...FIFTH GRADE EXPLORER RESEARCH REPORT BY Ariyanna Medina Hello there! I’m going to tell you a little bit about Juan Ponce de Leon. and hHere we go! Juan Ponce de Leon was a Sspanish explorer. He was born around 1460. ( No one really knows the exact date when he was born because it was so long ago!) Juan's family was not rich. His Juan`s family was noble because one of his Juan's family members had been a king. Boys born in noble families learned to be knights. ( Yea I'm mad too, in way back in the years women were treat like slaves and men were treated like royalty.) Juan learned to use weapons, ride horses, and hunt. (Of course the women did not did those things because men thought men were stronger than girls.) In 1493, Juan learned of Christopher...
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...There is one common abbreviation which may cause confusion: c7 - refers to C dominant 7th. This is by far the most common kind of 7th chord, which is why it is standard practice to use the shortest abbrevation. Cmaj7 or sometimes CM7 (with a capital M) refers to the Major 7th chord. Cmin7 or sometimes Cm7 (with a lower case m) refers to the Minor 7th chord. A similar short hand is used for 9ths and other extended chords. DINAMICA DEL PIANO * pp (pianissimo): Muy Suave. * p (piano): ‘suave’. * mp (mezzo piano): ‘poco suave’ (o sea ‘no tan suave’). Se usa más en obras orquestales. * mf (mezzo forte): ‘poco fuerte’. * f (forte): ‘fuerte’. * ff (fortissimo): ‘muy fuerte’. Para indicar graduaciones más extremas de intensidad del sonido, se agregan más pes o más efes. Con bastante frecuencia en las partituras orquestales se encuentra la notación ppp o fff * ppp (pianissimo piano, «tres pe», triple piano o pianississimo). ‘Suavísimo suave’, el sonido más suave posible. * fff (fortissimo forte, «tres efe», triple forte o fortississimo). Cambios graduales Existen palabras que se usan para indicar cambios progresivos de intensidad del sonido. Los dos más comunes son * cresc.: crescendo (‘creciendo’, aumentando gradualmente la intensidad sonora). * dim.: diminuendo (‘disminuyendo’ gradualmente la intensidad sonora). * decresc.: decrescendo (‘decreciendo’), menos usado. Términos que indican cambios de dinámica * al...
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...Peter Ilyich Tchaikovsky was born in Kamsko-Votkinsk, a small industrial town in the Republic of Udmurtia, Russia, on May 7, 1840, the second eldest of six children. He was the son of Ilya Petrovitch Tchaikovsky, a manager of ironworks in the Ural Mountains, and Aleksandra Andreevna d'Assier, a Russian woman of French ancestry. Developing a clear interest in music at a young age, Tchaikovsky began taking piano lessons where he became familiar with the works of Frédéric Chopin and Friedrich Kalkbrenner. Unfortunately, music had not yet been incorporated into Russian education so his parents never considered the possibility of music as a career for their son. Encouraged to study law instead, at the age of 19, Tchaikovsky completed his legal studies and began work as a petty clerk in the Ministry of Justice where he remained for four years. In 1862, Peter left his job to focus on his true passion, music, at the newly founded Saint Petersburg Conservatory where he studied under Anton Rubenstein and Nikolai Zaremba. Shortly thereafter, in September 1866, Tchaikovsky accepted a teaching job at the new Moscow Conservatory as a teacher of theory. During his 11 years there, and until his retirement at the age of 37, he composed his Concerto no.1, the ballet Swan Lake, four operas, three symphonies, and a collection of some of his smaller works. Although excluded from the “Russian five” because they believed him to be too cosmopolitan, and Howland 2 too influenced by other...
