Explain the Emergence of Punk in the 70's
Explain the Emergence of Punk in the 70's Punk was a completely new musical genre that started in the early 70's and carried on through the most part of that decade. Punk was most popular and it was at its most 'hardcore' (as such) between 1975 and 1978. This totally new genre of music was completely the opposite of everything that had become normal in British music and fashion. Before punk came about all of the young people used to dress vary smartly and as can only be expected, there were a few young people who disregarded all 'dress codes' of the times and disliked all of the music. However, never before had Britain seen such an extreme refusal to be normal and like everyone else as the Punk rebellion. Also, before punk became so popular, the music was relatively mild and happy, and all melodical with good rhythm and harmony, and only the mildest of swear words were used in songs and only if it was really necessary. Punk music had rhythm and melody, but it did not have harmony. This lack of basic melody meant that a lot of people disliked punk music, however it was also this lack of melody that attracted so many people to the music - because it was so different. Punk music was also extremely easy to play, so that anyone could play it and indeed they did. Hundreds of young people began to set up their own punk bands and play in their garages. All of the punk
Musicals.A musical can be defined as something that combines dance, singing and drama. The first musicals were derived from a mix of opera and ballet, operettas. The Black Crook, 1866, is classed as the first musical.
Musicals A musical can be defined as something that combines dance, singing and drama. The first musicals were derived from a mix of opera and ballet, operettas. "The Black Crook", 1866, is classed as the first musical. A lot of musicals are based on Shakespeare's plays. For example, "West Side Story" is based around "Romeo and Juliet", and "Kiss Me, Kate" around "Taming of the Shrew". Here are some of the more memorable musicals in history. In 1923 L. Frank Baum adapted THE WIZARD OF OZ, originally the well known film with Judy Garland for the stage, with memorable make-up and settings, but a different story to the one that is so well known. The biggest hit of 1934 was ANYTHING GOES with its Cole Porter hits "You're the Top" and "I Get a Kick Out of You"(later sung by Frank Sinatra). OKLAHOMA!, one of the most famous film musicals, opened in 1943 and ran for over 2000 performances in New York, and changed American musicals forever. Its music was sophisticated and innovative, and it gave us the very well known songs "People Will Say We're in Love" and "Oh, What a Beautiful Morning". Rodgers and Hammerstein's CAROUSEL, in 1945, introduced a new solemn note to the musical, with the unforgettable song "You'll Never Walk Alone" (later recorded by many artists, now a Liverpool football anthem). The recently re-opened KISS ME KATE opened in 1948, written around
'The seven deadly sins' was the stimulus for the integrated piece. This immediately gave each group member lots of ideas about the possible ways in which we could incorporate dance music and drama in this piece.
'The seven deadly sins' was the stimulus for the integrated piece. This immediately gave each group member lots of ideas about the possible ways in which we could incorporate dance music and drama in this piece. Initially the group experienced difficulties in finding one idea to stick to. This was due to the fact that everyone had so many ideas about this topic it was impossible to incorporate everything and still keep a sense of direction within the piece. It was then decided that there being ten people in the group, seven were chosen to portray sins, and three members were chosen to be affected. This worked really well, and the improvisation process began with a vast amount of ideas. After discussing what the group had to accomplish, we set about thinking of dance motifs, drama sketches, and composing our own musical score. Each sin had its own musical theme. for example, anger was a violent run of minor scales in the key of C minor, a psychologically 'angry' chord. Sloth however was a very slow whole tone scale, giving a very dream like sound. Alison Oddy sates that to devise is to plan and develop through thought and action. Working collaboratively is essential if devising is to be successful. There was lots of use of dynamics in the music and in the drama and dance. Quiet pieces of music set the atmosphere while dance motifs complemented the way the sins were woven
For my first performance piece I performed the fourth movement from Sonata Number 8 called Allegro by Giovanni Battista Pescetti
Performance 1 Appraisal For my first performance piece I performed the fourth movement from Sonata Number 8 called Allegro by Giovanni Battista Pescetti. Giovanni Pescetti (1704-1766) was an Italian Musician who found employment in Venice and London, mainly as a composer of operas but also as a harpsichord player. The melody in Allegro is written following a strict pattern of mainly semiquavers. It uses quavers as an introductory passage to the main phrases which are written in semiquavers. This is relative to the baroque period of which this music was written. The piece is opened with five quavers in step descending, this is then imitated by the left hand which does the same thing an octave lower. After this two bar introduction the right hand plays a bar of semiquavers, again imitated by the left hand a bar afterwards playing the same thing an octave lower. After this, the piece begins to take shape and Pescetti lays out the structure that the remainder of Allegro will follow. This is a strict pattern of semiquavers playing the melody with the left hand mainly playing quavers to balance them. There are a number of perfect cadences in the piece, these give the impression that the piece has ended. The first of these can be found just fourteen bars into the piece. Although the piece is in the key of C, everything up until the first perfect cadence is written in G major,
An investigation into the Mozart Effect.
