Category: Music

Introduction

Works of Classical and Romantic music possess a special charm to music lovers. On the one hand, the intellectual, rational, and orderly époque of Classicism, which spanned approximately seven decades from 1750, produced impeccable models of such genres of symphony and concerto. On the other hand, the emotional, intuitive, feeling-driven period of Romanticism, which occupied almost a century from the early 1810s, dramatically enlarged the musical repertoire by introducing unprecedented passion for music. This report represents works by composers of different styles: the first part of the report features the Classical epoch and Mozarts Overture to The Magic Flute and Piano Concerto K488; the second part focuses on the late Romantic period and Mussorgskys (originally) piano suite Pictures at an Exhibition in a brilliant arrangement for orchestra by Maurice Ravel. The performers are as following: Med Orchestra under conductor James Levine for Overture, Zoltán Kocsis as a soloist, and Virtuosi di Praga orchestra for Piano Concerto, and Philharmonia Orchestra under Esa-Pekka Salonen for Pictures at an Exhibition.

Mozarts Overture to The Magic Flute and Piano Concerto K488

The unique Austrian composer Wolfgang Amadeus Mozart (17561791) is one of the brightest representatives of the Classical era in music. His genius allowed him to involve in writing musical pieces of all existing contemporary genres and to excel in each of them. He is known to have been so busy all the time that not infrequently he finished his works just before their first performance. Such was the case with Overture to his last opera, The Magic Flute (1790): Mozart finished it the night before the performance, keeping awake on coffee brought by his wife (Faulkner 529). Since The Magic Flute itself is believed to embody Mozarts Masonic ideas, the Overture is no exception (Faulkner 529). The three solemn chords that open the piece are played by the whole orchestra and immediately attract the audiences attention as if saying Listen!.

After such an attention-drawing start, the strings group involves a slow fragment of searching around various harmonies. This period of ambiguity is soon over, superseded by an active theme that is developed through fugal techniques in a vivid dialogue of various orchestra groups. At some point, a cadence comes and the listener thinks the piece is over. Against all expectations the three chords from the introduction return, now played by woodwinds only, in a quiet dynamics, which makes them sound irresolute. But the agitated rhythm of the main energetic theme returns and develops into another fugato involving various orchestral groups. In the final coda, Mozart introduces the menacing sound of trombones that with its straightforward resolution destroys the orchestral harmony. However, the latter is quickly restored, symbolizing the overall happy end of the opera.

Since Mozart was a talented pianist, he was often invited to play in concerts. Facing a lack of repertoire, the Viennese genius had to compose the pieces himself  which he did, producing a whole series of outstanding piano concertos. One of the most successful and fruitful periods in concerto writing was in the mid-1780s when he wrote three concertos in a record term of three months (Ferguson 412). Among those pieces, Piano Concerto K488 (1786) attracts the audience by its charming optimism and radiant joy achieved using both the instrumentation and the melodies. The first theme of the opening Allegro is deployed first by the strings, and then by the wind woods, with the whole orchestra breaking afterward in a joyous conclusion. The second theme, gracious and light in its dotted-note repetition, add to the careless atmosphere of the movement.

After a while the piano joins in, repeating the major themes previously voiced by the orchestra and varying them in virtuosic passages. The movement is concluded with a traditionally breathtaking cadence demonstrating all the mastery of the soloist. The second movement, Adagio, strikes with its subtle melancholy of the opening piano theme. The orchestra joins in, first with clarinet (a revolution in orchestral sound), and then with its full sound, supporting the key shifts throughout the whole movement. After a while, the initial melody is repeated by the orchestra; the soloist provides an agitate variant of it and joins in a calmer coda with the orchestra. The last movement, Allegro assai, is again opened by the piano  this time in a lively theme that proceeds in energetic leaps. The orchestra carries on and provokes the soloist for taking over the initiative and demonstrating virtuosity. Such playful dialogue continues throughout the whole movement.

Mussorgskys (originally) piano suite Pictures at an Exhibition

The Russian composer Modest Mussorgsky witnessed the times when his land experienced a rise in nationalism. This tendency could not be overlooked by the musicians, and composers strove to reflect the peculiarities of Russian folklore in their works (Bricard 6). Mussorgsky was no exception, with his bold modulations and modal melodies that remind of the orthodox religious music (Bricard 8). Inspired by the paintings of his prematurely perished friend, artist Victor Hartman, Mussorgsky decided to create a piano suite Pictures at an Exhibition (1874) which would reflect his impressions from Hartmans pictures. The bright images of the suite attracted the audience so much that the suite was not once arranged for orchestra, also by the French composer Maurice Ravel.

The suite opens with the so-called Promenade, literally a walk through the exhibition. The motif is played initially by the trumpets, with strings joining in later. Every time reinstrumented, the melody constantly reappears after each movement as if walking from one picture to another. Gnome, the first painting, represents an evil, unfriendly creature that moves irregularly, in jumps that are rendered by syncopated leaps of sound from the highest to the lowest register. The calm The Old Castle moves in the atmosphere of medieval Italy, imitating a troubadour song by its flowing modal melody. Next, the listener enters the French gardens of Tuileries (Dispute of Children after Play). Lively passages of the wind woods imitate the ever-active, bustling children who involve in a lively discussion. The travel through Europe continues, bringing the listener to Poland. Cattle depicts a scene of bulls pulling a heavy wagon  the massive effort is represented in the ponderous repeating chords played by the whole orchestra.

