This is the link for our Moby- Why does my heart feel so bad piece.
https://www.youtube.com/watch?v=-5-yHOeqQyw
Sunday, November 22, 2015
Saturday, November 21, 2015
Reflection 2 of ‘Adiemus’ Winter Concert Practice
Reflection 2 of ‘Adiemus’ Winter Concert Practice
This
week, we continued our practice of Adiemus by Karl Jenkins. Adiemus succeeds in
creating the impression of an enchanted global youth or female choir. Our
intentions this week were to progress further within the song and to work on
incorporating the flute more smoothly into the piece. Additionally, we also
wanted to ensure that our harmonies were correctly sung, because there were a
few instances in which we went off-key or sang the wrong harmony. Since we’re a
small group of 6 singers, we’re very quiet, the majority of the time our voices
are in the piano dynamic. This may affect our overall performance in the winter
concert, as our voices may not be accessible especially with the louder
instruments. These few things are what we wanted to achieve this lesson because
the above mentioned 3 aspects were what we were lacking in and needed improving
on from the previous music lesson.
We
have successfully progressed from last week and tackled some of the problems.
This time there was a major difference in Haeun’s flute concerto as it sounded
well rehearsed and we easily incorporated it into the piece without any abrupt
stops. But the vibrations that the flute has in the original piece, is not
similarly resembled in ours, as it requires high technique for it to be
achieved. However, the notes are still the same. These aspects were all
achieved for the flute playing but it’s not that well represented in the
recording since we only had one trial and were running out of time. In the
process, we decided to change the dynamics of the piano to piano for a more
muted and gentle feel to the piece. This actually makes our voices sound
louder. Moving on, we also decided to vary the dynamics of our voices during
the piece so that it’ll keep the audience interested and also work on our
projection issue. It’s a crescendo as the volume of our voices increases
gradually. The first verse is in piano, the pre-chorus is in mezzo forte and
the chorus is then forte. The chorus is our strongest and loudest part. This
variation in dynamics adds an intriguing touch and makes the piece sound more
professional.
In
regards to the elements of music, these 8 characteristics are vital for a good
piece. Starting off with beats and meter. Beats give music its regular rhythmic
pattern and are grouped together in a measure; the notes and rests correspond
to a certain number of beats. Meter refers to rhythmic patterns produced by
grouping together strong and weak beats. In the original piece it’s 76 beats
per minute, we are similarly in the same tempo.
Second
is dynamics. They’re used to signify the degree of loudness or softness and indicate
whether there is a change in volume in a piece of music. This has already been
referred to in the previous paragraph.
The
third element of music is harmony. Harmony refers to the combination of
notes (or chords) played together and the relationship between a series of
chords, it accompanies and supports the melody. We’ve used harmony in our piece
to give it musical texture. There’s a 2 part harmony for the pre-chorus (melody
+ lower harmony) and there’s a variation to a 3 part harmony in the chorus for
strength (lower harmony + melody + upper harmony).
The
fourth element of music is key. It’s also known as tonality; a principle in
music composition wherein at the end of the piece there is a feeling of
completion by going back to the tonic. The key of ‘Adiemus’ is D minor.
The
fifth element of music is melody. It refers to the tune of a song or
piece of music. it is the memorable tune created by playing a succession or
series of pitches. We kept our melody the exact same compared to the original,
because we liked the unique tune and wanted to maintain that same creativeness.
The
sixth element of music is pitch. It is the relative lowness or highness that we
hear in a sound. The pitch of a sound is based on the frequency of vibration
and the size of the vibrating object. The pitch of the voice in the
original piece is carefully stylized as to not distract the listener’s
attention from the timbre of the voice.
The
seventh element of music is rhythm. Rhythm is defined as the pattern or
placement of sounds in time and beats in music and tempo indicates how slowly
or fast the piece should be played. In the ‘Adiemus’ original piece the
percussion section is prominently made up of an up-beat, tribal-like rhythm. We
started to incorporate this by adding bongos. Elie will be performing the
percussion, although he was added in recently so it’s not there in the recording.
Lastly,
the seventh element of music is texture. Musical
texture refers to the number of layers as well as the type of
layers used in a composition and how these layers are related. This is present
in the original piece as the textures are largely uplifting and has classically
influenced musical frameworks. Musical texture is represented with the
variations in harmony and instruments.
