For this final project, I listened to Emily Tigges and Greg Dobihal’s presentations on their family’s history and musical roots. Greg’s family has Czechoslovakia (father’s side), German (mom’s side), and Dutch (mom’s side) roots. Located in eastern Europe, Czechoslovakia, now the Czech Republic and Slovakia, has very distinct genres of music. The most popular, the polka, is a form of Czech folk and dance music that utilizes a wide range of instruments, including accordions, trumpets, clarinets, tuba, and others. He also noted the important and popularity of Czechoslovakian classical music, citing Dvorak’s “New World Symphony” as an example.
The Musical Glossary & Works Cited Introduction: All About the Revolution “Take your position! Aim! Stay Low! FIRE!”
Discussing the role of Jewish composers in US popular music from 1950 - 1960. “Being Jewish, the Jews’ hunger to fit in, and their ease at doing so helped shape both the core of their identity and many of America’s greatest songs.” - Gluck 2013 Between 1880 and 1924, two and a half million Jews had reached breaking point. Fleeing persecution in Russia and Eastern Europe, they kissed their small town “shetls” goodbye and emigrated to America.
“How We Listen” begins by providing us with a detailed description of Aaron Copland’s background and accomplishments, then moves on to briefly describe his views and ideas that are expressed in the rest of the passage. In the introduction, we are presented with Copland’s theory that divides the activity of listening to music (specifically the classical genre) into three categories; sensuous plane, the expressive plane, and the sheerly musical plane. The sensuous plane allows the listener to simply relax, take in, and appreciate the beauty of the music.
He considered his music as part of category of American Music and he devoted his life to music to give new meanings to the field (PBS). Organization of the paper: This research paper is based on the notable personality
For many of the orchestra members, “the violin was a comforter in mankind’s darkest hour”. During their time spent in captivity, musicians were able to work in unison with other prisoners, bonding over their shared predicament through the vibratos of classical music. This redemption through music can be seen in Elie Wiesel’s Night through the character Juliek. Many of the musicians, like Juliek, felt as if their “soul were the bow”, and their “life was gliding on the strings”. Despite the fears of what was occurring around them, the musicians focused on the sheet music to get lost in their senses: envisions of their lost hopes, charred pasts and extinguished future filled their minds, but they expressed these fears instead by playing as if they would never play again.
Composers started to focus on the middle-class audience which had grown drastically since the aristocrats could no longer afford what
Dominic Giusti Date Prof. Class Ramble On German Romantic writer Jean Paul Richter said, “Music is moonlight in the gloomy night of life”. For the youth of the 1960, there were no truer words strung together. The 1960’s in America were a very turbulent few years with the conflict in Vietnam being only one of the examples as to why. This is a time period where the youth rebelled against the system their elders put into place and began to either create their own systems, or fight to create change.
Henry Purcell’s The Fairy Queen: A Case Study The evolution of music can be viewed as a linear timeline of key, innovative composers who have far-reaching influences upon the musical continuum and perhaps epitomises the societal views which are relevant to their time period through their canonical pieces. As a result, in order to conduct a case study into any piece of music one must first realise said piece in regards to the concurrent political climate. Between 1642 and 1651 England was characterised by turmoil through civil war, which was essentially caused over the conduct of British government. This war was between the Parliamentarians and the Royalists, with the Parliamentarians being the victor.
The 1920’s had opened up opportunities for musicians in many ways from getting jobs to earning money, and or getting to hear the snazzy new sounds of the 20’s. The technology of music was a weightful impact not only on the 1920’s but also the 30’s, 40’s, and so on. The decade was truly the age for sound, it spread like a wildfire after cries of anathema and hatred tore open
”2 Music has the potential to embody emotion so raw that its Midas’s touch does not discriminate. As the first note rings through the air, barriers are torn down as a ubiquitous feeling of unity rises. The creation of Carnegie Hall models this concept impeccably as
Before this I had never attended a classical concert, so this was a new experience for me. This concert was worthwhile because not only was it affordable, it was also great for the price. Each song made me feel different, I could sense the emotion coming from these songs and the way the musicians played together added a feeling of satisfactory altogether. The venue had a large impact on the performance. The Nightingale Concert Hall provided great acoustics for the performances and fit well with the overall style of the concert.
The music culture era of late Romanticism, Symbolism and Expressionism that began with the Vienna classicals during the 18th century had ended. The concert music culture of the high bourgeoisie especially in Germany and Austria had declined, (since the inflation in 1923), many high-society bourgeoisie members faced financial decline during the war, while those who gained wealth crowded concerts and operas. Rapid rise in laborer concerts showed after the war. Many professional musicians were soldiers and suffered greatly from such as the pianist Walter Gieseking (1895-1956), the violinist Fritz Kreisler (1875-1962), Myaskovsky suffered shell shock and Paul Wittgenstein (1887-1961) - a pianist who lost his right hand on the Eastern Front. Musicians used to perform for high-rank officers during war, and the phonograph provided music and emotional bond for soldiers marking another new development in music history.
Introduction Roger’s and Hammerstein’s The Sound of Music is arguably one of the most well known films that many can admit to watching at least once in their lifetime. People all around the world have found this musical inspiring, as it documents growth and hope amidst the horrors of World War II. This incredibly well written film is based on the story of the Von Trapp family who escaped Austria when the Nazis invaded it during the war. Part of what made this movie so interesting on so many different accounts was the music that accompanied the vivid and exciting scenes. Without music, many could agree that our world would be a sad, quiet, dull and depressing place.
There are several theories that regard where and when the music originated. The historiographers pointed out that there are different periods of music with each period having its own characteristics, its composers, its instruments, its rhythm and significance to the existing music today. The first three periods; Medieval, Renaissance and Baroque are expounded in this essay. The periods span through different times albeit some overlapped one another. The essay also focuses on the common factor that triggered the existence of the music periods and its impacts on each period.
