Music is an aspect found in every culture thus; varies widely between times as well as places. Every individual globally included the most isolated one, has got a form of music whereby it is possible that the ancestral population dispersed music around the world. Music is one thing that have been in existence since the beginning of earth thus, has become a basic constituent for human nature. All music is influenced by certain aspects of the culture which includes; social, economic as well as the recent access of technology. Musicians’ aims at generating ideas plus emotions, they want to express thereby; the music they present are differentiated by the listener’s altitude. Modern music has led to revolution in listening especially where radio has gained popularity globally. The new invention of media and technologies has positively impacted the music industry whereby; recording, capturing as well as distribution of music is done (Harris & Farrar, 2015).
Music performances have highly increased thus, presenting visual as well as broadcasts in videos and concerts. All kind of music has been introduced whereby; everybody’s desire is enriched. The 20-21st century music brought the breakdown of all the traditional songs as well as conventions. It is due to the development of technology that makes the modern music more acceptable as compared to the ancient. However, the modern music revolution has enabled musicians easily record as well as distribute with ease. The technology era has also ensured that composers has all form of musical instrument required of them thereby; their recordings are hardly manipulated in endless ways (In Kaschub & In Smith, 2014). Musicians have come into an agreement that all forms of sounds and even noise should be considered as music. The 21st century has got the aspect of indeterminacy whereby, the author keeps off from defining certain aspects of compositions. I pre- modern music was divided into categories of either folk song or art music whereby; they emerged to represent world cultures. However, in today’s’ field of music, the category is either gospel or secular. The modern music presents a broad imprecise category, which opts to consider all the music produced especially in concerts (Harris & Farrar, 2015).
Today’s music has been shaped over years with the aim of refining it quality. Several musicians have been in the industry for many years and, till to date seems to be realizing singles to indicate that their career still floats. Unlike the 19th century modern music, pops out strong and with style to hit the world. The different types of song are represented by ethnics, to hammer songs in raising composer’s career. The modern world musicians are lucky to have support from the social media whereby; they are able to present their songs in radio airwaves. Contemporary music has got the aspect of indeterminacy whereby, the author keeps off from defining certain aspects of compositions (Harris & Farrar, 2015).
Vast increase in music highly occurred in the 20th century and, people are able to access the song of choice via the website. Considering the past music era people were used to listening them in concerts but, recently one can listen to music of choice anywhere using earphones. Sound recording is one of the major influence, on contemporary songs development genres hence; they are enabled on recording through the social media as well as distributed worldwide. The music has encouraged dramatic inventions in musical figure and styles thus; illustrating the message it presents. Composers aim at exploring new aspects plus sounds which challenged the changed rules in the industry. Development of powerful instrument like guitars and drum sets has highly contributed to the modernity found in today’s music. The technology epoch has also guaranteed creators, on all form of musical implement mandatory of them thereby; their recordings are hardly manipulated in endless ways. Musicians have come into an agreement that all forms of sounds and even noise should be considered as music (In Kaschub & In Smith, 2014).
The modern world influences composers, on a path to follow and what is intended of them. The music should be a form of inspiration thus; impacting the listeners in powerful ways. The inspirations are intended on the youth and adolescents in the society, since they are tremendously acquiescent to the world around them. Different individuals have got different taste of music thereby; they believe that listening to particular song touches them as well as speaks to them in profound ways. Some individuals listen to music because the like the singer’s altitude, popularity as well as voice (In Kaschub & In Smith, 2014).
Today’s music is essential in a way that it reflects the culture whereby; every song is aimed at certain individuals. Music has brought spots on annotations about the youth as well as media culture. The society is changing far much more, compared to the era before thus; reflecting styles of music that is evolving. Culture has been improved as compared to the music before 21st century, where it had remained constant. Currently there is no dominant culture because changes in music, has closely turned the society into a consensus worldview. Culture and music has a connection because, we currently takes them as cool aspects where nothing is against them (Appleton, 2012).
Teens are the most affected individuals by the introduction of modern music whereby; in America they are highly influenced. Modern music pressure has impacted the intended parties, economically, physically as well as psychological different. Music effect on the listeners has always been the same though the only difference between earlier and current music is change of style. Companies have been using musing in advertising their products thus; generating attraction to the viewers as well as impacting the music (Appleton, 2012).
Modern music has the power to society, moral as well as emotional influence globally. However, the more intentional we become with the sounds, messages plus moods generated from song release. Modern music has generated the consent plus authority to composers thus, encouraging them of changing the world to the better. Songs are parts if personal life, since they truly makes something worth of dedicating life to (Appleton, 2012).
For a music to be measured as modern, various features such as; government consultation, a learned tradition as well as divine support. The music must be classical and complex thus, to ensure it is everlasting as well as transcendent. Recently musicians have considered the modern music, as a shop for professionals, teachers and engineers. The modern music has improved with technology whereby; Goggle has been used in tracking music uploads especially on what the composers have been doing. Interactive maps are found from Google and, are charted through music library users. Contemporary music anxiety has impacted the intended parties, economically, physically as well as psychological different. Music effect on the listeners has always been the same though the only difference between earlier and current music is change of style (Harris & Farrar, 2015).
References
Harris, H., & Farrar, L. (1978). How to make money in music: A guidebook for success in today's music business. New York: Arco Pub. Co.
In Kaschub, M., & In Smith, J. (2014). Promising practices in 21st century music teacher education.
Appleton, J. H. (2012). 21st-century musical instruments: Hardware and software. Brooklyn, N.Y: Institute
Using older operatic styles intentionally in modern musical shows
Introduction
For Broadway Musicals, the emergence of meanings comes through negotiation, struggling to get the meaning from text, the context of the text and the spectator. The reference to the meaning of a play is an indication that it has already been interpreted and some aspects of the play have been considered. An examination of the Broadway – musical historical context can be done through the sexuality and gender theories especially the context performed by the lead women. The performances of various women in the theatre emanate from the cultural context of the specific periods of these performances, and the historical assumptions about sexuality and gender forms essential aspects of the intended meaning. The women in these musicals are a permanent part of American culture and live in cultural memory that is collective since their identities are known to the society; their appearances are iconic while their voices can be recognized immediately(Wolf, 2002, 9). Throughout their eras and present periods these characters in the musicals are historically important, since the context of the text consist also of the present periods and a proliferation of references to the women musicals.