Opposed to the clumsy oxen is Ballet of the Unhatched Chicks: the chicks light speedy movements are brilliantly reflected by high woodwinds who spill passages of grace notes and staccatos. The next picture, Samuel Goldenberg and Schmuyle represents a dialogue of two Jews. The first one, rich and pompous, is depicted in the massive sound of the brass instruments. The second one, poor and miserable, is rendered by annoying repetitions of the saxophone. Another human conflict Limoges  The Market is set in France, and deafens the audience with the noisy high-pitch quarreling of market women. After this burst of life, the listener is brought to the terrible silence of Catacombs: there is barely a live sound, and slow chords symbolize the inevitability of death. The following Promenade performed by oboe is as if discouraged and intimidated by the prospect of eternal repose. After much contemplation on mortality, Mussorgsky returns to folklore images in The Hut on Hens Legs. The driving repeating rhythm depicts the wild flight of an evil Russian witch in her mortar (Bricard 14). Finally, The Bogatyr Gates (In the Ancient Capital, Kyiv) celebrates the return of the Promenade melody in a majestic movement, employing elements of choral and the sound of traditional orthodox carillons.

Works Cited

Bricard, Nancy. About Pictures at an Exhibition. Mussorgsky  Pictures at an Exhibition. Ed. Nancy Bricard. Van Nuys, CA: Alfred Music Publishing, 2002. 614. Print.

Faulkner, Anne Shaw. What We Hear in Music: A Course of Study in Music Appreciation and History, 12th ed. Whitefish, MT: Kessinger Publishing, 2005. Print.

Ferguson, Donald Nivison. Masterpieces of the Orchestral Repertoire: A Guide for Listeners. Minneapolis, MN: University of Minnesota Press, 1968. Print.

Seussical is a brilliant musical for kids and perhaps even adults who cherish the writings of Dr. Seuss. The production intertwines the plots of several stories to create a magical world full of fantastic creatures and breathtaking adventures of the Cat, Horton the Elephant, and his small friend Jojo (Seussical the Musical). The paper at hand focuses upon the acting and direction as the primary constituents of any theatrical performance. However, it is also taken into consideration that the reception of the play is largely affected by two design elements: set design and costumes. In Seussical, the Musical these two production components create a unique theatrical space that helps understand the themes, the mood, and the messages of the play.

It is quite evident that no matter how involving the plot may be, it will never impress the audience unless the actors do their best to show credible emotions that help create a true-to-life story.

Among the actors of Seussical the Musical, perhaps the most impressive ones are the protagonist and the antagonist: Sour Kangaroo and Horton the Elephant. The extravagant rudeness and vulgarity of the former are perfectly contrasted with the kindness, gentleness, and vulnerability of the latter. Since bad acting reveals itself in stone hands and face, it is important to pay attention not only to the actors speech but also to their bodies. The actress playing Kangaroo is especially skillful in stage movement  her gestures are in perfect harmony with words, facial expressions, and intonations. The same can be said about Gertrude, who convincingly shows clumsiness and awkwardness that is funny and touchy at the same time. The actress is also perfect in voice modulations, which are crucial to avoid monotony.

It is especially challenging to deal with kids as a target audience as their attention is difficult to catch for a long time. Besides, the actors of any musical have to combine speaking, singing, and dancing in their acting, which makes the task even more difficult. The actors of Seussical use grotesque as the main technique to be more childlike. Their relations are not based on natural communication as that would be boring for children to watch. They are playful and excessively emotional.

Since the decorations are rather neutral and there are practically no props, the actors can only interact with each other, which they do perfectly especially when they dance and sing making a small show of each song. The speech of each performer is distinct and loud so you can easily discern the words. However, their faces are hard to see as it is often dim and many people are present on the stage simultaneously.

The scenes change rather abruptly, which supports the pace set by the dynamic plot  there is simply no time for pauses. However, it looks rather natural and smooth because of the created mood.

The lighting of the production is not very well-done as it is often hard to see the actors facial expressions. The lighting man rarely spotlights the characters using mostly ambient light. Thus, it is difficult to identify its source and direction. However, the use of color is symbolic: the good characters act in blue light whereas the evil ones appearance switches the color of the light to red. It aggravates their aggression and warns young spectators against them. This is aligned with the colors of the costumes.

Works Cited

Seussical the Musical (Full Show). YouTube, uploaded by BigelliElli. 2016. Web.

Opera

Aiming at restoring the Greek drama, Peri and Caccini, the members of Bardis camerata, introduced the notion of opera. Still, it was during the Baroque period that opera received proper attention and became a particularly elaborate work of music, singing, dancing and design. The notions of opera seria (drama) and opera dutta (comedy) appeared at the time. Among the most notable composers of the period, Monteverdi or Henry Purcell can be mentioned.

