Morton Gould’s Spirituals for Orchestra takes the listener through an entire range of emotions. In the beginning of the first section, “Proclomation”, the strings have a tenacious and unyielding quality about them between the more severe blasts of the snare drum. The music then transitions to an alternation between the violins and cellos. Though in this transition the music is quieter, there is a mood of anger or pain throughout the section.
There is a change of mood in the beginning of the next section, “Sermon”. This section includes only the strings and has a much more peaceful and lyrical quality to it in contrast to the first section.
The next section “A Little Bit of Sin” has a humorous quality about it. The use of various percussion instruments gives the music this quality. “Protest” begins with loud blasts of brass that have a dissonant quality. The brass moves into a march like rhythm throughout the rest of the section. The march of the brass is contrasted by the overlying melody of the violins that have a crying and sad quality about them. At the end of this section, the ...
... to understand one another. Furthermore, while both poets encase aspects of the fish into their poems, Bishop’s interpretation of the fish places it at a distance because her block of text loaded with descriptions is how she sees the fish, which gives the image that she just feels pity for the fish but doesn’t really feel the need to delve deeper in understanding the essence of the fish. By contrast, Oliver’s interpretation of the fish embodies its’ essence because she does not rely on its appearance to understand it but rather when she consumes the fish, its’ spiritual aura merges within herself. Oliver captures the soul of the fish within her poetic writing as evidenced by the constant alliteration with “f” letter words including, “first fish”, “flailed” , “flesh”, “fall”, “feed”, and “feverish”, which give the image that the poem is alive and is the fish.
Therefore, Oliver’s incorporation of imagery, setting, and mood to control the perspective of her own poem, as well as to further build the contrast she establishes through the speaker, serves a critical role in creating the lesson of the work. Oliver’s poem essentially gives the poet an ultimatum; either he can go to the “cave behind all that / jubilation” (10-11) produced by a waterfall to “drip with despair” (14) without disturbing the world with his misery, or, instead, he can mimic the thrush who sings its poetry from a “green branch” (15) on which the “passing foil of the water” (16) gently brushes its feathers. The contrast between these two images is quite pronounced, and the intention of such description is to persuade the audience by setting their mood towards the two poets to match that of the speaker. The most apparent difference between these two depictions is the gracelessness of the first versus the gracefulness of the second. Within the poem’s content, the setting has been skillfully intertwined with both imagery and mood to create an understanding of the two poets, whose surroundings characterize them. The poet stands alone in a cave “to cry aloud for [his] / mistakes” while the thrush shares its beautiful and lovely music with the world (1-2). As such, the overall function of these three elements within the poem is to portray the
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
Imagine my trepidation, then, when I walked into this church, with its high, vaulted ceilings and an enormous, emaciated, and slightly malicious-looking Christ figure suspended thirty feet among my head. As I came through the entrance, the prelude began. It sounded like nothing less than the soundtrack to a horror movie, as the slasher is about to leap out and dice an innocent schoolgirl. The organ wailed in threatening, building minor chords and did nothing to allay my trepidation.
I can now understand why you were so shocked when you discovered almost nobody had seen this show. I understand how and why it is one of the more commonly known plays. This was an overall great show. Although it was a super long show with many scenes I didn’t feel were needed, I loved it all, especially the singing and the choreography The props were very well thought out and I loved the unexpected scenes of events towards the end. This show was all around a lot of fun to watch.
This paper will concentrate on the analysis and the review of three major performances, Missa Mirabilis, Rhapsody on a Theme of Paganini, Op.43 and Dona Nobis Pacem. These pieces are generally based on religious settings that are very detailed and are represented in a very organized way. This whole idea of this piece was associated with the Eucharist and focused mainly on the body of Christ. Prior to my attendance; I was able to access a recording of Missa Mirabilis, just to get a feel for what I was about to experience. Although the recording was not as good as what I heard first hand at the live performance it was still beautiful. I could only imagine how beautiful it was on the very first day of the performance at the Westminster Cathedral.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
The first section, which lasts for the first 35 seconds, has a predominant non-diegetic foreground and a subtle diegetic background. The foreground segment corresponds to a musical score made by multiple violins playing a lengthy discordant piece. It is characterised for its high pitched notes which create a feeling of tension and anticipation to the audience. On the contrary, the background sounds, which encompasses both, the ripping paper and Marion’s body movements, are both diegetic and lower in intensity and volume in comparison to the forefront. It is possible to affirm that the background noises do not play a major role in the fragment but rather complete the picture the audience is
The final two instances demonstrate the extreme emotional power that music holds over the lives of individuals. In defense of his bond with Antonio, Shylock invokes animal imagery as a strong emotional defense against the forfeiture of his bond. Perpetually invoking these images, Shylock also includes a line which states, “when the bagpipe sings i’th’ nose; Cannot contain their urine; for affection; Mistress of passion, sways it to the mood” (4.1.49-51). Shylock recognizes the immense power that music has over emotions. Music is able to bypass all cognitive faculties and permeate the deepest fathoms of our emotional capabilities, thus exploiting them. To find music included in a passage riddled with animal imagery permits a reader to understand the intensity of music, being a conduit that can access an individual’s deepest fears. Fear is the inherent system that drives animals to survive, much like the way it drives Shylock to maintain his way of
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
On Saturday, September 24, 2016, at 8 pm, I attended the Bach & Beethoven concert performed by the Los Angeles Chamber Orchestra and conducted by Jeffrey Kahane, music director. This event took place at the Alex Theatre in Glendale, California. The duration of the program was about 1 hour and 30 minutes. This was a very special night for me because it was my first time going to a classical music concert. I have heard music like this at weddings, movies, elevators, Cadillac commercials, or scanning through the radio stations in my car. But never have I been present in an auditorium filled with people gathering together for this reason, classical music. As I entered the theatre, I noticed everyone was formally dressed. The orchestra were all dressed in black. The lights were dim and set the mood for a relaxing night.
at 0:08 the murmur of children in the background appears with the repeated church bell rhythm, followed by an approaching car, with a crescendo dynamic, the vehicle’s soundscape changes from a keynote to a sound signal as he approaches and then reverts back to a keynote as the car drives away (0:18 - 0:25). This can be seen on a connotative level as cars driving into the church grounds. The following sound that occurs people moving around on the church benches and paging through hymn books, that provides a pizzicato sound and with the repeated approaching car sound that finishes off the outdoor sounds with a car horn (0:27 -
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.