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...Temat : „I Koncert Skrzypcowy Karola Szymanowskiego jako jeden z ulubionych utworów skrzypcowych” Jak wiadomo Polska jak i inne kraje świata miała w swojej historii kilku wybitnych kompozytorów, był nim Chopin, Wieniawski, a także równie ceniony lecz może mniej znany Karol Szymanowski. W jego dorobku kompozytorskim można odnaleźć utwory sceniczne, orkiestrowe, kameralne oraz solowe między innymi fortepianowe czy skrzypcowe. Jednym z piękniejszych dzieł na skrzypce i orkiestrę w XX w. jest „I koncert skrzypcowy” Szymanowskiego. I na nim chciałabym się skupić w mojej pracy. Karol Szymanowski urodził się w 1882 r. w Tymoszówce. W jego życiorysie artystycznym można wyróżnić wyraźne okresy: 1. Neoromantyczny - w którym kompozytor nawiązywał do stylistyki dzieł Straussa i Wagnera. Wykorzystywał środki polifoniczne, a w jego dziełach pojawiało się coraz więcej chromatyki. 2. Impresjonistyczno – ekspresjonistyczny – w tym okresie artysta wzorował się na twórczości impresjonistów takich jak Debussy i Ravel, a także na dziełach Strawińskiego i Skriabina. 3. Narodowy – w tym czasie Szymanowski zwraca się w stronę ludowości. W jego utworach pojawiają się elementy muzyki ludowej, melodyka jest uproszczona, a elementy rytmiczne wyeksponowane „I Koncert Skrzypcowy” postał w 1916 roku czyli w drugim okresie twórczości Szymanowskiego i był dedykowany jego długoletniemu przyjacielowi Pawłowi Kochańskiemu. Inspiracją do napisania utworu był wiersz Tadeusza Miścińskiego „Noc majowa”...
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...Listening Journal #3 Travis Thompson MUS.110.0001 Week #12 Piece: Pierre Lunaire Composer: Schoenburg Time Period: Twentieth Century Classical (1900s) Tempo: Adagietto Meter: ¾ Shoenburg's, “Pierre Lunaire” is extremely slow paced, beats per minute is around 65-109. Due to this constantly changing pace and tone, I believe it is considered to be between adagietto and allegro. The piece has a meter of ¾, because each measure is divided into three beats. Since the tempo and tone rapidly change, I could imagine this piece taking place on a stage, acted exactly like a play. In this particular piece of music, I can hear only the flute playing consistently throughout the entire piece, and also the voice of a woman telling a story through song and improvisation. The flute is the only instrument that is apparent to me when I listen to this piece. I could hear a piano and violin in the beginning of the piece, but the flute remained the trademark of the piece. This particular piece produces a very slow, but lively experience for the listener. I can imagine this taking place on an opera stage, for it feels like I am sitting directly in front of the stage as she changes tone and tempo. Pierre Lunaire compliments the 1900's with ease, for this piece shows how greatly opera rose during this era, and also the subtle usage of the piano created a surreal effect for the audience. In this particular piece I am receiving a polyphonic harmony, for the woman stands out...
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...Classical Symphony, Op. 25. This work featured an instrument not often heard in orchestra performances, the alto saxophone. The beginning started off allegro and with a solo performed by the string family. Throughout the movement, there are terraced dynamics in which shift back and forth from piano to forte. It was executed in a polyphonic texture with syncopation continuously played throughout. L’Arlesienne Suite, No.2 followed the first symphony and created a crescendo to fortissimo. This number began with a concerto grosso as the flute and keyboard instruments were joined in by the rest of the orchestra. Georges Bizet also created a ritornello form in his piece with modifications as the movement progressed. The end was completed in a vivace tempo. Following intermission was Johann Strauss Jr.’s work of Die Fledermaus. Here pizzicato is performed by the string instruments as the tempo slowly begins to increase. In this overture there is a feeling of competition. The contrast between the parts played by violins and other instruments seems never ending and incessant in trying to out perform one another. This waltz ends in great intensity with the impression of fortissimo and presto left behind. Danse Macabre, Op. 40 is known to many as the “dance of the dead” or sound of the devil. It truly upholds this metaphor with the sound of the xylophone and triangle creating a word painting of the clicking of skeletal bones in a graveyard picture. Cadenza has a consistent role throughout...