In contrast to the Baroque period that favored opera seria, during the Enlightenment period, opera buffa has gained popularity. The notable composers of the European opera of the time are Rossini, Bellini, Donizetti, Verdi, and Wagner. At the same time, we must take into account that other cultures also developed their kind of musical drama. For example, in Japan this kind of art is presented by the genres of bunraku and kabuki, and the Chinese Opera is very different from what Western people tend to associate with the term.

The modern age brought new understanding of how music should be organized. The XX century was the time of experimenting which can be illustrated by the introduction of the so-called rock operas (for example, Jesus Christ Superstar). Another important change of the modern age is the development of technologies that simplified the processes of music recording and distribution. The opera, classical or modern, still appeals to the public.

Richard Wagner is my favorite opera composer. He promoted a new, more elaborate kind of opera emphasizing the importance of every of its elements (music, poetry, philosophy, acting). Being a superb conductor and orchestrator, Wagner was capable of managing a work of such complexity. The way he used his art to express his vision of the world, for example, his interpretation of the feeling of love as it is presented in Tristan and Iseult, is what makes his works particularly appealing to me.

Instrumental Music

Instrumental music (to put it short, the music that does not require words) was first introduced during the early Baroque period. It is closely connected with dancing (minuet, sarabande) which flourished during the time. As the genres of fugue, variations, and concerto developed, the works of composers like Girolamo Frescobaldi manifested the rise of instrumental music. Other famous composers of the Baroque period are Vivaldi and Bach.

During the Enlightenment period, sonatas and symphonies (that had developed during the Classical period) became particularly popular due to the works of composers like Mozart and Haydn.

Among the most prominent figures in the history of 19th century Beethoven should be mentioned. The period of Romanticism was characterized by the piano pieces of Schubert, the Songs without words of Mendelssohn, and Chopins nocturnes. The Late Romantic period is connected to the names of Tchaikovski, Mussorgsky.

The modern age brought new understanding of how music should be organized. This was the time of experimentation, for example, the emancipation of dissonance. Debussy Nocturnes could be described as the impressionism in music, Bergs opera  as its expressionism. An important part of the instrumental music of the XX century is the music designed for films (Max Steiner, Nino Rota, Akira Kurosawa). The development of electronic equipment that allowed creating, recording and storing music in new, more convenient way has facilitated its distribution and offered us new opportunities of getting acquainted with both classical and modern instrumental music.

I enjoy violin music, and this is why one of my favorite composers is Antonio Vivaldi. He was a virtuoso violinist, and he is especially famous for his violin concertos. Even though he created music for other instruments as well, his deep understanding of the violin is not even doubted.

Super Bowl Halftime Show in Houston

A halftime show is a traditional element of a football game in the US. It is a show that is performed during the short break between the halves of a football game. The importance of the event should not be underestimated, however. It is a particularly popular part of the game that is extremely appreciated by the fans; given the fact that the Super Bowl is a most significant event for the football fans of the US, the significance of its half-time show rises accordingly.

The specifics of this kind of show are defined by its relatively short duration (20 minutes), the fact that it is connected to the football game, and the fact that it is hosted in different places which means that the introduction of the cultural peculiarities of every new place could be appreciated. It is not unusual for a halftime show to include marching bands or modern pop-music stars performance. An event of such significance can afford inviting most prominent US stars, and this is what happened in Houston in 2004, when the Super Bowl halftime show was performed by Janet Jackson, P. Diddy, Nelly, Kid Rock, and Justin Timberlake.

At the same time, it would be logical to connect the program of the event to the culture of the place that hosts it. This was done in 1974 when the halftime show included the marching of University of Texas Longhorn Band and the performance of Miss Texas 1973, Judy Mallett, who played the fiddle. This time, the prominent pop-stars of Houston, for example, R&B singer Beyoncé or the rock group ZZ Top may be invited to perform.

At the same time, less popular bands or performers could also be able to contribute. For example, the particular music movement of Texas known as Tejano that is a combination of folk and pop music could be demonstrated to the public as a peculiarity of the regions culture.

Mexican music includes a range of genres, and the son is one of them. The very word son means sound (Noble 82). It refers to the regional music that can be mostly heard in eastern, western, and central parts of the country. It is played using such instruments as haupanguera, harp, and guitar, etc. As a rule, the performance is followed by foot-heel tapping and traditional or extemporized lyrics.

As people who play the son can be found throughout different locations, the peculiarities of the music vary. Still, there are common ones. Syncopation is among them. By dint of it, the rhythm of the melody occurs to be irregular. Rapid tempo encourages listeners to join the musicians, dance, and sing. Manicos imply a complicated sample of strumming that is aimed to produce a rhythmic background. The dance itself tends to become a part of melody as its acoustic qualities emphasize music.

This musical genre originates from the combination of local and Spanish elements, particularly for the 16^th century. At that time, it was a theatrical song performed in a flippant tone and followed by a dance. At the beginning of the 18^th century, the Church tried to forbid the son and claimed it to be immoral and indecent. Fortunately, the authorities did not achieve success and by the end of this century, it was played between the acts in the theaters of Mexico City. When the independence movements started, the son identified the new nation.