Sexuality meaning of the musicals could also be viewed from the perspective of the spectator through history, when they imagine of these women as feminists, and such a position can be inhibited by any spectator who willingly hear and perceive from a feminist point of view. The use of the words feminist and woman interchangeably in this case highlights the primary concern with the use of musicals by spectators, regardless of their identity. The spectators may not have a similar view, since some may not see these musicals from the perspective of a feminist (Wolf, 2002, 9). Throughout the history of Broadway-musicals, the feminists have had their view on reading the musicals that have been readily available to a spectator who is inclined to hear and look in a given way. Over the 20th century, Broadway musicals were a mainstream culture which reflected and shaped the fascinations and concern of the society across United States. These musicals have sustained their prominence in American culture through television versions, university productions, Broadway revivals and community theatres (Wolf, 2002, 11). The growth of Broadway music was significant in the period of World War II, a time when women’s work also involved outside their homes and later assumed their homemaking roles after the male gender reclaimed its jobs. During these periods, homosexuals were criminalized and ‘pathologize’ and the image of middle-class white nuclear families were representatives of American society. The musical seems to have been a reflection of the dominant values in this culture which was homophobic, sexist and conservatives (Parke, 2014, 175).
The musicals have been structured around heterosexual relationships even though in most of them , the man and woman normally starts as enemies of one another or suspicious of one another .They eventually get married as seen in Marian the librarian and Harold Hill in The Music Man and Frank Butler and Oakley in Annie Get Your Gun. In these musicals the women are seen to fall hopelessly in love and the heterosexual unions in the musicals bring unity to the community(Wolf, 2002, 17). The woman is seen submitting to man, the nature to passion, the passion submits to reason and the body to the mind. In The Love Song produced in 1925 by Messrs Shubert, it uses tradition to have an impact on gender by using the effects it has on conceptualization of sexuality and gender (Temple, 21). In the song, women and men do not speak to one another, a failing that is expressed in various ways as the man is fearful of interaction conversation and physical interaction. The musical uses sentimental language to indicate the gender roles as being sexually divisive. The Broadway musicals appear to end in such a way that marriage is not literal but a symbolic end where the heterosexual couple’s strength is celebrated in a nuclear family. In the Carousel, Billy Bigelow goes back to heaven as his soul has been redeemed and his daughter is a high school graduate, and The Sound of Music’s Trapp family overcomes the Nazis and escape by foot to Austria (Wolf, 2002, 19). Eventually if a woman does not copulate to a man, she is isolated as a form of punishment, which is marked in almost every musical a tragic end. In many cases, the musicals message appear to be that heterosexual is mandatory and natural and that it is for women to be aware of their place in such a setting(Wolf, 2002, 25).
The idea of simplistic conservative in the musical underestimates the various meanings that can be drawn from it. The post war periods was marked with an unexpected baby boom, building of infrastructures like highway systems, migration to suburbs for some people and the increase of households’ commodities that capitalized women who were housewives as being consumers (Wolf, 2011, 36). However, these years saw the American culture being influenced by movements on women liberation and civil rights. There was a flourishing of lesbian and gay communities in homes, private spaces and even bars, whose momentums exploded in Stonewall incidents. The Musical theatres during the 1950s’ and 1960s’ can also be seen to have had an influence on gender roles as they portrayed the possible happy endings (Wolf, 2011, 37). Even so, cracks existed in the musical as the America’s preferred form of entertainment for escapists. During these periods, entertainment technologies availed the musicals and made it possible for them to be translated into more cultural forms that were accessible. Even though Broadway musical it became more available due to albums and its stars regular appearance on television, it maintained its original setting so that it continued being accessible to relatively few individuals especially in the high art realm (Wolf, 2002, 13). Hence, it immediate impact on sexuality and gender roles was limited in comparison to the influence of television and film. During these periods, family was epitomized the common America’s social values and the roles of various genders were perceived to be positive and were portrayed as important for social stability and psychological wellbeing. As portrayed in the early Broadway Musicals, the roles of male gender included husbands, breadwinners and made rules while women married while still young, had children and were homemakers by using the many household’s appliances that were available in the market. The female genders were, therefore, experienced in the management of well-run and clean homes while making it possible for their children to succeed (Wolf, 2011, 37).
While most women during the times of wars could work outside their homes more so the white and middle-class women, they lost these jobs upon the return of men from the battle fields. The shifting in the roles of various genders is thus indicated in the Broadway musicals to represent what was happening in the real world. As such, after the wars, social stability was maintained by reversing the trends of women working outside their homes, and a common theme in popular post way theatre writings was on how women should take back their place in homes. In these instances, women who showed interest or insisted on continuing to work were depicted as greedy and thoughtless, a bad home maker and even a poor partner to her husband (Wolf, 2011, 37). Even though white families were characterized as happy and in suburbs, mowing lawns and watching televisions, the time involved a lot of anxiety and uneasiness even for such families who were heterosexual and Christian. During the war periods, mothers who did not take care of their children were depicted as having bred criminals while those who overprotected them especially sons raised passive and effeminates homosexuals were considered perverts(Wolf, 2011, 37). In these times, while homosexuality was being fought by the government and the society, liberalism was being expressed in sexuality and art. Meanwhile, cultural and social struggles that would result to Beat culture, civil rights and movements on women liberation were forming in the background. In the decades following the war, the musicals had become part of theater and popular culture and were used to reflect the realities in everyday life, and through them the status quo was perpetuated. It also offered possible ways or means of obtaining sexual relations and identities (Wolf, 2011, 37). In the Broadway musicals, women were many a time depicted as being glamorous temptresses, martyrs or some just girls –next-door. In addition, images of females as mothers were idealized and this practice proliferated in various characters in the musicals. Play wrights like Tennessee Williams and Arthur Miller had dominated the non-musical theaters in the period of the mid-century (Wolf, 2011, 41). Method acting and Dramatic realism brought in identificatory spectatorship where character’s psychology could be recognized by the audience, and relate her to other real women, could hence feel disgust pity or anger towards her. Even with such limited stereotypes, contradictions still existed. Some of the musicals portrayed their characters in their sexual attractiveness so that their gyrating hips together with singing melodies attracted fans more so the women to express their sexual desires(Wolf, 2011, 41) . Such images portrayed by musicals were in support of social values and a reflection of the varying expectations.
