Is Dance Music a Subculture or Has it Now Become a Culture in its Own Right?
Is Dance Music a Subculture or Has it Now Become a Culture in its Own Right? Classically subcultures define themselves as 'other' and 'subordinate' to 'the dominant' culture. Many cultural theorists such as Stuart Hall and Dick Hebdige have been chiefly concerned with the ways in which subcultures subvert and pose a resistance to the 'established order' through their expressive dress codes and rituals. Dance music seems to depart from these theories of youth culture, since it has not established its own identifiable dress code nor consciously set itself apart from the wider culture. Today dance music is primarily focussed around clubs, where people meet together and dance to electronically engineered music. It could take place in a derelict warehouse, a bar, a beach, a field, an aircraft hangar or a sports arena. Some may be free, and others may charge an entrance fee. Each venue seems to have its own discourse. A beach may signify the escapism of a holiday; a warehouse may signify the decline of industrialisation; and a sports arena may signify commercial profiteering. The sort of people that go to any particular one will vary according to the place where it is held, the way in which it is advertised, and the price of the ticket. For example, the London Jungle scene is predominantly black-led and attracts a racially diverse section of urban youth; the location of these
Learning to play the Dhol - Diary/Write Up
Universities Award Scheme Activity 1: Learning to play the Dhol - Diary/Write Up This opportunity arose from my work with the steering committee of the St. Albans Mela, which was formed to look at various aspects which we believed to help steer us towards having a Mela in St. Albans. The idea of a Mela in St. Albans is part of a larger project called Fuze which was also set up earlier this year (with lots of lottery funding!) to make people more culturally aware and to promote cultural diversity. As part of the project a music workshop called "Drumming Up A Storm" was set up, where young people could come along and learn how to play an instrument, the aim being that these young people would form their own band and play at the Mela. However, this unfortunately wasn't the case as we didn't have enough musical talent or time to sort out a band write a song or two............there just wasn't enough time. The eventuality was that the young people who attended these sessions would be part of an already established band or group and to the aid came S. W. Storm and his band Island Fury and Bee 2 from The Heritage of Punjab (a.k.a. T-HOP) to "Fuze" the Soca music from Storm's Band and mix it up with some Bhangra (namely the Dhol). I was going to learn the Dhol for two reasons, firstly, its something I've always wanted to do and secondly, my uncle's wedding is taking place at the
The piece that I particularly liked was the first piece played Brusa: Missa pro defunctis.
Larisa Knyazeva Core 2.2 Professor Bierman Concert Report July 1, 2006 Music is one of the most unique performing arts due to the way it has evolved. The performance that I attended was a New England Symphonic Ensemble playing Brusa: Missa pro defuctis, Beach: The Rose of Avontown, Mozart: Mass in C Major at Carnegie Hall. The concert took place Sunday June 25, 2006 at 8:30 pm. The symphony orchestra is a collection of a variety of instruments. This symphony orchestra came in four groups of musical instruments. The first is the string family they were on the left and on the right of the stage, the second and the third groups are the woodwind and brass family were in the middle with the brass family behind the woodwind, and the fourth group is the percussions family was standing right before the choir. The piece that I particularly liked was the first piece played Brusa: Missa pro defunctis. The Soprano voice started the play and the violists were in the background. The soprano could be heard more clearly because their section seemed to be the most powerful. Then the tenor was singing his lines, and it sounded like two of them were having a loud discussion. The music was abundant in tone color and a variety of pitches and moods. The four main voices: the soprano, the tenor, the mezzo-soprano and the bass-baritone was singing against the entire orchestra. The rhythm of
Analyse in detail bars 1 - 29 of Titanic showing changes in harmonies and harmonic pace.
