...Introduction to World Music Professor Glenn McMillan 1003 M Room gmac@mec.cuny.edu Office Hours Appointments Only 718 270 4929 Music 100 Please leave email Introduction to World Music Syllabus-Spring 2013 This course is an introduction to music and to the musical mechanics from a global perspective. There will be three aims: • to increase the students understanding of music, including its elements, structures, and terminology through live performances, students and guest artists; • to increase the students awareness, cultural connections to explore and their understanding of global relationships; how these cultures utilize musical elements, and the role that music plays within that culture; and • Most importantly, to increase the students understanding of the origins of the students’ owns individual music appreciation and the connection to the global village. Course Objectives • To explore and reconsider ideas about cultural contact in the process of musical change • To understand music terminology • To understand, review and write reports on live performances using terminology demonstrating knowledge of musical elements within rhythm, pitch, and structure • To understand and further identify the social, economic, historical, philosophical and psychological elements, which affect the form of the assigned music • To identify aurally and explain rhythm...
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...word about classical concert etiquette Who says classical music must be enjoyed in silence? Despite a summer of mobiles, coughs and even a misfiring hearing aid, our writer refuses to join the tutters When friends who aren't used to live classical music come with me to concerts, they often ask if they need to behave in a particular way. I usually tell them to just turn up and listen – that a concert needs no dress code, no special handshake. But there are unspoken rules. The recurring theme muttered about at this year's Edinburgh international festival had to do with noise: not that made by performers on stage, which they had paid to hear, but the noise made by audiences. Edinburgh, it turns out, is a pretty loud crowd. Take the last movement of Mahler's Ninth Symphony: that tender, faltering statement of resignation and frailty. As conductor Daniele Gatti held the Royal Concertgebouw Orchestra in a breathtaking suspended whisper, the moment should have been utterly transporting – unfortunately, the piercing sound of an unadjusted hearing aid went ringing round the hall like a tiny, whiny theremin. A couple of weeks earlier, Mariss Jansons and the Bavarian Radio Symphony Orchestra had to compete with a cheerful volley of dry coughs ricocheting around the Usher Hall. And there were phones ringing while Nikolai Lugansky played Janáček, not to mention shuffling and chatting as Ensemble musikFabrik played Cage. It's not just Edinburgh, of course. In his review of the BBC...
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...Carnatic Music: A dying art form Structured Languages Assignment Report Ryan Rodricks ( WE School MIM IV – Roll no 67) Carnatic Music: A dying art form | 1 Table of Contents 1. Executive summary ............................................................................................ 2 2. Secondary study ................................................................................................. 4 Origin ................................................................................................................. 4 Nature ................................................................................................................. 6 Sources ............................................................................................................... 6 3. Design of survey ................................................................................................ 7 3.1 Goal of the survey ......................................................................................... 7 3.2 Sample (Demographics) ................................................................................ 7 3.3 Questions ...................................................................................................... 7 3.4 Survey collection details ............................................................................... 8 4. Questionnaire ..................................................................................................... 9 5. Data collection...
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...The genre of music is made up of many styles and forms that have been shared throughout cultures and traditions. Many styles have caught on quickly and are loved by many whereas others have been more controversial and caused differences among people. No matter what types of music one may listen to it is usually the beat and style that suits that person during that time in his or her life or the mood he or she are in at that moment. The melody and harmony interact to create a masterpiece for one’s ears. The development of music was probably drum related instruments that someone started hitting that made beats and when different objects were hit there were different sounds made. “These simplest of simple instruments are thought to have been used in religious ceremonies as representations of animals. There was no notation or writing of this kind of "music" and its sounds can only be extrapolated from the music of (South) American Indians and African natives who still adhere to some of the ancient religious practices” (Hollis, 2012). Darwin (1871) noted that the human musical faculty “must be ranked amongst the most mysterious with which he is endowed” (Masataka, 2007, p. 35-39). Music has developed and evolved from just a few beats to being one of the most enjoyed past times of all time. Music has evolved from prehistoric music, middle ages, the Renaissance to modern day. After the Renaissance period music developed more from styles other than composers who created...
