Informative Speech About Batik

Informative Speech About Batik
I respect the jury.
Mr. teacher's Companion whom I respect.
As well as fellow escort that I respect.
First of all let us praise panjatkan the presence of Almighty God, on plenty of grace, Taufik,
guidance as well as inayahnya, who has been assigned to all of nature's creatures.
Solawat as well as greetings hopefully always expressed our Prophet keharibaan great prophet
Muhammad SAW. That is where he always brings his people.
Namely, bringing his people out of the dark ages a period toward the brightly lit, from the times of
zahiliyah towards modern all–round times.
Perkenankanlah I stand here to deliver a speech with the theme:
"Preserving National Culture And Heritage
Fathers and mothers
Preserve national culture and heritage, it is obligated ... Show more content on Helpwriting.net ...
In addition, Indonesia has a cultural heritage of art, good art music, art or dance performances. In
the field of music have such cultural heritage Indonesia gamelan and angklung that is already very
well known in the world. Even many foreign citizens who are interested in wanting to learn the art
of music. Indonesia dance art such as dance, pendet jaipong dance, plates etc. The art of staging
such staging Indonesia wayang golek, wayang kulit etc.
Rich cultural diversity that we have sometimes make another country amazed, but many of our
culture that is often in another Country by Gonzalo, as does the batik got around in a few countries,
by Gonzalo and finally UNESCO determined that batik is the cultural heritage of Indonesia. Pendet
dance, angklung also in other Countries by Ibrahimovic as their cultural heritage. In addition to the
culinary heritage of art, we also never admit by other countries as well as beef rendang field.
Should we as the younger generation helped to preserve the cultural heritage that exists in our
country. We appreciate and preserve our culture our culture might not in another State by grant as
their cultural
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LINK Two: CHANGES OF TEXTURE
LINK TWO: CHANGES OF TEXTURE The texture of a piece describes the harmonic interaction
within a piece. It expresses the way the parts and voices are woven together and is often referred as
the "fabric" of music. The four basic textures of music are monophonic, homophonic, polyphonic,
and heterophonic. Monophonic refers to an unaccompanied melody line, homophonic refers to a
accompanied melody, polyphonic is two contrasting melodies played together, and heterophonic
refers to a single melody played by two or more musicians. Some musical techniques, such as
imitation, canon, and fugal, are always polyphonic texture because there are more than one melody
being played at the same time. The texture of both my pieces are mostly homophonic because

Roma And Ethnic Identity
1. Why do some Roma hide their ethnic identities? Some Roma hide their ethnic identities because
it can be dangerous and bad for their business because of the stereotyping that goes along with being
a Roma. Also, depending on the community, they may be threatened, attacked, or discriminated
again. 2. What challenges did the Roma face in different parts of the world? The Roma face a
variety of challenges in different parts of the world. When the Roma moved to Western Europe,
people took away their history by twisting what it truly meant to be Roma. They also tried to
destroy the Roma culture. In Halifax, Nova Scotia, the Roma were stoned by the citizens of Halifax
simply because of their ethnicity. The Roma then traveled to Australia, South Africa, Tasmania,
Buenos Aires, and back to England. They traveled because they were not accepted as citizens in any
of these countries. When they returned to England, they found that a lot of the Roma had settled
down because they couldn't take the abuse. When Julia lived in a small village in Scotland her
family was the target for racism. Local people would vandalize their home and kill their dogs. One
day, Julia was playing outside with her sister when a young man threw a brick at her head that spilt
her head open. When her sister tried to help her, they beat her with a pipe. In Spain the Roma were
fighting against the fascists. Lolo, who joined an Anti–Fascists movement when he lived in Spain,
was tortured for ten days and ten nights.

Steve Reich's Non-Western Study
In the mid 70s, Reich had steadly expanded his knowledge of different musical systems, studying
the form of Balinese Gamelan with I Nyoman Sumandi, who is a Balinese musician in residence at
the American Society for Eastern Arts Summer Program at the University of Washington, in Seattle
between 1973 and 1974, and learning the technique of traditional Hebrew chanting between 1976
and 1977. Based on these diverse non–western studying, after all, the Reich's ensemble performed
and recorded 'Drumming', 'Six Pianos', 'Music for Mallet Instruments, Voices, And Organ' and they
became pivotal acheviement in his career.
Steve Reich, who loves non–western music in his life, believed that the non–western music is the
most crucial source of new ideas

Malay Music in Malaysia
Malay Music in Malaysia:
A Brief Study of the Changes in the 20th Century
Malays – Tradition, Conflict and Change
Done By:
Melanie Ng
Rachel Chew
Word Count: 2094 words
Introduction The 20th century saw Malaysia undergoing numerous political, social and economical
changes, all of which were reflected in the cultural changes that also took place during this time. In
particular, Malay music in Malaysia, due to a myriad of factors and influences, experienced
significant transformation to become Malay music, as we know it today. As such, this paper seeks to
explore the changes observed in Malay music in the context of Malaysia over the 20th century, and
provide an analysis of the factors which have contributed to ... Show more content on
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Instead of the monotonous drum beats of the Rebana Ubi, modern synthesizers have been included
in accompaniment to the traditional gamelan and drums. The Rise of Malay Popular Music Before
the 1920s, the pop music scene in Malaysia was almost non–existent. Malaysia's pop music scene
developed from traditional Asli (pure) music, which was popularized in the 1920s by bangsawan
musicians.
The period between 1965 and 1971 was termed the "Era of Pop Yeh Yeh." Colonisation led to the
introduction of bands like The Beatles and The Shadows which exerted great influence, as
evidenced by how many local singers started emulating Western pop stars. Rocky Teoh was known
as the 'Elvis' of Malaysia and several women called themselves the local 'Connie Francis.' Later,
other Malaysians would aspire to emulate Tom Jones, Bob Marley and other foreign entertainers.
The first local song in this genre was M. Osman's 1964 hit "Suzanna", which was soon followed by
dozens of others. The Pop Yeh Yeh stars sold thousands of records and dominated the music scene in
Malaysia, Singapore and Brunei throughout the 1960s. Many sang only in Malay. Music in this era
was more Western–sounding than much of the earlier Malay pop music. During this era, western
popular music was heard increasingly on the radio, spreading the western pop culture to even the
rural villages.