29.11.2003 Analyse in detail bars 1 - 29 of Titanic showing changes in harmonies and harmonic pace. At bar 1, Titanic is in Eb major however there is no Ab so it is in the lydian mode. The very first note of all instruments which play in bar 1 is an Eb, this makes the following chord very definite. There is then movement in contrary motion between the instruments in bars 1 - 4, it is still based on the chord of Eb major and the lydian mode. In bar 5, an Eb major 9th, 4th inversion chord is played, this then becomes a Bb major chord in the last quaver of the bar. In bar 6, an Ab is introduced in the double bass, viola and choir parts; the piece is now in Eb major. The 5ths and 3rds remain in the synth and violin parts, the chord is now Ab major 7th. Bar 7 is very similar to bar 6 but goes from Eb major, to Ab major to Bb major. By bar 8, the key is G major, it has moved up a major 3rd from Eb major; this creates feelings of majesty, grandure and optimism. Bar 8 beat 3, a D major chord is used (the dominant of G major). The low strings play the root whilst the violins play semiquaver patterns on notes D and A. In bar 9 beat 4, a G is added in the harps. In bar 10, a G and A are added by the trombones and tuba followed by the horns 2 beats later. By bar 15, it has moved into B major - up another major third, from Eb to G and now to B. The establishment
Analysis/Appraisal -Somewhere Only We Know
Section 1 Analysis/Appraisal -Somewhere Only We Know I decided to use this piece for my appraisal for a number of reasons. This piece was released in 2004 by a band called Keane; it was the first single by this band, and the single that made them famous. This song is typical for Keane. It has block chords to create a pulsing beat. This seems to be a trademark for Keane's music. The pianist uses mainly block chords, to create the feeling that the song is pulsing, and I decided I could do this easily with my left hand, so my right hand could be free to play the melody line. This was difficult at first, as the block chords are very spaced out, and repetitive. I had not played anything like this with my left hand before. I also felt I could put feeling into this, improvising; adding crescendo's and diminuendo's to create feeling in the piece. In the chorus of the recorded version, mood is created with the addition of the bass guitar and drums, I tried to compensate by making certain parts of the piece Forte, to show that the piece had turned angrier. There is a fairly difficult section in this piece, after the chorus, it is a quick chord sequence. The actual chords are quite close, and don't take a lot of effort stretching, although the different chords are only semitones apart, so it is very fiddly trying to get all the notes correct. This sounds impressive on the recorded
Soul Paper
Did We Do That Or Did It Just Happen? The19th Century saw jazz develop from folk blues music in the Deep South, to an internationally recognized art form. This process of development incorporated increasingly complex techniques and expressed a wider and more profound range of human emotion and experience. Jazz, although uniquely American in origin, is an art form that combines many different cultural influences and musical traditions such as Classic Blues and Country Blues. Excellent jazz players, such as: Duke Ellington, Jimmy Lunceford, Cab Calloway, Artie Shaw, and Count Basie all came from different parts of the United States with differing backgrounds. However, many of the innovators and leading voices, were black Americans, the descendants of slaves. This concurrence between the black population in the United States and jazz music has led to much political and sociological debate. The essential lines of the dispute put those who see jazz as an art form which transcends questions of race against those who contend jazz as a black product, therefore, belonging to black people. The latter position has, not surprisingly been enthusiastically embraced not only by blacks and the middle-class left throughout America. Although the arguing of claim to Jazz is important, the most important thing to be analyzed is the evolution of Bebop into Jazz. Although many may put forth the
Dance with me REVIEW
Dance with me REVIEW Despite its many flaws, it's difficult not to like Randa Haines' latest film, the effervescent Dance with Me. As is true of most "performance" movies, the central attraction isn't the characters or the narrative. Instead, it's the look, the feel, and, most importantly, the music. Dance with Me isn't intended to be a deeply introspective look at the struggles of a man and woman to overcome their individual emotional troubles and find each other. Instead, it uses these familiar, lightweight plot elements as a foundation for the series of colorful, energetic dance sequences that represent the real reason to see this movie. The stars of the film are Vanessa L. Williams and Chayanne. Williams, the former Miss America- turned singer-turned actress, plays Ruby, a by-the-book professional dancer who's looking to win a World Latin Dancing Championship before she hangs up her shoes and costumes. Chayanne, the Latino sensation who isn't as well-known north of the Border as he is south of it, is Rafael, a free- spirited Cuban who has come to Texas in search of the father he never knew. Like Ruby, he's an accomplished dancer, but he's strictly an amateur. For him, what he does on the dance floor isn't a matter of pre-arranged moves; it's what the music tells him to do. At one point, when he observes Ruby practicing her steps in a silent studio, he asks, "How can
