...BARBARA KLEIN: And I'm Barbara Klein with People in America in VOA Special English. Today we tell about Aaron Copland, one of America's best modern music composers. (MUSIC) STEVE EMBER: Aaron Copland wrote many kinds of music. He wrote music for the orchestra, piano, and voice. He wrote music for plays, movies and dance. Copland also was a conductor, pianist, speaker, teacher and author. Music critics say Copland taught Americans about themselves through his music. He used parts of many old traditional American folk songs in his work. He was influenced to do this after studying music in France. He said that composers there had a very French way of writing music. He said Americans had nothing like that in this country. So he decided to compose music that was truly American. BARBARA KLEIN: Aaron Copland was born in nineteen hundred in Brooklyn, New York. He was the youngest of five children. His parents had come to the United States from eastern Europe. They owned a store in Brooklyn. Aaron began playing the piano when he was a young child. He wrote his first song for his mother when he was eight years old. His dreams of becoming a composer began when he was young. When he was sixteen, he urged his parents to let him study composing with Rubin Goldmark. Goldmark had taught the composer George Gershwin. STEVE EMBER: When he was in his early twenties, Copland went to Paris where he studied music with Nadia Boulanger. She was one of the most important music teachers...
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...Copland was a great American composer during the 20th century, the compositions often incorporated different aspects of popular American music. For example, he often utilized forms such as Jazz and folk music into the works that he created. Copland aimed to create and develope something that could be distinctively called American music so that American music and culture could free itself from European influence (pbs). Later on in his career he became known as a Dean of American Music , which is a testament to his dedication of his goal. Some of his most famous works are the Appalachian spring which won the 1945 pulitzer prize for music and Fanfare for the Common man. Copland’s parents were both Jewish immigrants from Lithuania and he was born November 14, 1990 in Brooklyn. Copland’s parents had five children and Copland was the youngest. For much of his early childhood, Copland and his siblings would work in his...
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...1. In music, the early twentieth century was a time of revolt and change 2. The most famous riot in music history occurred in Paris in 1913 at the first performance of Igor Stravinsky's The Rite of Spring. 3. Composers in the twentieth century drew inspiration from folk and popular music from all cultures, the music of Asia and Africa, and European art music from the Middle Ages through the nineteenth century. 4. Twentieth-century composers incorporated elements of folk and popular music within their personal styles because they were attracted to the unconventional rhythms, sounds and melodic patterns 5. A great twentieth-century composer who was also a leading scholar of the folk music of his native land was Béla Bartók. 6. Which of the following composers was not stimulated by the folklore of his native land? Anton Webern 7. In twentieth-century music string players are sometimes called on to use the wood instead of the hair on their bows, percussion instruments have become very prominent and numerous, & dissonance has been emancipated 8. Among the unusual playing techniques that are widely used during the twentieth century is the glissando, a rapid slide up or down a scale. 9. In modern music instruments are played at the very top or bottom of their ranges; uncommon playing techniques have become normal; noiselike and percussive sounds are often used 10. A piano is often used in twentieth-century orchestral music to add a percussive edge 11. The combination of two...
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...1943 he was placed in his first permanent conducting position with The New York Philharmonic, during his lifetime over 200 of his recordingings were made with the Philharmonic. In 1943 he was also asked to be a guest conductor at Carnegie Hall. This led to him being sought out as a guest conductor. He had his share of critics because of his dance-like style as a conductor. (Gottlieb) In 1945 he was named director of New York City Symphony. He held other positions from 1945 until 1969, conducting more concerts than any previous conductor. He spent a great deal of his time teaching and composing for non-classical gneres. Although it was known by family and friends a great regret was not being able to compose more music, however, the music he did compose was so invigorating and memorable. He brought jazz to the concert hall and syphonies to Broadway. His concert works was said to “revel the influence of many composers – Hindmith, Britten, Shostakovich, Brahms, and Rachmaninoff, to name a few –...
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...all passed through oral tradition, but the chants became so numerous that the monks began to notate them. Music in Society Towards the end of the Middle Ages, about the 12th and 13th centuries, music began to move outside of the church. French nobles called troubadours and trouveres were among the first to have written secular songs. Music of this time was contained among the nobility, with court minstrels performing for them. There were also wandering minstrels who would perform music and acrobatics in castles, taverns, and town squares. These people were among the lowest social class, along with prostitutes and slaves, but they were important because they passed along information, since there were no newspapers. Links to Composers of the Middle Ages Queen Blanche of Castile (1188-1252) Comtessa Beatiz de Dia (attested 1212) Herrad of Landsberg (1167-1195) Hildegard von Bingen (1098-1179) Leonin (1163-1190) The Renaissance 1450-1600 Characteristics of Music During the Renaissance Period, vocal music was still more important then instrumental. A humanistic interest in language created a close...
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...suffering from any kind of illness are under tremendous stress, confusion, and sometimes they can feel lost. Music therapy can help with all of these problems. Music has been used in medicine for thousands of years. Ancient Greek philosophers believed that music could heal both the body and the soul. Native Americans have used singing and chanting as part of their healing rituals for millennia. The more formal approach to music therapy began in World War II, when U.S. Veterans Administration hospitals began to use music to help treat soldiers suffering from shell shock and to help cope with the tragic events they witnessed during that time. In the remainder of this paper I will be discussing music therapy and the effects it can have on people that are suffering from an illness. Music therapy is becoming a very common practice around the world. In 1944, Michigan State University established the first music therapy degree program in the world. Today, more than seventy colleges and universities have degree programs that are approved by the American Music Therapy Association. A musical therapist must have a college degree and complete a program that is certified by The American Music Therapy Association. Music therapists can go about treating patients in many different ways. First they assess a patient to...
