Music Song Analysis
Grech has said that one of the main influence on the recording of the album "I am Chromosome" was the idea that all of his experiences could be categorised into three groups: sensual, holy and debauched and the unhinged "I Am Chromosome". They are all disturbing, unsettling pieces of work. He was influenced by such artists as Bjork, Nine Inch Nails, Queen Adreena, Jeff Buckley, Sepultura and many more. These artists characteristics have clearly influenced Grech in the writing of "I am Chromosome" as they are all very alternative musicians, much like this song as it has so many different characteristics to it. Form The song does not have a definite structure; it starts off with a clear introduction building up to the song but from there on it does not have clear verses, choruses bridges, hooks and so on. The transition between sections by way of other musical factors is not smooth or flowing, it jumps from section to section with no warning. As shown in Appendix two, there is a table splitting the song up into sections by time. As the song does not have a clear structure the words used to describe the 'sections' to my account are what best describe what each section sounds like. Voice Grech has a voice that can range from a falsetto simper to a full-blooded scream, and as shown in 'I am chromosome' he can do this within the same song, and the arrangements are thoroughly
Calculate the stress in a beam and compare these results with actual results found
Engineering Applications Mechanics TIM BARNETT SE32403 00361755 Log entry 1 Experiment 1 The experiment is to calculate the stress in a beam and compare these results with actual results found. The equipment used: - Strain gauge Metal bar Weights in 1kg increments G-clamp Weighted hook Vichy Strain Bridge The metal bar, complete with the weighted hook is clamped to the table, and then the strain gauge is connected to the strain bridge and zeroed. So as not to get any false readings. Weights are added in 1kg increments and readings are taken off the strain bridge. This tells us how much strain the bar is under as we load it up. Results are as follows Weight loaded Strain kg 51 *10-6 2 kg 02 *10-6 3 kg 53 *10-6 4 kg 202 *10-6 5 kg 253 *10-6 As you can see the results go up uniform ally. Theory The following equations are used to calculate the final stress on the bar. Length of the bar 0.25M Width of the bar 0.04M Depth of the bar 0.006M Force = weight * gravity 1kg * 9.81 = 9.81 2kg * 9.81 =19.62 3kg * 9.81 =29.43 4kg * 9.81 =39.24 5kg * 9.81 =49.05 Mass = P * L 9.81 * 0.25 =2.45 19.62 * 0.25 =4.90 29.43 * 0.25 =7.35 39.24 * 0.25 =9.80
Miss Congeniality - Film analysis.
Miss Congeniality Analysis. For my analysis of mise-en-scene and sound of a seven-minute sequence, I chose one of the final scenes from Miss Congeniality (Sandra Bullock, Benjamin Bratt, Michael Caine and Denise Burgen). The film is about The Miss United States pageant - a scholarship programme seeking beauty and grace from all it's contestants. That is until tomboy Gracie Hart (Bullock) enters the running. Forced to go undercover as to investigate a threat from one of the country's most infamous criminals 'The Citizen', Gracie has to change her image from rough and tough agent to exquisite beauty queen. In such desperation, the head of the FBI operation Eric Matthews (Bratt) hires Victor Melling (Caine) to transform Gracie into a beautifully convincing Miss New Jersey. When the killer is suddenly captured, Gracie suspects that there is more to The Citizen's threat and insists on staying at the competition as an anonymous guardian to the contestants. The sequence begins when the Miss United States beauty pageant starts. The music 'One in a Million' sang by Busson starts to play, and the curtain rises to reveal the all the contestants except Gracie aka Gracie-Lou Freebush who is waiting at the side to run into her position as the girls walk onto the stage from the stairs. The sequence I am analysing ends when Gracie finds out that Matthews a fellow FBI agent, and
History of Drum and Bass.