Gamelan Orchestra Essay
1. The gamelan orchestra are organized around the sound of a long, symmetrical melody that is
divided into a multiple of beats as the song progresses, in a heterophonic manner. 2. 3. Stratified
polyphony is achieved in a gamelan composition by a series of rhythmic layers ranging from the
gongan, the unit between one gong–stroke and the next, to the subdivisions of individual beats from
each instrument. 4. Bopong, a brief overture played prior to a dance, is organized into a musical,
formal structure. The introduction of the overture consists of only a gangsas. A gong is played after
30 seconds into the introduction to indicate the start of the first statement of melody. The gong
continues to be involved throughout the overture to indicate

Pagodes Claude Debussy
"Pagodes" is taken from Claude Debussy's "Estampes", a collection of three pieces for solo piano
composed in 1903. Working from Paris, in these pieces Debussy explores the beginnings of the new
French impressionist style that Debussy was a central innovator in, though Debussy personally
rejected the term. "Estampes" moves away from the predominantly German, late–Romantic style by
avoiding extreme length and melodic complexity in favour of, as Michael Kennedy describes it,
"conveying the moods and emotions aroused by the subject" through briefer and melodically
simpler pieces. Debussy also moves away from the tonal system, utilising techniques such as the use
of the whole–tone and pentatonic scales and quartal and quintal chords to create ... Show more
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The exploration of the timbral possibilities of the piano as a percussive instrument would be
developed later in the 20th century by composers such as John Cage, for example, in his works for
prepared piano in the 1940s.
"Pagodes" makes use of just a few short melodic ideas. The piece is in a loose ternary form,
however, the B section makes use of elements heard in the A section. The first idea (bars 3–4) is
repeated verbatim three times after it is first heard. This becomes an ostinato as it is repeated in full
and broken into parts throughout the piece. A two bar scalic countermelody is heard in the middle of
the texture at bar 9. At bar 11 a new idea is introduced that uses all 5 notes of the pentatonic scale.
At bar 15 the trill–like triplet idea is introduced. A whole–tone melody is introduced at bar 33, the
beginning of the B section. These few motifs undergo little melodic variation occurs; Debussy
layers these melodies and transposes them in different octaves to create a rich contrapuntal texture
that is reminiscent of gamelan's busy and dense multi–layered texture. Western musical tradition had
placed emphasis on strict forms as a method of melodic development and contrast, such as the
Classical sonata form. Debussy was keen to move away from these conventional ideas of melodic
development, instead taking inspiration from the more free–form and layered approach to

Executive Summary: The Japanese Court Bedroom
1. The Japanese court orchestra is organized into three main groups: The onstage group, The hidden
orchestra, and singer–narrator and shamisen player. The onstage group is located behind the actors,
and they influence the dialogue and dances. The hidden orchestra is located left of the stage and
they influence the sound effects and supporting sounds for each action of the actor. The singer–
narrator and shamisen player are located right most of the stage and they influence the act's flow
throughout the performance. 2. Gagaku orchestras are distinguished from European orchestras by
their versatile musicians who switch instruments during the performances. 3. The ryuteki is a side–
blown flute that adds a heterophonic texture to the performance.

African American Music
In the nineteenth century, European countries expanded their interest in foreign music globally.
Through world fairs like the 1889 Universal Exposition, cultural and material riches were displayed,
which sparked widespread interest in exotic cultures and music, especially the Indonesian gamelan.
Exotic music was ranked on a spectrum of exoticism, ranging from pure exoticism to transcultural
composing. The term exoticism represents a non–Western object referred to as "Othering, where one
group is discriminated from one's own group due to self definition. Exotic music evokes "cultural
and geographical Otherness" and should be perceived as different from home, both by the composer
and by the audience.1 On the other side of the spectrum, transcultural transposing incorporates
certain styles and conventions of another culture's music and "merge musical elements that the
composer and audience would recognize as our own with those of the distant other culture".2 Some
pieces, such as Colin McPhee's Tabuh–Tabuhan, were easier to place on the spectrum, while others,
such as Benjamin Britten's opera Death in Venice, were harder to decide. Through the
characteristics, and overall purpose of the opera, although Britten integrates exotic gamelan music
in Death in Venice to represent homosexuality, which was prohibited in English society, Death in ...
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Britten's use of gamelan style does not represent a non–Western "Other"; instead, it is used as a
metaphor for his homosexuality. Death in Venice expresses Britten's emotions and sufferings on
homosexuality. Compared with Carmen, and exotic work, Death in Venice does not compare to the
level of exoticism displayed in Carmen. Therefore, Britten's Death in Venice should be categorized
at the transcultural composition side of the

The Music Of Bali And Its History, Beliefs, And Values,...
Introduction
Gamelan is a term for various types of orchestra played in Indonesia. As Indonesia entails 17000
islands, there are many different styles of gamelan, and no gamelan orchestra is considered to be the
same as another (See Y–S, 2000). The music of Bali – a Hindu island afloat in a Muslim sea – was
described by the American composer Colin McPhee as the "stirring mystery of a thousand bells"
(Gordon, 1994). Varieties of gamelan are distinguished through tunings, style, cultural context and
the collection of instruments used. The varieties are generally grouped geographically, with certain
styles being shared by nearby ensembles, therefore leading to a regional style (See Y–S, 2000).
Balinese gamelan is the main element of Indonesian traditional music as well as belonging to the
sacred elements of their culture. Throughout the following investigation, the style of Balinese
gamelan will be analysed through its history, beliefs and values, musical elements, cultural effects
and future observations.
– what will I discuss/address
– I will then provide context to this by...
– The musical elements will then be deconstructed .
1.0 What is Balinese Gamelan?
Bali is one of many islands which make up the Indonesian archipelago and is located between the
larger islands of Java and Lombok (E–Lr, 2015). Balinese gamelan is often connected with the
proficiency and rapid virtuosity of gamelan gong kebyar, its best–known style. "Balinese music is
most often characterised by its

Beethoven Homophonic Style
The symphony has three different textures: monophonic, homophonic, and polyphonic. Similar to
the Tabuh Pisan piece, there is a monophonic texture in playing the melody. Listening to only the
single melody line enables the audience to engrave the melody in their heads without the adornment
of an accompaniment line. By using this texture, Beethoven introduces the first melody line the rest
of the movement varied off on. Overall, texture changes, homophonic texture, polyphonic texture
and monophonic texture, are used to accentuate the technique of theme variation throughout the
movement. The polyphonic texture is shown through the fugal melody in measures 117–174. The
same melody is played in different parts at different times, which causes the melody to overlap,
creating two melodies that are played at the same time. Below is an example of the fugal subject, or
melody, played by different parts. ... Show more content on Helpwriting.net ...
In Tabuh Pisan, there are homophonic textures as well as monophonic textures because the solo
instrument is not accompanied as it plays in the introduction, however the Gamelan melody later
dominates it by playing the melody and is accompanied by the Kendang rhythm. In the Beethoven
Symphony, the textures are monophonic, homophonic and polyphonic. Monophonic texture is seen
when the melody is introduced by one instrument. It is also homophonic because there are single
melody lines that are accompanied by other instruments. However, when it plays a fugue or canon,
the texture is polyphonic because there are two melodies present at one time. Thus both pieces show
changes of

Penn State University Personal Statement
I graduated from Pennsylvania State University (Penn State) as a Bachelor in Integrative Arts with
focus on music in May 2011, and this was my second Bachelor degree after my first Bachelor
degree in Architecture that I obtained from Parahyangan Catholic University (Bandung, West Java
Indonesia). My career as an architect includes building and renovating houses and stores, and
designing the interior part. In piano studies, I achieved a Licentiate of The Royal School of Music
(LRSM) in Piano Performing from the Associated Board of the Royal School of Music (ABRSM,
London, UK) in 2004, and became a piano teacher for nine years in my hometown Bandung before I
came to the US to study. When I was a student of Western Michigan University (Kalamazoo, MI), I
joined the Collegium Musicum as its pianist in which we had a concert performing early Baroque
pieces. ... Show more content on Helpwriting.net ...
After I graduated from Penn State, I became a visiting student at Temple University taking a three–
credit course Current Topics in Musicology and Music Theory while having an Optional Practical
Training (OPT) in which I worked as a piano teacher. When I was pursuing my Master in Music
Theory at Boston University, I took a Schenkerian Analysis class for one semester, Modal
Counterpoint for one semester, and Analysis of 20th–century music for two

