While the orchestra had its beginnings in the Baroque era, what we n.docxmansonagnus
While the orchestra had its beginnings in the Baroque era, what we now think of as a symphony orchestra became standardized in the Classical era. Mozart and Haydn could never imagine some of the myriad ways that orchestras are now a part of everyday life. We’ll be looking for modern uses for the orchestra that go beyond the traditional symphony concert.
Instructions
Find an example of a modern use of orchestra (examples might be a jazz album with strings, a rock project with strings, a game soundtrack, or a television or movie score) and trace what you hear back to the development of the orchestra in the Classical era. Is the instrumentation similar to a Classical era orchestra, or have newer instruments been added? How would you describe the genre of the new music you found? Share links to your musical examples with the class.
...
I got this powerpoint presentation in the web, but i modified it, edited and made it kind if more ellaborate than the original and omitted some not so relevant slides. This is kind of short but still, it is substantially enough. :)
Don't forget to thank me if you download this:)
String and wind instruments inside the orchestra. Classwork made by María Fernández and Andrea Ramos a 1ºESO bilingual student at IES Pulido Rubio,Bonares ( Huelva) , Spain
String and wind instruments inside the orchestra. Classwork made by Álvaro Domínguez a 1ºESO bilingual student at IES Pulido Rubio,Bonares ( Huelva) , Spain
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
While the orchestra had its beginnings in the Baroque era, what we n.docxmansonagnus
While the orchestra had its beginnings in the Baroque era, what we now think of as a symphony orchestra became standardized in the Classical era. Mozart and Haydn could never imagine some of the myriad ways that orchestras are now a part of everyday life. We’ll be looking for modern uses for the orchestra that go beyond the traditional symphony concert.
Instructions
Find an example of a modern use of orchestra (examples might be a jazz album with strings, a rock project with strings, a game soundtrack, or a television or movie score) and trace what you hear back to the development of the orchestra in the Classical era. Is the instrumentation similar to a Classical era orchestra, or have newer instruments been added? How would you describe the genre of the new music you found? Share links to your musical examples with the class.
...
I got this powerpoint presentation in the web, but i modified it, edited and made it kind if more ellaborate than the original and omitted some not so relevant slides. This is kind of short but still, it is substantially enough. :)
Don't forget to thank me if you download this:)
String and wind instruments inside the orchestra. Classwork made by María Fernández and Andrea Ramos a 1ºESO bilingual student at IES Pulido Rubio,Bonares ( Huelva) , Spain
String and wind instruments inside the orchestra. Classwork made by Álvaro Domínguez a 1ºESO bilingual student at IES Pulido Rubio,Bonares ( Huelva) , Spain
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
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