Fucntionalists theory on education
Functionalist Theories on Education Functionalist sociologists have identified education as a crucial part of the socialisation process as it transmits and re-enforces society's norms and values. They have also considered society as a system of interdependent parts that would help to develop the culture and value in society. Education prepares children for crucial roles in the future as adults and they selected for different roles depending on their abilities. Different groups in society teach different norms and values and these groups are called agents of socialisation. Each part of society has particular functions (education, religion, media and family, these four functions work together to construct and contribute to our societal and cultural norms and values. The famous functionalist sociologist, Emile Durkheim, suggested education prevents anomie (a lack of norms). He stated this because the education system is an agent of socialisation which teaches the importance of norms and values in out society. Durkheim suggested two values which he considered extremely important in society, Social Solidarity and Specialist Skills. Durkheim suggested that every society needs and sense of solidarity, this is meant by each and every individual within a society must feel they are part of single community. An example of social solidarity within a school would be, students working
Choose two arias you have studied and write a comparison between the two (AQA AS Level MUSIC)
Choose two contrasting arias from the music you have studied and write informatively about each. . Handel: The Messiah, 48: The Trumpet Shall Sound 2. No. 6 (tenor) from Ich Elender Mensch, Cantata 48, Bach 'The trumpet shall sound' is a Da Capo aria written for bass voice, a trumpet obbligato, strings and a continuo. This piece is hugely triumphant and demonstrates a sense of victory and celebration. Perhaps the most fundamental contribution towards this is it being based in a major key, and with a march like tempo. The tempo marking is aptly labelled as 'pomposo', meaning pompously and 'ma non allegro' which means but not allegro. This would help ensure the piece is performed with magnificence and majesty. The rhythms of the notes are also very basic being mostly crotchets with quavers for decoration and to add a sense of movement. Semiquavers are only used in conjunction with a dotted quaver and never consecutively as this would distort the picture that Handel has so carefully painted by added speed, which would remove some of the sense of exultancy. The dance-like aria from "Ich Elender Mensch" is scored for similar instruments (oboes, bassoon, trumpets, timpani, strings, and basso continuo) however with the solo voice this time being a tenor. Perhaps the most noticeable difference is the change of tonality. This aria is set within a minor key, which thoroughly
Charlie Chaplin's Music. Charlie Chaplin's later films, black and white and silent, were almost always accompanied by Chaplin's own music.
Charlie Chaplin's Music When you think about Charlie Chaplin, the first image that comes to your mind is the little tramp, with his raggedy unkempt clothes, proverbial black cane, slightly crooked hat, and Hitleresque mustache. Chaplin was the master at presenting the human social and political condition of his time, disguised cleverly with humor tinged with sadness. But Chaplin wasn't only an actor, he was also a composer. His musical talents as a composer are not as well-known. Charlie Chaplin's later films, black and white and silent, were almost always accompanied by Chaplin's own music. His musical scores not only accompanied the films, but intertwined with the hope, sadness, joy, and pain of Chaplin's memorable characters. His music covered a gamut of styles, from sweet themes of love and youth and innocence to more intense rhythmic music to popular dance numbers. But his abilities as a film score composer were considerable and haven't been given due appreciation. In point of fact Chaplin was the PERFECT composer for his films. Chaplin grew up in a family of performers. Both of Chaplin's parents were singers and actors. Growing up in a performing family gave Chaplin the strong creative background he needed to succeed later on in life with his films. He recalled that in his early childhood his mother, a music-hall singer, would take him with her to the theatre, where