In the musical, women are represented differently from nonmusical theater and mass culture across the United States society. While most of the musicals feature the naïve women as just girl- next-door who undertakes the role of romantic lead in soprano, some musicals provided temptresses like Damn Yankees’ Lola while others have strong and dominating women such as The King and I’s Anna (Everett, 2009, 389). In addition, women who play alongside men are represented as being singular and powerful. Hence, many shows have their focus on women who tend to be stars who dominate in the presence of men. In musicals, the idea of motherhood as a familial and biological role is hardly even represented unlike the idea of perfect mothers represented on film and television, even though the allegorical representation of women as caretakers rather than biological mother is quite common. This can be seen in various musicals such as The King and I and South Pacific by Hammerstein and Rodgers where the identity the women take on exceeds their motherhood roles (Everett, 2009, 389). As such, idealized mothers are seen as secondary in musicals unlike in television where they take a primary place. Moreover, the performance in Broadway musical does not feature women as vilifications subjects or objects of desire that are passive. Any argument that Broadway Musicals in mid-19th century have potential lesbian pleasures and feminist is contrary to the grain of musicals accepted musicals. Even in the days they were very popular, these musicals were seen as nostalgic and sentimental form of art by many fans. A common aspect of the Broadway musicals is the untrue fantasies they perpetuate at societal and individual levels. At the individual level, this is seen main characters idea of boy gets girl while at the societal level all people are united a scenario is seen in Broadway Babies Say Goodnight (Wolf, 2002, 23). Sexual tolerance is promoted by the musicals of mid-20th – century and represent a future American society where heterosexual couples are united and people from different backgrounds co-exist peacefully essentially through music and dance. The passionate expression, singularity and strength of female stars in the Broadway musicals are an indication of the influence the women blues singers of African American background had on this form of art. As seen in the musicals, these women singers adopt aural and visual space and tend to reclaim their bodies and experiences by singing (Wolf, 2002, 27). Some of these women were lesbians or were rumored to be lesbians or bisexual.
The fact that the Broadway musicals depicted some tolerance for all sexualities is seen by the way homosexuals and especially gay men played an important role in the musicals production history. The illicit affairs in these musicals can be read using gay sub-texts. For instance, D.A. Miller in Place for Us use poetic language to evoke gay men’s personal history as it crisscross with his fascination for this partly gay genre of Broadway Musical (Parke, 2014, 175). He is noted asserting that almost all of the 1950s musicals contain a subtext of gay. Hence, despite their orientations that were considered unacceptable in the society, the Broadway musical have been providing an emotional, personal and cultural approval for these men. The musical’s relationship with gay masculinity can be a sufficient proof their queerness , since musicals’ spectacle has been an attraction for gay spectators as they see their behavior as being a heightened artifice through modes that are considered as unnatural like camp . Hence, many of these men expressive the particularly feminine pleasures found in this musical. These aspects can be seen in the aesthetics of the musicals which portray effeminized or feminine and emotive characteristics of the genre (Parke, 2014, 177). They are represented in spectacular costuming and décor, complex choreography and songs about romantic fulfillment and yearning. Part of the attractiveness of the musical comes from the seductive ability to have gay men desire to perform like these women. It is also argued that musical theater is part of culture for gay male as represented in the Something for the Boys where they can identify with the diva’s performances (Parke, 2014, 179). Hence, the power of feminine is being fundamental to this artifice as seen in gay men identifying with way above performance of femininity in the entire society regardless of the various sexual orientations. The musicals are depending on women as main characters and the frequent depiction of women as being the show’s active centers and very strong. While the gay men are taking the side of leading lady across the line of gender, the female spectators seems to find a strong in the character belonging to their own gender as the actor (Cantu, 2015, 52).
The act of dancing and singing which forms the foundation of musicals’ performances demonstrates the vocal and physical strength of women which serves the need for athleticism in these musicals. Being center stage, the female actor has story being developed around her and the various songs composed to be presented by her alone. For the actor, her vocal strength makes her musical speech to drown everything in the surrounding and spectators become passive objects that have been battered by this voice. The autoerotic quality and character of the female actor is exhibited and even celebrated by these songs, and even where the songs about loving a man or when the listener implied is supposed to be a man, she owns the song so that the performance is only about her(Cantu, 2015, 52). Hence, the active feminine culture of the mid-20th century which does not portray a woman as passive or an object makes it possible for her to assume the self-spectacle position. In the Broadway musical, the perception and portrayal of women and even men have been determined by gender cultural construct. This aspect can clearly be seen in the chorus in the Broadway musical, where anxieties around how the men and women relate is often displayed by the chorus girl’s image. As mentioned earlier, the social roles of women began changing as they struggled to vote, their increasing participation in workplace as World Wars raged and the 1960’s sexual revolution (Cantu, 2015, 53). In relation to these changes, the female character in Broadway musical chorus embodies the femininity image. The chorus girl remained central to the Broadway musical and even an essential cultural symbol throughout the periods of the world wars.
As women were starting to experience more freedom on their sexuality and control of their bodies with emergence of birth control, theater was shifting away from the popular culture while the chorus girl was no longer the center of action or performance (Wolf, 2011, 38). The female character remained necessary for musical production but since their sexual desire has been democratized, she has been removed from this pedestal that she once fully occupied. While the female gender flourished, the male gender in form of chorus boy been perceived as backdrop or partner to women, was treated like cultural embarrassment, was acknowledged mockingly or largely ignored. The male gender desire, willingness and desire for self-display on stage became subordinate to chorus girls’ position , so that he engaged in a feminine dance while at the same time being placed outside the western model of heterosexual masculinity(Wolf, 2011, 39). Since he was placed to work outside the traditional role of a male gender, he was perceived as homosexual which could have been the case for many men in this chorus. The perception of the chorus boys made them to be viewed as being gay. Any efforts to correct this image appeared from the 1920’s operetta, at a period when masculinity was being introduced in form of bass choruses. The Broadway musical comedy adopts the idea through representation of chorus boys as military officers. This was done in Yip Yap Yaphank as literal form and in This is the Army as fiction. The later comes with before the 1969 Stonewall riot where the process of liberation of gat begun and which subsequently leads to gay characters and male chorus start being seen on stage later in 1970’s (Wolf, 2011, 40).
