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Music for Better Health and WellBeing. Finding Your Music. Music for Daily Life. Music for Home and Family. The Music of Nature. Composer Keynotes. The Deeper Mysteries of Music. Music for the Future. Women Composers. Appendixes Appendix to the Text. Need help with homework for a cheap price?
Please visit our homework help service , make an order and enjoy your premium quality homework! Lays it all out there beautifully. Particularly impressed by your reminder to experience concert goers re being kind and maybe joining in with newbies in spontaneous expressions of enthusiasm between movements. I am devastated! They clapped politely after the Rondo Finale during which I improvised an even better, more flashy cadenza and drove the tempo like a runaway carriage. I have ambivalent feelings about this one.
In the 19th century people would spontaneously clap just as we do with jazz today. The connection between musicians in the audience was much tighter then. The audience spontaneously started singing along with the orchestra at the premiere. Great fun.
But no thanks to the league of blue haired ladies from the early part of the 20th century, that spontaneity has been all but lost. Modern audiences, then following that misguided tradition, are expected to sit quietly and still until all four movements of a symphony or three movements of a concerto are over.
Often an experience like that becomes their last visit to a concert hall. This is by far more of a tragedy that someone clapping between movements. Soon we will be performing to empty seats.
My opinion is that is shows respect for the orchestra and the composer to refrain from clapping between movements. Certainly someone should not be glared at for doing so, however. It would seem that they would pick up on cues from the rest of the audience in the future. Thanks for your thoughts.
Most orchestra players appreciate and are not at all disrespected by applause between movements. We like that people enjoy something and are moved to share their feelings so sincerely. And release in energy can sometimes be a relief for us on stage. Great article, Holly! All I really want when I go to a concert is an opportunity to absorb the artistry being offered.
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Respect for the orchestra and composer is a great goal for an audience. I score the symphonic show for Trey Anastasio guitarist with the band Phish. Is there a way to help audiences better-appreciate the life-long dedication of a musician? A pops show is a different animal; audiences do pretty much what they want. One of my pet peeves in pops shows is early applause during a quiet ending to a song—can be such a mood breaker!
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Just to give you an idea, one show started with the concertmaster receiving a very loud standing ovation when coming out to tune. Even the string section had to smile. Throughout the piece the crowd reacted positively as Trey and the orchestra just orchestra and electric guitar—no other band members presented this new take on an old favorite. In a Phish show, the vocal jam always starts out with the same riff, sung by the band members, and then morphs to wherever the spirit leads.
I started the riff in the strings, morphed in my own way, added a solo vocal line over the strings and wound the piece down to nothing. Interesting to see an activity which was originally at the sole discretion of the audience now, at this point in history, being defined and regulated by the performers. How the dynamic has changed!
Standing is a show of appreciation, as one can only clap so loud. In it, we see the two side by side in profile, matching smiles and sprightly gazes. Their youthful vigor is irrepressible. But wait. Barber is about to pen the saddest music ever written. Some think that while young he managed his melancholia, that is, kept it hidden, especially as his career got off to such a promising start, with financial awards and premieres, trips to Europe and paid-for villas where he could compose.
Others say that his sadness has much to do with hiding his homosexuality: he could never quite be himself around others, so he withdrew or was defensive, except in his music. Again, the music provided an out. While he wrote in a late-Romantic style, more Italianate than American, he sounded out of sorts with his rough-hewn brethren who, in the s, styled a new music with nationalistic, atonal, or jazz elements.
Barber did use atonal elements but his method was additive, not structural. I agree with those who knew Barber long term: his personality was woe-ridden from birth. I find it remarkable that he was given this calling, which, like Orpheus, he could neither escape nor tamp down. He became more comfortable with his calling, but not until he had written many highly expressive pieces, among them Dover Beach , and not until he adapted to the grievous feelings his musical talent was directing him. He probably knew his melancholy was progressive. He may have felt it would neutralize him unless he gave in.
Thus, he poured himself into composition, writing a lyrical music ever more complicated by his dread of what he would become. It took time for him to discover just how inalienable the trait of melancholy was in him.
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After receiving more than four hundred nominations, they listed the top five on a website for voting. It may strike you, as it did me, whether or not these five pieces are comparable. Two have texts that describe the sorrow: Dido pre-grieves her own death, hoping to be remembered, although she is dying because she cannot live without Aeneas; and Holiday, in a dream, believes the man she loves has died and she will soon join him. Evaluated together, these pieces reveal that listeners identify sad music differently.
There is no universal decoder. I think the common thread is that they evoke the feelings we have when we lose what we love. The Purcell aria, from his opera Dido and Aeneas , is tragically forlorn.
Dido exclaims that since her lover, Aeneas, has left, she will die rather than live without him. Although we imagine her suicide a joyless occasion, we view her death more in the context of her drama, less our own. We feel sorry for Dido, not for ourselves. Fame grants intimacy. During the funeral procession for President Roosevelt in Washington, a reporter asked a man, weeping with grief, if he had known the president. The piece is known for its languid melody and its many slow-resolving appoggiaturas, or suspensions, that delay the harmonic resolution. I hear in the movement the fourth of five in the symphony a music that continually rests and revives itself like a waking dream.
The final suspension, the famous four-three resolution of the end, is one of the most emotionally penetrating moments in all music. Little satisfaction rings from the double sforzando F-flat major chord at the heartrending apex of the Adagio nor from the F major chord of the pianissimo ending. The dream of death she describes is haunting, but it also passes, in part, because she is singing it past. In the song lies the victory.
Just the descent, not the coming out. The story is that Holiday is dreaming of ending her life because her man has died. The lyrics are wonderful. The first verse:. Three ideas are cited to explain the genesis of this piece, which Strauss finished the day President Roosevelt died. First, it was written in response to the bombing of the Munich Opera House, whose loss Strauss said was "the greatest catastrophe that ever disturbed my life.
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