Because the orchestra uses an array of instruments, a stark contrast is able to be created between the moments when Chaplin is dancing and when he is not. During the dancing the violins play higher notes, similar to how the piano does; however, the violin is also accompanied by bells, adding to the joyous instrumentation. During the preceding and following moments when Chaplin is not dancing, the violins play lower notes and without the accompaniment of loud bells. The addition of the bells causes the soundtrack to be significantly different than the non-dancing scenes. An additional effect of creating a unique sounding soundtrack is it makes the music appear to be almost diegetic.
Opera refers to an impressive art form, which is originated in Europe, in which the content being shown to the audience is emotional as much through music, both vocal and instrumental, as it is all the way through the lyrics. On contrary, music plays fewer roles in musical theater but an actor 's dramatic performance is primary. It uses the primary elements like scenery, costumes and acting to present, but, the words of the opera, or libretto, are sung rather than spoken. The singers are convy by a musical ensemble ranging from a small instrumental ensemble to a full symphonic orchestra. 1.
2 in D Major TWV 40:120 Spirituoso composed by G.P Telemann. You can definitely tell that this piece was composed in the baroque era. You can hear the elaborated musical ornamentation throughout the piece and the canon technique of both flutes in a major scale. The sound of this piece sounds jolly and yet adventurous with its steady consonant tempo and trills. This by far was one of the shortest pieces that I heard throughout the evening and yet
The Low tubas and bassoons, continues playing the chant in long even notes, with bells accompanying, Higher horns and trumpets also continue playing the chant, but in a faster tempo and the high woodwinds continuing the chant in a fast dance tempo (Kamien, 2014: 298). Berlioz thus dared to parody a sacred chant by altering it into an insignificant melody, as he had previously done just a few bars earlier with the Idée fixe and therefore Berlioz conveys the insanity of a witches dance in a fugue-like section (Kamien, 2014: 297). There are violin syncopations, with piccolo and altered strings between the dynamics forte and piano to the repeated chords. The Witches’ dance is introduced in woodwinds and imitated with low strings and violins (Kamien, 2014: 298). The brass section of the orchestra plays rapid chords in fortissimo that are repeatedly answered by descending high woodwind section that descends to pizzicato in the cello and bass section of the orchestra.
Octave passages are used that produce a weighted feeling on the listener, just as it is in the introduction. Low chords are sustain while a melody is played in the upper octave throughout this section. The B section ends with a tonicizations of different new minor keys. The A section is repeated again in what feels like a major key with deceiving minor tonicizations. This section is much shorter.
Unfortunately, instead of being engaging, they felt gimmicky and trite. For instance: act two started with a bizarre dance of neon skeletons. As an observer, I felt as this was a gimmicky way to extend the length of the performance. One strength I noted, is the idea of using the musical pieces to express the characters inner thoughts. This is an excellent idea for adding modernization since this play does work neatly with adding theatrical elements such as music.
The Advanced band had two pieces that were introduced as solos, but they didn't seem very well practiced. In the first, the ‘solo’ group forgot to stand up, and when they did the motion of standing seemed to make them forget their notes to play.. In the second, the ‘solo’ group played so softly that it was difficult to hear them above the rest of the band. Apart from these mishaps, the songs were smoothly played, engaging, and had interesting introductions provided by MrMinke. The transition of bands was bumpy again, but it was shorter than any others yet.
I did not care for this piece. The combination of the vocals with the instrumental accompaniment did not provide me the experience I was envision. This piece left me very uneasy and I had great difficulty listening to the piece in one sitting. The piece created sounds that are far from natural. Even though I didn 't enjoy this piece, I was fascinated by the sounds that were created.
A specialty dance is a routine used in musicals in which a character has to use their specific skill to over come obstacles and reach the end of their story. I would therefore argue that as a film the music and dance sequences are outstanding and memorable, however I don’t find them to be essential to the development of the narrative. Fred Astaire once quoted that ‘It is extremely important for a dance cue to flow naturally in and out of the story … Each dance ought to spring somehow out of character or situation (Macintosh, F. 2010), in the case of ‘Flash Dance’ I don’t believe that narrative flow of the plot blends the dance sequences smoothly enough for it to seem natural. I would therefore argue that in this case music does not becomes the signifier par excellence of the value of the couple and of courtship, rather that other elements such as mise-en-scene, editing, framing, script etc. are important in the building romance throughout the
One isn’t really clear on the meaning of him saying this and it feels dark. His dialogue, for the most part, sounds sharp. The script, however, feels overly chatty between Leonard and Harry. There’s also some repetitive dialogue on page 9 about being psychotic and on page 32 about the heart growing
Bill T. Jones’s Still/Here is about the human feelings and they are expressed through high formal structures. I think this choreography is abstract and it focuses on the gestures that Jones’s is dancing to. One of the examples is when one of the dancers strikes up and uses a “game-playing” technique in the workshops. When the singer Odeta is heard on the tape she filters some selective texts from the workshop that the composer Frazelle has set into the art songs with a “spiritual” feeling. For most of classical dance lovers these songs have their own beauty and they can feel the movements and feeling about these dancers something I can not feel because I do not like these type of songs/dance but I can say that it gave me some type of idea about what was going on thanks to Jones’s when he was asking them what they were feeling even thought there was no music just movements but I was able to recognize some feelings.