In present times, human sexuality and sexual orientation has been openly portrayed in the musicals as seen in the open playwrights about gays. About 50 years ago the display was not very straight forward and in many cases it attracted a lot of criticism especially in the mainstream media like newspapers. With time, the convention on both theatric and social has been widened so much that on Broadway musicals, homosexuality has been dramatized with as much freedom as the demonstration of the heterosexual life (Everett, 2009, 390). This open demonstration has emerged after lengthy criticism that playwrights on homosexual theme have been presenting a distorted picture of society, women and marriage in various musicals. The playwrights have now been advocating for a free writing of sexuality themes at a personal level or about their world with no need of disguising their nature. As such, musicals have been portraying gay life in a manner that has not been observed before onstage. The influence of these playwrights on sexuality were clearly observed in the late 1980s’ when the gay community had been brought together by an AIDs pandemic which whose result was devastating to this community. Broadway production like Safe Sex in 1987 by Fierstein was also transformed by this pandemic and it became inevitable source of this subject matter (Everett, 2009, 391). The musicals at the time did not shy away from the fact that the AIDs pandemic made the gay community to be more visible than ever before and the issue was depicted in various playwrights. While the Broadway musicals had stayed away from openly highlighting the issue of homosexuality in the early part of the century, the authors of this genre were now embracing the reality of different sexual orientation regardless of whether they were considered moral or immoral in the society. Feminism had earlier take the centre stage with the issue of male being given little space in the performers of the musicals and hence, the issue of female sexual freedom was now being replaced by an all inclusive musical theater(Denshoff & Griffin, 2004, 84). The female performers were now singing and dancing alongside the male gender.
It could be argued that the extraordinary representation of sexualities, either heterosexual or homosexual, indicates the popularization of these aspects among the spectators of Broadway musical. This brings forth an engagement structure that has been invested in what may seem like perverse fantasies or extreme desires. This means the queerness of the shifting of anti-normative variation that resonates well with the issue of homosexuality in the past and current society. Queerness means the strange positions in the culture that are contrary to what is considered straight or normal in a specific society (Denshoff & Griffin, 2004, 84). This is seen in the fair representation of a kind of sexual orientation that is contrary to what in the past has been considered to the acceptable heterosexual relations. The issue representation is not about the formation of homosexual or heterosexual desires but the expressions of such desires in the musical through some love relationships of the performing characters. The Broadway musicals have been seen as providing a platform or method of conceiving the issue of intersexual relationships that have remained non-discussed in the society. It is not a surprise that some musical like choral love songs that imply a sexual unity in the entire community being linked to the celebration of the actions such as orgies (Denshoff & Griffin, 2004, 85). Such a representation can be seen where the society decides to accept aspects such as pornography when it is legalized but confined to certain age. As such the musicals offer sequences or images that be interoperated to refer to some specific sexuality like homosexual and homoerotic at the very least. It has been suggested that that musical is the only genre where the male body has been put on erotic display with no shame in the conventional cinema (Denshoff & Griffin, 2004, 85).
Conclusion
In conclusion, the Broadway musicals have been used to express the various aspects of sexualities which comprises of the various gender roles, sexual freedom and sexual orientation throughout the history of this genre. The musicals have been used to define the changes that have occurred in these aspects and have even been part of steering such changes. Through the Broadway musicals, the issue of sexualities has been explored fully, so that what had not been discussed openly in the society is now being shown in the musical theater.
References
Wolf, Stacy Ellen. A Problem Like Maria: Gender and Sexuality in the American Musical. Ann Arbor: Univ. of Michigan Press, 2002. 8-28
Parke, Michelle. Queer in the Choir Room: Essays on Gender and Sexuality in Glee. 2014. 174-179
Cantu, Maya. American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy. 2015. 52-53 <http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1091463>.
Everett, William A. The A to Z of the Broadway Musical. Lanham: Rowman & Littlefield Pub. Group, 2009. 389-391
Wolf, Stacy .Changed for Good: A Feminist History of the Broadway Musical: Oxford University Press, 2011. 35 -40
Temple, George. "Gender through Tradition in „Prufrock‟ and „Songs to Joannes‟. n.d .21
Denshoff, Harry M, Griffin ,Sean. Queer Cinema: The Film Reader. Psychology Press, 2004.82-84
The group name is Cannibal and The Headhunters which was among the first groups made up of Mexican-American individuals. The group was founded in 1964 by Robert Jaramillo and Richard and was later joined by Joe “Yo Yo” Jaramillo and Frankie “Cannibal” Garcia (Wikipedia, 1).
The song was first written and then recorded in the period of 1962. The song is of rock and roll genre. This genre originated in the late 1940s and later early 1950s from musical styles popularized by the African-American like jazz and rhythm and blues with the country style (Wikipedia, 1). Rock and roll can describe either the international style known as rock music or the style that originated in United States before it emerged by the middle of 1960s. The song became very popular in the 1960s period, which can be attributed to the famous “na na na na” note (Dahliacorona, 1).
Part b
Sabor a Mi is a bolero which was popularized by the Los Panchos in 1964 in collaboration with Eydie Gorme (Wikipedia, 1). It was originally composed by and sung by Alvaro Carrillo – Mexican- in 1964. The bolero was originally in Spanish is all about two individuals in love and its title Sabor a Mi means A Taste of Me (Wikipedia, 1).
This song is a bolero genre and its performers had a lot of influence on the entire genre. In addition, their style of guitar instrumentation, rhythm use and vocals set a new standard for those who followed (Clark, 166). The song tended to be more conventional music dance by afro-Cuban and a swing band which was favoured by the Paucho dancers.
Seattle Symphony hosts concert to support immigrants
Music beyond border concert has been organized by the Seattle Symphony as they use pieces from the seven states that are Syria, Iran, Somalia, Yemen, Iraq and Libya. According to the new US president, he strongly believes that these seven states should not be allowed to be refugees in US as they were banned indefinitely as from long time ago. This resulted to a federal judge to make an order of holding the ban all over the country. As a result of the order from President Trump, chaos was experienced as soon as he made his orders and this prompted the Seattle Symphony to perform a free concert that would showcase music from all the seven states. They aimed at reuniting the society so as to celebrate the freedom of expression especially at a time as this that they were experiencing conflict (Larkin n.p).
A huge number of people turned out for the concert and it is thus evident that people are in quest for a regional solidarity with the immigrants as well as the refuges. The support awarded by the US citizens shows that some of the US citizens are also not happy with the imposition of this ban by the president on the immigrants and the refuges.
