Positional notation

TO THE DIRECTOR This piece is a follow-up to “The Running Of The Bulls” by Doug Beach & George Shutack (item #42807). The rubato Kenton-ish introduction begins with the trumpets announcing the majestic start of festivities at the bull ring. The bull fight begins with the chart breaking into a burning samba groove at measure 11. The saxes make the first statement of the melody at measure 19. Crisp brass backgrounds punctuate the second statement of the melody at measure 35. At measure 51,…

There is something I can do for four hours straight without getting tired. I really enjoy in the music of piano. So you can see that I love to play piano. It is the thing I would if you ask me to choose something to do. I started to play the piano when I was in the age of five. I was attracted by the sound of piano. When I was in kindergarten, my sister was learning piano. I learn to play piano by watching my sister. My mom realized that and took me to take real lessons. The thing didn't go…

The score guides the audience through times of adversity that the protagonist faces in each trial, further deepening the audience’s emotional understanding of the challenges facing the protagonists to show the amount of strength to overcome such struggle. During the moments where the protagonists face sets of trials, the score becomes an extension of the script, guiding the audience to empathize with the protagonists’ feelings of nervousness and determination. In an interview with critic Bill…

In the “Prelude” from Musicking by Christopher Small, the definition of musicking is strictly an action or “to take part…whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing.” To a degree, I agree that “to music” is an act that includes those who work on a performance, whether it being formal or informal, play an important role in the success of musicking. Small includes many rhetorical questions, like…

My definition of a formal music education encompasses samplings from all over the world. Students will learn Western music and its conventions such as: reading and comprehending western notation, harmony, melody, counting systems, and western traditional ensembles (ie. orchestra, wind band, quartets, jazz ensembles). Students will explore music from outside the western realm through source materials and teachings. This will expand the students…

The architectonic idea in Hanslik is Nature. Nature, for Hansik, is a supplier of elements that transform into music; these elements ranging from sounds to people to equipment to make sounds from. There are several arts, conceiving of things that do not exist in nature, but are rather inspired by them. Nature functions to supply models to art, while the function of art is to exemplify nature. Nature naturally happens before art, it is the supplies of art, the crude elements which man transforms…

The music that I have chosen is D major Violin Concerto No.1, Op.6, composed by Niccolò Paganini. To gain a more complete understanding of the composition, first we need to check the background information of the composer. Paganini was an Italian violinist, violist, guitarist, and composer. [iii] That explains why the composition mainly uses violin throughout the whole composition. It was also noted that was one of the most famous classical music composers on the romantic era. When I first…

Differentiating Musical Exoticism Musical exoticism comes from the influence of non-European elements, often imitating styles from other cultures as a way to differ from the customs of the audience and creators. The motives for exoticism lie on a spectrum, ranging from pure exoticism to transcultural composing. Pure exoticism includes “othering” a subject, labeling them as different from one’s own group (Lecture 5/16). On the other hand, transcultural composing uses both non-western and western…

In 1960, a telecast was recorded featuring George Balanchine’s Apollo Musagete. It was premiered on a DVD later released with the name New York City Ballet in Montreal, Vol. 5. This version of Apollo was choreographed by George Balanchine. The score for Apollo was done by Igor Stravinsky. The performance was done by Jacques d’Amboise, Melissa Hayden, Jillana, and Patricia Neary (New York City Ballet). This recording of Apollo emphasized George Balanchine’s aesthetic of ballet. In the…

The next musical work performed by the Alabama Concert Band was entitled Xerxes by John Mackey. This piece begins in a very disjointed and seemingly unappealing way, as the low brass and percussion begin with a homophonic rhythm. The tempo is one of moderato, as it is not fast, yet all slow either. All of the notes are staccato and separate from neighboring notes, which creates a sound that may seem strange or odd at first listen. It is written in a chromatic key, with no clear major or…