Five Propositions for Exploring World Music Essay
Music 407
Chapter 1:
What is world music?
A Point of Departure:
Five Propositions for Exploring World Music
1. The basic property of all music is SOUND * Tone – the duration (length), frequency (pitch),
amplitude (loudness), timbre (quality of sound). * All sounds have the potential to be tones
2. The sounds (and silences) that comprise a musical work organized in some way * Music is a form
of organized sound * Listening: CD 1:1 (Beethoven's Symphony #9) & CD 1:2 (Japanese gagaku) 3.
Sounds are organized into music by people thus; music is a form of humanly organized sound *
Music is a human phenomenon * Human creation vs. sounds found in nature
4. Music is a product of human intention and perception ... Show more content on Helpwriting.net ...
Africa – to play the Cora you must be from the proper family lineage. * Music can be the property
of a village. Also, this can be from a certain group. You don't cross groups. * Music not treated as
property at all * Music owned by individuals * Patronage – someone supports it * Patronage of
music * Support of musicians – * Sources have direct link to style and designations of music
Transmission of Music and Musical Knowledge * Music transmission * Production and reception *
Composition – the person who creates * Interpretation – making music your own * Improvisation –
Example: Jazz... making things up based on a specific melody.

Kerocak History
Throughout history, many times certain characteristics of different types of music are associated
with specific cultures thus, making it "authentic" or "traditional" to that specific subgroup or culture.
The history of Balinese dance–drama Kecak shows that the word "traditional", in reference to
music, is not concrete. This is demonstrated in the United States with the authentic blue grass folk
music transformed into a modern approach of country music.
The dance–drama Kecak is not in a sense authentic to the Balinese culture. It is customary for
dances to be accompanied by the instrumental music of the gamelan. The Kecak however, is set to
the rhythm of a chanting chorus called a gamelan suara. The chants that go along with this
performance ... Show more content on Helpwriting.net ...
The gamelan–belengajur is most often used in rituals and sacred ceremonies, such as cremation.
Throughout history, the United States has adapted music based on the introduction of new
instruments and techniques to this part of the world. Country music and blue grass folk music, is
generally associated with traditional "American" music. A heavy southern accent disassociates the
timbre of a country artist's voice to the timbre of other genre of music artist's voices. The United
States is one of the only places with regions that have this distinctive quality of voice. The use of
banjos, fiddles, jug drums, and whistles, are common instruments that can be heard throughout this
style of music.
That being said, today's country music is not "authentic" or "traditional" in the slightest. Artists
many times incorporate pop–styles of music, which is often catchy, melodic, and have a sort of
digital creation to it. The traditional blue grass folk music is very uncommon to hear unless sought
out. American country music that plays on the radio, often does not even use the traditional
instruments one would associate country music with. Instead artists use electric guitars, percussion
drum sets, and digital editing to get a more country–pop vibe to a song. Instead of keeping country
music to how it originally was supposed to be, it has been adapted to please the greater

The As A Form Of Influence On European Art
In nineteenth century Europe, exoticism grew in popularity as a form of influence on European art.
Renown art historian Enrico Crispolti defines exoticism as "the imitation of elements in alien
cultures that differ from native traditions." Exoticism carries its own spectrum of interpretation, in
that certain works of art can fall under or between two main categories: pure exoticism and
transcultural composing. Through the use of non–Western elements in Western music, exoticism
seeks to evoke a group perceived as different, often by "othering" said group. Ralph P. Locke,
former professor of musicology at Eastman School of Music, views pure exoticism as a "form of
exoticism with the purpose of representing an exotic subject as different from what is considered
acceptable or appropriate." Transcultural composing focuses on a hybrid of Western and non–
Western styles, and is intended to pay a tribute to the music. There is no clear–cut definition of
musical exoticism, but rather a window open to varied interpretations and opinions. Renowned for
his operas, English composer Benjamin Britten wrote Death in Venice which uses non–Western
elements to represent something as "other" within the character of the protagonist, Aschenbach. On
the spectrum of exoticism, Britten's Death in Venice falls under the category of transcultural
composing due to Britten's respectful use and understanding of gamelan–style music. Claude
Debussy, one of the most influential French composers of the

Kevin Bobo
Hemispheres, by Kevin Bobo, is a piece written for percussion quintet which, as the title implies,
draws from several different cultures' music. It borrows from the music of Indonesia, India, Cuba,
Spain, Japan, and parts of West Africa. In my preparation of this piece, learned quite a bit of the
influence that gamelan had on Bobo's writing of this work. Focusing on the Indonesian–inspired
section of this work, Bobo chooses an instrumentation of western percussion instruments that he
thinks most exemplifies a traditional gamelan ensemble. He also composed a melody and
accompaniment that created an atmosphere and feeling similar to that of Indonesian gamelan. With
the goal of having each section connect to one another with a common theme while still having each
represent a different are of the world, Kevin Bobo wrote a piece that makes "world music" more
accessible to the average listener. Indonesian gamelan is performed with more than just a purpose of
entertainment. It is a communal activity and is made up of a large orchestra of ... Show more content
on Helpwriting.net ...
Gamelan has a lot of defining facets that make it unique from many other genres of global music. It
has spiritual and religious implications and is also played in many state and government ceremonies.
Gamelan has become a very large part of Indonesian culture and has even been presented as a gift to
the government on occasion. Being that many can participate at once, gamelan connects its players
to each other through their shared musical experience. With the tuning creating a shimmering effect,
the music is very alive and even has a sense of breathing amongst the instruments. Bobo
implemented several of these factors into a section of his own piece and, by doing so, he has made it
more accessible and easier to play gamelan in a traditional western

At First, I Tried To Focus On My Own Rhythm As I Did While
At first, I tried to focus on my own rhythm as I did while playing the gyil. I quickly discovered that
this was doomed to failure; I could not keep time with the multitude of pulsing beats around me. I
then tried putting the rhythm in my hands only, and backing my focus up to encompass the entire
ensemble. The concept of polyrhythm as intertwined parts creating a complex whole finally clicked.
My perception of the astsiagbekor suddenly shifted from individual parts surrounded by unrelated
noise to an incredibly complex whole that needs every part to be complete. With this new insight, I
found my place in the polyrhythm and heard the unique form of unity that society strives to achieve.
Third, the organization of pitch. First and ... Show more content on Helpwriting.net ...
Standardization of pitch or lack thereof strongly influences a cultures system of notation. It must be
mentioned that innumerable cultures do not notate their music, it is passed on in person and by
memory. Western music uses the beginning of the Latin alphabet to name pitches. These pitches are
also assigned places on a staff of lines and spaces as indicated by a clef. I find this system the most
functional because it is a visual representation of pitch, rhythm, intervals, relativity, and how
multiple parts line up. Indonesian gamelan uses a cipher notation. Each gamelan ensemble has its
own unique tuning, so the pitched sounds of each instrument are assigned corresponding numbers.
Cipher notation indicates pitch with numbers and rhythm with their spacing. I thought that this
would be difficult to get used to. In reality, it was actually simple and easy to understand. This
system places emphasis on the importance of listening to the ensemble rather than focusing only on
one's individual part of the score because the other instruments indicate when and what to play. I
enjoyed my experience with gamelan, the instruments are fun to play, the music is pleasant to hear,
and the ensemble emphasizes a form of unity that can only be found in making music together.
Fourth, forms of music structure. A structure common in various forms around the world is call and
response. The idea of interaction among