In
conclusion, this week was quite productive as we positively tackled most of our
difficulties and improved from last week’s session. However, our harmonies are
still not completely perfect, we still need to work on the balance between them
in the chorus. The chorus is the hardest part for harmonies as there are 3
harmonies that are required to be performed with 6 people. So that mean 2
people per harmony, so it kind of lacks in strength. Improving on this will definitely
take this piece to another level. And another improvement for next week would
be the incorporation of the bongos. We don’t have a clear understanding of the
placement and beats that will be performed using the bongos so we will need to
clarify that. But overall, I think we have successfully moved on from last week
in a positive manner and have almost perfected the 8 elements of music within this
piece.
This
is a recording of our piece so far.
Tuesday, November 17, 2015
The Evolution of Music Technology Howard Goodall’s Big Bang Moments in Musical History- Recorded Music
The Evolution of Music Technology
Howard Goodall’s Big Bang Moments in Musical History-
Episode 5: Recorded Music
1. We take the easy availability of music for
granted.
2. People used to hear music once or twice a
decade.
3. The big bang that allowed music to be recorded
was to change it forever.
4. 20th century musicians were also impacted by the development of recorded music.
4. 20th century musicians were also impacted by the development of recorded music.
5. Serenoda Bergerac had a vision of the journey to
a moon where they were talking.
6. Captain Bergerac was a moon dweller.
7. The first recording was Mary had a little lamb in 1977.
7. The first recording was Mary had a little lamb in 1977.
8. Made from Tinfoil, needle and diaphragm by
Thomas Edison. If you shout into the tube, the diaphragm will consequently move
and push the needle onto the cylinder tinfoil. This will create dents to
listen.
9. The problem with using the tinfoil was that it
only had one use and not reusable.
10. The improvement that came into the 1880’s were
the wax cylinders and these were reusable.
11. In the 1890's the jukebox and the phonogram took America by storm.
11. In the 1890's the jukebox and the phonogram took America by storm.
12. The classical music world turned their noses up
at the ability to record as there was a better way to light dance music and
variety of music.
13. The earliest surviving musical recording in existence is a piece of Handle's (found in Egypt).
13. The earliest surviving musical recording in existence is a piece of Handle's (found in Egypt).
14. Since the record only last for 2 minutes.
15. Gang recording are when they copied into each
cylinder again and again.
16. Emil Berliner created the flat disk gramophone so that unlimited copies could be made.
17. The rubber disks were replaced by Shellac- made by Malaysian beetles.
18. A portrait called “his masters voice” became the most recognisable trait.
16. Emil Berliner created the flat disk gramophone so that unlimited copies could be made.
17. The rubber disks were replaced by Shellac- made by Malaysian beetles.
18. A portrait called “his masters voice” became the most recognisable trait.
19. Opera was the genre of music celebrating its
‘golden age’ at the turn of the century (1800 into 1900).
20. Enrico Caruso became one of the biggest singers
in the world. Enrico’s life changed when he was invited to sing in the holiest
of all shrines at the age of 27.
21. 10 records were cut that made gramophone
history.
22. Curuso’s discs were the first million selling
discs.
23. The craze that made classical artists to also join was Curuso's fame and wealth.
23. The craze that made classical artists to also join was Curuso's fame and wealth.
24. Alessandro Moreschi was the last living
castrato. He is considered unique in terms of unique of recording as it was
considered very haunting and frightening.
25. The gramophone caused music to lose its context
as it became portable. For example instead of using it for a theatrical
performance, it’s now used for even just a merry picnic resulting in the lost
context.
26. In the first 20 years of recording technology,
it was difficult for recording as it was less pure and the sounds are very
faint as they are too low, too quite or too subtle to be picked up.
27. Nowadays, the recordings have varied, as all
sounds are heard clearly with the use of modern microphones.
28. They tried to solve these problems by the
pioneer engineers improvising vigorously to improve sounds. They created a
platform for the piano to be placed on to elevate sounds. And also they used
more beefy strings to thicken sound.
Additionally, a new a violin was invented, although it looked a bit eccentric
it played louder sounds and changed the string instruments to brass.
29. They recorded Mozart’s Overture The Marriage of
Figaro by changing the strings on the brass strings.
30. The genre it had the most impact of electronic
microphone was on Popular Music. Much more sensitive and could cope with a
wider range of frequencies.
31. The classic music scene was affected by the
development of recorded sound, as it was no longer needed to sing into the tin
foil dome. Quieter instruments could be artificially boosted to be heard better.