Psychology Unit 3 - Coursework An investigation into the Mozart Effect Introduction Background research Modern technology is increasing at an amazing rate, everyone is trying to keep up and have cutting edge equipment. This is very much important in school systems as well as other areas of life. With technology now being such a dominant factor in classrooms, teachers are doing all they can to incorporate technology into their teaching. This includes playing music during tests. Teachers may see this as a way to relax students and reduce anxiety, thus helping their test performance. There is research however, that states to achieve maximal scores on a test, studying should be done with the same cues present as during testing. For example, if the student listened to Mozart's 5th concerto whilst studying, he may recall the facts better during the exam if the same piece of music is played. According to the encoding specificity principle of memory, (Thompson & Tulving, 1970) the most effective retrieval cues at the time of recall are cues that contain information that was processed at the time the "to be remembered material" was studied. Therefore, for the music to help the student during testing, it should be played during studying also. This brings up the issue of whether or not studying with music effects test performance. Many students feel that studying with music helps.
Vaughan Williams scoring and innovative use of orchestral texture are the hallmarks of his musical language. Discuss this view referring to the 3rd movement of the 5th Symphony.
Vaughan Williams scoring and innovative use of orchestral texture are the hallmarks of his musical language. Discuss this view referring to the 3rd movement of the 5th Symphony. The beginning of the 3rd movement contains a chord sequence with a modal feel. The chords are C-A-Gm-A-Gm-A. This contains a false relation between the C? in C and the C# in A. This occurs several times throughout the movement. Also at the beginning, bar 7, there is a solo in the cor anglais, also with a modal feel again due to a C?C#. The folk-like melody harks back to his interest in folk music, an interest which ignited the beginning of a large collection of folk music, including pieces he himself and transcribed. At B there is a rising 4th sequence in the1st and 2nd violas. This sequence was also used in the 1st movement, and is used again throughout this one. During this section the violins and violas are beautifully scored, with the 2nd violins and 1st violas playing in unison and the 2nd violas play a counter-melody of sorts underneath this. Halfway through A, all the strings, excluding violins, play a chordal pattern. On top of this are dotted minims played by both the clarinets and horns. This mixture, which is not often used in orchestral pieces, creates a very relaxing sound which sit comfortably on top of the strings. Following this the rising 4ths returns in the 1st flute, which is
The bus came to a slow but steady stop. Mike grabbed his Jansport backpack as he lifted himself up from the green seat at the back of the bus. Saying goodbye to his fellow classmates, Mike and his
Brian Cook Fiction Writing Dr. Cox 2/03/05 The bus came to a slow but steady stop. Mike grabbed his Jansport backpack as he lifted himself up from the green seat at the back of the bus. Saying goodbye to his fellow classmates, Mike and his neighborhood friends piled off the bus. Walking up the long hill with one strap of his backpack on his shoulder, Mike said, "Hey Erin, are you going to the dance tomorrow?" "I think so. How about you?" "I'm not sure what were going to do," said Mike in a cool manner. It was a month into Mike's freshman year of high school and the first dance of the year was the following day. He loved everything about high school from the new friends, to the girls, and finally being on a varsity team. Mike was a basketball player, so becoming acquainted with the high school atmosphere was no problem. He had not attended a real high school party yet, but the other players on the team assured him it would come. The first major event of the year was the following night. The welcome-back dance was the first chance for many freshman guys and girls to really get to know older classmates as well as one another. However, many freshman students felt this dance would determine the rest of their year; whether you were popular with your classmates and girls or not. After the long walk and entering his house, Mike threw his backpack and shoes to the