World Music Essay
World Music
World music is basically any type of music from all around the world. This music is generally
noticeable from the other countries, either by instruments used, or lyrically it is different. These
things are what make it easy to tell the difference between the different countries and what type of
music it is. World music can be anything from different countries so it may sound different to how
we expect music to sound like, for example gamelan music is mainly a set of tuned bronze gongs.
This is what people from the Indonesian islands of Java and Bali are used to hearing, whereas Great
Britain and most of the rest of the world are not used to hearing. This is because we are used to ...
The Jegagog is the lowest pitched of the gangsa, the gangsa family consists of instruments which
have brass or bronze keys suspended over a resonating bamboo tube. The Balinese gangsa differs
from the Javanese because the keys make a louder sound and are designed to be struck with
different hammers. This instrument also requires long resonating bamboo tubes so is played while
sitting on a chair or bench. It has five keys (1, 2, 3, 5, and 6). This pattern is commonly found in
both Java and Bali. It plays at submultiples of the pokok and is played particularly at important
structural points as do the gongs.
The Jublag is the next higher pitched of the gangsa, this instrument also requires long resonating
bamboo tubes so is often played while sitting on a chair or bench. The Balinese version has 5 keys
(1, 2, 3, 5, and 6) seven key Jublag are also commonly found in Bali. It usually plays at submultiples
of the pokok; the keys are struck more frequently than the jegogan and usually less frequently than
the Ugal. It is one octave above the jegogan and shares tones with the Ugal. Another name for the
Jublag is Calung.
The Kantil shares its lower octave with the Pemade. They are above the Ugal which plays the
melody. There are usually 10 keys (2, 3, 5, 6, 1, 2, 3, 5, 6, and i) so the instrument spans two
octaves.

The Bublebee Sips Honeuy
The music of the Balinese concert recital music showed music from the village of Peliatan,
Indonesia. The concert had several performances including a full gamelan kebyar set, a performance
of gamelan kebyar with dancing performers, and a kecak performance with performers surrounding
the singers. These performances appeared to be for entertainment as the musicians are dressed in
matching attire and have arranged themselves so that can be seen by all those viewing. Also, the
accompanying dancers all had unique costumes, and are very willing to display their music to
outsiders such as David Attenborough and his film crew. The great variety in performances in the
recital helps to display the long enduring musical traditions of the Indonesian people.
In the full gamelan kebyar orchestra section there was a solely instrumental performance of a ...
Once again the instruments had a fast, bright pitch. Interestingly the performance of the two dancers
involved the male performer joining in playing with the musicians at the end of the performance
with a metallophone. It seems that dancers and musicians do not have to be separate groups in
performances. The dance routine, called The Bublebee Sips Honeuy in English, was designed by a
man called Mario and the female performer Mario and I Gusti Ngurah Raka helped create the
female role while the male role was danced by Anak Agunbangdi. The texture of the performance,
like the previous performance, was polyphonic as the different sections of instruments appeared to
be playing different melodies with each grouping's instruments. Also, there appeared to be little
ornamentation like the previous piece as each of the sections musicians played their distinct
melodies together with a great

White Oleander Essay
White Oleander, a dramatic fiction by Janet Fitch, was published by Little, Brown and Company in
Boston. The story is about a mother and daughter, Ingred and Astrid have a very unusual
relationship. Ingred loves her daughter but never asks her what she thinks so therefore doesn't know
her daughter too well. Such as she does not know of her daughter's yearning for a father.
Ingred makes it very clear that she will not allow herself to get close to a man. She is a very
brilliant, beautiful poet, who is adored by a man named Barry Kolker. He goes to all of her readings,
and asks her out each time. One of the times Barry invites her to go to the Gamelan, an orchestra.
Loving the Gamelan, she accepts. Her and Astrid join Barry, and they ... Show more content on
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Immediately after, he told Ingred she had to leave because he had a date coming. She wanted to seek
revenge. She started showing up at every place he was at. She broke into his house. He tried to go to
her house and make her stop the nonsense. He tried forcing his way in her house, and she stabbed
him in the hand. He left, and the next day she went to his house, where she found he had changed
the locks. She broke in and placed white oleanders in his milk, oyster sauce and cottage cheese, and
one in his toothpaste. She made an arrangement of white oleanders on his table, and scattered
blooms on his bed. A police officer came to Ingred's house, and told her that Barry is accusing her of
breaking and entering, and trying to poison him. She calmly stated that Barry is angry with her. She
broke up with him and that he couldn't get over her. Ingred and Astrid took trip to Tijuana and
Ingred bought a bottle of medicine called, DMSO, which helps drugs absorb through your skin
(DMSO helps nicotine patches work), and uses that to poison him. He dies. Ingred is eventually
placed in jail, leaving Astrid to jump from foster home to foster home.
Her first foster home is with a mother named Star. Star is a busty, and leggy, ex–coke addict turned
Christian. Star has a boyfriend named Ray, and Astrid falls in love with him. Astrid, 13, has an affair
with the 40–something Ray. Star gets jealous of their friendship and gets suspicious. One day, Star
comes in, in a drunken rage and

Music Analysis: Armenian Music
Why was this video/piece/work chosen? (1 pt)
When I first read about the Armenian culture I became interested in learning more about them, so I
wanted to choose an interesting Armenian song to learn more about the music and musicians.
Instruments used (2 pts; 3 if no vocal styles are used): Bass
Drum
Flute
Frame Drum
Guitar
Lute
Maracas
Martin "Backpacker" guitar (higher pitched sound)
Tambourine
Vocals
Vocal styles (if any) (1 pts):
I would say the lead vocalist is an untrained tenor, but his voice is nice for the song.
Technical terms that describe the music (5 pts):
I would describe the sound as a captivating acoustic song expressing the longing for someone's love.
I think the repetition on the phrase "Do