32. This allowed the audience to focus on more serious concert music.
32. This allowed the audience to focus on more serious concert music.
33. The player could only play for a maximum period
of 6 minutes, but they improved this by introducing shellac. They used shellac
to make vinyls, which could play for a maximum period of 25 minutes with no
disruption.
34. Maria Callas was a female successor like Caruso
because of her recordings. Her vocal performances could be heard with absolute
quality.
35. In the 1950’s the industry went to overdrive,
vast range of music found its way on to disc.
36. Sergeant Pepper’s Lonely Hearts Club Band
enabled different performances of the same piece to be put together (like copy
and paste).
37. 200 edits may be included in a 2-hour piece.
38. The purpose of music changed in the modern age because of the battle between the concept of music on the one hand as a living, breathing, organic condition, ceaselessly reinventing itself, never static, never finished and on the other hand, the concept of music as a thing, like a building, poem, painting or sculpture. Throughout the 20th century composers and performers grappled with these 2 conflicting views of music.
38. The purpose of music changed in the modern age because of the battle between the concept of music on the one hand as a living, breathing, organic condition, ceaselessly reinventing itself, never static, never finished and on the other hand, the concept of music as a thing, like a building, poem, painting or sculpture. Throughout the 20th century composers and performers grappled with these 2 conflicting views of music.
40. Recordings standardized performance styles and also standardized the repertoire.
41. Listening in the present is considered a triumph over the past
42. Fred Gaisberg set off across the globe to
capture on them the strange and wonderful sounds of music from other cultures.
43. This effected composers as it broadened their minds and triggered their imagination.
44. Bela Bartok took a photograph and recorded the folk music of his native country. After analyzing this ethnic raw material, he then wrote his own pieces inspired by it.
43. This effected composers as it broadened their minds and triggered their imagination.
44. Bela Bartok took a photograph and recorded the folk music of his native country. After analyzing this ethnic raw material, he then wrote his own pieces inspired by it.
45. The form of music that had the biggest impact on
European music was African music.
47. David Fanshawe believes that all music is
related, all human beings are interrelated musically. He believes we have our
soul is the universality of music.
48. Black America gave birth to wave after wave of
new musical forms and styles from Jazz to Hip-hop, from Ragtime to Jungle, from
the Blues to Motown.
49. Some of the classical composers who were
influenced by the sound of black American’s were Igor Stravinsky and Maurice
Ravel.
50. Avant Grande composers from a classical
background were engaged in experiments and sounds and technology that would
have an equally profound effect on popular music.
51. Digital sampling is the love child of recording
in music. Few composers have been as intrigued by its possibilities and as key
to its developed. One of these composers is Steve Reich and he is considered
brilliant for this.
52. Steve Reich’s ‘Different Trains’ is about the
moving work to attempt to blend speech tape and live performance. It’s a
haunting and powerful application of his childhood and reflection on the
American Jewish experience. The third and final movement of trains is an
attempt to reconcile the painful memories of the past with the present.
53. Few contemporary composers have managed as
effectively to marry such ideas with musical techniques that themselves defy
the old musical boundaries. Steve is aware of these boundaries. He thinks they
are in touch with the folk music of our time. “It’s what people do not coached
and unbidden in their garages, in their homes and eventually it becomes
professional and that is the mark of folk music. It’s just urban, we don’t have
much left but urban”.
54. Music historians of the future might describe
this time as the age of convergence.
55. In this current era, we are observing the
meltdown of previously rigid musical compartments and styles. A protest we owe
principally to Edison’s Big Bang, the invention of recorded sound.
56. The 4 earlier big bangs in music all started
small, local and specific, whereas today, the bread and butter of musicians
from many different styles, cultures and traditions, music is simply
unthinkable without them.
57. The next Big Bang for music might potentially be
the impact of the Internet, but whatever it is, it will be creating to the
generations that follow us, a treasure of incomparable value and beauty.
58. The effect of this invention of recorded sound
has had an impact on music. It has completely changed the purpose of music and
discovered new styles correlating with different cultures and races to suit all
people.
59. This has changed the expectations and
perceptions, with the repeatability of recorded sound on a much broader scope. When
the phonograph was invented, the goal for any recording was to simulate a live
performance, to approach reality as closely as possible. Over the decades,
expectations have changed. For many listeners, music is now primarily a
technologically mediated experience. Concerts must therefore live up to
recordings.
60. Since the phonograph was the reason for the
change in expectations and perceptions, I consider this to be the most
important aspect of the invention of recorded sound.
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