History of Drum and Bass Dance music now is like a bag of candy, once you split the bag open there are so many segments to choose from that you don't know where to start first. Whether you are into Jungle, Garage, Techno or Hardcore. It all has on thing in common and that is House music. House music became big and blew up all over Chicago around 1985. DJ Frankie Knuckles was one of the early pioneers in this new form of music. While playing at a club called the warehouse he would experiment with soul and disco tunes by laying down a drum machine generated 4/4 beat on top of them. " The Chicago cats love this new sound" house music was not born. DJ Frankie was responsible for the all time classic "Tears" (FFRR Records 1989). House music was still a small infant that needed to have a lot of love and special attention to help it grow. Now more and more DJ's and producers were taking the studios and starting their own interpretations of this new great sound. There was an abundance of new tracks being played all over the Chicago clubs. The new sound of house then started to crawl it's way to other cities in America and in 1986 took it's way to other cities all over the US and started to take some baby steps across seas to the shores of the UK. Pirate radio stations in Britain soon took up on this new sound and before long house music was being played in underground clubs in
In what ways might it be said that contemporary genres of indigenous music and dance are a result of globalisation? What issues does this raise for indigenous performers?
Lara Catherine Thompson T16438019 In what ways might it be said that contemporary genres of indigenous music and dance are a result of globalisation? What issues does this raise for indigenous performers? "You have made your home In the streets of life You'll take whatever...will come... Then put on your shoes of blue And you immediately dance Dance of life... So follow this song. Malaysian rock group, Kembara 1984. The question above queries if the western influence, of centrically - oriented high art, has drastically affected the authenticity of indigenous music and the performers sense of identity. Sarah Rubidge, questions authenticity, what does it count for, "artistic value, historical value or both"? From personally experiencing a "drum circle", I can understand that the music is a great way of expressing yourself. Indigenous performers present their identity within their music. They value the right to play, sing or dance. In the new era of globalisation by digestion, the music industry is at the fore. Global corporations have emerged to create and exploit global music markets. It could be said that globalisation is affecting everyone's lives taking away individuality. Richard Letts is a member of the Music Council of Australia. Music itself most definitely predates the music industry; however the industry is very powerful. Letts believes that even though
Blade runner - film review.
Blade runner is an enigmatic movie, which brims with symbolism and hidden messages. This amazing movie was directed by Ridley Scott, which deserves an even higher status that that of any other average sci-fi movie. The film is dream-like, futuristic, artistic yet powerful and conveys many hidden messages through the narrative story. Purely on the surface it has visual richness, which is incredibly atmospheric and thereafter is further enhanced by the mysterious, futuristic and starry music by Vangelis. The captivating sounds orchestrated by him draw you into the vision of the future, which is a sprawling technologically advanced metropolis. All these factors collaborate and culminate to the breathtaking climax, which is the killing of the first replicant Zhora The film revolves around the main character Deckard. He fulfills the role of an ex-Blade runner. A Blade runner is a specialised detective who hunts down and executes or rather 'retires' replicants. Deckard is portrayed as a typical Dick Tracy detective, with his large trench coat and the thirst for liquor and when he needs to hide himself he sinks his head into a newspaper. He is a very mysterious and peculiar character and up until now, we have been unable to ascertain whether he is really a replicant or a normal human being, however this is revealed in the climax of the movie. The scene begins with him entering a
Discuss how Diaghilev talent for nurturing and developing individual, dancers choreographers and composers is reflected in the work that you have studied?
Discuss how Diaghilev talent for nurturing and developing individual, dancers choreographers and composers is reflected in the work that you have studied? (40) Diaghilev had an indisputable talent for nurturing and developing the skills and talents, with whom he worked. He discovered through his noble work ethics, dancers, choreographers and composers with natural talent which he stimulated, helping to form a well-established and renowned company and rejuvenating the world of ballet, and indeed dance. In the work of "Pulcinella" this is evident through the choreographer and principle dancer Massine, the dancer Karsavina and the composer Stravinsky. These members of the company were practically unknown before their collaboration with the Ballet Russe. It was through Diaghilev talent for nurturing and developing, even to an extent manipulating the talents with whom he collaborated, set these artists to worldwide acclaim, both in the Ballet Russe and the careers that would follow. Diaghilev produced some of the most original and successful choreographers of the twentieth century; including; Fokine, Nijinsky, Balanchine, Nijnska and Massine. Leonide Massine, the choreographer of the ballet "Pulcinella" was an unknown actor, when Diaghilev first employed him. However, Diaghilev turned him into one of the best dancers and choreographers of the twentieth century. Massine trained
Gladiator - What It Takes To Be a Caesar.
