Colorado Fiesta: Dances with Brass
The paper addresses the songs performed during the Colorado Fiesta: Dances with Brass concert, the location, timing, and duration of the concert. More so, the paper will discuss the performers, the instruments, and their functioning during the concert. Ultimately, the paper will analyze the prowess of the band and significance of the concert. The classical musical concert entitled, Colorado Fiesta: Dances with Brass took place at the Gates Concert Hall in the Newman Center for the Performing Arts at the University of Denver on October 13, 2012 (Valencia, 2012). The concert lasted from 7:30 pm to 9:30 pm. The live performance included 14 professional musicians of the Denver Brass. The performances include Salsa, Day of the Dead Suite, Tango, and Sense Maya (Valencia, 2012). The performers played different classical songs that included Day of the Dead. Denver Brass constitutes of 14 professional musicians (The Denver brass, 2014). Denver Brass’s universal appeal defines
…show more content…
The Colorado Fiesta: Dances with Brass depicted a classical musical genre as the band sung various classical songs. The programming of the music sought to share the Colorado history in an entertaining manner. The performance sought to bring a musical excursion from Spain to America. The live concert evoked emotions, images, and ideas. Indeed, the fiery dance, cool music, and sensual Flamenco guitar evoked happy and entertaining feelings. The live concert also evoked passionate and romantic feelings courtesy of the romantic song Day of the Dead. The Colorado Fiesta: Dances with Brass was equally colorful thus evoking a beautiful feeling. Some of the most Memorable features of the live concert included the fiery dance, sensual Flamenco guitar that evoked instrumental effects, and the entertaining dancing styles by Fiesta Colorado and Steve Mullins (Valencia,
Thursdays at Cal State L.A. seemed like any other typical day- warm, busy, and tiring. However, on December 2, 2015, something was particularly different; not only was it the last day of class before finals, but there was also a Mariachi concert directed by Cynthia Reifler Flores. As I was walking towards the State Playhouse, I thought about how the music would be composed. The first thing that I expected was the music to have a quick, upbeat tempo, something that would be played at a festival or a party. I walked through the screen door and was given a pamphlet. In it contained detailed information about their programs, musicians, Flores’ biography, and the prodigious mariachi group. After waiting for what seemed like an eternity, the doors
The concert is performed by the Lincoln Center Orchestra with Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take Care of Me?”, “It’s a Raggy Waltz”, “Tokyo Traffic”, “Take Five”, “Lost Waltz”, “Upstage Rhumba”, “In Your Own Sweet Way”, “Fast Life”, “Bluette”, and “Blue Rondo a la Turk”. The performance highlights the versatile, influential and extraordinary life’s work of Dave Brubeck.
Mariachi has become the face of Mexican culture, and truly represents the music of Gonzales’ people. It is played in almost every occasion including funerals, weddings, quinceneras, parties, and marches. Gonzales explains this by saying, “Our art, our literature, our music”; He elaborates by naming mariachi under these categories. The author recognizes the significance of this music in his background. In one article, Collins states that “the only thing more Mexican than tequila is the mariachi” (Collins 1998). These words capture how immersed mariachi is in the author’s mores, therefore giving him purpose in mentioning it. Not only does mariachi define Mexican culture, it defines the beauty and soul of tradition.
Rostas, S. (2009). Carrying the world: The concheros dance in mexico city. (pp. 21-209). Boulder: University Press of Colorado.
Music is magical: it soothes you when you are upset and cheers you up when you are down. To me, it is a communication with souls. I listen to different genres of music. When appreciating each form of music, with its unique rhythm and melody, I expect to differentiate each other by the feelings and emotions that it brings to me. However, I would definitely never call myself “a fan of jazz” until I witnessed Cécile McLorin Salvant’s performance last Friday at Mondavi Center. Through the interpretations and illustrations from Cécile’s performance, I realized that the cultural significance and individual identity are the building blocks of jazz music that create its unique musical features and support its development.
On October 23, 2016 I went to a concert type of event that different music groups were performing. This event is what Hispanics call a “Jaripeo Baile,” which is a place that people can see other people bull riding like in the rodeo, but this event was only about music groups performing. One of the music groups that performed was a band called “Josecito Leon y Su Internacional Banda Roja.” While I watched the band’s performance it reminded me of how it relates to the themes that were from our readings and discussions that we had throughout the semester.