Smaug Song Analysis
Movie Music Analysis: Smaug's Theme Smaug's Theme was composed by Howard Shore for 2013's
The Hobbit: Desolation of Smaug. The genre of the piece is film fantasy, adventure and has touches
of horror mixed in with it. The song fits the style of the majestic dragon that is its namesake, and it
flows wonderfully with the movie, taking in various other relative themes and working with the
events that happen in the movie. Smaug's Theme was written by the award–winning Howard Shore
and performed by the New Zealand Symphony Orchestra for the second Hobbit movie, Desolation
of Smaug. Shore, born on 18th October, 1946 in Toronto, studied at the Berklee College of Music.
His first big score was Silence of the Lambs, and it became highly successful, ... Show more content
on Helpwriting.net ...
This is an example of how most of the piece has an underlying, faster beat to uphold the feeling of
'fleeing'. Occasionally the underlying ostinato isn't present because, in those scenes, the dwarves and
Bilbo are in a room where the dragon cannot get to them. Smaug's Theme is in 4/4 (simple duple)
time and starts out slow, before an accelerando, eventually hitting 180bpm, which represents the
movie's rapid change of pace. This represents the drift from a conversation, to a dragon hunting
down the company to kill them. Through the rhythm and dynamics, it is clear that Howard Shore's
Smaug's Theme has successfully highlighted the style of the film. Smaug is very magnificent and
grand, yet treacherous and cunning. In terms of the timbre of Smaug's Theme, a symphony orchestra
is used with the strings and brass being the most prominent, plus a few extra instruments such as an
Indonesian gamelan and finger cymbals. Little woodwind is heard, with flute and clarinet making a
few solo appearances. The lower brass, particularly the tuba and trombone, represent Smaug, and
his enormous, powerful, and deceivingly slow manner. The violins play a large range of pitches and
depict the beautiful, yet eerie emptiness of the halls under the mountain and how it has an immense
'dread' feel to it. Gamelan, chimes and finger cymbals are used to forge an exotic feeling and
together, sound like treasure, with the light chinking of coins and gold. The percussion

Cultural Diversity Of The Republic Of Indonesia
Within the cultural diversity of the Republic of Indonesia there are numerous artistic art forms that
have surfaced throughout this country. These genres give outsiders a glimpse into the cultural and
social context in which this society functions. Internationally this country is most recognized for its
traditional music ensemble known as gamelan. This art form serves as a significant part of the
artistic culture. It is used to accompany dances, puppet performances, rituals, and various
ceremonies. Furthermore, gamelan has always been an important part of the social construct within
the different provinces of Indonesia as it holds great recognition within its community. The different
forms of gamelan throughout the country in many ways have served as its own version of the
Gesamtkunstwerk within the culture of Indonesia and through provinces such as Bali we see how
one of their own genres of gamelan became the genesis for Balinese artistic culture.
Within the province of Bali, one of the most archaic genres within this region is known as Gambuh.
Gambuh is the oldest known surviving performing dance–drama which dates back to the early
sixteenth century during the Majapahit era under the influence from classical Hindu–Javanese court
culture and performing arts. According to ethnomusicologist Emiko Susilo she stated, "When the
dance–dramas of Majapahit came to Bali, they had the new task of preserving the tradition of a
fallen dynasty." This dance–drama portrayed life

The Impact Of Debussy's Influence On The Works Of Richard...
In 1888, Debussy traveled to Bayreuth, hearing Parsifal and Meistersinger there, followed by Tristan
the next year. His trips to Bayreuth mark the beginning of Debussy's intentional shift away from
Wagner. Wagner's domination of the French musical society occurred gradually over a period of
about forty years. Elaine Brody writes that in the 1840s "the French regarded Wagner as a madman;
by the 1880s they had placed him on a pedestal." Debussy himself was became swept up in the
fervor of Wagnerism. While the Debussy heard Wagner's Tristan while in Rome, it was Parsifal that
had the biggest impact on the French composer. But despite the overwhelming support for Wagner's
music, Debussy returned from Bayreuth feeling that he needed to free himself from the German's
influence; he wanted to to develop a style that was characteristically French and free of German
influences. ... Show more content on Helpwriting.net ...
After returning from Rome, Debussy began frequenting bistros, literary cafes, and attended
gatherings at Edmond Bailly's shop of rare books, where he read books exposing him to religious
symbolism. Through his newly acquired connections, he was invited to attend Staphane Mallarmé's
Tuesday evening salon. At these events, he participated in discussions of literature, art, music, and
heard many works by Mallarmé and other Symbolists. Mallarmé's notion of of the "arabesque" is
something that Debussy latched onto. Barbara Kelly described Debussy's concept of "arabesque" as
"an undulating melodic line, independent of any notion of development of themes...subject to varied
repetition." This is a concept that would prevail through Debussy's mature compositional

Interpretation Of Gender Roles In American Music
Music is a human concept, a unique biological interpretation of sound. Because it is human, it is
influenced by other human constructs, such as gender, politics, and race. These influence our
interpretation of a piece and it's individual components.
How exactly do these constructs affect one's interpretation and understanding of music? We know
that different cultures have different roles for their different categorizations and individual roles, and
these give certain associations with different kinds of music, instruments, keys, qualities, pitches,
and timbres.
In our own western culture we can see many examples of this. Higher pitched instruments are
normally effeminate, certain drum rhythms can be associated with military or with rock, country is
predominantly white, and a plagal cadence sounds religious. These ... Show more content on
Helpwriting.net ...
They are respectively male and female dances, displaying masculine and feminine movements to
highlight each gender.
In reading in–depth about this piece, we find the constructs of gender roles, religion, and even age
involved in the gamelan music of Bali. Gaya will affect how women play, age will affect how well
one has learned an instrument or how the dancers might perform, and religion can dictate every
aspect of social norms and expectation in a society, including political systems and laws in a
country. Although simply listening to Mekar Sari is certainly enjoyable, one cannot truly understand
the meanings inherent in a piece until they have understood the music's origins and story.
No matter the culture, music does not exist inside a bubble. In the modern age many cultures are
progressing forward past rigid roles and more freedom for individuals, and with this music is
changing. How the individual culture expect these roles differs between every region and social
group, and as such so does music. To understand music, it is crucial to also understand its

Cognitive Development: Vygotsky's Theory Of Cognitive...
Vygotsky Theory
Vygotsky (1978) was a famous theorist in the field of cognitive development specified in
fundamental of social interaction. He believes that an exploration of social development in an
individual is crucial. Vygotsky's approaches seen in the development of children's meaning–making
processes in social and cultural context (Mahn, 2012). Vygotsky (1978) in McLeod (2012)
mentioned that the process in "making meaning" plays an important role in the community. An
"everyday concepts" or day–to–day experiences are what Vygotsky believes on (Au, 2007). The
impact of this theory through culture, development, learning and education remains in the 21st
century (Hedges, 2012). Children's senses in making and thinking connects through their new
learning experiences as well as understanding. These known as working theories where children are
believed to find connections with their everyday life experiences and learning process. Hedegaard
(2009) mentioned that children learn and grow by being involved in their everyday activities in the
community. In relation with this ... Show more content on Helpwriting.net ...
This also supports in the founding and maintenance of any individual and group's identity. The sense
of awareness and enhancing a person is thinking through learning music by ourselves or in groups
can also develop motivation, active learning, interaction and cooperation. One good way of learning
in a group has always been associated with community learning. As mentioned by Jensen (1964) in
Smith (1996), learning in community education is the key to lifelong learning and it plays a crucial
part in fighting against social exclusion. Community learning offers great opportunities in learning
within and for the communities. Through the process, each individual were exposed to learning,
discovering, practising, and performing when ideas were put together based on their cooperative's
learning