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...Will Marion Cook is a name to reckon with in the history of black American music. “His great genius will always be a guiding star to those of us who remain,” black violinist Clarence Cameron White wrote on hearing of Cook’s death. Trumpeter Arthur Briggs called Cook “the greatest real musician ever.” Duke Ellington and Eubie Blake praised him as a mentor. Yet while Ellington’s and Blake’s careers are well documented, only academics can describe Cook’s. Even diehard fans of the American popular songbook are hard-pressed to name one of his songs. The first recording devoted to his work appeared only a few years ago, and Marva Griffin Carter’s 2008 biography, Swing Along, is the first since his death in 1944. In the end, the fact of Cook’s importance is better known than its reason. A significant composer, but of what? Didn’t he write something like the first black Broadway musical? Yes, but what else? The tale most often told about Cook has him returning from conservatory training at the Berlin Hochschule für Musik in 1889 and performing a concert at Carnegie Hall. When a reviewer praised him as “the world’s greatest Negro violinist,” Cook stormed into his office, smashed his violin to bits on the man’s desk, and yelled, “I am not the world’s greatest Negro violinist. I am the greatest violinist in the world!” He never played the violin again. Cook’s words might suggest that racism explains his obscurity. Yet a few years later, Cook gave the world a song with these lyrics: Such...
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...Karis Miller Bob Pedersen Music Appreciation November 5, 2012 Berg/Debussy/Stravinsky Chicago Symphony Orchestra The concert video that I watched was called Berg/Debussy and Stravinsky with the Chicago Symphony Orchestra. Conducted by Pierre Boulez with soloist soprano Christine Schafer and the Chicago Symphony Orchestra. On the video the full orchestra played three different composers musical works. Alan Berg, symphony selections from Lulu, there was also Claude Debussy’s Le Jet D’eau and Trois Ballades de Villon, and lastly there was Igor Stranvinsky’s The Firebird. This music was all from the Classical Period between 1750-1820. The first section that I choose to review was the last movement of Debussy’s music. The beginning of the fourth movements dynamics are Mezzo piano and with a tempo of accelerando. The soprano soloist begins singing allegro and builds the drama with her voice and with the help of the orchestra. The music soon climaxes fortissimo where the focal point is very dramatic and the orchestra is playing loud enough to her less of the soloist and more of the powerful sounds of the violins and the brass instruments in the orchestra. With many tempo changes, the music does an elaborate rise and fall beginning with much force and fortissimo and ending with a complete cadence that gives you a feeling of finality. I do think that the last cadence kind of left me feeling like I wanted more and didn’t want it to be over. I liked this piece very much but...
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...Cinematographer Santosh Sivan signed Rahman for the Malayalam film Yodha, directed by Sivan's brother Sangeeth Sivan and released in September 1992. The following year, Rahman received the Rajat Kamal (Silver Lotus) award for best music director at the National Film Awards for Roja. The films' score was critically and commercially successful in its original and dubbed versions, led by the innovative theme "Chinna Chinna Aasai". Rahman followed this with successful scores for Tamil–language films for the Chennai film industry, including Ratnam's politically-charged Bombay, the urban Kadhalan, Thiruda Thiruda and S. Shankar's debut film Gentleman (with its popular dance song, "Chikku Bukku Rayile").[22][23][24][25] Rahman collaborated with director Bharathiraaja on Kizhakku Cheemayile and Karuththamma, producing successful Tamil rural folk-inspired scores; he also composed the saxophone score for K. Balachander's Duet.[26][27] The 1995 film Indira and romantic comedies Mr. Romeo and Love Birds also drew attention.[28][29][30] Rahman attracted a Japanese audience with Muthu's success there.[31] His soundtracks are known in the Tamil Nadu film industry and abroad for his versatility in combining Western classical music, Carnatic and Tamil traditional and folk-music traditions,...
