Ed Neumeister's Birds Of Prey

Against the lush green field of the White River State Park, stood the impressive stage. The show began with a riveting American fanfare, encompassing the brass section. Undoubtedly the trumpets took center stage here. The trills of these brass instruments painted this piece vividly. Accompanying the trumpets, were the rich deep whispers of the tubas and horns, lightly adorning the melody. This was then followed by the

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

Boschnak’s “Expositions” tears into a puissant rhythm and groove after an intriguing intro featuring the deep tones of the bass clarinet, which, together with bowed bass reinforces the foundation’s density with swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows, momentarily complemented with clarinet punctuations, disembogues in a bridge that leads to a vocalized ostinato interlude, obsessively iterate by the guest

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

Considered the most dynamic main character of The Crucible by Arthur Miller, John Proctor undergoes great changes and developments throughout each act. From the very beginning of the play, Proctor is nothing more than a lying, cheating man with secrets to hide. However, he learns to clear his conscience and alter his actions with no regard to the consequences he may suffer. He goes to great lengths to admit to his lies, clear unfairly soiled names, and be truthful to his wife and God. Despite his initial flaws, Proctor is seen to grow into a caring husband and friend at the cost of everything.

Moments of poignant abstractionism are delivered in the electronic-tinged “Time Takes Its Return” while “Where Worlds Collide”, a typical Binney creation well structured from root to branches, rejoices with plenty of life. Weiss enchants with his percussive clear-sightedness, and after the torrential bursts from guest saxophonist Shai Golan, Sacks shows why he’s one of the most rhythmically daring pianists in

The extended first piece was inspired by Ornette’s 1967 “Forms and Sounds” and was conveniently entitled “New Forms New Sounds”. The structure comprised two distinct sections that were played alternately a couple of times before the individual solos of each member. The first section included guitar, violin, and bass, while horns and drums shaped the second. Before completing the whole cycle, the audience was marveled with the collective

The word peace can be heard again in “Celebration”, a non-standard AABA form and a festive communion of horns and vocals that thrive at a daring 5/4 tempo and flutters with brisk, colorful improvisations by Walrath, Hilts, and Parrott on baritone.

inspiration for the composition of the piece, as it was written in French to make use of the language’s sound and enhance its decadence.

55)”, a frolicking avant-pop piece that also counts on trumpeter Jonathan Finlayson’s unpretentious speeches and Ches Smith’s freethinking yet methodical drumming.

The conveyance of distinctive visuals within texts draw profound significance to the various aspects of life poised within their stories. Performed with the aim of elevating the audience’s understanding, this can suggestively nurture the common response amongst them of the significant aspects of life, thus, referencing a deep awareness of the composer’s concerns. This is clearly evident within John Misto’s play ‘The Shoe-Horn Sonata’ in accompaniment to the listening stimulus of John Misto’s Interview and Peter Skrzynecki’s poem ‘Crossing The Red Sea’ through the exploration of delicate notions such as the journey through times of hardship and suffering as well as the hope of survival and sacrifices.

This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rendering it, clawing it until it breaks through to the jungle beyond. I follow those heathen - follow them exultantly. I dance wildly inside myself; yell within, I whoop... My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know.

Throughout the story, the reader gets a close look at how the narrator’s perspective of jazz changes throughout the story. In this short

An injury to my Temporal Lobe would affect my personal and academic life tremendously if I were born with congenital amusia, or was tone deaf since birth. Suffering from congenital amusia would mean a lesion to my auditory cortex and it would also be a disorder to my perception of music. Congenital amusia would affect my personal life and my social interactions. Suffering from congenital amusia my social life would not be as rich and rewarding as it could be. My social life would be affected because I would not be able to have conversations the same way because I would not be able to understand the sarcasm in friend’s voices. My conversations would also be dull because I would not be able to convey emotions in my speech, I would be monotone.

In Walton’s Ancient Near Eastern Thought and the Old Testament, he writes, “ With no revelation . . . there was no way to know what pleased and what angered . . . This is the plight of those who live in a world without revelation. In the end, for all of their conscientious ritual, they did not know what deity wanted” (p. 145). Please post a 400-word response to Walton’s statement. Discuss the importance of revelation to God and the biblical writers. Seek to answer questions like “Was it important for God to reveal himself to mankind? If so, in what ways has God revealed himself? How important was revelation to the prophets who often used the phrase 'Thus says the Lord?'” While sources are not required, you may support your answer from the