Stereotypes In Georges Bizet's Carmen
Locke's definition for exoticism as a spectrum, allows many different pieces or work to fall in
different areas from pure exoticism to transcultural composing. It can either be define as "othering"
by using exotic music to "other" people or a place that us non–Western European, or it can be seen
as transcultural composing by still using non–Western European music but not intended to "other" a
certain place or people. Georges Bizet's Carmen uses non–Western European music to specifically
target a certain group and intend to "other" them. Just like Bizet's Carmen, Benjamin Britten uses
gamelan–inspired music to "other" the main character's homosexual desire for the young Polish boy.
Georges Bizet's opera comique, Carmen, "others" the Roma people ... Show more content on
Helpwriting.net ...
Britten uses gamelan–inspired to connect it to homosexual attraction and in a way pedophilia.
Britten came into contact with gamelan music through Colin McPhee. The way that he perceived
gamelan music to Britten was that it was a way to symbolize sexual freedom. Bali, at the time, had
more freedom about their sexual preferences, as Richard Taruskin states "...McPhee, like many
Euro–American artists, was drawn to Bali not only by its indigenous art, but also by its reputation as
a sexual paradise...," and therefore Britten's first impression about gamelan music was that it
represented a place where one could be free to explore their homosexuality in peace. During this
time, homosexuality was considered a crime in many places. In the opera, when Gustav von
Aschenbach falls in love with Tadzio and every time Tadzio would appear, gamelan–inspired music
would play. Even though the music did play only in the parts where Tadzio appears, he is unaware
that Aschenbach is watching him from a distance. The music in a sense portraits Aschenbach's
desire for the young polish boy to be exotic. In the case of this opera, this non–Western European
element wasn't used to "other" the people from Bali but it was used to "other" homosexual people in
Europe (lecture 14, 3/1/18). The gamelan music could also be used to portrait pedophilia. In this
case the attraction that Aschenbach feels towards Tadzio. This

Review Of ' Sonata V Of John Cage 's Sonatas And...
In this essay we will analyze two modern musical pieces. These pieces are namely Sonata V from
John Cage's Sonatas and Interludes, and Caballito Negro by George Crumb. Composed in mid
twentieth century, both pieces made a great success and they are worth examining in terms of the
historical and subjective values affecting their achievements.
Sonata V of John Cage has binary form which consists of small–ranged irregular phrases. The piece
as a whole does not have a distinct melody. The first section has a smooth, repetitive rhythm, and
percussive sound of prepared piano is ethereal. There is a regular pulse throughout the first section,
and the pulse is delayed in some places with a couple of extra notes ("Sonata V," 0:12–0:16). The
second part is more like the developmental part of the Classical sonata form. It is more dissonant
and irregular, and there are pauses between some phrases. The piece as a whole differs from Western
music in almost every aspect. Some parts of the piece resemble African drumming ("Sonata V,"
0:47–0:52). However, Cage was actually inspired from Javanese Gamelan, an orchestra of metallic
percussion from Indonesia (Forney et. al., 374).
As Alex Ross describes, "Cage love[s] noise" (366). This should be why he decided to alter his
piano in a "conceptually violent" and unusual way for Sonatas and Interludes. Though, Cage's aim
was not pure violence, as we are pleased by the "soft sounds" instead of being "battered by some
unholy racket" (Ross, 366). I

Exoticism In Carmen And Benjamin Britten's Death In Venice
Ralph P. Locke's theory of musical exoticism takes form through a spectrum that ranges from pure
musical exoticism to transcultural composing. However the main requirement of exoticism is the
notion of conjuring up a specific place or group of people as being perceived as different from the
audience culture. In terms of pure exoticism, the composer willingly incorporates exotic sounding
elements in order to mark a specific group or place as foreign. Transcultural composing is the other
facet of exoticism. It is different in that it is not intended to marginalize any exotic group, rather it is
a mix of Western and non–western styles. While both George Bizet's Carmen and Benjamin
Britten's Death In Venice incorporate exoticism, they each take on an opposite form of exoticism.
Bizet's use of stereotypical gypsy music, as well as the portrayal of Carmen, explicitly marginalize
and construct Carmen as different. Carmen's lack of Spanish descent and her Gypsy ethnicity are
constructed as different via musical and performative aspects of the opera. Within the exoticism
framework, Bizet's carmen is an example of pure exoticism. In contrast, Britten's Death In Venice is
an example of transcultural composing because the "other" being marginalized is homosexuality,
which is an identity that Britten is apart of and is not exclusive to any one group. George Bizet's
Carmen was an opera that followed a Gypsy woman named Carmen in Seville, Spain. Carmen was
characterized as being a gypsy

Budismo
Budismo
Ang Budismo o Budhismo (Sanskrit: Buddha Dharma, nangangahulugang: "ang landas o batas ng
naliwanagan o ng gising") ay isang relihiyon at pilosopiya na nakatuon sa mga aral ni Buddha
Śākyamuni (Siddhārtha Gautama), na marahil namuhay noong ika–5 siglo BCE. Kumalat ang
Budismo sa buong lumang sub–kontinente ng Indya sa limang siglo pagkatapos ng pagkamatay ni
Buddha, at naikalat sa Gitna, Timog–Silangan at Silangang Asya sa sumunod na dalawang milenyo.
Ngayon, nahahati ang Budismo sa tatlong pangunahing tradisyon: Theravāda (Sanskrit:
Sthaviravāda), Mahāyāna, at Vajrayāna (uri ng Budismo sa Tibet). Nagpatuloy ang Budismo na
mang–akit ng mga tagasunod sa buong mundo, at, kasama ang mga 350 milyong tagasunod,
tinuturing ito bilang ... Show more content on Helpwriting.net ...
She stood as the icon of peace, love and compassion. Siya ay tumayo bilang ang icon ng
kapayapaan, pagmamahal at pakikiramay. Her determination to serve the poor and needy fetched
her about 124 prestigious awards, including 'Padmashree Award' (in 1962 from the President of
India), 'John F. Kennedy International Award (1971), 'Bharat Ratna' , 'Order of Merit' from Queen
Elizabeth, 'Nobel Peace Prize' (1979), The Pope John XXIII Peace Prize', 'Medal of Freedom' (the
highest US Civilian award) and many more. Ang kanyang mga pagpapasiya upang maglingkod sa
dukha at mapagkailangan kinuha siya tungkol sa 124 prestihiyosong parangal, kabilang ang
'Padmashree Award' (sa 1962 mula sa Pangulo ng Indya), 'John F. Kennedy International Award
(1971),' Bharat Ratna ',' Order ng merito 'mula sa Queen Elizabeth,' Nobel Peace Prize '(1979), Ang
Pope John XXIII Peace Prize', 'Medal of Freedom' (ang pinakamataas na US na sibilyan award) at
marami pa.
Mahathir mohammad
Tun Dr Mahathir Mohammad, ang ika–apat na Punong Ministro ng Malaysia ay ang Great Pahayag
ng Malaysia. Many may agree with me and many may disagree with me. Maraming mga maaaring
sumang–ayon sa akin at maraming maaaring hindi sumasang–ayon sa akin. Everyone is free to have
his or her own opinion towards Tun Dr Mahathir .As a normal human being Tun Dr Mahathir
certainly has good as well as bad qualities. Ang lahat ay libre na magkaroon ng kanyang sariling
opinyon