There are three well-known son varieties. The son jarocho can be observed during fandangos where musicians gather to present their sones in southern Veracruz. The son huasteco is performed throughout La Huasteca. The son de mariachi is played by representatives of western Mexico.

Work Cited

Noble, John. Mexico, Footscray: Lonely Planet, 2008. Print.

Strategies for Self-Promotion

With the extended globalisation and digitalisation of society, it is becoming evident that using previously working promotion schemes no longer makes sense. As a contemporary artist, it is not enough to be able to play the guitar well and perform on the street to become famous. In other words, the skill set of the 21st-century freelance artist has dramatically expanded due to the emergence of new platforms and information sharing channels (Kealey, 2021). The main focus is now on self-promotion skills, as it is the only thing that determines whether a performer can become more recognisable and known. However, it is a mistake to assume that a young artist who does not know how to develop their brand and increase their online presence is doomed to professional failure. It is impossible to give an unequivocal answer, as all kinds of scenarios are possible; however, it is true to say that out of two performers, the one who implements a self-promotional strategy and engages in marketing activities is the most likely to succeed.

One of the significant trends in modern society is the mass technologisation of life. It is reported that approximately 6.6 billion people  or 84% of the worlds population  use smartphones today (Ericsson & The Radicati Group, 2022). This number will continue to grow over the next few years, which means many new users are joining the global network, including news portals, video hosting and social media. This trend can be used for self-promotion strategies. For example, I could create a community in a social network where I will post my announcements, communicate with the audience and publish future singles. Such a platform would be one of the essential tools for communicating with subscribers. Meanwhile, I should also consider that through social media, people tend not only to express appreciation but also to become haters (Malecki et al., 2021). Haters are the type of audience that expresses their hatred and disgust for a product they may not have even listened to in its entirety. When I decide to create a virtual social networking community, I have to be prepared for the fact that my audience will not only be loyal but will also be represented by haters. Ultimately, it has to be recognised that not all performers tend to be critical of the hater, so many may be mentally broken and end their careers prematurely. In addition, large-scale technologisation affects all musicians by providing them with ample new opportunities to develop their products. This includes promoting their brand and opportunities to monetise content digitally, differentiate audiences across social networks, and participate in online concerts and music conferences to increase social presence in the information field.

An alternative but not exclusive option is to post video works on the video hosting site YouTube. With YouTube, anyone can post their videos to the public domain and promote them with in-built advertising features. For example, specific videos can include either announcements of future singles and albums, music videos, or even interviews in which the artist answers questions from the audience and shares their thoughts (MI, 2021). This route seems extremely effective as I have a degree in filmmaking, so I can edit attention-grabbing videos. It is important to understand that any published video will eventually find its audience, but such works need to be discussable and provocative in terms of rapid promotion. For example, in order for a video to go viral, the video could include an unorthodox, non-linear script, atypical costumes and a song presentation, as Oliver Tree does in his catchy music videos (Tree, 2022). Such a video certainly also has the potential to get a lot of followers and dislikes, but it will increase its presence in the social field.

Meanwhile, an excellent strategy for young artists is to create their own profiles on streaming services. Streaming platforms such as Spotify and Apple Music are widely used by many users to find new songs and faces in the music industry (Ingham, 2019). For an aspiring artist, streaming placement is an integral feature of social promotion, as it qualitatively increases the number of channels through which audiences can find the artist. When we hear about an artist somewhere, we often try to find their profile on Apple Music or Spotify to listen to their songs. Concerning me as a freelance artist, this kind of promotion will be crucial, allowing people to find out more about me. However, such profiles need to be constantly updated to keep me relevant as an artist. I need to publish new singles and albums on these platforms and create announcements to keep my audience informed.

Notably, streaming platforms have curated playlists that include works by different artists. Curators are usually already well-known people who share their playlists with the streaming community, so getting on such playlists qualitatively increases the likelihood of promotion (Scalco, 2022). I should invest in finding such curators and collaborating with them to increase the chances of popularity. In the same way curators work, my acquaintances and friends can also work. In particular, I can ask them to publish my songs on my social media page to share them with their audiences  this also qualitatively increases the chances of career advancement. In terms of technological change, radio broadcasting, which is still popular, should also be taken into account. Many radio stations offer aspiring musicians the chance to send in their tracks for auditions  if the song meets the requirements of the radio station and can, in their opinion, be successful, it will be published in the broadcasting grid, which will also increase the chances of a young artists popularity.

The online marketing strategies discussed above are not a one-size-fits-all route to success. It is unlikely that even having a presence on all social platforms and radio will give me the desired success, as it is not an acceptable solution to increase popularity. Social media is indeed a good tool, but it is time-consuming to promote it, and the lack of results can morally crush an inexperienced artist. The same is true of video hostings, where editing and publishing videos require considerable time and skill. Streaming platforms are a relatively safe route, but their limited functionality is a disadvantage for the realisation of career success. Thus, an aspiring artist should have as many popular social channels in their arsenal as possible, but in addition, the artist should possess several critically valuable skills.

Many of the online strategies described are excellent for promotion, but a young performer should not ignore the importance of offline representation either. This applies to any form of performing music in public places where the audience physically observes the artist (Wiebe, 2020). This form of self-promotion requires excellent public speaking skills, so it may not be suitable for every performer. However, the balance of the two strategies qualitatively improves the chances of success for the aspiring artist.