The only way to solve the problem of causing chaos is to reevaluate on the ban so as to ensure that all citizens across the globe are satisfied as well as at peace. The concert opened a forum to tap into the current energy that is in Seattle. The better way to solve this issue is through use of alternative measures on immigration issues.
References
Larkin A. Seattle Symphony hosts concert to support immigrants
Britten uses features so as to set each and every instrument within a short character sketches that exploit both the emotional as well as the capacity of each individual or group. The students thus can be able to listen and write these sounds and the character traits for each and every instrument within a few selections. The total is better as compared to the sum total of its parts. This is because the total piece gives the people an opportunity to listeners so as to be able to hear the contrasting voices of the entire instruments and as well offer a peak into the musical techniques of the ancient centuries. This shows how a melody can be able to bounce from one instrument to the other but in a sequential manner while the melodic ideas fill the background. Thus the original theme recurs in entirety as it is set boldly underneath the dancelike fugue idea. There is the integration of use of the woodwinds, brass, strings as well as percussion in the parts of the orchestra (Rupprecht 2013). These variant types of the theme for these featured instruments from each family are married with different order. The process starts with the instruments from the high pitched family and moves on to the lowest instruments which have variation in the tempo and energies so as to make the most of the diverse instrumental timbres. The final union is the combination of the orchestra in a complicated fugue on a new and dancelike theme which is resultant from the initial one. A guitar is a nice instrument which has turned out to be the world’s favorite instrument. This instrument is significant as one can be able to play in a low bass, high lead and according to the rhythm or any emotion can be obtained from the guitar.
References
Top of Form
Rupprecht, Philip E. (2013). Rethinking Britten. New York: Oxford University Press. Print.
On Sunday, December 4, 2016 at 10.30 a.m., the First Congregational Church performed five pieces featuring, Jeff Barnett; tenor, Carol Barnett; alto, Seth Pierce; tenor, Geoff Gunderson; Guitar and Christy Lindberg; Flute. The Program included the Oh Come, All Ye Faithful, The Holy and the Ivy, Oh Come, Oh Come Emmanuel, Away in a Manger, Carol of the Bells, Fum, Fum, Fum, Coventry Carol, Slight Night, Holy Night, and O Holy Night, The Birthday of a King, Coventry Carol, Do you Perceive what I perceive?, Silvery Bells, We wish you a happy Christmas and Joy to the World (Linial, 61).
The concert opened with the Tenor. The piece started quietly. As the sound was sang in unison and the mood became more of a choir as it continued. The pace of the sound became faster and with more figure movements. The second work was the alto sounds. The texture of the sound became more amazing and fruitful and the two sounds connected and succeeded until they finally got into harmony.
The third piece of work was the tenor which started with a striking melody which made a cheerful tone to the piece. This was one of my favorite performances of the day. There was a strong emphasis on the sound and its response moved out well. The song starts slowly and it does not really pick up much. The sound starts and the mixture and the way the music is portrayed give a real melodically feel. It had a depressed sound and the sounds got back to overwrapping each other and the progress got higher and higher(Linial, 67).
In contrast, the mood of the fourth piece was low. It was the guitar and the strings played a sad melody while the guitar brass increased the mood by their constant strings in the background. The interplay between the guitar and the song took an interior surface and this seemed more comfortable with each other. The guitar player seemed to succeed over the pop group (Linial, 72).
After a fifteen minute interval, the flute played the two pieces of the day. It was the sound of it that gave me impression. The use of the flute made me get myself tapping along with the flute springs. Every sound of it was catch and I have to say that it was enjoyable. The flute band closed the event and the y looked pretty god and the crowd more responsive. The flute play set the crowd on fire due to their interesting melodic. Every person was screaming as they practiced the song outlined by the flute sound. The vocal of the flute sounded amazing though the flute players seemed a bit out of it but they still delivered (Musgrave, 26).
Attending this concert gave me the knowledge of the style diversities and the composition skills in the kind of music. I mainly enjoyed the mastery of instrumentation as they were able to combine the different sounds of the ensemble in a successful way. Even when the orchestra was low, they still managed to make the interesting influences to the crowd. The way they outline the dialogue between the soloists and the ensemble showed the dramatic pressure in the musical piece. The reason as to why I enjoyed this concert was due to the emotional eminence of the melodies, this is simply saying that the music was lovely and it talked directly to me (Musgrave, 30).
What are the similarities between the messages in Let America… and Talkin’ Loud…?
The similarities between the two poems is that both of them talk about equality and fair treatment of all Americans. According to Hughes, he wants America to remain the America it was in the past where all people were considered to be equal. Moreover, he also suggests that during those days, America was the country in which its citizens had dreams and they could realize their dreams (Walker & Langston, 32). This consequently shows how Hughes is determined to make the country a better place in order for people of all races and color to be treated equally and no violence against other peoples should be tolerated. On the other hand, according to Brown, he was talking about what he felt about certain societal issues in the country. This is majorly because, being an African American, he did not enjoy being segregated and was therefore fighting against racial discrimination in the country (McGlowan, 50).
Why is Brown’s work a part of our cultural mainstream while Hughes’ is not? That is, what role does music play in our social and political culture?
Brown’s work is part of our cultural mainstream mainly because, the music culture was majorly influenced by African Americans in the US, and Brown is an African American (McGlowan, 52). On the other hand, music influences our social lives through passing messages which influence out daily lives. Music also affects our political culture through passing strong messages to our political leaders, and hence making them to listen to the issues being raised.
What other popular music represents the viewpoint of a minority group? (I’m not just talking about racial minorities. Think in terms of political, social, religious, and lifestyle groups, etc.) How has this music impacted our society as a whole (please include an example)?
Jeely piece song, is a song written by McNaughton representing the views of the poor in the society. McNaughton addresses the high cost of living, where the cost of apartments are on the rise and thus the poor cannot be able to take care of their children living them to starve dreams (Walker & Langston, 34). This song consequently looks forward at reaching to the government and asking it to reduce the cost of living in order to make sure that the poor are able to live peacefully (McGlowan, 54). The music has impacted our society through airing the grievances of the poor. This has consequently enabled the government to be able to regulate the high cost of living in the country.
How has music influenced our social, political and religious views?
Work Cited
Walker, Gwyneth, and Langston Hughes. Let America Be America Again: For Narrator and Orchestra : Based on the Poem by Langston Hughes (2012). , 2012. Musical score.
