Example of Songs with Soft Dynamics
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Swedish Interviewer (Name Unknown-Hereafter Listed As SI): I Sing
July 26, 1955 Mahalia Jackson interview Interviewed by unknown Swedish interviewer and recorded by William Russell at Mahalia Jackson's home in Chicago. * .' Swedish Interviewer (name unknown-hereafter listed as SI): I sing because I'm happy, is that right? MJ: Yes, that's right, and I am happy! SI: Well, I can see that when you are singing. MJ: Oh yes. SI: And one can hear it. Well, why are you so happy? MJ: Well, music makes the soul happy. And I think I sing all the time, and it keeps my spirit happy. SI: So you sing at home too? MJ: Oh yes! I sing when I'm cooking, when I'm working "round the house. Sing so much the neighbors sometimes come around and listen. So I just sing. It keeps me happy. It helps me to bear the burdens of the day. SI: What do you like to sing the best? MJ: I have a number of songs that I love to sing. Some songs for certain moods I'm in. Well I, I like to sing that particular song. If I'm in a sad mood, well I sing a song with a cry. And when I feel happy, jolly, well I sing a song with a lot of beat and a lot of rhythm to it, such as "When the Saints Go Marching In," "Keep Your Hands on the Plow," "Didn't It Rain," songs like that. They are jolly songs you know. And I just get around the house and sing 'em till I sing my blues away. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Timbre in Musical and Vocal Sounds: the Link to Shared
TIMBRE IN MUSICAL AND VOCAL SOUNDS: THE LINK TO SHARED EMOTION PROCESSING MECHANISMS A Dissertation by CASADY DIANE BOWMAN Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Takashi Yamauchi Committee Members, Jyotsna Vaid Jayson Beaster-Jones Thomas Ferris Head of Department, Douglass Woods December 2015 Major Subject: Psychology Copyright 2015 Casady Diane Bowman ABSTRACT Music and speech are used to express emotion, yet it is unclear how these domains are related. This dissertation addresses three problems in the current literature. First, speech and music have largely been studied separately. Second, studies in these domains are primarily correlational. Third, most studies utilize dimensional emotions where motivational salience has not been considered. A three-part regression study investigated the first problem, and examined whether acoustic components explained emotion in instrumental (Experiment 1a), baby (Experiment 1b), and artificial mechanical sounds (Experiment 1c). Participants rated whether stimuli sounded happy, sad, angry, fearful and disgusting. Eight acoustic components were extracted from the sounds and a regression analysis revealed that the components explained participants’ emotion ratings of instrumental and baby sounds well, but not artificial mechanical sounds. These results indicate that instrumental and baby sounds were perceived similarly compared to artificial mechanical sounds. To address the second and third problems, I examined the extent to which emotion processing for vocal and instrumental sounds crossed domains and whether similar mechanisms were used for emotion perception. In two sets of four-part experiments participants heard an angry or fearful sound four times, followed by a test sound from an anger-fear morphed continuum and judged whether the test sound was angry or fearful. -
General Music Responding Playlist Unit—Grade 8
Photo by Erin Zanders; used by permission of NC State University Department of Music. University Department of NC State Photo by Erin Zanders; used permission of General Music Creating through Responding Unit Playlist Project, Grade 8 A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2019–2020 PROJECT DIRECTOR • Johanna J. Siebert GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix AZ • Susan Osborn, Bear, DE • David Potter, Lansing MI • Matt Warren, Webster, NY COMPOSITION AND THEORY • Carolyn Bennett, Stonington, CT, Teacher-in-Residence at the Library of Congress, Team Chair • Terry Bacon, North Chili, NY • Lisa Cookson, Wichita, KS STEERING COMMITTEE AND SITE COORDINATORS • Shawn Chastain, Wichita, KS • Thomas E. Dean, Newark, DE • Christine Fisher, Florence, SC • Brian Schneckenburger, Baltimore, MD Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 8 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Playlist—Project Description ...................................... 5 Prerequisite Knowledge and Skills for this Unit ...................... 5 Instructional Goals ............................................ -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
An Advanced Songwriting System for Crafting Songs That People Want to Hear
