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Daniel Felsenfeld’s “Rebel Music” is about how he found his love and passion in classical music. As a teenager he felt like he was going through a “personal drought” because it seemed like he had a dry lack in the culture of music. His friend Mike introduced him to Beethoven’s Ninth Symphony and finally found music for the first time. I found the article interesting because he played the piano and then stopped going to lessons, but then after listening to Beethoven he was instantly hooked and became a composer later on in life. For Felsenfeld, classical music made him feel different because he was the only person that listened to
One of the consequences of World War I within American and Mexican music industry was prioritizing popular national music over other genres such as Tejano. However, this type of music had a new boom in post-war decades as a consequence of the improvement of socioeconomic opportunities. New music styles such as female-based duet and the orquesta tejana came up as well the re-emergence of conjunto music occurred. Guadalupe San Miguel Jr. discusses the significant role the businessmen Armando Marroquin and Paco Betancourt played promoting Tejano music. Their company Discos Ideal favored Tejano music was recorded by several local artists from Texas such as Valerio Longorio, Paulino Bernal, and Beto Villa among others.
In addition to the speed of the song, the ensemble plays longer notes with moving melodies during the climax, the most intense portion, of the song. The dramatic crescendo, sustained notes, and build up to this section are also a vital contribution to the power behind it. To make it most effective, the players should have good air support to keep the line moving forward and maintaining the intensity. On the other hand, Giroux uses the loud, low sounds from the brass and percussion sections to give Khan its energy. A faster tempo and quicker rhythms are also used throughout the entire song which require improving fingering and embouchure techniques.
Tull keeps building the anticipation of the musical texture not only by extending the phrase, but also by increase the range and volume of the solo trumpet to reach the peak before going into
Count Basie’s rhythm section is called the first modern rhythm section because of the delegation of responsibilities and the lighter, more fluid rhythm. With Basie using fewer notes on the piano, it gave some breathing room to the rest of the section, which allowed them to complement each other rather than duplicate each other. Also, the drummer used a cymbal instead of a bass drum on each beat, which also led to a lighter, more buoyant
The tempo is faster than Louis Armstrong’s version and has more of a bluegrass tone to it. While Louis Armstrong’s version was slower and had a jazzier tone. The notes were drawn out more and so was the singing. The beat and tempo for each song helped add to the overall tone and style. Even though both versions
One can dance to Little Richard’s version with a swing dance as it allows time for time for complex movements. Elvis Presley’s does not allow much time for more complex movements in which you probably only dance by jumping up and down in the way teens do at concerts. It would take a skilled dancer to coordinate a dance to the tempo that is presented in Elvis’ version. Even though both songs have the same lyrics, the execution of it is very much different between the two versions and shows how quickly rock music can change and respond to its
Roethke’s My Papas Waltz Many literary scholars, researchers and readers in general, driven by intrigue, have tried to dissect, analyze, and interpret the ambiguous meaning of Theodore Roethke’s poem, “My Papa’s Waltz.” Their explications however, result in ambivalent, and sometimes controversial views. Some critics argue that “My Papas Waltz,” portrays the physical violence inflicted by a father to his child.
Coltrane: the story of a sound Did you know that the Jazz revolution started to become popular in the 1920’s, but that was around 97 years ago? As time went on, people forgot more and more about jazz until only a very selected amount of people care about it anymore. In the biography, “Coltrane: the story of a sound,” by Ben Ratliff, the message was to show the reader the person who changed the face of music and the way everyone thought about it.
Women appeared to be extremely irrelevant in the novel. Many had no voice, but especially not a name. Curley’s wife was not respected as she is not given a name, ignored and was talked about her, such things as being a “tart”. Many ranch workers did not know her but still had created a single story of her. Curley's wife may be an awful woman, but she has to presence neglect and isolation.
This song has a form of verse/chorus/verse/chorus. The song starts of with the beat of a single drum before an electric guitar, piano, a violin and a tambourine join it. There is a steady, but rather slow tempo at the beginning of the song that speeds up when the other instruments join into the song. When listening to the recording you hear the drums, guitar, and what seems like just slightly above half of the main vocals coming out of the left speaker or headphone. Out of the right speaker or headphone you the piano, what sounds like a little bit of violin, as well as the backup vocals.
The repetition of Del Rey’s anthem, both the classical and instrumental version, serves as a constant thread connecting Gatsby’s and Daisy’s feelings to different stages of their romance. The instrumental version of this song plays during the scene in which Daisy refuses to marry Tom the day before their wedding. Luhrmann makes two key choices in this scene in order to portray Daisy’s feelings. The exclusion of lyrics serves to illustrate Daisy’s confused feelings because she has these very intense and clear emotions, like the tune or melody of a song, but cannot fully articulate or understand these feelings. The lyrics of Del Rey’s song represent the ability to understand her feelings, so by eliminating the words, but keeping the underlying
Antonio Vivaldi composed this piece in 1723. It is in the genre of violin concertos. The version I listened to was performed by the Israel Philharmonic Orchestra. Music from the Baroque period of music can be described as fast-paced, having one melody throughout the piece, and having the same mood throughout the piece. Contemporaries of Vivaldi were Handel and Bach, just to name a few.
Alphonse de Lamartine, French writer and politician, once said, “Music is the literature of the heart; it commences where speech ends” (“Quotes About Power Of Music”). What is one of your favorite songs? Does this song have any special meaning for you? Music can be motivational, relaxing, exciting, or even frightening. Sometimes choosing a specific song as your favorite can be challenging, but there is usually one that you really like because the lyrics are relatable to you, maybe it describes your mood, or it may just be really catchy.
One of the most influential American composers from the 20th century is Steve Reich. Steve Reich was born in New York on October 3, 1936. It is believed that his mother, a songwriter who also had a connection with music, influenced his affinity towards music. Reich studied philosophy at Cornell University and composition at the Julliard School of Music. He studied with William Bergsma and Vincent Persichetti, while he received his M.A. degree at Mills College (California), and his mentors were Luciano Berio and Darius Milhaud.