Accompaniment

are Scott and Hogg, who build interesting crescendos over circular harmonic progressions. On “And the Metaphysical Concept of Shame”, the quartet dives into a leisurely brushed pop jazz, whose freeing bass movements keep asking for a brawnier accompaniment. Instead, Scott remained immersed in glossy voicings, incurring in a tri-line parallelism with Hogg and Herring for a finale that coincides with the song’s…

the middle. Furthermore, the concerto’s dialogue between the solo flute and orchestra is a trademark of Classical era music. The dialogue is noticeable throughout the piece, creating intimacy and excitement. Also, the solo line is clear and the accompaniment does not overshadow it. Lastly, the flute’s faster and more rhythmically involved sections sound improvised and transcend time and space as the strings soar above it. Improvisation is arguably the most expressive form of music, because when…

On Nov.4, I attended a concert from SJSU called “Listening Hour”, which is a casual-dressed concerts since most audience—students and professors from SJSU are not dressed. Basically It is a quite delightful concert in a relaxing and joyful phenomenon. As audience, I believe I’m a perceptive listener since I’m the combination of casual and critical listener. During yesterday’s concert, I made some comments on different performers(vocals) from perspectives of emotion, skills, and stage presence.…

For centuries, song and dance have been a vital part in creating and expressing a community’s sense of identity. Through each, members are able to pass on traditions, make political statements, and express themselves. The tango and salsa styles of music and dance are prime examples of mobilities in Latin American music that help foster a sense of identity among the smaller communities, although each required international attention before earning recognition from its home country. Each style of…

“stark contrast”. While No. 1 starts with three huge, expansive notes in a noticeable, public way, No. 2 begins in a serious, almost harsh, dark tone due to the four-note motive heard with the violin, while all other instruments provide a filling accompaniment. This motive is like a theme, for it dictates the first movement, which Parker states is “a hair-stirred pleasure” due to the almost “too-unified” movement. It sounds very put-together, while maintaining a high level of emotion due to the…

story continues, Myop's excitement becomes contagious. In paragraph 2, it states " She felt light and good in the warm sun. She was ten and nothing existed for her but her song, the stick clutched in her dark brown hand, and the tat-de-ta-ta-ta of accompaniment." This shows how the tone was warm and safety, also Myop's innocence. The paragraph states " She felt light and good in the warm sun." The two sentences indicate the childlike and innocence…

lives full of servants at their beck and call, they also had a lot of responsibility for the smooth running of a household and the care of her children. Higher ranked women had more restrictions than slaves and were required to live as a perfect accompaniment to her husband.…

between Debussy’s La Mer, Stravinsky’s Right of Spring, and Schoenberg’s Erwartung. Claude Debussy’s La Mer is an orchestral composition that was part of a collection of impressionistic pieces. It starts out with light plucking of the harp with bass accompaniment. The texture builds as the other strings and wildwoods join the harmony. Out of the three pieces, the melody in La Mer…

Luigi Boccherini. Born 1743 in Lucca, Italy, and died 1805 in Madrid, Spain. He lived for 62 years. His body was buried in Pontifical Basilica of St. Michael in Madrid, until 1927 when Mussolini had him dug up and moved his body to the church of St. Francesco in his native place, Lucca, Italy. Luigi’s bloodline still goes on to live in Spain this day. Boccherini’s father sent him at a young age to study in Rome(1757). He later went on to Madrid, and worked for the younger brother of Charles…

“In the Hall of the Mountain King” (Norwegian: “I Dovregubbens hall”), composed by Edvard Grieg, is a piece of orchestral music, Opus 23, originally for Henrik Ibsen’s famous play, Peer Gynt. Even though it was later separated as the final piece of Peer Gynt, Suite Suite No. 1, Op. 46, the play was first performed on February 24, 1876 in Oslo. The most recognisable element of this two and a half minute composition is that it starts very slowly and softly, then becomes faster and louder until it…