How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big -
How to Share Your Release with the World
MusicNSW’s Industry Essentials How to share your release with the world Prepared by GYROstream for MusicNSW Did you know more than 22,000 songs are uploaded to streaming services every day? Getting your music online can seem like a complicated task. It doesn’t have to be though. Below are some tips and tricks to help you navigate the best distribution path for you and your new tunes. What are digital music aggregators / distributors? Digital aggregators (also known as digital distributors) are companies that provide a means to distribute your music globally through digital music stores and streaming platforms. You can’t just upload a track directly to Spotify or Apple Music and have it streamed globally, you need to use a digital music aggregator. If you’re signed to a label, it’s more than likely they’ll distribute your music to Spotify, Apple, iTunes, YouTube Music and more for you, but if you’re independent, you can have exactly the same access to these platforms by using a digital aggregator. Aggregators make their money by charging upfront fees and/or charging a percentage of revenue earned from the streaming and download purchases of your music. In some cases, aggregators will also charge an ongoing annual fee to keep your content online. Who do they distribute to? Nearly all distributors will get your music to Apple, Spotify, Deezer, Youtube (ie. the major western platforms), which together cover a large portion of music listeners worldwide. Where things might differ is for the highly localised services that cater to their specific regions - eg. -
131 the Ambiguity of Musical Expression Marks and the Challenges
The Ambiguity of Musical Expression Marks and the Challenges of Teaching and Learning Keyboard Instruments: The Nnamdi Azikiwe University Experience Ikedimma Nwabufo Okeke http://dx.doi./org/10.4314/ujah.v18i1.7 Abstract The relevance of musical expression marks —technical words, symbols, phrases, and their abbreviations— in music is to guide the performer through a thorough interpretation and appreciation of the dynamics and subtleties of a piece of music. These marks, though fundamental to piano pedagogy, sometimes appear confusing to the enthusiastic piano student owing to the fact that some of the performance marks demand subjective expressions from the performer such as, ‘furiously’, ‘fiercely’ ‘with agitation’ ‘brightly’, tenderly, etc. Piano-keyboard education is still a ‘tender’ art in Nigerian higher institutions where most learners start at a relatively very late age (17-30 yrs) and so, it becomes burdensome and sometimes unproductive to encumber the undergraduate piano-keyboard student with a plethora of performance marks when he is still grappling with scales and arpeggios. This paper therefore suggests teaching keyboard basics and technique and employing fundamental musical expression marks/dynamics first for undergraduate piano teaching and learning in our institutions. Only when students have shown competences in the basic dynamic/expression marks such as, crescendo, accelerando, andante, moderato, allegro, larghetto etc, can the more complex and subjective ones be introduced in their keyboard repertoire. 131 Okeke: The Ambiguity of Musical Expression Marks Introduction The New Harvard dictionary of Music (2001) defines musical expression/performance marks as ‘symbols and words or phrases and their abbreviations employed along with musical notation to guide the performance of a work in matters other than pitches and rhythms’. -
Techniques of Expressivity in Music Performance
Cuadernos de Investigación Musical, julio-diciembre 2020, 10, pp. 120-129 DOI: https://doi.org/10.18239/invesmusic.2020.10.05 ISSN: 2530-6847 Techniques of Expressivity in Music Performance Técnicas de expresividad en la interpretación musical Manuel del Sol Universidad de Valladolid Postdoctoral Research “Juan de la Cierva” [email protected] ORCID iD: https://orcid.org/0000-0001-7216-8978 ABSTRACT Historically all performers had had the same difficulties in ‘making music’ because there is an innate variable in the act of performing: the expression. What do the performers do? The most basic requirement is that a performer should produce the correct notes, rhythms, dynamics, etc. of a musical idea’ (Clarke, 2002, p. 59). In this sense, we may define the interpretation as a mechanical process; nevertheless, an interpretation without expression is not musical. Thus, Erick Clarke clarified that it was also necessary ‘to go beyond’ due to the expert performers are obliged