Samantha Boshnak: Concert Analysis

The “Davenport Blues” introduction begins sounding somewhat homophonic. It sounded homophonic because the cornet and clarinet begin by playing the same melody but at different pitches. The melody in the intro sounds a little broken up and unorganized. But then we begin to hear the verses becoming somewhat reminiscent of the New Orleans style, which is known for its collective improvisation and polyphony. Polyphony is clearly heard in the three different melodies played simultaneously by the cornet, clarinet, and trombone in the “Davenport Blues” verses.

When I saw the piece of the skulls over the drum, it really struck me. The piece showed that life is constantly moving even after your dead. There is a musicality to life even when you're dead. There is a moment of recognition of the fallen when the drums play during certain parts of the music, but the music continues

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

The piece “Stakeout” by “The Tango Saloon” effectively uses instrumentation, harmony and rhythm to convey character in the song. The prominent use of organ in the piece contributes to the songs tense, foreboding character. The dissonance created by the organ and the use of a rotary speaker creates a thick, unnatural and disturbing timbre. The character of the song is also conveyed using auxiliary percussion. The ostinato arpeggio played on the xylophone in the chorus, along with the tubular bell strikes, shakers and heavy toms convey this character.

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

On November 18, 2015, I attended a UAB concert involving jazz combos and a guitar ensemble. This concert was filled with amazing musicians, intricate solos, and thick harmonies. There were three jazz combos and one guitar ensemble; the first set was the guitar ensemble, which contained four guitarists and one bass player. The ensemble consisted of four songs: “Swing It,” a swing-style song; “Samba #1”; “A Child is Born,” a waltz; and “Bill’s Bay.” The main theme of “Bill’s Bay” was very catchy and memorable, and the ensemble’s most impressive player to me was Michael Galanti on the bass guitar. His solos involved precise pizzicato and quick movement that I have never witnessed in a bass player.

The following piece, Harold Land’s Compulsion, was arranged for a trombone-less quintet engagement and spread colorful post-bop energy.

White’s tenor is responsible for stating the theme's melody of “Three Wishes”, an epic tune of mystical resolve that concedes an opportunity for Neumann to express his rhythmic faculties in front of the drum kit.

I have chosen to review the musical Guys and Dolls Jr., performed by the Charlotte Country Day Middle School. At the beginning of the musical, there are many discussions about the unknown location of the famous Nathan Detroit’s next crap game. Nathan has been engaged to Adelaide, who is a performer at the Hot Box, for fourteen years. Nathan Detroit learns that Sky Masterson, a well-known gambler, is in town. After a failed attempt at a cheated bet, Sky bets Nathan that Sky would be able to take any ‘doll’, including Sarah Brown to Havana, Cuba. Sarah Brown works for the mission, and has trouble arousing attention from gamblers and drinkers on the street. After much persistence on Sky’s part, as well as a promise to bring sinners

Wes Montgomery’s groovy “Full House” starts by packaging all the original guitaristic steam in Jones’ well-measured solo, passing by Carl Maraghi’s magnetic baritone before the epic finale. The vivacity felt here opposes to the more tranquil vibes of the jazz standards “I Thought About You” and “ In the Wee Small Hours of the Morning”.

Boasting conspicuous consumption to the less fortunate is like rubbing salt on a wound. In contrast, salt creates an anti-bacterial environment that allows the wound to heal even faster, like materialism motivates technological advances for long-term growth. However, sacrifices must be made to fuel the idea of commodification for it promotes selfishness, lust, and jealousy. The idea of obtaining rewards intended for selfish needs and wants forces humans to compete for female sexual objectification. This process has consequences, for the power of jealousy exchanges morality with ignorance. Although Lawson’s The Other Side of the Bridge and Fitzgerald’s The Great Gatsby came to different conclusions about future ideals, they both share the idea

Is living forever the greatest gift of the ultimate curse? This is the question that both the ALA notable book, Tuck Everlasting by Natalie Babbitt, and the movie based on the book raise. Both explore the exciting possibility of never facing death, the harsh reality of a never ending life and the greed that it can bring. A look at the similarities and differences will reveal that the theme, along with the general story line, was one of the few things that remain the same in the translation from book to movie.

Dear Fleance, As you step into power, it is important to understand that you will be tempted to achieve ambitions that grant you more power that could cause you to disregard your morals. However, the stories of Macbeth and Duncan, the tragedy of your father Banquo, and the impact of societal expectations exemplify why achieving ambition morally is critical as a powerful influence. Through the experience of Macbeth and his interactions with others, you understand why sacrificing controlling or obsessive behaviors will decipher the type of leader you become and how you achieve your goals. As a ruler, Macbeth is frequently portrayed as a tyrant because he constantly puts himself and his own desires above others and blames others for his immoral actions. While

The first half of the concert was only instrumental. There were two violins, two violas, and two cellos. They sat on stage with the violins one my right, then the violas in the middle, and the cellos on the end. The violins played a few songs solo. The second half of the concert was only the choir and a piano. Their performance started with the song Daybreak. The song Daybreak also had a few girls playing percussion, one of them had a tambourine. Using SHMRG, the Harmony of most of the choirs songs were very homophonic. The Melody of most of the songs were mainly slow, though a couple songs were very fast, and upbeat.

The concert I attended was called the Faculty and Student Recital, which took place in the Cisco Auditorium on April 11, 2017. The music that was on the program was mostly what is called “classical” music, as well as a Chinese Folk Song, an electronic composition, and variations on an Indian Tala. In the classical pieces, the instruments that were used were the violin, the piano, the cello, and the oboe. In the electronic composition, the computer was used to make music. In the Chinese Folk Song, the piccolo was used to imitate the unique timbre of a Chinese flute. In the Indian tala, drums from Ghana were used to imitate the rhythm and sound of Indian drums. The piano, the violin, the cello, and the piccolo all originate