The Impact Of Desa Adat Kuta
b. Behavior Krama Desa Adat Kuta remain Controlled.
The positive impact of Hinduism preservation efforts can be seen through the daily activities of
manners Desa Adat Kuta in running the life Swadharma and position in the society respectively.
Business competition, labor, employment opportunities and the limited time to move to the manners
of Desa Adat Kuta, it is a "test" on faith manners Desa Adat Kuta. However, they still can carry out
personal activities, family or activities as manners banjar or village manners without feeling
weighed down, depressed or forced. In fact, quite amazing, because, on one side of the manners of
the village have to fulfill their obligations as a person carrying out Swadharma, as family members
carrying out the obligations and responsibilities of religion, on the other hand they also have to
fulfill obligations as workers in the workplace and at the same time they also have to duty as
manners banjar or village manners.
c. The existence of Arts and Culture remains Lestari.
Positive impact on retention efforts religion by Hindus in particular by Desa Adat Kuta manners
make the art of Balinese culture remain stable in palemahan Desa Adat Kuta. This is because the
Balinese culture revived and inspired by the teachings of ... Show more content on Helpwriting.net
...
Lestarinya Balinese culture and inspired by Hinduism with cultural actors Hindus causing Bali
tourism to be sustainable so it will still be able to make a major contribution to the Regional
Original Revenue (PAD) seeks to tax hotel and restaurant and other services. Local Government has
also channeled PAD indirectly to the community through increased aid in various fields such as in
the field of transportation infrastructure, agriculture, handicrafts, trade, labor and employment,
development of infrastructure and so

Meaning Of Retention Of Hinduism
2.3.3 The Meaning of Retention of Hinduism
a. The Meaning of Moral Education, Skills and Efficiency
In the process of preservation of religion by Krama of the cultural village of Kuta is going process
of transferring science and religion and religious life skills among Krama of village. The meaning of
moral education in this exposure means is the process of moral education that is good and bad deeds
guidance. The link between moralities with religion is very closely related with the teachings of
Hinduism because Hinduism teaches about morality that is part basic framework of religious
teachings. Vocational education is meant in this connection is the skill with singing, art of
percussion, dance, as well as skills Upakara field, Uparengga and religious ceremonies. The transfer
of

Review Of Claude Debussy 's ' The Piano '
Achille–Claude Debussy, commonly known as Claude Debussy, is one of the world's most famous
Classical composers. His extreme talent at the piano is undeniable, and his life story is fascinating.
Debussy was able to grow as an artist throughout his lifetime and continue this recognition long past
his death. By creating a new and beautiful sound with the piano, Debussy was able to become one of
the greatest composers of all time within the classical period that has lead to all different types of
people from all different eras to appreciate his work.
Debussy was born on August 22, 1862, in the town of Saint Germain–en Laye, France. Debussy was
the oldest of five children, where growing up in the suburbs of Paris, his family was quite poor.
Although his family was poverty stricken, along with neither of his parents being musicians,
Debussy was able to begin playing the piano at age seven and started to gain success at the age of
nine. One of his teachers, Madame Maute de Flerville, who also taught the Polish composer
Frederic Chopin (Lockspeiser), was able to provide Debussy with great knowledge and skill of the
piano. Then at the age of only eleven, Debussy enrolled in the Paris Conservatory where he was able
to express his musical talent and knowledge. At the conservatory, in addition to the artists studying
their instrument, "performers received training in music theory and harmony, and participated in
ensembles" (Jensen 9). Debussy's musical talent benefited greatly from

Gamelan Gong Kebyar Essay
Gamelan Gong Kebyar
Gamelan is thought to come form a Javenese word gamel, which means ' to handle' (Sumarasam
1995 :319–320). It also refers to a type of hammer particularly appropriate for metal percussion
instrument that dominate gamelan ensemble because of the way the instruments are made and
played. The instruments originated probably from northern Vietnam, where visitors brought bronze
object and technology in about 300 B.C and possibly rice cultivation technology as well. (Hood
1980: 122)
Balinese history can be viewed as four different eras. The earliest postprehistoric stage, so called
Indigenous Bali is considered to have begun during the third millennium B.C., with vast amount of
migrants from mainland Southeast ... Show more content on Helpwriting.net ...
Kebyar literally means 'to burst up' like a flower or 'to flare up' like a match. In the book Music in
Bali, McPhee say that Kebyar can be said to be refer to cymbals and their metallic crash and the
explosive unison attack in gamelan music. (McPhee, 1966:328)
A general structure of Kebyar music is in the form of KPP. KPP is an abbreviation of
Kawitan(introduction), Pengawak(the main body) and Pengecek(conclusion). This concept are said
to be derived from culturally valued dimensions of "threeness" such as the concept of tri–angga (an
anthropomorphism referring to the head, torso and legs), three courtyards of the Balinese temple,
the tri–loka(upper, middle and lower worlds of existence) and others. Like sonata allegro, KPP is
mainly associated with a restricted "classical" repertoire. (Tenzer,2000:354). McPhee describes that
pengawak is essentially static in form and mood, the Pengecet is dynamically progressive, passing
through successive phases of rising rhythmic tension. (McPhee,1966:83)
Instrumentation in a Balinese Gong Kebyar is divided into 3 categories defined by its construction
and materials which are the Metallaphones, Gongs, and miscellaneous. (Tenzer,2000 :40) When all
of these instruments combines, it can range up to 5 octave. Gangsa are Metallaphones with bronze
keys that are suspended on chords

Pagodes, Pour Le Piano, And The Javanese Gamelan
1889 was the year where Claude Debussy became particularly interested in Javanese Gamelan.
Northern European musicians constantly searched for new and exotic sound worlds, different to the
Nineteenth Century German Romanticism from which they were trying to move away. It was when
Debussy visited the 1889 Paris Universal Exposition that he became intrigued with the exhibit from
Java, (an island in the Malay Archipelago). The Java exhibit was a model village which presented
many aspects of the communal village life whereby Gamelan played one of the main roles in the
religious and social areas. Javanese Gamelan, consisting of a collection of instruments, mostly
metallic with gong or bell–like sounds caused enthusiasm and excitement among the European
musicians, due to its 'well –developed, powerful and beautiful style' that had complete uniqueness
and broke all rules of what music could and should be. Robert Godet (a friend of Debussy)
remarked that "many fruitful hours were spent in the Javanese Kampong (Village)". Debussy was
said to be captivated with Gamelan, listening to the Percussive rhythmic complexities and its
inexhaustible combinations of celestial, flashing timbres. Amidst Debussy's works, 'Pagodes', 'Pour
Le Piano' and 'L'isle Joyeuse', incorporate into their pieces numerous aspects of Javanese Gamelan,
whether it be the interlocking patterns between the left and right hand, or using melodies influenced
by the Slendro pentatonic scale. The Pastiche orientalism of