Emerging Performer Skills

A musicians critical skills should definitely include talent, which guarantees long-term unspoken engagement with audiences. Listeners love particular artists and are willing to keep their songs in their playlists for years if the artist proves to be genuinely talented and their songs inspiring. However, talent alone is not enough, as there are many genuinely talented artists in the music industry, not all of whom eventually gain fame. Hence, a musician has to be relevant and contemporary for his songs to touch common feelings in the hearts of listeners. It is unlikely that songs about the Middle Ages will be as popular as songs about love, loneliness and fear since it is the latter that is reflected in the perception of the mass audience. From this point of view, it is an appropriate skill to create songs on a current agenda  for example, COVID-19, wars or crises. In this context, climate change plays a unique role as a tangible problem for all humanity. If a performer touches on such environmental issues in their songs, it is likely to become a solid rationale for development. Such works can go viral because they sing about what the audience really cares about right now.

An aspiring performer also needs to be multi-potential to be able to develop on social media, edit videos and attract listeners. In fact, in the early years, such a performer is also a producer, so marketing and self-promotion skills are critical. The need to be an uninhibited, uninhibited performer cannot be overlooked. It is important for young artists to be able to perform in public, and singing in parks, bars and city venues is a good ladder to develop not only online but also offline. It also helps to earn money, which can be invested in new music equipment or advertising on social media.

One significant trend in todays society is environmental awareness, and more artists and companies are striving to reduce their carbon footprint. Moving away from physical media, digitalising content and adopting an environmentally conscious lifestyle are steps the music industry takes to help reduce its overall carbon footprint (Kamiya, 2020). Commitment to such an idea is also a necessary skill for the modern musician who expects to be famous (ASCAP, 2022). For example, I can refuse to participate in those festivals where environmental regulations are violated. I can also promote a conscious lifestyle, including reducing waste as part of my musical image. Refusing to produce physical media, be it CDs or vinyl records, can also build perceptions of me as a green artist who is environmentally conscious. Conversely, I can actively talk in my virtual communities about why I prefer digital releases, which will also give audiences an understanding of my vision. Hence, as a modern aspiring guitarist and songwriter, I have to have social promotion skills if I want to gain popularity. I need not only to be talented in composing music but also to be aware of new trends and developments in the world, as this will allow me to increase my representation in the social field.

Reference List

ASCAP (2022) Greening the music industry resources sheet. Web.

Ingham, T. (2019) Apple Music for artists launches, rivalling Spotifys analytics tools. Web.

Malecki, W.P., Kowal, M., Dobrowolska, M. and Sorokowski, P. (2021) Defining online hating and online Haters, Frontiers in Psychology, 12, pp. 1-4.

Tree, O. (2022) Cowboys dont cry [music video]. Web.

Kealey, M. (2021) 7 top marketing strategies for musicians. Web.

MI (2021) The complete musicians guide to YouTube. Web.

Scalco, J. (2022) Spotify playlist curators (that have listeners) you can submit to for free. Web.

Wiebe, A. (2020) How to start busking and street performing. Web.

Kamiya, G. (2020) Factcheck: what is the carbon footprint of streaming video on Netflix? Web.

Ericsson & The Radicati Group. April 2022 mobile user statistics: discover the number of phones in the world & smartphone penetration by country or region. Web.

Introduction

Diverse factors define a person, community, or groups conforming to different ideals. Cultural practices are the most noticeable attributes, which distinguish groups from each other. An example of a cultural factor, used to characterize communities, is music. The classical Arab music is a one of the most distinct features of the Arab community. It is noteworthy that the music is characteristically unique with rich message content; furthermore, it is very entertaining.

It is worth mentioning that the musical instruments are peculiar since different musicians play them with the intention of matching diverse settings and occasions. In as much as examining the Arab classical music is interesting, it is necessary to focus on the instruments, its association with culture and religion, composers, performance venues and notations.

Instruments

Different instrument in the classical setting show the uniqueness of the music. An example is the ensemble, which is synonymous to the takht in Arabic. It constitutes four instruments known as the nay, violin, qanun, and a percussion called riq (Frishkoph, 2009). These instruments have changed over time from the traditional ones, which they used to play.

However, they still possess many similarities in their modes of operation especially, upon reference to diverse pieces of music. For instance, the riq was common in the traditional musical instruments; however, a frame drum commonly known as daff or table replaces it. Apparently, the violin also came to replace the traditionally used kamanjah and jawzah.

Like other aspects of human life, musical devices from other regions across the world have replaced those used in the customary classical Arab setting. This is because the electric guitars and piano are increasingly common in the classical music (Randel, 2003). An example is evident in setting of the drum, which has embraced westernized classical style.

A characteristic, which sets the classical music apart, is evident in its harmonious coexistence with diverse instruments. Apparently, the flutes are useful since they make it simple to control the pitch especially when experienced artists blow them. These flutes aid in enhancing harmony between the instruments, vocal capabilities and among the various instruments.

