“Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play “The Star-Spangled Banner” at Woodstock,” Sherman Alexie, the author, depicts a very rare, but normal image of a Native American family. Victor, the narrator, father beat a National Guard solider during an anti-Vietnam war rally. The incident was documented, seeing that his father a Native American. In result of this incident, Victor’s father was imprisoned for two years. After being released from being imprisoned, the first thing his father did was go back to Woodstock, where he says he was he was the only Indian to see Jimi Hendrix’s famous performance of the “Star-Spangled Banner”.
Jay MacLeod’s book Ain’t No Making’ It is a treatise on social reproduction theory, that is, the ways in which class inequality is reproduced across generations, and is equally relevant and informative to understanding the cycle of poverty today as it was in 1987 when it was first published. The explanations of the life trajectories of the men studied in this book are especially important in light of the inflamed rhetoric and intense debate that characterize the interactions between the two distinct ideologies that have bifurcated the theorists of educational reform: Economically deterministic theories and the theories emphising the autonomy of the cultural level. Though the attempt of the author is to provide a perspective which allows for the simultaneous existence of the two theories. We will see that neither perspective can be said to be entirely endorsed by the conclusions found in Ain’t No Makin’ It.
Furthermore, Ellison’s passion for jazz music and blues had led him to reflect his novel. His familiarity with jazz was taken from his musical background. According to the author of Jazz Country Horace A. Porter: “Ellison began playing trumpet when he was eight, and he listened to and practiced playing ‘hard driving blues’” (3) He also added: “jazz musicians were as a group among Ellison’s several boyhood heroes” (3). Hence, jazz music was considered as an important point within his life since he got inspired by musicians as Louis Armstrong, Duke Ellington and Luke Jordan.
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.
Irving Berlin’s White Christmas is a joyful, holiday, thrilling production created in order to help people not only get in the Christmas spirit, but to realize what makes Christmas special is who you spend it with. The musical opens up with an army scene on Christmas Eve. All of the soldiers are attempting to get in the holiday spirit, but especially Bob Wallace and Phil Davis. These guys are the life of the party. They performed for all of the other soldiers by singing different holiday songs as they wore their Santa hats, and bells around their neck.
For this discussion I choose a musician Louise Armstrong song from Pandora. When I type Louis Armstrong song, there were hundreds of his records. I choose a “Stardust” track from the album called “Don 't Get Around Much Anymore “. This song is composed by the popular song composer by Hoagy Carmichael in 1927. This song has many versions that recorded by other jazz great musician added to Armstrong.
1. After viewing the documentary and listening to each song by Rodgers and Hammerstein the song that made the most impact on me was the song “Some Enchanted Evening.” The song consists of very smooth and romantic melodies. Due to that I am a hopeless romantic I really enjoy the song lyrics and melody. The song was very catchy that I ended up singing the song for the rest of my day.
Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.
Close your eyes and try to imagine a melding the history of the Irish and Scottish tunes, of the twang of country music, and the reverence of a gospel message. Enter a touch of the blues and the spirit of generations who played music to express themselves with this unique genre of music. Each of these components brought with it instruments steeped with tradition. Country music built the foundation with the guitar and bass guitar, the Scottish and Irish influences added the mandolin. The Africa American 2/4 beat contributes the banjo and the washboard adds the finishing folk music touch.
In the novel Ragtime, E.L. Doctorow tells a complex story where historical figures and fictional characters are woven together to make up the narrative. Evident themes include: race, class, and change and transformation. Throughout Ragtime, there are many characters who are influenced by certain people or encounters. Ragtime not only tells the individual struggles of each character throughout the novel but also shows how each character is affected by another. The different characters in Ragtime represent different responses to change - from encouraging change to responding to it, and from resisting change to accepting it.
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.
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.
From beginning to end, I am captivated by the music. Each element brings a unique character to the overall piece. The music takes the listener on a suspenseful journey. The arrangement of the song gives me a visual of someone stumbling upon a dark forest and begins to hear the fast-approaching movement of something behind them. The pairing of several melodic phrases throughout the composition adds to the sense of chaos and turbulence.
In addition the string and wind instruments have soft tones that couple with her voice to give the version a dreamy feel. In comparison, Kamakawiwo’oles timbre is pure, soft and breathy, that also gives a dreamy feel in the beginning of the piece. As the song continues however the Ukulele begins to dominate with a lusher and fuller timbre. In contrast, the timbre of the piano in Tatum’s version differs greatly from the soft timbre of Kamakawiwo’oles voice, because it is dense and has strong articulations.
The melody of this song described as restlessly chromatic and undulating, a swaying Arabic-sounding tune. The melodic line is filled with emotion and oddly unbalanced consisting of seven alternating sections of held tones and movement. The harmony is added behind the melody is dissonant but simultaneously lush. The rhythm was played with in Ella’s version making the classic song her own giving the clarinet a smooth solo. The simple rhythm of the song has an AABA pattern it sticks too.