to transmit a musical idea and recreate expressively the score. This statement could be controlled and measured because, in an interpretation, one may observe whether the performer had played the exact musical symbols of the score or not, but the issue is more subjective when we value expressivity. Hence, it is not surprising that the psychology of performance has focused on the question of interpretation and expression with a substantial amount of research such as the GERMS Model (Juslin, 2003). Overall, it is hoped that this approach proposed here may contribute to a greater understanding of learning and teaching expressive skills in music performance. Key Words: Expressivity, Musical Structure, GERMS, Performance, Expressive Skills. -
Petrella Pollefeyt
ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 19 / 2014-2015 Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director .....................2 African American music in shaping in our Themester event, Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations .................3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt ...........4 continued involvement in identifying staff, and community members. -
Calendarofevents.Pdf
Dear Patrons of the Arts, Welcome to another great year of fine arts events at Berry College! The arts are essential for our flourishing as individuals and as communities. The events in this calendar are a great contribution of Berry College to northwest Georgia. Again this year our fine arts faculty have planned for the Berry community, and the larger community of Rome and Floyd County, a series of performances and events to edify, stimulate and delight us. Thank you for your interest and support of the arts. We look forward to seeing you at one of our concerts or shows and to partnering with you to encourage and enjoy the arts. Dr. Thomas D. Kennedy, Dean Evans School of Humanities, Arts and Social Sciences Dear Patrons, We are delighted to offer you a dynamic and robust season of events in 2018-2019. Our events capture a variety of artistic and cultural displays through our art, dance, music and theatre programs. Many of our offerings feature several nationally-recognized artists in a wide variety of genres and styles. There are also opportunities to see and hear our fantastic artist faculty. A number of events will feature talented Berry students who demonstrate a deep appreciation for the arts and a desire to learn more about them. All of the programs and performances are open to the public. It is our hope that you will take advantage of the many fine cultural offerings and engage, share and participate in the fine arts at Berry College! Thank you for your continued support, and we look forward to seeing you at our next event. -
Idea-Expression in Musical Analysis and the Role of the Intended Audience in Music Copyright Infringement
California Western Law Review Volume 28 Number 2 Annual Communications Law Issue Article 8 1992 Idea-Expression in Musical Analysis and the Role of the Intended Audience in Music Copyright Infringement Paul M. Grinvalsky Follow this and additional works at: https://scholarlycommons.law.cwsl.edu/cwlr Recommended Citation Grinvalsky, Paul M. (1992) "Idea-Expression in Musical Analysis and the Role of the Intended Audience in Music Copyright Infringement," California Western Law Review: Vol. 28 : No. 2 , Article 8. Available at: https://scholarlycommons.law.cwsl.edu/cwlr/vol28/iss2/8 This Comment is brought to you for free and open access by CWSL Scholarly Commons. It has been accepted for inclusion in California Western Law Review by an authorized editor of CWSL Scholarly Commons. For more information, please contact [email protected]. Grinvalsky: Idea-Expression in Musical Analysis and the Role of the Intended COMMENT IDEA-EXPRESSION IN MUSICAL ANALYSIS AND THE ROLE OF THE INTENDED AUDIENCE IN MUSIC COPYRIGHT INFRINGEMENTt ABSTRACT This Comment discusses the nature of music, its traditional recurrence and lending of material, and the practical evil of having a distant finder of fact in music copyright infringement cases. Within this framework, the Comment concludes that the burdens attendant to properly implementing the intended audience are relatively minor compared to the temptation to bring suits of marginal merit, the impact of the changing media industry, and the potential of an erroneous finding, chilling the creation of new musical works. This Comment advocates the use of the intended audience in all music copyright cases. INTRODUCTION "Of all the arts, music is perhaps the least tangible ....." It is elusive.2 You cannot see, smell, taste or touch it; you hear it.