Classical Arab music and culture

As evident in other cultures, the classical Arab music is a distinct feature of the Arab culture. However, it is consistently subject to dilution by foreign cultures together with the commercialization process. Evidently, the classical are currently mixtures of traditional Arab music such as Tarab and pop music (McCauley & Tim, 2009).

For instance, Tarab music enhanced maturity as evident in its deep messages but the modern Arab music portrays abuses and vulgar language. Interestingly, some of the traditional classical Arab melodious events have lost their meaning. The Andalusian music which had a conventional Arabic dialect is absent in the contemporary classical Arab music.

The classic Arab music enhances cultural continuity among the Arab community (Radan, 2008). Apparently, dissimilar groups of people basing on age and sex enhanced classical performances. Therefore, traits associated with each age group and sex was propagated by music.

Consequently, this process was instrumental in enhancing cultural practices regardless of the challenges by the immigrants entering the native Arab regions. Initially, the westernized music was subject to rejection in native Arab regions; however, it is slowly gaining ground and overtaking the customarily acknowledged classical music.

An additional sign that the invasion by foreigners has led to diminishing significance of the classic Arab music is evident in changing fortunes for the classical. Either the cultural events when the music was played are non-existent or meaningless (Radan, 2008). However, some of the regions with high populations of traditionally settled Arabs such as the North Africa, Central Asia, and Near East still exude the cultural aspects of the classic Arab music.

Although such changing fortunes of the classical music diminish the focus of cultural aspects, some genres such as Tarab have significant and continuous influence on the Arabic culture. This is because the music has gained attractiveness in other regions and cultures especially among Arabs.

Classical Arab music and religion

The classic Arab music conveys religious messages, which are mostly in praise of traditional gods, and in other cases, Allah. It is evident that Arabs abide to the Islamic religion thus the music praises Allah. However, there are the traditional groups, which believe in other gods, and so the religious classic Arab music portrayed messages praising the gods. Music such as the maqam rast has been existent for a long time; furthermore, it poses strong religious messages (Randel, 2003).

The religious Arab communities defend the music thus generations from these regions grow up respecting it. This is a culture, which needs preservations with the intention of appreciating diverse musical aspects. It is evident that they believe their music has both cultural and religious values essential for the up bringing of children. Most importantly, the music holds more value than just entertainment.

Genres of classical Arab music

The classic Arab music is divisible into two major genres. This is regardless of the fact that other genres exist. The two major genres are the secular music, which is mainly for musical artistry, and sacred music, which mainly serve religious purposes. It is noteworthy that the dulab is one of the genres aligned to secular music.

Its major characteristic incorporates short pieces of instrumentals. This genre of music prepares the singer to embrace other musical aspects especially the maqam. The maqam is played in different Arabic regions such as Egypt and Turkey in distinct ways (Frishkoph, 2009).

Taqsim is an additional minor genre; however, it applies in worldly and sacred music. It does not have a specified rhythm and lacks meter. The musicians perform along the features of the given maqam thus giving them the freedom to improvise as they sing (Frishkoph, 2009). Apparently, Taqism is a prelude when singing an earlier composition or as postlude in the end of a song or instrumental.

It is also used to interlink, or as an interlude, when joining two dissimilar vocals in a song. This genre is thus preferred when many artists are performing in the same place, which is a characteristic of the classic Arab music. Finally, it allows the different performers to introduce their music in harmony and end the music in a way that performers can start in a seemingly unified note.

Prominent composers

There are many classical Arab music composers, but their prominence is mainly in the places where the Arab music is evident or played. It is noteworthy that these composers are popular in regions where the classic Arab music is trendy. This is usually in line with their livelihood since music is their major source of funds.

One of the most prominent classical Arab musicians is Marwan Abado who has his roots in Palestine. His taqism is recognizable due to its unique inspirational characteristic and the criticism to the Palestinian politics (National Geographic Society, 2003). Some of his songs such as kabila have won awards on many occasions. This is regardless of the claims that his music constitutes his lifestyle.

An additional prominent composer is Rahman who originates from India. He is recognizable as talented artist who has been involved in music as well as film production. His classical Arab music such as Roja won major awards such as the Times awards for the ten best soundtracks (National Geographic Society, 2003). His music is merged with soul and jazz making it gain international audience. The music has been as soundtrack for various films in Asia and other regions in the world.

Notation

Unlike the twelve notes chromatic scale, which is common in the western music, classic Arab music uses a 24-note diwan. The twelve notes are subject to disconnection by half sharp and half flat thereby giving a twenty-four note melodic scale. The quarter notes are evident between the natural note and a sharp note or amid the natural and flat note.

This differs slightly from the scales used in the western compositions. For instance, there is a disparity in sound for the same quarter note because it varies depending on the maqam. Evidently, the E flat in maqam bayati is lower than the same note in maqam rast. This is different from the western music where similar notes have the equivalent sound even when played in other songs (Randel, 2003).

Current trend in the classical Arab music

Classic Arab music has gained popularity as evident in history. The core of this music is in Cairo, Egypt but it is also popular in most of the Arab nations (McCauley & Tim, 2009). The trend is changing since the music is now popular in other parts of the world where it used to be non-existent. It is a fact that numerous individuals have begun appreciating this music. As a result, it proponents claim that it rich cultural value might have fanned its rise in popularity.

