music: watch the attached Video of a concert and write a report about it

timer Asked: Dec 6th, 2017
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remember before u handle this work, this work is so important to me, so i will revise it many times before i turn it in and i will rate u depend on your work quality such as providing correct and full answers and meet all requirements in the attached instructions. Please avoid the Lack of depth in your response.

The instructions of the Report Guidelinesare are attached,

The concert recorded info:

  • 1.Symphony No. 4
    1. Composer: Peter Ilyich Tchaikovksy
    2. Orchestra: New England Conservatory
    Therefore, Please see the attached instructions carefully and read them all well, and meet all the requirements there. Actually, I attached a copy of a concert report sample. Then, please write the report with minimum 500 words and attach the report as a WORD DOC.

Concert Report Guidelines Please write a SUMMARY OF YOUR OBSERVATIONS AND REACTIONS TOTHE CONCERT. You must discuss what you HEARD, using the following criteria: • Reference chapters 1-3 of our Experience Music textbook. Identify, utilize, and underline each of the following terms from chapters 1-3 at least once in your report, preferably for each movement/piece performed (additional terminology is both allowed and encouraged): Dynamic levels Overall tempo Key as major or minor Melody as legato or staccato General texture as either monophonic, polyphonic, or homophonic Types of instruments from the performance The type of ensemble(s) that performed • Identify an overall character/emotion/sentiment for each movement/piece, using some of your underlined terms to defend your reasoning.• Minimum of 500 words.• Proper grammar is both expected and required. The following excerpt demonstrates how an A+ paper might read: Finally, the symphony orchestra performed Ralph Vaughan Williams Fantasia on a theme byThomas Tallis. The piece’s dynamics started out pianissimo (very quiet) and in a general tempo I woulddescribe as lento, because the speed of the beat seemed calculated yet plodding. These elements, alongwith the smooth legato articulations of the melodic line, gave the piece’s opening a quality oftimelessness and mystery which made me feel peaceful and reminisce to images of the solar system andthe color silver.
The Alabama Wind Ensemble opened their concert on Thursday, September 22 with Oscar Navarro’s “Downey Overture”. The piece opens with a short “quasi cadenza” introduction of the main theme which begins with a perfect fifth leap to a sustained note. This leads directly into the first major section of the piece which is allegro, mostly forte, and contains constant meter changes. This section is characterized by driving staccato eighth notes with the introductory theme laid on top. The piece then transitions to its second major section which is mostly mezzo piano or mezzo forte, allegretto, with a simple duple meter. A constant stream of eighth notes in the bass prevails throughout this section which introduces a new sixteenth note theme in the woodwinds while sustaining the main theme. The third and final section is fortissimo and mostly either in duple or triple, with only a moderate amount of meter changes. This loud, declarative, and climactic section overlaps the major themes from the earlier sections with a new countermelody in the French horns. The piece ends with a series of accented staccato notes played in unison rhythm by nearly the entire ensemble. The Wind Ensemble changed instrumentation slightly, most noticeably removing the saxophone section and adding a pianist. They were then joined by the East End Quartet, a saxophone quartet composed of alumni from the Eastman School of Music. They performed William Bolcom’s “Concerto Grosso” with the Wind Ensemble. The first movement opens forte and allegro, with a declarative accented sixteenth dotted eighth note rhythm in the ensemble which alternates with the quartet’s sixteenth notes. This opening section is followed by a decrescendo to piano, and the ensemble introduces the second theme containing alternating staccato and slurred notes, which the quartet picks up. This leads to the third theme where the quartet plays sixteenth notes with a much more major sound than the previous sections. The ensemble reenters with a descending line of an eighth and two sixteenths. The style abruptly changes to a more smooth and legato tone with the alto sax introducing an important new theme. The opening theme returns, now piano, but with a crescendo to forte as the quartet plays the ensemble’s part of the theme. The quartet takes a cadenza, passing off staccato notes from high to low, with all four joining in to accelerando and crescendo from low to high. The third section returns, this time with the ensemble playing the sixteenth notes while the quartet plays a hocket eighth note rhythm. The bari sax quotes the ‘smooth’ theme, and then the tympani and piano kick off a driving, building section very evocative of a train (largely thanks to the snare drum part). The climax is a revisit of the descending eighths and sixteenths, and the quartet ends the movement with a restatement of the ‘smooth’ melody. The second movement is much slower and opens with the quartet alone. The ensemble comes in with a new, more melodic theme. The next major section contains triplet perfect fifths from the ensemble with a duple melody in the quartet. This section crescendos to fortissimo and decrescendos back down to piano. The earlier melodic theme is restated, and the movement ends with the triple/duple theme. The third movement is a waltz, andante and mezzo piano. This movement opens with the quartet, and the ensemble continues with the same opening theme in 3/4. This eventually switches to an allegro 6/8 section which has a ritardando to the original tempo as the tenor sax transitions back to the original theme. Both the 6/8 and original waltz themes are revisited once again before the end of the movement. The fourth and final movement is in a fast bebop style. The quartet members enter from low to high stating this movement’s rambunctious main theme. The theme is restated as the tempo suddenly increases. After a fermata, the quartet states the movement’s other main theme in an adagio 12/8. The original theme comes back and leads to another cadenza from the quartet, which includes a quote from the first movement’s ‘smooth’ theme, ending in the slower 12/8 tempo as that compound quadruple theme is stated one last time. The ending features a quote from the first movement’s opening, ending with the fourth movement’s main theme. The instrumentation changed again to approximately the original state of the concert for “Canterbury Chorale” by Jan Van der Roost. This piece opens with a statement of its melody from the English Horn, which is passed around the ensemble throughout the piece. Unlike the other pieces on this concert, this chorale has a consistent style, legato and adagio, in a consistent 4/4 meter and a major key. The melody repeats with slight variations as the piece approaches the climax. As the piece winds down to the end, the oboe and euphonium repeat the theme, and the music ends with muted brass chords and chimes. The instrumentation was augmented once again for the transcription of Richard Strauss’s “Till Eulenspiegel.” The piece opens with a short 4/4 section introducing the story. As the meter switches to 6/8, the horn solo introduces one of the two main themes representing the titular trickster, itself playing a bit of trick as it lines up with the beat in an unexpected way. The clarinets introduce Till’s other trickster theme, which often follows an expected cadence, representing more of his “merry pranks.” The recurring pattern of the piece is to introduce a stately theme, such as the trombone’s theme in common time or the bassoon’s theme later on, and have Till’s themes show up and take over. Eventually, in the midst of his fun, Till is apprehended and sentenced to be hanged, signaled by a sudden shift from a triumphant passage to a drum roll and fortissimo, largo minor chords. The Eb clarinet interjects with Till’s second theme, becoming more and more frantic, until the scream settles down to a repeated major staccato chord emulating pizzicato. The opening “once upon a time” theme returns to frame the piece. The piece ends with a brief return to the joyful, presto 6/8 style in Till’s honor.

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School: Carnegie Mellon University


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Wow this is really good.... didn't expect it. Sweet!!!!

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