McGlowan, Angela. Bamboozled: How Americans Are Being Exploited by the Lies of the Liberal Agenda. Nashville, Tenn: Thomas Nelson, 2007. Internet resource.
The concert was held on October 25, 2015 at the Thayer Hall of Colburn School. The Los Angeles Philharmonic Musicians and pianist Junko Ueno Garret were performing different classical pieces of the Viennese era. The performance was captivating because of the different types of instruments that were used during the performance and the various types of sounds from the instruments that were being played such as the piano, and the brass instruments. The performers were also dressed in an old fashioned way to depict the past mode of dressing hence capturing the attention of the audience. The instruments were used to start the concert while everybody was quiet thus increasing the moods of people (Roy, 2010). The performance started on a lower knot and it ascend up to a high knot when it reached the climax making the audience to really feel the performance. The piano was playing a high pitch hence making the performance to be joyful. This made me to realize that a mobile phone is supposed to be on airplane mode during such a performance because it affects the microphone signals. The audience was also dressed in an old fashioned way in order to match which the presentation of the concert as it was a classical performance concert (Eugene, 2010). This made everything in the concert to seem as if it was in the past and the performance braced it all as it was very lively and enjoyable.
The type of music that was being performed was orchestra and the historical era being represented was the Viennese era. The performing pieces that were needed to perform the work were the violin, brass, and the piano. This three instruments influenced the performance as they were the ones which made people to understand the tempo of the performance. At the beginning of the performance, the string instrument played more than the piano and this made the piano to play in the background (Eugene, 2010). After three minutes the piano started playing a high pitch making the performance to reach its climax. Concerts with notes were provided and this made everyone to know what the concert was about and who the performers were going to be. On the other hand, the notes provided the information about the venue of the event hence attracting many people to the concert. I read about the concert and this made me interested in attending the concert. I read this information on a performance note which talked about different artists and the way the performance was going to be.
The first piece was allegro and it started playing when the audience was still quiet thus bringing the audience into a concert mood (Roy, 2010). Allegro required low tempo compared to rondo. While allegro was being played, the string instrument played more than the piano in order to make the pitch to be low. The piano was also playing but it could only be heard in the background. Allegro therefore required a low pitch which is enhanced by the piano playing in the background. The second piece was rondo, during the performance of the second piece, the piano was playing at a very high pitch (Eugene, 2010). This made the performance to be reach the climax. This consequently showed that rondo, compared to allegro, requires a high pitch and that was the reason as to why the piano had to take charge and it was played at a high pitch. Rondo really stuck out as the audience were in the performance mood and this was after playing the first piece which prepared them for the second piece. I was also impressed by the way the second piece was performed because it really made me to forget about my past and I was in a joyful mood.
I enjoyed the performance of the music as it was unique and very much captivating. The instruments also impressed me because they were played in an orderly way and one could be able to enjoy it as it was very nice. The way the conductor also controlled the artists performance was also interesting as they were able to play the instruments were following his control without making any mistakes. The performance was beyond my expectations as I had thought of Classic music as an old boring type of music (Roy, 2010). This performance made to look for the meaning of this type of music as it was very enjoyable. This performance therefore made to understand what classic music was and I am also yearning to be in such a concert again. Different aspects of the performance surprised me and this included the way the artists were able to serve two masters at the same time. This was playing the instruments and at the same time following the requirements of the controller. The other aspect that surprised me was how the performance played the instruments and followed the controller’s movements (Eugene, 2010). I was really impressed by the performance of that day and this motivated me to going for other performances, for my second report I would attend an opera or a chamber music.
Reference
Roy, W. G. (2010). Reds, whites, and blues: Social movements, folk music, and race in the United States. Princeton: Princeton University Press.
I attended a live jazz concert in early February in North Carolina. The North Carolina Jazz Festival NCJF is a popular event that has existed for more than 32 years (Martin & Waters, 2009). It is significant to me because I am based in the Western part of the United State. The live jazz concert offers a wide range of concerts and workshops with all time stars. There was also jazz education program offered in the concert and half an hour concert featuring star musicians lined up. In the live concert held in the memorial hall featured students and faculty from the University of North Carolina of the jazz studies program such as the Charanga Carolina, UNC Jazz Combo alongside all-star performances by New York Voices, The Count Basie Orchestra.
The performance started with the students in order to prepare the audience for great performances later in the concert. All the performances were half an hour long giving the audience time to understand the jazz music and appreciate it as it is being played along. The best thrilling performance was by Count Basie Orchestra. The group was started by William “Count Basie” and has advanced with time making it one of the most significant jazz orchestras in the history. It performed one of its own irresistible “Kanas City Swing beat” that filled the room with admiration. The orchestra consists of great instrumentalists and vocalist. To signify their great performance is of importance to note that they have won 18 Grammy Awards (Jacobs & Agro, 2011). It can be considered to be the greatest force in Jazz. The orchestra is directed by Scotty Barnhart.
The New York Voices stole the show by taking it to another level. Their performance was something to by. The a cappella performance have also enabled them to win the Grammy award as well through their vocal styling and the inspired arrangement in their rooted jazz. The group is able to mix the traditional sensibilities and bring out the unexpected (Davis, 2012). The great jazz vocal group is inspiring with their performance.
The performance by the artists and the group filled the room with joy and happiness that could be seen in every audience face. This made the room more lively many applauding the performance at the great with great love enthusiastically making the audience wish for more and more performances from the groups as well as the artists. Age factor was dismissed by the thrilling performances as it was enjoyable to all. The jazz music was easy to relate to as it was magical in its own way. The venue was jam-packed with a large number of audiences who were elegantly dressed. Inside the venue, it was well arranged in a systematic manner and it was easy for the audience to locate a place to sit. The seats were arranged in a manner that all the audience will have the full view of the performance at the podium.
The jazz music made me feel fulfilled and satisfied as I like every single performance. I like due to the fact that I was able to relate the performance with what I desire. However, I would like to recommend the performers to my friends that one does not have to a great fan of jazz of posses a unique desire towards jazz the performers will have a way of reaching out to every soul.
Reference
Davis, J. S. (2012). Historical dictionary of jazz. Lanham, Md: Scarecrow Press.
Jacobs, G., & Agro, J. (2011). Harold Jones: The singer's drummer. Bloomington, IN: AuthorHouse.