This is mainly because the customary classic Arab music fuses with music from other places in the world. The combination attracts the attention of the people from other regions such as America and the Europe since the music used to be rare. Tarab incorporates other types of music such as jazz and pop thus attracting a wider audience for the Arab music. Most importantly, the blending of this music with others from different parts of the world has increased its popularity and appreciation (Spector, 1970).

It is also worth noting that the classic Arab music has not only changed by allowing infusion with other types of music but also changing the languages used in the music (Frishkoph, 2009).

Though most of the songs have an Arabic dialect, the new music uses other languages such as English. It is thus simpler for people from other region to understand the music, which has helped in boosting its popularity. One of the best ways to draw audience in art is to enhance comprehension. For this reason, the classic Arab music has continued to gather a larger audience in the globe.

Performance venues

One of the most common performance venues is the Wayne State University where the Michigan Arab Orchestra Takht Ensemble holds regular performances by internationally recognized musicians (McCauley & Tim, 2009). This year the will be a performance by the Michigan Arab Orchestra on April.

Other places where there are performances are Sheraton Cairo Hotel Towers and Casino since there are regular performances by local musicians as well as the international ones such as Shaheen. The Alwan Festival of Sacred Music, which was started in 1998, is also a common fiesta for classic Arab music held in New York each year at a fee averaging at $ 15 (McCauley & Tim, 2009). The popularity of the music is growing thus it is possible that there will be more performances in different parts of the world.

Conclusion

Music is perhaps the most popular work of art thus it plays a significant role in determining various factors affecting humanity. It is important to accord the same consideration to the tasks it enhances in the society. The classic Arab music has been instrumental in promoting cultural growth and societal relations within the Arab community.

The music has a significant role in enhancement of international relation and exchanging cultural experiences. This is important since it helps the different communities to understand each other by accepting weaknesses and positive aspects. The music should be subject to marketing and promotion by the diverse Arab governments since it plays vital roles. The individual citizens should make an effort to understand such music since it upholds personal relationships amongst individuals and the community.

References

Frishkoph, M. (2009). Music and Media in the Arab World. New York, NY: Amer Univ in Cairo Pr.

McCauley, M. & Tim, S. (2008). Kennedy Center announces Arab arts festival: American fete also set for 2008-2009. The Baltimore sun. Web.

National Geographic Society (U.S.). (2003). Arab classical music. Web.

Radan, S. (2008). Exploring the legacies of Arab music. Khaleej Times. Web.

Randel, D. (2003). The Harvard dictionary of music. Cambridge, Mass: Belknap Press of Harvard University Press.

Spector, J. (1970). Classical UD Music in Egypt with special reference to maqamat. Ethnomusicology, Vol. 14, No. 2.

The composition Firestone is performed by Kygo, who is its composer, featuring Conrad Sewell released in December 2014 (Kygo  Firestone ft. Conrad Sewell (Official Video)). The song belongs to the genre of tropical house, which has been perceived as a sub-genre of deep house. The reason for listening to the composition is because it gives a listener very relaxing and positive vibes; at the same time, it is inspiring and motivational. The message of the composition is that love can be turned into firestones, which will light up the world. It is quite basic but appeals to many listeners because of its lightness and positivity.

Kygo is a Norwegian DJ who started popularizing the genre of the tropical house a couple of years ago. His career is impressive as he obtained world fame at the age of 23. His music is full of positivity and often described as chill. It is sometimes criticized for not being an authentic house, but what matters, in the end, is that many people all around the world enjoy Kygos works and become joyful because of listening to them.

Works Cited

Kygo  Firestone ft. Conrad Sewell (Official Video).YouTube, uploaded by KygoMusic, 2015, Web.

I Say a Little Prayer is written by Burt Bacharach and Hal David. The genre of the song is pop, but it can be called soul too. The song is about a woman praying for her husband who is fighting in Vietnam. It is very lovely and romantic, and the foremost reason for listening to this composition is that it is optimistic about true love and sincere feelings. Although initially the song was written for and performed by Dionne Warwick in 1967 (Dionne Warwick I Say a Little Prayer 1967 Original Million Seller), Aretha Franklin, known as the Queen of Soul, performed the song and completely transformed it (Aretha Franklin  I Say a Little Prayer).

One shouldnt think that the version of Warwick was not a success, it turned out to be quite good, as it reached high positions in music charts. It is just that the version of Aretha Franklin gave the composition another life, as it is very different in terms of rhythm, flow, and feeling. Say a Little Prayer is thus an example of a musical work, which can be shared and given not just a single interpretation, but instead be performed by two big artists who created two interpretations of the same song.

Works Cited

Aretha Franklin  I Say a Little Prayer. YouTube, uploaded by loanna17. 2010, Web.

Dionne Warwick I Say a Little Prayer 1967 Original Million Seller. YouTube, uploaded by dibotis, 2010, Web.

Almost every composer or performer needs help to become famous. Sometimes it happens that even a musician with an exclusive talent remains unknown because he does not have any patron to promote his works. All the composers whose works are now considered the classics of world music once were fledgling talents unknown in the music circles.