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...and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy in John Huston's The Treasure of the Sierra Madre (1948), epic in John Ford's The Searchers...
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...and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy in John Huston's The Treasure of the Sierra Madre (1948), epic in John Ford's The Searchers...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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...MUSIC Quarter III Quarter III: CONTEMPORARY PHILIPPINE MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of contemporary music. PERFORMANCE STANDARDS The learner... 1. Sings contemporary songs. DEPED COPY LEARNING COMPETENCIES The learner... 1. 2. 3. 4. 5. 6. 7. 8. Listens perceptively to excerpts of major contemporary works. Describes characteristics of traditional and new music. Gives a brief biography of selected contemporary Philippine composers. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. Explores ways of creating sounds on a variety of sources. Improvises simple vocal/instrumental accompaniments to selected songs. Creates a musical on the life of a selected contemporary Philippine composer. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) 88 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying without written permission from the DepEd Central Office. Contemporary Philippine Music CONTEMPORARY PHILIPPINE MUSIC A ccording to National Artist Ramon Santos, PhD, “contemporary music in the Philippines refers to compositions that have adopted ideas and elements from 20th century art music in the west, as well as the latest trends and musical styles in the entertainment...
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...The Story of the Fourth of July The Declaration of Independence We celebrate American Independence Day on the Fourth of July every year. We think of July 4, 1776, as a day that represents the Declaration of Independence and the birth of the United States of America as an independent nation. But July 4, 1776 wasn't the day that the Continental Congress decided to declare independence (they did that on July 2, 1776). It wasn’t the day we started the American Revolution either (that had happened back in April 1775). And it wasn't the day Thomas Jefferson wrote the first draft of the Declaration of Independence (that was in June 1776). Or the date on which the Declaration was delivered to Great Britain (that didn't happen until November 1776). Or the date it was signed (that was August 2, 1776). So what did happen on July 4, 1776? The Continental Congress approved the final wording of the Declaration of Independence on July 4, 1776. They'd been working on it for a couple of days after the draft was submitted on July 2nd and finally agreed on all of the edits and changes. July 4, 1776, became the date that was included on the Declaration of Independence, and the fancy handwritten copy that was signed in August (the copy now displayed at the National Archives in Washington, D.C.) It’s also the date that was printed on the Dunlap Broadsides, the original printed copies of the Declaration that were circulated throughout the new nation. So when people thought of the Declaration of Independence...
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...FROM THE AUTHOR OF THE BESTSELLING BIOGRAPHIES OF BENJAMIN FRANKLIN AND ALBERT EINSTEIN, THIS IS THE EXCLUSIVE BIOGRAPHY OF STEVE JOBS. Based on more than forty interviews with Jobs conducted over two years—as well as interviews with more than a hundred family members, friends, adversaries, competitors, and colleagues—Walter Isaacson has written a riveting story of the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. At a time when America is seeking ways to sustain its innovative edge, Jobs stands as the ultimate icon of inventiveness and applied imagination. He knew that the best way to create value in the twenty-first century was to connect creativity with technology. He built a company where leaps of the imagination were combined with remarkable feats of engineering. Although Jobs cooperated with this book, he asked for no control over what was written nor even the right to read it before it was published. He put nothing offlimits. He encouraged the people he knew to speak honestly. And Jobs speaks candidly, sometimes brutally so, about the people he worked with and competed against. His friends, foes, and colleagues provide an unvarnished view of the passions, perfectionism, obsessions, artistry, devilry, and compulsion for control that shaped his approach to business and...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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...Titre de l’édition originale STEVE JOBS : A BIOGRAPHY publiée par Simon & Schuster, Inc. Maquette de couverture : Bleu T Photo de couverture : Albert Watson © 2011 by Walter Isaacson Tous droits réservés. © 2011, éditions Jean-Claude Lattès pour la traduction française. Première édition novembre 2011. ISBN : 978-2-7096-3882-1 « Seuls ceux qui sont assez fous pour penser qu’ils peuvent changer le monde y parviennent. » Publicité Apple « Think Different », 1997 Table des matières Les personnages Introduction : La genèse de ce livre 1- L’enfance : abandonné puis choisi 2- Un couple improbable : les deux Steve 3- Tout lâcher : harmonie, ouverture, détachement… 4- Atari et l’Inde : du zen et de l’art de concevoir des jeux 5- L’Apple I : allumage, démarrage, connexion 6- L’Apple II : l’aube d’une ère nouvelle 7- Chrisann et Lisa : celui qui a abandonné… 8- Xerox et Lisa : les interfaces graphiques 9- Passer en Bourse : vers la gloire et la fortune… 10- Le Mac est né : vous vouliez une révolution 11- Le champ de distorsion de la réalité : imposer ses propres règles du jeu 12- Le design : les vrais artistes simplifient 13- Fabriquer le Mac : le voyage est la récompense 14- Entrée en scène de Sculley : le défi Pepsi 15- Le lancement : changer le monde 16- Gates et Jobs : quand deux orbites se croisent 17- Icare : à monter trop haut… 18- NeXT : Prométhée délivré 19- Pixar : quand la technologie rencontre l’art 20- Un homme comme les autres...
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