For my second activity essay, I attended the All-East Women’s Choir concert, held Saturday, November 19th, 2016 in the Ronald and Lynda Nutt Theatre. This choir is an all-female choir who were participating in the All-East competition in order to be scored on how well they performed their pieces. The Belmont choral music professor Lesley Mann conducted this concert, with Maryville College music professor Christy Lee accompanying. As stated in the playbill, the choir sang a multitude of songs, but in this essay I will be focusing on three: “Now I Walk in Beauty”, “Songbird”, and “Take me to the Water”.
The concert began with the song “Now I Walk in Beauty”. This song is a traditional round song and was also used as a warm-up for the choir. The song begins softly, with all women’s voices singing, but throughout the song quickly builds to provide a louder amplitude. This gives the song a certain dynamic as the song continues to go on, always staying loud but dying down just a little bit at certain moments. Despite this, the high pitch of the women never wavers. The tempo of this piece is relatively slow, just providing an audience a sneak peek of what is to come during the rest of the performance. The melody at the beginning is simple, as it does not stray from the same notes. As the song begins to be a round, the singers layer the melody over itself, providing slightly more complexity to the piece. This comes together to provide the piece with a beautiful harmony, as the layering compliments itself. This creates a different timbre within this song than there was at the beginning, with the intensity of the piece beginning to slowly rise. With this song, the women are not only able to warm-up their voices for the following pieces, b...
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...happy note.
This concert was certainly a magnificent concert to see. Nature themes dominated the songs and performance, giving the listeners a pleasant and insightful consider something that they might not consider in everyday life. With individuals in the modern world being so busy nowadays, it is often hard to appreciate and think about the simplicities of life and what the earth has provided us, whether it be through the trill of a songbird or the rolling waves of an ocean. With this performance, the listener could do so, even if it was only for a little while. If the choir had not performed the pitch, melody, rhythm, and harmony to the extent that they did, it would have been much harder to convey such a magical tone to the entire concert. This concert shone in the simplicities it occupied, providing a wonderful and beautiful show for everyone in the audience.
One day while in the streets of Hackney, feeling lost and sorry for myself, I heard the pleasant sounds of singing. I had not heard such a cheerful and loving sounds since I stoped going to Sunday school. I followed the sound of the voices...
On March 13th the Rochester Oratorio Society and Houghton College Choir performed at the Hochstein Performance Hall in the city of Rochester. It was a predominately vocal concert with an accompanying pianist. The main performance of the evening was the Rochester Oratorio Society’s rendition of Johannes Brahms’ “Ein deutsches Requiem,” in which vocal soloists Elena O’Connor and Benjamin Bloomfield took the front stage, and Linda Boianova joined Kevin Nitsch as a second pair of hands behind the piano.
The concert I attended was a Junior piano recital held at The Florida State University College of Music in the Dohnanyi Recital Hall. The pianist was Kaisar Anvar. The pieces performed were:
On a Wednesday night I saw Texas State Theatre and Dance Department's performance of A Chorus Line. The main plot of the musical entails the audition of 17 dancers for several Broadway roles on the chorus line. However, during their auditions the director Zach asks for personal stories of each dancer's life. Though the plot of this musical is seemingly simple in its twist on the traditional audition, it explores themes that reveal the human experience, the search for individuality, and the sense of self.
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
Women in popular music have created a tremendous history in the wake of feminism. They have made their presence visible by identifying themselves as feminists. Being a woman was hard during that stage. Women were not allowed to do many things due to gender inequality such as the right to vote and to own a property. Therefore, from that moment onwards, women decided to stand up and make some changes. During the early stage of feminism, women developed their skills in popular music to create awareness. They associate popular music with feminism. Although there were racial issues between the black and white during that time, both sides continued to establish in different ways, through different genres of music. Black women focused on ‘black genres’ such as blues, jazz, and gospel, whereas white women performed in musical theatres. Female artists such as Lilian Hardin, Sister Rosetta Tharpe, and Nina Simone were among the notable exceptions of female instrumentalists during feminism. In this essay, I will assess feminism focusing on the second-wave.
Amy Beach was a very famous and influential composer and pianist from New Hampshire, United States. She fought long and hard to get to where she got in her lifetime. Back in the late 1800’s, it was hard for women to get noticed because they believe that their role in society was to stay at home and take care of the family. Amy Beach defeated all the odds of a female gender role in her lifetime. She became a role model for young girls wanting to become a composer or becoming anything they wanted to be, as long as they fought for it. She has made an enormous impact on music in America. The following paper will discuss Beach’s life, her struggles, her musical training, how her music was shaped by the society she lived in and famous compositions
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
The choir immediately captured my attention and seemed to do the same for everyone else in the audience. I was very impressed by the fact that the choir was made up entirely of college students. It was also stated that some of them sing in the choir just for fun as they are not music majors. There seemed to be an appeal in the fact that the singers were mostly very young. The piece as a whole was also very enjoyable.
On Wednesday, May 23rd, I attended the College Choir concert in the Reamer Campus Center. The choir performed a variety of songs, ranging from pieces in Latin to traditional American folksongs. Two of the pieces featured solos, and one even featured percussion instruments. Mrs. Elinore Farnum provided piano accompaniment for each of the songs, and performed beautifully. I was extremely impressed by the talented choir members and their ability to sing such a varied range of songs.
Donne, John. “Song”. Literature to go. Ed. Meyer, Michael. Boston, MA: Bedford/St. Martins, 2011. Print.
Shusterman, Richard. "Moving Truth: Affect and Authenticity in Country Musicals." Journal of Aesthetics and Art Criticism 57.2 (1999): 221-33. EBSCO Host. Web. 12 May 2014.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
Musical concerts are undoubtedly an incredible opportunity to experience a great aesthetic pleasure by listening to the musicians perform in front of your eyes. The power of music can hardly be overestimated – it can transfer a number of messages, thoughts and feelings through the performed sounds. Therefore the one can comprehend the music in the best possible way only when it is heard live. Musical concerts are often revelatory and highly impressive experiences to me. This essay thereby aims to provide my reflections and impressions of the concert of Gregory Porter & the Metropole Orchestra which I had the opportunity to attend in Nashville, TN.
Then audience members who were perfect strangers who were screaming loudest would turn to each other with knowing glances and smile because they were sharing the same excitement and connecting with one another over their love of this man’s music. There was no pushing or shoving to get closer to the stage – it wasn’t that kind of crowd. Instead, there was mutual respect for one another’s space within the confines of the too-small venue. Nobody wanted to be the person who ruined it for someone else. It was this respect that made the audience members’ connections with one another that much stronger – we were all here to listen to this wonderful man’s music and see his performance – and, of course, we were here to enjoy it.