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...evaporative and gracious Coda, again on the "ambiguous" pedal note of D concludes this marvelous depiction of the beauty of the Nature. Andante Since the slow movement of the opus 7 Sonata in E-flat major, the arrangement of a "noble" legato chordal, hymn-like melody above pizzicato-like staccato left hand seems to be one of the favorite settings of the composer. Unlike previous works using this setting only occasionally, this entire movement is based on it. Here this setting is developed all through the movement with intermediary sections expanding what may be called "hymn to the grandeur of the Nature". Still a persistent orchestral ecriture everywhere. It is all like if the performer plays a symphony on the piano. Scherzo: Allegro vivace Motives with a two-beat architecture put in a three beat time signature is again something Beethoven used with great effect most notably in the last movement of the Sonata op.14 N.2. The perception of time and beat is first weakened with the four dotted double notes, later chords. The single notes or later chords do not give the listener a clue about the metric setting of the piece. Then the two-beat theme (followed by a silence beat) is played it is almost like if the listener is disoriented even more. The Trio is just the opposite it is strongly emphasizing the three beat architecture. So the point of this Scherzo seems to be that game between broken down or somewhat intriguing main section as opposed with the strong (Landler-like)...
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...but not sure how to go about taking the love of his life with him. She is torn by the idea and has to make a life-changing decision to either go or stay, knowing that if she decides to stay that she risks losing the man she loves, but if she goes she could be living a “Bonnie & Clyde” lifestyle for the rest of her life. The song starts “a cappella” or “monophony” telling the world that “If you could only see the way she loves, maybe you’d understand.” The Tonic is a pianissimo voice with nothing but a rhythm guitar behind him. The “timbre” or tone color, has a harsh stroke and plucking of the strings on his acoustical guitar. The building of emotion and the dynamics is highly intense starting with adagio and building into a vivace pace and continues to crescendo throughout the majority of the song and decrescendo at the very end. At first he sounds calm but the tonality soon turns to anger, tension and frustration. The rhythm is consistent and purposeful with a heavy-hearted feel. The vocalist has raspy and edgy voice that is average in range with a tenor sound and little vibrato. There are many variations of the song including an acoustic trio and a five piece band as well that has lead guitar, acoustic, rhythm, percussion and drums. The form of the song is high repetition that repeats over and over that he loves her and feels that he gives and loves and “stretches his arms out to something that’s just not there”, “say you love but you don’t, you’ll give...
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...jazzy style. This transition helps with breaking the tension and the fast tempo before. Then, the heavy percussion increases the volume and increase the intensity by ascending the pitches. Later on, the xylophone was played at this session. It makes me feel that I am sitting on a wagon and riding towards to the castle. I believe that a lot of songs for Disney movies used the xylophone. It created a very mysterious and romantic environment which emphasis on the topic: ride again. I also went to listen the UTSA Orchestra concert on October 3rd. I am really happy that they played Ludwig Van Beethoven’s Symphony No. 7. There are four movements. Each movement is relatively long compared with other symphony. The first one is Poco sostenuto; Vivace. As an overture, it is a slow introduction to the main theme. The flutes solo is very unforgettable. It repeats over and over again to increase the mysterious atmosphere. I think the purpose here is to build up the main...