Franz Joseph Haydn is one of the most prominent Austrian composers of the Classical Period. He is known as the Father of Symphony and Father of String Quartet for his great impact on the development of these genres. Haydn began his musical career in the choir under the direction of Georg von Reutter and when his voice changed due to physical maturation, he had the hardest times of his life. He worked as a music teacher, a street singer, and then an accompanist for Nicola Porpora, an Italian composer. He gradually acquired public recognition and in 1757, he became the Kapellmeister of Count Morzins small orchestra. However, his longest employment was under the patronage of the Esterhazy family (30 years). He composed music for every event in the court of the prince of Esterhazy and had everything he needed: a court orchestra and opera company.

Wolfgang Amadeus Mozart is another famous Austrian composer. He was apt to music from his early childhood and started composing when he was five. He performed for the representatives of the European royal families. He became a court musician in Salzburg when he was 17 but was dismissed from that position for his passion for traveling. He rejected the security of the patronage system for the sake of his freedom to compose by inspiration and not order. Mozart also had hard times when he had to struggle for recognition and money. Now he is one of the most famous composers of the Classical Period.

Ludwig van Beethoven is one of the greatest European composers as well as a virtuoso pianist. He played an important role in the transition from the Classical to Romantic period of European music. He showed his musical talent from early childhood, his teacher was the famous Joseph Haydn. He began his career in the court of Bonn in Germany. Later Beethoven moved to Vienna where he spent the rest of his life. Beethoven acquired the reputation of a marvelous composer at an early age so patronage was unnecessary for him. His works sold well and guaranteed him a well-off living.

It is clear that patronage was an important point for gaining fame and recognition at that time though it was not always necessary. Joseph Haydn worked under patronage for the major part of his career. He had his own orchestra and guaranteed income. Mozart rejected such an opportunity to enjoy absolute personal freedom. Beethoven, in his turn, had a kind of patronage from Haydn that enabled him not to seek a patron among the aristocracy. I consider that he was the most fortunate among the above-mentioned composers.

Nowadays as well as centuries ago, young composers and performers need some support from a famous or influential patron who has money and contacts to efficiently promote a talented musician in the fierce competition of modern show business. Now they are called producers, they find a talented youth, create a new style for him according to modern tastes and sell this new image to the public. However, there are still musicians who fight their way to glory through the crowds of cheap one-day stars widely promoted with the help of money. There are the composers and performers of modern classical music but they are mostly unknown to the general public as their style of performance is considered to be obsolete and preferred by a narrow circle of music lovers. They say that classic music belongs to the past but it is still alive for those who can hear it.

The musical Memphis is a story depicting a disc-jockey (DJ ) who preferred music that was associated with the African-Americans, and thus his vision was unpopular among other DJs or radio producers. The central theme of this plot and the idea for this story is based on the real-life story of a Memphis DJ. Hence, the events depict the racial discrimination that was reflected in the music preferences of the people and DJs in the 1950s, highlighting important issues that exist in society. This paper aims to discuss the musical Memphis and its production elements.

The original message of Memphis intended to convey the issues of race that affected even the music that was played on the radio and a white man named Hue, who likes blues and soul and was not afraid to show this. The atmosphere of the musical, the songs that were chosen by the creators, and the technical details embrace the original message since they help create a cohesive vision of the issues that Hue and Felicia face. The main character is the DJ who plays soul and blues music to a predominantly white audience, and the musical describes his life journey and a talented singer Felicia. The performance of the cast is remarkable, and their acting and singing grasp the language and emotions of their characters correctly.

The interaction of actors in Memphis reflects the relationships that the author wanted to convey, which is supported by the directors use of stage blocking. The last detail helps the viewers appropriately connect to the actors. Next, costume design is an essential element that helps portray the atmosphere of the 1950s, and in the case of Memphis, it helped unify the technical aspects of production. The scenic design was impressive because it contained minimum details, although this was enough to portray the stories of Hue and Felicia and understand the context of the story. This includes the aesthetically pleasing props and stage light, which supported the overall sound quality of this production. The characters were dressed in regular clothes, typical for the era their characters lived in, such as suits and dresses.

Music is one of the critical elements that define the musical, and the story behind Memphis makes it obligatory to use blues and soul to depict the events correctly. In essence, the racial segregation that existed in the 1950s, although it was not as severe as before, was present, and the example of music that the author of the story uses is a great illustration. Hence, the songs help the audience understand the context of events better. The actors were great at singing the songs, with well-rehearsed performances and excellent onstage interactions.

The production had an overall feel of cohesiveness since the plot, the music, the costumes, decorations, and the whole production corresponded with the intended message of this work. Hence, one can argue that Memphis is a synergy of all theatrics and musical elements necessary to portray a good story. Moreover, this musical production creates an overall cohesive and aesthetic feel because the costumes and decorations support the atmosphere of the 1950s. Overall, it appears that the production team understood the original message intended for the story, and the actors and technical details incorporated in the production of Memphis help viewers get a cohesive understanding of the depicted era and its social issues.

Work Cited

Memphis the Musical. Directed by Don Roy King. Broadway Worldwide, 2011.