Martin, H., & Waters, K. (2009). Essential jazz: The first 100 years. Australia: Thomson/Schirmer.
Assessment strategies for the visual arts and music
Portfolios: This is a strategy for assessing visual arts and music. Portfolios are important in that they analyses students progress through processfolio which involves revision, drafts and edits. The technique focuses on students’ accomplishment throughout the curriculum (CCSESA, 2008). Portfolios are important in that they provide accurate performance with respect to student’s work and students gain self-evaluation. However, it has disadvantages in that extra time in preparing the assessment system is needed. It is also difficult to gather the work samples and data.
Observation: Teachers use observation to track progress and to research the students’ visual art and music. Advantages of observation are that accurate data is collected and the research results are precise. There is no bias and it is easy to identify problems. However, it has advantages in that a lot of time is required in studying and observing the visual art. Observation cannot provide a complete answer and observer actual presence is unknown (CCSESA, 2008).
Performance: In this strategy, students are required to demonstrate their skills for teachers to understand the skill acquisition. Performance assessment in music and visual arts concentrates on products and performance. The strategy is important in that through observation, it is possible to measure the knowledge and ability in real-world setting (CCSESA, 2008).Teachers gain enough information and assesses whether the targets have been hit or not. However, this strategy is time-consuming, it involves complex process and multiple steps are required. The technique requires subjective judgment and teachers are unable to distinguish between poor, good and excellent scores (CCSESA, 2008).
Self Assessment: This is a useful strategy where students get the opportunity to evaluate the work and ensure it meets the personal goals. Self-assessment can be done through interview and this can help students to improve judgmental skills and through self-evaluation, they will develop learning progress and be responsive (CCSESA, 2008). However, the process of self evaluation increases the workload and there is a risk of presenting inflated and unreliable grades.
Reference
CCSESA (2008). (California Country Superintendents Educational Services Association). Art Assessment
Resource Guide. San Diego County Office of Education.
The video describes music and how teachers namely Stephen Cedermark and matt Sansilo first grade and fourth grade music teachers respectively teach students aged 5 to 10 music essentials. The teachers ensure that the students learn music through introducing them to the music theory. Stepehen uses the drum to ensure students learn music and that they remain attentive to him. He uses music patterns to ensure the small children learn music and connect it with other subjects such as mathematics which is learnt through use of patterns too. Matt teaches the students on how to express themselves musically therefore encouraging students to do music since it enables them gain confident even in other subjects. He teaches them on how to handle music instruments and ensure they are able to play the instruments. He teaches the students on being musicians independently which is the main theme of this music program. He says that music is learnt from the basic and thus for the kids to understand music he helps them learn and understand the basic. In conclusion, the principal of the school is in support of this music programs and says that the kids needs it.
Stephen ensures that the students learn the patterns of music through teaching them through introducing them to those patterns and ensuring students remain active in the music class. He ensures that students remain active in the classroom since they participate in developing the patterns and coming up with the right patterns that need to be used. He ensures that students understand music and the patterns used just like those patterns students use in other subjects like mathematics. The students learn fast since he teaches them to connect the music patterns with other patterns learnt in other subjects. The small children love patterns and therefore use of these patterns is important since when children love something, they will learn it fast and therefore children do well in the music class since they love the patterns used by their teacher.
Specialty and classroom teachers should collaborate about their content since it ensures children love all the subjects and connect well in all those subjects. For instance when they learn patterns in other subjects they can easily understand and learn musical patterns without much problems. Therefore teachers are asked to collaborate well since it ensures that students learn more skills in all subjects and eventually become all round. All teachers should support each other in ensuring that students perform well in all subjects and therefore love all subjects. Children understand well subjects they love and therefore teachers should work together in ensuring the children love and understand all the subjects without many problems (Mullen, n.d). Music teachers encourage students on being attentive and active in class and thus they remain active throughout all the classes which is a positive development.
A student’s ability to read music and play an instrument is important since it translates the students’ confidence in the classroom. Children who study music are active and attentive thus able to ask any question they are not familiar too during the music class since they want to learn how to play the instruments (Mullen, n.d). In the same way, when they are in other classes they will have that confidence too to ask questions when they have not understood whatever the teacher is teaching them. Thus music classes install the students with the confidence they can use in other classrooms and throughout their lives as well.
Reference
Mullen.A (n.d) How Music Learning Theory Gives Meaning to What We Teach Retrieved from https://timtopham.com/how-music-learning-theory-gives-meaning-to-what-we-teach/
According to Beckly, hip hop music and spoken word consist of words which tend to oppose to the rule of the whites in America. This consequently incites people to participate in war particularly the African Americans, in order to avoid being mistreated by the whites in the US. The artists use harsh words and homophobic slang in order to act as symbolic, and thus making it easy for the African Americans to feel unwanted in the country and thus indulging in evil activities. On the other hand, hip hop music and spoken word seems to be referring to a certain group of people who are being oppressed, and thus acts to op-en their mind and influence them to wake up and fight for their rights (Becky, 1999).
According to Beckly, spoken words aims at spreading the message to African Americans, and showing them that they are more than what the state thinks they are. This type of information mainly influences violence positively, and consequently makes it easy for the African Americans to feel provoked hence leading to violence (Becky, 1999). Furthermore, due to the use of homophobic slang, most African Americans now view the government as an institution which cannot be able to support them at all. They have therefore distanced themselves from political matters, thus they cannot even participate in voting during the general elections. Young African American adults, have grown up with the mentality that it’s only the whites who benefit from the government and not them, and this is mainly because of the message passed through hip hop songs.
In Tupac Shakur’s lyrics, he asks God to protect us and may take care of our needs, in the song Ghetto gospel. This is message tends to bring people together and thus making people in the world to relate with each other in a very positive way. Moreover, the lyrics influences people to forget about their differences and concentrate on what God has brought us to do in the world. Through this song, most people, particularly those who participate in unlawful acts, can change their ways and repent according to God’s will (Becky, 1999). Despite of the challenges that we are facing, God is always with us, and thus we should not be weary, all we have to do is to praise the lord and asking to take care of our needs. The song consequently helps in making people to forget about their troubles and focus on what God wants us to do, simply because if we concentrate on what the lord wants us to do we will never fail.