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...“Addio alle armi” di Hernest Hemingway Eva Chiesa Il tempo Le vicende narrate nel romanzo sono collocate in un tempo storico determinato, è, infatti, ambientato durante la prima guerra mondiale. Il primo capitolo soltanto si svolge nel 1916, dal secondo in avanti le vicende hanno luogo nel 1917 fino al 1918. Il tempo assume una grande importanza rispetto ai luoghi e ai personaggi, infatti il tempo caratterizza e spiega molti dei loro comportamenti. L’ordine cronologico è quasi sempre rispettato ma nell’insieme la storia è un flashback poiché è narrata con il tempo passato. Il ritmo del romanzo è piuttosto scorrevole e veloce, probabilmente tale aspetto è caratterizzato dall’influenza giornalistica nello stile di Hemingway. Lo spazio Le vicende nella storia sono ambientate principalmente nel Nord Italia. Il protagonista Frederic Henry si sposta maggiormente in Friuli, dove avviene la guerra. In seguito si sposta a Milano all’ospedale Americano, dove viene ricoverato poiché colpito da una bombarda. Infine giunge a Caporetto fino a ritirarsi in Svizzera con Catherine, luogo in cui termina l’opera. Le descrizioni sono piuttosto dettagliate ma pur sempre scorrevoli, Hemingway ha a disposizione spazi vasti all’aperto e ciò gli permette di articolare descrizioni analitiche. Lo spazio è prettamente reale, ideato anche dai ricordi di guerra di Hemingway stesso. Lo sfondo del romanzo è cupo, i paesaggi incarnano perfettamente zone di guerra, infatti...
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...I. VOCAL ANATOMY Sound is actually produced by the pressure changes created when small jets of air pass through moving vocal cords/folds or larynx. The vocal cords themselves produce only a “buzzing” sound; the resonators are necessary to create music and speech. Resonators: • Sinus • Nasal Cavity • Palates (Soft and Hard) • Oral Cavity • Tongue • Pharynx The articulators are responsible for enunciating the lyrics/words of the song. Articulators: • Teeth • Tongue • Palates • Lips [pic] II. VOCAL CLASSIFICATION PITCH The sound of a note is called a pitch. Each key represents different note or pitch. The quicker our vocal folds open and close the higher pitch we produce. VOCAL RANGE Everyone has a different vocal ability which in (mainly) classical, operatic and theatrical circles is grouped into a classification which is also known as 'vocal fach'. A singer with a wide vocal range may cover more than one 'fach' and as the voice develops with age, training and experience, the classification into which the singer has initially been grouped may no longer apply. As general rule: • SOPRANO high female voice, G3 (below middle C4) to F6 above high C6 although anywhere above high C can be included • COLORATURA a singer, usually soprano, who sings ornamental passages in...
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...Johannes Brahms’ Variations on a Theme by Haydn in B-flat Major, Op. 56a Vienna Philharmonic Orchestra at Carnegie Hall Johannes Brahms himself directed the debut of his Variations on a Theme by Haydn with the Vienna Philharmonic Orchestra in Bavaria in 1873, making our experience of attending a performance by the same ensemble in Carnegie Hall more than 140 years later all the more special. The program directed by Latvian Andris Nelsons also included, besides the aforesaid work, Joseph Haydn’s Symphony No.90 in C Minor, Johannes Brahm’s Symphony No. 3 in F Major, Op.90 and Johann Strauss’s waltz Seid Umschlungen, Millionen (“Be Embraced, You Millions”) –which was actually dedicated to Brahms- as a surprise encore. Also known as Saint Anthony Variations, Brahms composed his Variations during a summer stay in Lake Starnberg near Münich during a time where he had finally, after the premiere of A German Requiem in 1868, achieved recognition throughout Europe. He based his work on a theme in Chorale Saint Antoni originally attributed to Haydn, although in the nineteenth century this was questioned and the piece remains unattributed to this day. Brahms composed two versions of this work –one for two pianos, the other for orchestraboth of which consist on a theme on B-flat major, eight variations and a finale in passacaglia form. The night started with Joseph Haydn’s Symphony No.90 in C Major, a piece in sonata form composed for one flute, timpani, viola, cello, bass and two oboes...