"Chicago" review
"Chicago" Currently playing at the AdelphiTheatre Reviewed November 2002 Still running with renewed cast Direction: Walter Bobbie Music, Book & Lyrics: John Kander and Fred Ebb Choreography: Ann Reinking (based on Bob Fosse's original choreography) Cast Reviewed: Patrick Wilson, John Ellison Conlee, Andre De Shields, Jason Danieley, Romain Fruge, Marcus Neville, Kathleen Freeman and Emily Skinner If you can't get to the Westend this year to see the sassy musical Chicago you needn't worry. Come next year. It will still be here! This crowd-pleaser already has the quotes from the critics on its side. Now, eight times a week 1480 people in the AdelphiTheatre go out singing both its praises and its songs - or at least the hummable melody of one the last songs, "Razzle Dazzle". The book is by John Kander and Fred Ebb (authors of New York, New York, Cabaret and Kiss of the Spiderwoman) and originally co-written with Bob Fosse. The musical is based on the original play by Maurine Dallas Watkins. These writers know how to structure an evening with dramatic arc, smooth flow, narrative clarity, logical progression and strong theatrical images. All of those are evident in Chicago. But more importantly, they know that a musical must have heart and wear that heart on its sleeve. There is a deep-seated, salt-of-the-earth sentimentality to the piece that
Write a critical commentary on Mendelssohn's Quartet in Eb Major, Op. 12
Mendelssohn Quartet No 1 in Eb major, op.12 Born in Hamburg, February 3rd 1809, Jakob Ludwig Felix Mendelssohn Bartholdy (known to the western world as Felix Mendelssohn) was a German composer, pianist, organist and conductor of the early Romantic period. Recognised early on in life as being a musical prodigy, he took up piano lessons with his mother at the age of 6, giving his first public recital just 3 years later as an accompanist for a horn duo. Whilst demonstrating highly developed maturity towards creating music as a performer, Mendelssohn became a prolific composer from an early age, usually having his works performed by a private orchestra to an elite group of his wealthy parent's associates. He wrote 12 string symphonies between the ages of 12 and 14, a full orchestra symphony at aged 15 and his string octet which was written aged just 16, the latter of which began to demonstrate his true genius as a musician. Mendelssohn's style of composition was very different to that of his contemporaries such as Liszt, Berlioz and Schumann. Often labelled as the "Classical Romantic", as a composer, Mendelssohn's style was more comparable to the works of Beethoven than his contemporaries. Musicologist Edwin Evans states "Mendelssohn was born into the romantic era, but his aristocratic fastidiousness made him averse to the romantic excesses of his time, even when writing for the
Are musical influences important to a composer, or is it necessary to be original?
Are musical influences important to the composer or is it necessary to be original? Throughout musical history, from medieval plainsong and chant, through to the serialism and minimilism of the 20th century, music has evolved. I believe this evolution has occurred due to a combination of influences and originality. All composers are given an education including musical theory and instrumental lessons. The facts they learn during their education, and the pieces they play when learning an instrument form the basis of their musical influences. It is impossible to play a piece without, to a certain extent, analysing it; whether one likes the piece, or dislikes it, it becomes part of your musical background that influences you. As such, and because all composers must learn the history of music, and play music written by other composers, I do not believe that musical influences are so much something that is important to the composer, as something that is unavoidable. Whether or not it reflects in the pieces that they compose, all composers are influenced by the works of past composers. However, given that music has developed so greatly over the past few centuries, it would be impossible to say that there is no evidence of originality. Looking back, it is possible to see moments of originality that have allowed new musical techniques to be pioneered. The Mannheim school,