The use of “B word” and “N word” has mainly influenced the youths negatively, making them to look respect to their elders. Most youths therefore use such words when referring to other people, or otherwise when insulting others. This makes the current generation of the youths to live a life full of no respect due to the use of such words. Moreover, most people particularly the whites use the “N word” when referring to African American, and this phrase may provoke the African Americans leading to violence in the country (Becky, 1999). These words should therefore be done away with, as they might to lead to violence due to the effects that they have. These words are also widely used by the youths on the social media, thus making them to spread widely.
Reference
Becky, B. (1999). The Social Significance of Rap & Hip-Hop Culture: Poverty & Prejudice: Media and Race.
To what extent is globalization increasing musical similarity and/or promoting greater musical assortment
The main author’s perspectives are that the city is the main capture of the world music in the new world. The ancient history illustrates how globalization in the city has given a different position based on the musical domain due to the difference it could create and the supremacy that kept that difference work on common musical goals. Globalization has caused music to be the center of the music domain while the life in music of the modern cities concentrates on the features of the mew music world. As premodern world initiated the new modernized music world, it also promoted the market place of the music for the world to have a new and modernized production and the consumption of the music. The ancient culture of the music affected the production of some music such as the folk and the well-known music’s; no one describes this as more skilled currently but only the street musicians (Bohlman, 131) Globalization means the inconsistent ways that are symbolic based on the world’s music today. According to many people, the world music describes what is right in the world and the possibility that music brings people together. Based on globalization, the world music is the main component. The main challenge that globalization has on the global village is that it threatens the village skills as it opts for the spaces. The argument that is more compelling is that dissemination of music internationally depends on the seizure of the international companies that is recording the music. These companies have the negative aim of destroying the cultural resources of the music. Globalization that is based on crossing the border also improves the music styles but they also deprive them. The propagation on the globalization that happened in 2001 also awakened the different and the unknown meanings of the music world. Globalization gave meaning to the world music so as to get the massiveness and diversity. Globalization that is based on culture in the current world cities, develop from the different ways that every city holds immigration from the outer domain, migration within the same city and the relations from other neighbors(Bohlman, 140) .
The globalization from the new cities promotes the music world in ways that it gives many chances for the acculturation and the establishment of the musical heroes. This gives more chances in the practice of diversity while the musicians in the ancient world did not perform nor mixed with any different culture but rather formed complicated associations that were based on the socioeconomic, religious and racial boundaries. Globalization was the best in giving the musicians the liberty to move on in practicing in the public places which increased the connections between the personal and the public places as they already had the movement freedom. Music has been promoted by the modernized musical shopping galleries as those who walk through these cities becomes aware of the new culture through the displays. Globalization of the musical world has created discussions about ethics based on the recording and the modernized technology promoted the pace of the blinding technologically. The advanced musical technologies that were within the global music in the early 1990’s made it easier for everyone to enter the happenstance field of the music world. The change of technologies as on the new modernization produces a history of the ethnomusicological ideas that reveals the genuineness in the continuous fluidity (Bohlman, 148)
What is musical “authenticity,” why is it problematic, and why are people still invested in this idea?
According to the author, musical authenticity is the true or the actual music deal. The main perspective here is that everybody is aware that the world is formed with two kinds of music including that of my kind and everyone else’s music. Most people in the current world hate the music authenticity as they want to feel that the song is real and the musician is making it real. People want to know that the musicians are genuine as they are aware of the myths of the national and the cultural features that are moving around the music market. People hate it as the musical unusual myth has become more real and touch the people’s real feelings. The author’s main perspective in the hatred of music is that world music has been more of the non-western, traditional music and the known music. The speaker tries to explain his own reason for the music hate in that music is a way of discharging the musicians from their art based on their personal lives. Music has become a way of demoting it into a real sense, something that is weird but safe. Music puts all things that are not ours into them, the way it puts them is not the best way of seeing the musicians becoming creative or flourishing people (Byrne, 3).
The speaker complains about music in the ways that some terrifying music has been innovated and moving around the world. This music is taking people to the music hatred world much on the way it is recorded and the way its volume is. Western pop has become the main and the best food and that the music has been more creative based on the tradition than inside it. People should remove the music dislike by hearing the right music at the right time which develops a radical change and fascist’s policy. Music creates love, creates social bonds and a heart calmer. Interest in music is not like the normal bonds but it is, it is something that needs to be grabbed and change you. If someone listen to music and it does not affect them, it means that they lose the music. This means that some of the music that people listen sometimes does not become interesting if one doesn’t understand the words clearly. Things become more interesting and beneficial if one is familiar with them, but in other ways, seeing people and culture as interesting is an estrangement way that follows exploitation and racism. If one loves that cultural music aspect, you can never again depreciate the people from the culture (Byrne, 2).
For instance if the song is founded from the different culture from my own, then this makes me seem as I have shared some experience with the people from the culture. This experience from another culture makes me believe that I have been contaminated by the culture as I can now recognize the different ways of the culture and its community. This does not mean that my experience of the music becomes the same as the artists of the culture, but it means that the music is lovable and one can move on with it. This is what people should understand that people it is what art means. Art talks about the vibe of the song, the feeling and the attitude on our personal lives in ways that are widespread. Thus those who like music should not move through the personal nuisance as that the artists went through. This means that those who like a certain song should love it and respect its producers. The reason why authenticity is problematic is that based on the postmodern music which still displays the idea of authenticity and have a stable identity, some of the artists still sing with anger as ways of having their voices in the musical world Byrne,2). Lack of love tries to rise the traditional reports even though these reports seem to be positive in the encouragement of love issues, this is continuing and making love become the main problem. Love in music can be said to be the main problem as this is the reason people dislike authenticity due to the fact that they do not care what the artists think, do, or what they want to remain for the public to see. Despite the fact that authenticity is based on fidelity that was initiated by new technologies where the audiences well knew the songs, they dislike it as the singing styles were changed through modern pop music soundtracks. The music sounds changed and were not the normal operatic ones and while the singing styles were the typical for the non-classical musical voices, these voices were referred as not important. My most compelling evidence is that long play music recordings changed the listening experience if some audiences while they recording should be better in allowing the artists and the audience respond to the music and put quality on the music itself(Byrne,1).
Work cited
David, Byrne. Crossing Music’s Borders: ‘I Hate World Music’. The New York Times, October 3, 1999
Philip V. Bohlman. Colonial music, post-colonial worlds and the globalization of world music. Oxford University Press, 2002.
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