On Sunday, September 25, 2016 at 7:30 p.m. Flutiest Wayla J. Chambo performed contemporary music pieces based on Poems. The program included solo flute pieces, flute with electronic music and also some world premiere pieces. All pieces from the concert were based on the Poems by Chambo herself. This project aims to present interactions of text and music, and it was impressed through the whole concert.
The concert opened with Acres Without Tress by L. Scott Price for Flute and live electronics. Electronic sounds made creepy atmosphere at the opening section and the harmony progression of flute solo section was not familiar. The extended techniques for flute were noticeable especially for this piece. She used her mouth to make various windy sounds by blowing the mouthpiece. She made noise but not the actual pitch sounds. The next piece was Acres without Tress (Los Angeles) by Sarah Page Summar which was also based on same poem with the first piece. The piece was for solo flute and she started with reading the poem. Although the poem and text basically same, the music came out totally different; its styles, harmony, materials were very different. It was fulfilled with much more adventure feeling and very fast moving of
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The 7th piece of program was Aubade by Lanier Sammons for Flute and fixed media electronics and 8th piece was Aubade by Joshua Harris also for Flute and fixed media electronics. Aubade by Lanier Sammons created the music based on the electronic recording. The composer recorded the Poem text while people were reading and then composed the music based on this recording. The audiences could hear various different words with different voices. The last piece, Aubade by Joshua Harris, was performed with Alto flute. The rhythm of this piece attracted audience especially because various rhythm patterns were influenced by accents. The composer changed the place of accent, so it created interesting rhythmic
The two poems that I have selected for the Analytic Paper are “Blue Light Lounge Sutra For The Performance Poets At Harold Park Hotel” and “Thanks” by Yusef Komunyakaa. The former was read and analyzed as part of a class discussion early on in the quarter while the latter is a piece never analyzed, but closely related to another that was examined for its content and stylistic techniques (“Facing It”, Penguin Anthology, page 441). Though both were written by the same author, there are specific discrepancies in rhythm and wording that create artistic differences that suit the subject of each piece.
However, the most fitting work with the concert theme may be Philip Glass’s String Quartet No. 2. This work is often entitled Company and was originally intended for an adaptation of Samuel Beckett’s prose poem entitled Company. This cross-disciplinary collaboration resulted in Glass extracting material from the theatre score and making it a four movement concert work that could stand alone. This 1983 minimalist work is clearly characteristic of Glass’s style in the repeating arpeggios, harmonic language, and his recognizable rhythmic structure. However, the most important aspect of the work in relationship to the other music on the concert may be its inspiration. While Beckett’s work was the inspiration for the Glass’s music, Beckett was also a collaborator in the creation of the staged work. Like the works of The Brooklyn Rider Almanac, Der Blaue Reiter Almanach, and The Onomatopoetic Project, Philip Glass’s String Quartet No. 2 provides a unique prospective on art through a different medium. This concert is a wonderful example of how music, the visual arts, theatre, and literature can all be used to comment on and inspire one another by simply looking at art through the prospective of all forms of
For my first concert report, I have decided to attend the Applied Music Student Recital. The musical performance was at Palomar College on February 27, 2015 from 1:00P.M.--2:00P.M. at the performance lab room D-10. The type of music that was presented at the concert was a brass ensemble, chamber music, classical, contemporary, jazz, opera, percussion, and many vocal arrangements. There was a total of eight musical Palomar College student performers who are majoring in music theory. I am only going to focus on a few of the musical pieces that I enjoyed most. The majority of the performers were dressed in formal attire. As the men were dressed in a dress shirt, a tie or bow tie of their choice, black slacks, and dress shoes. As for the women, they wore dresses, skirts and dress shoes. Also there was a pianist, accompanist who is a Palomar College music teacher named Ruth Weber. The performance was in a music concert hall with roughly fifty audience members.
