This movie promotes a greater understanding, acceptance, and sympathy of the Lakota culture. The music helped portray both sides in this movie. In the begging of the movie, there is the scene when Timmons is killed by the Indians. When the Indians appear, we hear sharp, loud, screechy strings. This motif occurs later on in the movie when Stands With Fists start to visualize on her childhood the Pawnee Indians came and killed her family and took her away with them.
To the Pi Taus credit, it was an exceedingly well-edited video. With each frame carefully spliced for maximum effect, the end result told an erotic tale of uninhibited passion, the reenactment a far cry from the horror of the actual event. The first movement of Beethoven’s Moonlight Sonata projecting softly through the speakers, the powerfully dark piano concerto having a profound effect on both men, capturing their imaginations in an auditory meditation of the soul. As the visual story played out on Tom’s 25” television, Booker sat forward in his seat, his clenched fists resting stiffly on his knees. When Tom’s face filled the screen, there was no sound except the melodic whisper of one of the finest pieces of music ever composed.
That night Juliek miraculously extricates himself from the tangle of bodies and begins to play Beethoven soulfully on his violin. The music is so pure amidst
The sounds can be clearly heard with no instrument outshining any other, apart from the soloist. During the intro, the piano and double bass play simple chords very softly, mostly at mezzo piano level. The soloist’s first instrument, the trumpet, plays at normal level, which gradually increases during the song up to a mezzo forte level, then adds on during the end of its solo become louder with more accented notes. When the soloist instrument increases so does the accompaniment, rising slowly but gradually. During the break the volume of the music, falls back down to mezzo piano.
The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).
This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
The music feels like it can be used in a Charlie Chaplin movie, and with the music and high-speed the scene feels like a slapstick. The music is again used in this scene and the following scene with Dim and George, ironically and turned the scenes into a comedy. In the scene of the woman with the cats, we see a combination of number of themes such as music, sex, art and violence. We hear Rossini again in an ironic use, the fight between the woman and Alex seem like a dance and the death of the woman projected like a comedy with exaggerated faces of actors and moves of the camera.
In this scene, Almodóvar adds non-diegetic sound. He chooses the songUna Patada en los Huevos by Alberto Iglesias to increase excitement of this chase scene. The sound of a violin not only creates excitement but also raises a tension between two
In Romania, the main focus is on a dark violin accompanied by lyrics about the dictator of the country and how he ruined everything. The film continues to portray the lives of Rom people using jazz based music to speak to the audience in a way that words could not. When the travelers reach Spain the music evolved entirely. Even though it changed from Indian to Spanish flamenco style, the gypsy spirit is still retained within the music. The parameter of Rom music is extremely difficult to clearly define because of this paradox.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the