Claude Debussy Research Paper
Claude Debussy, best known for breaking the rules of tonality, has written and composed many
pieces that still influence musicians today. His talents were noticed by everyone he came in contact
even with at a young age. Nevertheless, people were scared of his innovative music because it was
unlike anything they had heard before. He embraced nontraditional scales and tonal structures
("Bio.com", n.d.). For this reason, people disliked like his music until later in life. Debussy will
always be remembered as the founder of musical impressionism.
Born on August 22, 1862, in Saint–Germain–en–Laye, Claude Debussy was the oldest of five
children ("Bio.com", n.d.). His parents were Manuel and Victorine Debussy and they owned a small
china shop ("Smith ... Show more content on Helpwriting.net ...
This mix of tone poem and symphony is roughly twenty–three minutes long ("La mer | LA Phil",
n.d.). It was started in 1903 in France and was completed in 1905 on the English Channel coast in
Eastbourne. Claude Debussy was obsessed with the sea, he loved it so much that he was unable to
write the piece by the ocean ("Claude Debussy's Life and His Luxurious Music", n.d.). He wrote to
a friend that he, "was destined for the fine career of a sailor," and that "only the accidents of life put
him on another path," ("La mer | LA Phil", n.d.). All of "La Mer" was written far away from the
ocean ("Claude Debussy's Life and His Luxurious Music", n.d.). This piece depicted elements of the
sea such as the wind and waves ("Claude Debussy's Life and His Luxurious Music", n.d.). Debussy
created "La Mer" as a "series of spontaneous fragments of music ("Debussy's La Mer – An
Atmospheric Nature Painting", n.d.). "It was a very influential piece, and its use of sensuous tonal
colours and orchestration methods influenced many film pieces later on," (2012, 23:08).
Debussy wanted to avoid the term symphony so he called his work "three symphonic sketches,"
("La mer | LA Phil", n.d.). It consisted of two powerful outer movements and a faster piece that acts
as a type of scherzo (2012, 23:08). A scherzo is a movement from a bigger piece like a symphony
(2012, 23:08). This piece to me creates a calm feeling while listening and it

Listening # 3: Driven To Tears By The Police
Listening #1: The first piece is a plainchant piece. It is polyphonic because of the many voices that
are present in the piece. The counterpoint present in the differing vocals adds texture to the piece
and the duration of the melodies draws out the piece so that it has a languid feel to it. There are
certain intervals where the piece increases in intensity and it adds to the overall full feel of the
plainchant. Plainchants were used in order to memorize religious rituals and the piece has a very
cathedral sound to it. It is simple but opulent at the same time.
Listening #2: When listening to the second piece, it reminded me of the type of abrasive music that
we listened to from Elliot Carter. This makes sense as the piece is Igor Stravinsky's ... Show more
content on Helpwriting.net ...
I hoped to have a better understanding of music and a greater appreciation for the myriad of
elements that go into a piece. I have learned so much about music this semester that I previously
held no knowledge of and feel that I am a better listener because of this class. I am now able to
listen to a piece and understand why it was composed that way. One of my favorite periods that we
learned about was the Classical period. Not only does this period take place in one of my favorite
time periods in history as it was the Age of Enlightenment, but it also produced such composers as
Mozart and Beethoven. The music from this period was simpler than the intricacies of the Baroque
period before it and focused on melodies. The introduction of the choral symphony with
Beethoven's Ninth Symphony sticks with me as well as it is one of my favorite pieces and it
contained such an innovative

Musical Exoticism In Britten's Death In Venice
Music 15: Paper #2 In the late nineteenth century, France forged a new path in music and ushered in
the practice of musical exoticism. Pieces, such as operas, began to be characterized by their use of
exotic elements including: music, makeup, clothing and props. Ralph P. Locke in, Musical
Exoticism: Images and Reflections, expanded upon this notion stating that the purpose of musical
exoticism was to evoke a place that is perceived as different from one's home (Locke, p.47).
Elaborating from this definition a spectrum of musical exoticism was contrived; with "pure"
exoticism, intended to "other" the exotic elements, and transcultural composing, intended to provide
a hybrid of musical styles, representing the two extremes on opposing ends (Locke, p.44, 228) .
Benjamin Britten in his opera, Death in Venice, uses exotic elements –Gamelan music–in a
nontraditional sense that does not adhere stringently to the conditions of "pure" exoticism or
transcultural composing. Some pieces, such as Britten's Death in Venice, blur the lines of distinction
between each end of the musical exoticism spectrum and are open to subjective interpretation by the
listener. Thus, through analyzing the use of exotic elements and their intended purpose in Britten's
Death in Venice, it is my opinion that the piece falls more in accordance with "pure" exoticism
rather than transcultural composing, due to Britten's use of the exotic elements to effectively "other"
the homosexual attraction of opera's main character. Musical exoticism is the use of non–western
elements in western music for the purpose of defining and representing exotic elements or
"othering,"–that is to label a group or place as different from one's own (Locke, p.45). Musical
exoticism is a diverse genre, and pieces can adopt a variety of forms. Therefore, musical exoticism
is regarded as a spectrum rather than definitive categorization. On one end of the spectrum is "pure"
exoticism and on the other is transcultural composing. "Pure" exoticism is used to represent an
exotic subject through the use of "othering" that is to present a people, place or group in contrast to
the audience's home so that the audience perceives the exotic element as different from themselves

Music Synthesis Essay
The piece Touraman contains key structural principles associated with West African music despite
the different versions of Bembeya Jazz National and Lansana Diabate. The structural principles
include an ostinato pattern, improvisation, triple meter, ensemble stratification, and hocketing. In the
Bembeya version, the piece starts with a guitar flourish and then the test of the band comes in. The
bass is keeping the ostinato while the guitars interlock and at certain points improvise; the trumpet
improvises as well. This version also features some call and response, as the lead singer sings a line
and the backing vocals reply in unison. Diabate's version is in the traditional jeli style, so the piece
is played on traditional instruments, as opposed ... Show more content on Helpwriting.net ...
The 'traditional' version is likely to be played at a patron's event or accompanying a traditional
ceremony, while the 'modern' version is more of a social music played at dance halls/concerts. A
couple reasons for the difference are the instrumentation and sociopolitical context of each version.
Diabate uses traditional jeli instruments, which are non electric and specific to jelis, while Bembeya
uses amplified big band instrumentation. A traditional ceremony in a village is not going to use
electric guitars and bass, just as a large cosmopolitan dance hall is not going to use balas and Koran
recitation. The two places are using music as a means for different ends – one as a vessel for history
and one as a stamp of modernity. This leads to the sociopolitical context; jelis are born into their
profession and have certain rules around their music, while bands like Bembeya Jazz National were
formed by the state (Guinea) to play music around the country during post–independence. While
state bands included jeli musicians, the instrumentation was different and the purpose behind the
music was different as well. State bands were Sekou Toure's way to improve morale and encourage
modernity during the unstable time following independence. So, Diabate's version is meant to be
traditional, while Bembeya's version is meant to be

Informative Speech About Batik

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