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...The Juilliard School in Lincoln Center for the Performing Arts in New York City held a free concert at Morse Hall. It was a Chamber Music Recital featuring chamber music students of Sylvia Rosenberg of the Juilliard School. Three pieces were performed, each played by different students. The first two pieces, Piano Trio No. 3 in C Minor and String Quartet No. 9 in C Major, Op. 59, No. 3 “Rosumovsky”, were composed by Ludwig Van Beethoven in 1795 and 1808, respectively. The performers of the first piece were Lisha Gu on the violin, Nan-Cheng Chen on the cello, and Han Chen on the piano. In the second piece, there were two violinists, Matous and Simon Michal, a violist, Matthew Sinno, and a cellist, Patrick Hopkins, who performed this piece. The third piece was the Piano Quintet in A Major, Op. 81, which was composed by Antonín Dvořák in 1887. This was performed by Charles Yang and Julia Choi on the violin, Jenni Seo on the viola, Jennifer Choi on the cello, and Jie Yuan on the piano. The concert was held in Morse hall, which was a small concert hall for small performances. This provided a comfortable experience for the audience and the performers. There were many different people in the audience but mostly comprised of elderly people. Most of the audience wore business casual for their attire. Before each piece was played, the piano was adjusted as well as the seats on stage. People were only allowed to come in or leave the concert hall between pieces. All the pieces were from...
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...Sina Valizadeh Concert Report 2 03/19/14 Classical Music Concert Report The concert took place in Balboa Park at Spreckels Organ. I was there for about an hour and they played 7 songs. #1: Jared Jacobsen: Toccata from Symphony No.5, Opus 42 from Charles-Marie Widor (1844-1937) From the start of the song tempo was presto. It has a 1,2 rhythm and it is very simple overall until it goes toward the end of a song and you hear more different melodies. it had an amazing finishing. during the middle of the song you could've hear the middle parts with louder and harder melodies. #2: Jared Jacobsen: Toccata in D Minor, S. 565 from Jonathan Sebastian Bach (1685-1750) This piece almost took 10 minutes and by far i can say is one of the best classical songs I've ever heard. it seems like a happy song. a lot of high pitch sounds and melodies were used in this song. tempo was combination of presto and moderato and it seems like its a dramatic song. #3: Sam Rudenberg: Prelude in G minor, BWV 556 from Jonathan Sebastian Bach (1685-1750) Very relaxing song, decent speed and largo tempo. i can say it is esspresione and it gets loud at the end of a song. #4: Sam Rudenberg: Finale from Janet Correll (b. 1942) Its a romantic era, it has a story line and a song like melody, usually it narrates a story about some one or a specific event that happened in the history. kind of slow tempo and a 1.2 rhythm. i heard a little bit of syncopation as well. #5: Jared Jacobsen: oh Danny boy...
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...Listening Notes: 1. Josquin Desprez: Kyrie from Pange Lingua Mass (1510) * High Renaissance style * Imitative counterpoint * Homophony * Hym – pange Lingua – Gregorian hym * Monophony – Kyrie Eleison, Christie eleison * Point of imitation – brief passage of imitative polyphony using a single musical motive * Based on plainchant * Genre: kyrie from a late renaissance mass * 4 part polyphony; imitative polyphony * ancient, greek prayer * 1st part of mass ordinary * Hear women and men 2. Johann Sebastian Bach – Branderburg Concerto No.5, 1st movement – Late Baroque Period (1712) * Concerto grosso: group of several solo instruments and orchestra * Solo group: flute, violin, harpsichord, basic Baroque string orchestra * First movement: allegro, ritornella form, loud, bright, solid sounding, solid cadence, imitative polyphony, harpsichord cadenza, showing off qualities of a virtuoso harpsichord player * Genre: concerto grosso * 1stmovement allegro * ritornello form 3. Ludwig Van Beethoven: Symphony No. 5 in C Minor, 1st Movement (1808) between Classicism and Romanticism * Symphonic ideal * Ehytmic drive, motivic consistency, definite progression * First movement – sngle motive heard constantly – organic quality – seems to grow * Classical forms, however, replaced miuet w/ scherzo (fast, rushing movement in triple meter –ABA) * Allegro * Single motive – first theme in the exposititon ...
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