ENG 112 Romina Reyes 30 April 2003 What It Takes To Be a Caesar Director Ridley Scott's movie Gladiator is the result of a wonderful camera work, outstanding music, great scenes and beautiful costumes. This is a great movie, even though is long it is full of action and from its beginning to the end it captures your attention. Most of the actors are able to transcend the emotions to you. Gladiator shows us how one person's frustrations can lead to a total un-plug to the real world. The urge for power can destroy a family, a country an empire. This is the story of a general who became a slave, a slave who became a gladiator, the gladiator who defied an empire. The music in this movie, takes you into the moment. It is so majestic that gives you goose bumps. I recall the first scene where Maximus is walking through a wheat field and is able to touch it. In the next scene when he opens his eyes he is in the middle of a dark, cold muddy war. He is able to close his eyes while at war and travel back home. While he does that the music has such melody that portraits the quietness and peacefulness of his home. Also when they are fighting in Germania the music matches the actions. The brutal, and bloody scenes happen really fast while the music's speed is quite fast also. But when the scenes are shown slowly the music does too, and gives it a touch of harmony. A scene that
An analysis of Sweelinck's 'Pavana Lachrimae'
How is Sweelinck's 'Pavana Lachrimae' typical of the Renaissance period? You should reference other composers/works in your answer. 'Pavana Lachrimae', a virtuoso work for harpsichord based on the popular John Dowland piece 'Flow my Teares', exhibits many of the trends composers were exposed to during the Late Renaissance/Early Baroque periods. Written within the 15th Century, around the time of the gradual introduction of solo keyboard works, Sweelinck pioneered this idea whilst basing it on one of the most popular pieces of secular vocal music. In this respect Sweelinck was very clever in his decisions as he introduces a new way and concept of writing, whilst basing it on something that the public could relate with. Through pioneering solo keyboard works and experimenting with different structures, such as fugues and tripartite structure, he laid the foundations on which one of the greatest Baroque composers would later build; J.S. Bach. It is said that Bach took inspiration from Sweelinck (amongst others) to create works such as 48 Preludes and Fugues. 'Pavana Lachrimae' was one of the many instrumental versions of 'Flow my Teares' although the only one written for solo harpsichord. The title, when translated, references the structure of the Dowland piece (written as a Pavane) and also the content of the original as Lachrimae translates to 'tears' which combines to make
Make an outline comparison of the exposition and the recapitulation,showing how Mozart adapts his material when it returns in the recapitulation. The Piano Concerto begins with an eight bar opening phrase
Make an outline comparison of the exposition and the recapitulation, showing how Mozart adapts his material when it returns in the recapitulation. The Piano Concerto begins with an eight bar opening phrase by the string section in a homophonic style with the first Violin on melody, second Violin along with Viola providing the harmony and the Cello with a tonic pedal on A; closing the phrase on the dominant. This is then followed by an answering phrase, one octave higher, by the woodwind. This structure of balanced phrasing, known as periodic phrasing, is a typical characteristic of the classical style; with an "antecedent", by the string section; followed by a "consequent", here provided by the woodwind. Following this phrase, Mozart avoids the usual predictability of periodic phrasing by repeating the cadence in bars 15-16 with the inclusion of added decoration. At bar 18, we also have the first tutti of the work, with all the orchestral parts playing. The proceeding phrase also overlaps from bar 18, again avoiding the predictability that was common of the Viennese Classical style. The opening of the exposition of this work contains many features, which are so typical of the classical style, such as the clear melodic line based on chord and scale patterns. The lack of counterpoint, and the use of the simple functional harmonies in bars 13-14, which along with the help of