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...Marketing Research and Strategic Marketing Plan Produced by Business Administration 126 Advanced Marketing (“West Coast Marketing”) Saint Mary’s College of California Professor Eric Kolhede December 14.2011 Students of Business Administration 126 Advanced Marketing (“West Coast Marketing”) Saint Mary’s College of California Abdul Malik Khan | Maria Ahlqvist | Alexandra Smith | Maria Orozco | Alisa Mosman | Matt Cardoza | Ally Short | Matt King | Amanda Minguillon | Melissa Queen | Anthony Costa | Nick Fong | Ben Rigel | Nick Tuttle | Betsy Serrano | Nicole Arce | Britany Linton | Nirbhik Trehan | Dawn Shipley | Priscilla Esparza | Dayna Best | Steven Dawson – Roberts | Elanor Pitts | Steven Vargas | Evan Schlinkert | Thomas Vo | James Palmer | Tommy Mohoric | John Howe | Tracy Vasquez* | Maddy Aliotti | | Professor Eric Kolhede*Coordinator | | Table of Contents I. Executive Summary 1 II. Research Problem 3 III. Situation (SWOT) Analysis 7 A. External Macro-environmental Forces 7 1) Demographic and Social/Cultural Trends Purpose 7 2) Economic Environment 16 3) Technological Dimension 21 4) Political Environment 27 5) Legal Environment 31 6) Cooperative Environment 33 7) Product Market Analysis 36 8) Competitive Analysis 50 B. Internal Environment 71 1) Introduction 71 2) Resources 75 3) Marketing Mix Program 77 4) Conclusion 77 IV. Primary Research 79 A. Focus Groups 79 B. Sampling Plan 93 1) Population 93 2) Sample Size 94 ...
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...Concert Review Introduction to Music 2/1/2014 Park University Erin Rosario Name: Erin Rosario Course: Introduction to Music Date: February 1, 2014 Concert: Oakland East Bay Symphony Type of concert: Symphony orchestra General reaction: This was my first attendance at a symphony concert so I wasn’t certain what to expect. The Paramount Theatre in Oakland, CA held the three hour concert and set the mood for this event. The following pieces were played for the performance: Peter Ilyich Tchaikovsky’s Romeo and Juliet Fantasy Overture (1869), Dmitry Kabelevsky’s Cello Concerto No. 2 (1964) with David Requiro, cello, Conrad Susa’s The Blue Hour, and Edward Elgar’s Enigma Variations (1898-1899). The music conductor for this event was Michael Morgan, who began conducting at the age of twelve! The walls and ceiling were beautifully crafted with intricate details entwined with blue and gold colors. The theatre was also well constructed to amplify the sounds of the acoustics from the musical instruments. All of the musicians seemed very well prepared as they warmed up prior to the performance. Throughout the concert it was apparent from the attentiveness of the audience, whom you never heard a sound from, the importance and talent of this show. Throughout the performance the musicians put their emotions into each piece and displayed how much technicality is needed for every piece. I enjoyed when cellist, David Requiro was featured in the song by Dmitro Kabalevsky, Cello Concerto...
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...for tech and concert blocks Programming tips Concert hall diagrams and tech Chorus collaborations & additional performances Entering program info & recordings to web system Submit your questions via web panel and mute your phone or microphone. GALA Festival 2012 Webinar Introductions Jane Ramseyer Miller, Artistic Director-in-Residence ADR@galachoruses.org Robin Godfrey, General Manager info@galachoruses.org Kathie Michael, Production Manager Events@galachoruses.org Check out the GALA web site for lots of Festival information at www.galachoruses.org. Festival 2012 Performance Schedule Boettcher Concert Hall Stage Diagram Saturday, July 7 Evening Concerts and Events 4:00 pm – on-going 6:30-7:00 pm 7:30 -8:15 pm 7:30 -10:45 pm 8:45 -10:30 pm 9:00 -10:15 pm Live feed from GALA Festival Outdoor Stage Food and drink vendors, carnival party Festival welcome, video event Galleria Opening Concert I Boettcher Concert Hall Ensemble Concerts Ellie Opera House Ensemble Concerts Stage Theatre Opening Concert II Boettcher Concert Hall Sunday, July 8 7:00 – 8:30 pm 9:00 -10:30 pm 9:00 -10:30 pm 9:00 -10:30 pm Songs of the Soul Our Legacy=Our Song Late-night Ensembles Late-night Ensembles Boettcher Concert Hall Buell Theatre Chambers Salon Stage Theatre Monday, July 9 7:00 – 8:30 pm 7:00 – 8:30 pm 7:00 – 8:30 pm 9:00 – 10:30 pm 9:00 -10:30 pm 9:00 -10:30 pm Tuesday, July 10 7:30 – 9:00 pm 7:30 – 8:45 pm 9:30 – 10:45 pm 9:00 -10:30 pm Evening Concerts and Events Mixed...