The event I attended was “An Evening of Jazz” concert held at the Fine Arts Hall on November 17 at 7:30 p.m. The performing groups were The Santa Fe Rhythm and Blues Review, The Santa Fe Jazz Combo, and Santa Fe Big Band. The event was to for me to understand, experience Jazz music and know the instruments used.
Audubade by Libby Larsen (b.1950) was a Contemporary piece performed. This was a solo flute performance by Kristen Smith Stoner. It was a very somber piece with a minor key. It almost brought more quietness to the atmosphere. The notes for this work were quite far apart, thus, making it have a disjunct melody. The texture was homophonic with a very tense dissonant harmony. The tempo and dynamics varied quite often. As the tempo progressively sped up from a moderato to an allegretto and finally to a faster presto, the piece seemed to be getting more and more tense. The dynamics were also changing. From being a moderately soft mezzo piano, it moved back and forth to a louder forte and moderately loud mezzo forte. The formal structure was in the third rondo. It had a returning theme after a small contrast in the middle.
One of the most prominent examples of program music is Richard Strauss’s tone poem Don Quixote. This tone poem tells the story of Miguel de Cevantes Saavedra’s novel The Adventures of Don Quixote. The story of the hero Don Quixote is one of insanity and delusion that Strauss was able to depict very well. Don Quixote was a middle aged man that read too many books about knights and their heroic deeds. This is shown by three different themes given to show Don’s dreams of being a knight. Over time, he read so many books and dreamt of rescuing his ideal woman named Dulcinea from a dragon so many times that his mind was unable to separate his real life from his fantasy world. Strauss chose to depict Dulcinea with a beautiful lyrical melody while the dragon is represented by a loud, low, sustained melody in the tenor and bass tubas. Don’s victory over the dragon is shown by a victory flourish in the flute and oboe. After this melding of his mind occurs, he believes that he is really the knight Don Quixote de la Mancea. From here, he and his side kick Sancho Panza set out into the world to do chivalrous deeds. From here on out, Don is represented by a solo cello voice. When ...
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
Elana Sanguigni April 18, 2016 Honors Music Term Paper. The Wind Ensemble and Concert Band reflect a rich history. The formation of the Concert and Wind Ensemble bands dates back to the Middle Ages and Medieval Times. The Concert Band and Wind Ensemble have evolved over the years, due in part to significant historical events, music combinations, individuals, and progress.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich during the second World War.
After looking up information relating to the piece, it was discovered that Pilatus is actually a mountain in Switzerland—which forms the basis for this piece. The instrumentation, dynamics, and key all give way to a very convincing program piece; one that completely immerses the listener into a chilly and barren mountain landscape. The beginning of the work features the brass section merely blowing air through their horns (without actually producing a tone). This emulates the sounds of a haunting wind blowing on a mountain. Also, the key plays well into creating the sinister and mystical atmosphere, as some sections of the music feature a lighter, jovial major key, while many other sections of the piece are performed in a dark minor key. Lastly, the dynamics play well into creating the mental picture of a mountain in the mind’s eye, as a mountain may be frigid and lonely, which can be seen by the many woodwind solos. Or, a mountain may be a grandiose and awe-inspiring natural landmark, which can be heard in the powerful brass phrases at fortissimo. Overall, the piece depicts a magnificent mountain in a variety of contexts, and serves as the concluding work for the Alabama Concert Band performance on November 6,
Sound Devices help convey the poet’s message by appealing to the reader’s ears and dr...
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
The first piece was called Oblique/musique composed by Patrick Swanson. This piece instantly stood out among the others because of the instruments involved. The piece was performed by two people: one playing a vibraphone and the other playing a large drum/cymbal/gong. However, the piece also contained prerecorded sounds of static, bass, and an incoherent voice. In this piece the melody was repeated many times. It was similar to the works of John Adams because of its repetitions, background recording, and minimalistic sounds.
myself to listen to 15 Jazz CD’s in a week and a half, so I