounded like a conga solo as the rain drummed against the sides of the metal boat”. It makes sense that she does this, because she is a musician of a high caliber. She relates things back to her culture and her music because it makes it easy to understand and it makes sense for the reader. There are so many examples of this in the story. She goes through the trip as if it were a song. A triumphant and strong intro, a perilous and suspenseful middle, and a joyful and relieving coda. The reader can tell that she is musical because

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). This fourth instance of the A melody is otherwise played the same as in “The Raiders March” until the last two bars, where it immediately jumps into what was the coda of the original piece (1:53).

Unity and variety is put in this piece through dynamics, timbre and pitch. The song adds variety by increasing the volume during Idea B. Idea B is unified in the piece keeping the same instruments as Idea A to keep the rhythm. The dominant instruments during Idea B introduces new sound sources and adds variety to the piece. The overall pitch of this piece is low but the piano during 2:18-3:17 gives variety by introducing a higher pitch.

On November 15, 205 at 2pm I was able to see the Rutgers Percussion Ensemble. I was very interested in this show, because I have never been able to see a group of only percussionists perform in the same space. The first piece they did was called Ionisation, which was written in 1929. There were thirteen musicians on stage playing various instruments. This song began with a rolling unpitched sound coming from four snare drums with the claves. This idea was an interesting start, because it caught the audience’s attention to really listen to what was going to happen next. Then the song, went into a lighter more atmospheric section, where there were many crescendos and decrescendos. The instruments in the piece included the chimes, maracas, timpani,

Line 1 in this piece represents the bongos (particularly the martillo sections) and the highest pitched conga (quinto). You are welcome to use the bongos instead

Schumann’s Op. 94 Romances were composed in 1849, during a time when his mental health was deteriorating rapidly. Originally written for the oboe, the first performance featuring the violin and piano was given by Clara Schumann and François Schubert in a private concert. The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery.

Richard Strauss (1864-1949), was a leading German composer and conductor. His orchestral compositions and operas have made him one of the best known composers of the late Romantic and early modern eras. While Strauss did not pay much attention to his chamber music in his later life, in earlier years he tried to compose several different types of chamber works such as a string quartet, two piano trios, a piano quartet and several instrumental sonatas. Now I will introduce his last work of chamber music, the violin sonata.

The Music For Strings, Percussion, and Celeste written by Bartok, is theoretically unique and composed in a very different way. This piece is in four movements, Bartok intentionally makes the first and third movements slow, and the second and fourth fast.The first movement is a slow fugue, with a time signature that changes abruptly. The piece was written without a key signature, and is instead centered around the note A (the tonal center), which the movement begins and ends on. The fugue is based on a chromatic four phrase theme, which includes no interval greater than a third. It all starts on muted strings, beginning with the violas and as all the other voices

The pitches are getting higher, while the song is going to the end. From 32:25 to 30:10 the flow is gaining momentum and the song has more powerful sounds until 44:25. The atmosphere of the work is entirely powerful and strong. The other hand, as the song is progressed, the flow loses momentum, and at 58:41, the atmosphere is changed into placidly mood. Ratio-based tuning system has intimately relationships between the other scales and notes. The same themes and chords cycle in this piece. The chords and continuous chorus do not sound like piano performance. The listeners could be aware of the resonance of the piano. I could notice that the music reaches the end of the work. However, the song could go on moreover, if the composer would keep playing the music. Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the

J.S Bach was a German composer, he is one of the most important composer of the Baroque period because he established the German style in the counterpoint,harmonic and motivic organization.He had great contribution on the rhythm Bach was born in a music family, his father is also a great musician who taught him to play violin and harpsichord.

Dr. Sheri Neill introduces herself and explains that she has different degrees in music and education from Texas Tech University, Stephan F. Austin University, and University of Missouri. Then she introduces Cheryl Lemmons, which is the pianist that was sitting at the piano located right front of the stage. There was a choir that was located center stage with the conductor directly in front of them. The choir consist of only women, which seemed to be alto and soprano singers. They began with their first piece “Wir Eilen Mit Schwachen, Doch Emsigen Schritten” written by S.J Bach. The song starts with the piano playing a nice melody as an introduction, which has a steady beat as well as steady tempo. Then the sopranos began singing softly with the altos following behind imitating and singing the words with a lower pitch. The piece seemed mostly polyphonic, yet there are many times when it is homophonic and

In the first video the composer Hector Berlioz is mentioned as well as his Symphony Fantastique. The symphony was inspired on the legend of Faust; it tells the story of a man that sold his soul to the devil in return for both knowledge and earthly pleasure. At the 7:00 mark “La traviata” is mentioned, which was an opera that talked about a love affair climaxing in a tragic death. The composer of this piece was Giuseppe Verdi, but it was not the only opera he composed, in fact they were 28 operas starting with Nabucco (1842) and ending up with Falstaff (1893) a half a century later. Franz Liszt is a composer and piano master discussed at 12:15. There are 6 innovations