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...I recently attended a concert entitled Masterpieces of the Guitar. The concert was performed by a solo artist named Robert Wetzel. The concert was presented by The Grossmont Guitar Guild, it was held at the Cuyamaca College of Performing Arts on October 29, 2012. This report will detail my experience and give an accurate, unbiased review of “Masterpieces of the Guitar.” Before the performance began I had the opportunity to sample the program and read through it thoroughly. The most important thing I learned from the program was information about the artist performing. I also learned about some of the music being performed. Pertaining to the artist performing his solo act, Robert Wetzel, he has a rich history in music. According to the program he began studying guitar at the young age of fifteen. He studied under master guitarist’s Angel Romero, Pepe Romero and Celedonio Romero. If you couldn’t already tell, all three of his masters were related and he considers himself part of this lineage. Today, he is a resident of San Diego, California. In addition to his performances with the guitar he also teaches music at San Diego State University, Grossmont College, Southwestern College and the University of California. I also learned, from the program about the songs I was about to hear performed by Wetzel. The artists listed include: Milan, Narvaez, Frescobaldi, Scarlatti,, Bach, Schumann, Debussy, Satie, Ravel, Moreno-Torroba, Tansman and Presti. I think this was important because...
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...Journal of American Studies, 45 (2011), 1, 113–129 f Cambridge University Press 2010 doi:10.1017/S0021875810001271 First published online 19 July 2010 Jazz as a Black American Art Form : Definitions of the Jazz Preservation Act JEFF FARLEY Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation’s most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician’s individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example...
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...Concert Review 1– Ludwig van Beethoven, Symphony No 9 Concert realized in Berlin on “The Berlin Celebration Concert”, a celebration for the fall of the Berlin wall in 1989. The concert was realized in the same year, on Christmas day. Conducted by Leonard Bernstein, famous American conductor and composer, along with musicians from the most important orchestras in the world. Bernstein performed Beethoven’s 9th Symphony, Beethoven who was Germany. This symphony is considered the greatest work from Beethoven, your most-know work and one of the greatest works from classical era. My choice was this symphony because of all history and rumors about 7 years that Beethoven worked to finish this work. Experts say that work was the first try to add a vocal in a symphony, and contain a melody that foreshadows "Ode to Joy" from Mozart. I usually listen classics music to practice sports because the emotion makes me...
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...Christoph Willibald Gluck, also known as Ritter von Gluck, was a German opera composer that lived during the early classical period. He was best known for the operas Orfeo ed Euridice, Alceste, Iphigénie en Aulide, and Iphigénie en Tauride, with Iphigenie en Tauride being his most famous composition. He was specialized in Italian, French, and German operas. He was also known for making major reforms to the opera. As Gluck was a composer in the time period between Baroque and Classical Periods, he was a major composer in transforming Baroque style opera into Classical opera. Gluck’s operas have proven successful, as they had received good reviews by the concert-goers and have been performed many times around the world. His work inspired...
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...They were originally established with American blues rock band Elf's members, though over the years Rainbow went through many line-up changes with no two studio albums featuring the same line-up. In addition to lead singers Ronnie James Dio, Graham Bonnet, Joe Lynn Turner and Doogie White, the project consisted of numerous backing musicians. The band started out combining mystical lyric themes with neo-classical metal, but went in a more streamlined commercial style following Dio's departure from the group.[1] Rainbow were ranked No. 90 on VH1's 100 Greatest Artists of Hard Rock.[2] The band has sold over 28 million albums worldwide and 4 million albums in the United States. Contents [hide] 1 History 1.1 Early years 1.2 Commercial success 1.3 Dissolution and temporary revival 1.4 Rainbow songs after 1997 2 Band members 3 Lineups 4 Timeline 5 Discography 6 References 7 Bibliography 8 External links [edit]History [edit]Early years Ronnie James Dio in 2006. In 1974, Ritchie Blackmore publicly disliked the funk/soul (or as Blackmore called it, "shoeshine music") elements being introduced to Deep Purple by David Coverdale and Glenn Hughes, as well as the disappointing Stormbringer album where his favourite musical style wasn't adequately captured. Blackmore originally intended to release a solo single, the Steve Hammond-penned "Black Sheep of the Family", with "Sixteenth Century Greensleeves" on the B-side. He recorded these during a studio session in Tampa Bay...
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