As a society, we are constantly pairing things together in hopes of enhancing them: apple pie and ice cream, Indians and cowboys, and most relevant to this paper, music and dance. In an art form like ballet, it seems as though music and dance complement each other equally. Truly, it is hard to picture, or perform, a dance without music. However, this may not be the case for music, even if that music is composed specifically for a dance routine. The compilation of the music and the dancing from a scene in the American cowboy ballet Rodeo will be examined to ultimately help us understand they way in which they serve each other as a unit and their ability to function independently.
The modern mariachi ensemble originated in the Mexican state of Jalisco where traveling groups of musicians would play for hire in haciendas. During the Mexican Revolution which began in 1910, they were unable to perform in the haciendas as they had in the past and were forced to travel from town to town singing about, and thus carrying news about, the war. During this time, they would play for fees at celebrations or for tips in public squares and cafes (Collins, 2004).
During a musical performance many elements to be looked are not easily recognized by the average critic. A musical performance has multiple interactions taking place between the music, text, performers, audience, and space that all can contribute to a great performance. Overwhelming majority of the audience does not realize so much can be looked at during a single performance. At a performance by the University of Maryland Marching Band I was able to analyze the Musical Sound, Contexts of the Performance, and Interpretation of the Performance.
Indigenous folk culture applies to where music has its origins and where it came from. It’s something that applies to the native people that created the music.
Throughout my lifetime I’ve been exposed to many different styles of music. One of the most emotionally connected music styles I’ve encountered would definitely be instrumental jazz. When I was younger I mostly listened to blues and smooth jazz, but more recently I’ve been attracted to faster tracks and harder beats like those you hear in the Swing era of the 1920’s. On Tuesday, October 27th I attended the performance of the jazz band: Sylvan Street, as a part of the University of Miami’s music festival (Festival Miami). The show started at eight o’clock at night cost ten dollars for students. Throughout the show, the band provided an incredible mixture of different styles of jazz while delivering an electrifying performance that captured the true essence of what jazz truly is.
Throughout the years Latin music has slowly made an impact in the music industry in the United States, from the traditional mariachi to the vibrant Rock en Español. But it is the controversial folk-music genre called narcocorridos that has made a major impact in the last few years in the United States, mainly the southwestern states that border with Mexico. Also called drug ballads, this subgenre of the traditional corrido has emerged since the 1990’s as the principal instrument to chronicle the odyssey of Mexicans across the Rio Grande in a drug-infested universe (Stavans). Played by the tuba, an accordion, drums and a guitar, narcocorridos are about violent confrontations between cartels and the luxury lives of powerful drug lords. With the violent drug wars in the last ten years in Mexico, narcocorridos have been the music trend to many, mainly the young generation. People get influence by this music and want to live the expensive and exotic life these drug lords live by. In this research paper I am going to explain how the emergence of narcocorridos has influenced the young generation and societies in the United States and Mexico.
Rebirth Brass Band the Grammy Award winning group was founded in 1983 by tuba/sousaphone player Philip Frazier, his brother, bass drummer Keith Frazier, and trumpeter Kermit Ruffins, with hits like Let's go get them, take it to the street, and We are one, Just to name a few.The brass band is a local favorite so it wasn't hard to find a schedule performance for the group.
1. Just like the Noongar are nomadic hunters and gatherers while the colonists farm, there are many difference in their lives. Despite being nomadic, the Noongar view the land as their own country, and the colonists are simply visiting; they are the owners of the land, and are simply sharing its resources with the colonists. However, the colonists believe because they are more advanced, the land is now their own as they now have settled it, which is what causes tensions between the Noongar and the colonists, especially towards Part IV. There is no formal marriage for the Noongar, though women are promised to men, while the British have very specific rules and seemed more preoccupied on marrying for better status
The USA Percussion Ensemble performed many great works at the recent Spring Concert at LaidLaw Performing Arts Center. As a guest to the ensemble, the talented Andy Harnsberger performed a piece originally dedicated to his wife Palmetto Moon. He also performed the three sections of his sentimental work Words Unspoken. Leading up to Harnsberger, the ensemble played many other contemporary works such as Bloom by Ivan Trevino, which as the first performance certainly grabbed the audience attention. The next piece being Vous avez du feu? by Emmanuel Sejourne intrigued the audience as well through the extended techniques of multiple cigarette lighters. There then was the particular four chosen from the eight pieces of Postludes for Bowed Vibraphone by Elliot Cole. The pieces being in the order of second, first, seventh and ending with the third. These percussion works also featured Coming Home by Steve Gisby and the three movements of Toccata for Percussion Instruments by Carlos Chavez. In my opinion, the music was well chosen and performed. The various techniques and styles of these works seem to have connected jointly to stimulate the senses. Altogether, The Percussion Ensemble members and their lovely guest Harnsberger made a night worth hearing and seeing.