1.
Arranged (film)
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Arranged is a 2007 American independent film produced by Cicala Filmworks. The film was written by Stefan Schaefer and is based in part on the story of Rochel Meshenberg, Schaefer co-directed and produced the film with his long-time collaborator Diane Crespo. The film centers on two young women — one an Orthodox Jew, the other a devout Muslim — who meet, over the course of the year they learn that they share much in common, not least of which is that they are both going through arranged marriages. The cast includes Zoe Lister-Jones, Francis Benhamou, Marcia Jean Kurtz, John Rothman, Mimi Lieber, writer Gary Shteyngart performs a cameo and is credited. The film is distributed in North America by New York-based Film Movement, internationally, the film is sold by Visit Films, and has been distributed in more than 40 countries. Arranged at the Internet Movie Database Arranged, Happily Wholesome in a Brooklyn World
2.
John Philip Sousa
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John Philip Sousa was an American composer and conductor of the late Romantic era, known primarily for American military and patriotic marches. Because of his mastery of composition, he is known as The March King. Among his best-known marches are The Stars and Stripes Forever, Semper Fidelis, The Liberty Bell, The Thunderer, Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. His father enlisted him in the United States Marine Band as an apprentice in 1868, after departing the band in 1875, Sousa learned to conduct. From 1880 until his death, he focused exclusively on conducting and he eventually rejoined the Marine Band and served there for 12 years as director. On leaving the Marine Band, Sousa organized his own band and he toured Europe and Australia and developed the sousaphone, a large brass instrument similar to the helicon and tuba. At the outbreak of World War I, Sousa was commissioned as a lieutenant commander, following his tenure, he returned to conduct the Sousa Band until his death in 1932. In the 1920s he was promoted to lieutenant commander in the naval reserve, Sousa started his music education by playing the violin as a pupil of John Esputa and George Felix Benkert for harmony and musical composition at the age of six. He was found to have absolute pitch, during his childhood, Sousa studied voice, violin, piano, flute, cornet, baritone horn, trombone, and alto horn. When Sousa was 13, his father, a trombonist in the Marine Band, several years long after serving his apprenticeship, Sousa joined a theatrical orchestra where he learned to conduct. He returned to the U. S. Marine Band as its head in 1880, Sousa led The Presidents Own band under five presidents from Rutherford B. Hayes to Benjamin Harrison. Sousas band played at two Inaugural Balls, those of James A. Garfield in 1881, and Benjamin Harrison in 1889 and he wanted a tuba that could sound upward and over the band whether its player was seated or marching. The sousaphone was re-created in 1898 by C. G. Conn and he organized The Sousa Band the year he left the Marine Band. The Sousa Band toured from 1892 to 1931, performing at 15,623 concerts both in America and around the world, including at the World Exposition in Paris, France and at the Royal Albert Hall in London. In Paris, the Sousa Band marched through the streets to the Arc de Triomphe – one of only eight parades the band marched in over its forty years, on December 30,1879, Sousa married Jane van Middlesworth Bellis. They had three children, John Philip, Jr. Jane Priscilla, and Helen, All were buried in the John Philip Sousa plot in the Congressional Cemetery. Wife Jane, daughters Jane Priscilla and Helen Abert joined the Daughters of the American Revolution in 1907 and their ancestor was Adam Bellis, who served under several different commands for the New Jersey troops in the American Revolutionary War. Late in his life, Sousa lived in Sands Point, New York, Sousa died of heart failure at the age of 77 on March 6,1932, in his room at the Abraham Lincoln Hotel in Reading, Pennsylvania
3.
The Flying Dutchman (opera)
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The Flying Dutchman, WWV63, is a German-language opera, with libretto and music by Richard Wagner. Wagner claimed in his 1870 autobiography Mein Leben that he had been inspired to write the following a stormy sea crossing he made from Riga to London in July. In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heines retelling of the legend in his 1833 satirical novel The Memoirs of Mister von Schnabelewopski, the central theme is redemption through love. Wagner conducted the premiere at the Semper Oper in Dresden in 1843 and this work shows early attempts at operatic styles that would characterise his later music dramas. In Der fliegende Holländer Wagner uses a number of associated with the characters. The leitmotifs are all introduced in the overture, which begins with an ocean or storm motif before moving into the Dutchman. By the beginning of 1839, the now 26-year-old Richard Wagner was employed as a conductor at the Court Theatre in Riga. His extravagant lifestyle plus the retirement from the stage of his actress wife, Minna, Wagner was writing Rienzi and hatched a plan to flee his creditors in Riga, escape to Paris via London and make his fortune by putting Rienzi on to the stage of the Paris Opéra. Boarding the ship Thetis, whose captain had agreed to them without passports, their sea journey was hindered by storms. The ship at one point took refuge in the Norwegian fjords at Tvedestrand, Wagners experience of Paris was also disastrous. He was unable to get work as a conductor, and the Opéra did not want to produce Rienzi, the Wagners were reduced to poverty, relying on handouts from friends and from the little income that Wagner could make writing articles on music and copying scores. Wagner hit on the idea of an opera on the theme of the Flying Dutchman. Wagner wrote the first prose draft of the story in Paris early in May 1840, in Heines tale, the narrator watches a performance of a fictitious stage play on the theme of the sea captain cursed to sail forever for blasphemy. In Heines version, this is presented as a means for ironic humour, however, Wagner took this literally and in his draft. By the end of May 1841 Wagner had completed the libretto or poem as he preferred to call it and these were composed for an audition at the Paris Opéra, along with the sketch of the plot. Wagner actually sold the sketch to the Director of the Opéra, Léon Pillet, for 500 francs, but was unable to convince him that the music was worth anything. Wagner composed the rest of the Der Fliegende Holländer during the summer of 1841, with the Overture being written last, while this score was designed to be played continuously in a single act, Wagner later divided the piece into a three-act work. In doing so, however, he did not alter the music significantly, in his original draft Wagner set the action in Scotland, but he changed the location to Norway shortly before the first production staged in Dresden and conducted by himself in January 1843
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Music
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
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Musical composition
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People who create new compositions are called composers in classical music. In popular music and traditional music, the creators of new songs are usually called songwriters, with songs, Composition is the act or practice of creating a song or other piece of music. In popular music and traditional music, songwriting may involve the creation of an outline of the song, called the lead sheet. In classical music, orchestration is typically done by the composer, in some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in her mind and then play, sing and/or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written or printed scores play in classical music. Although a musical composition often uses musical notation and has a single author, a piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. A more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze, although in the 2000s, composition is considered to consist of the manipulation of each aspect of music, according to Jean-Benjamin de Laborde, Composition consists in two things only. The first is the ordering and disposing of several sounds. in such a manner that their succession pleases the ear and this is what the Ancients called melody. The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant and this is what we call harmony, and it alone merits the name of composition. In classical music, a piece of music exists in the form of a composition in musical notation or as a live acoustic event. Since the invention of recording, a classical piece or popular song may also exist as a recording. If music is composed before being performed, music can be performed from memory, by reading written musical notation, compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar, electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to a lesser degree than in popular music. Music from the Baroque music era, for example, used only acoustic and mechanical such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord. A 2000s-era pop band may use electric guitar played with electronic effects through a guitar amplifier, different musical styles permit singers or performers to use various amounts of musical improvisation during the performance of a composed song or piece. In free jazz, the performers may play without any sheet music, improvisation is the act of composing musical elements spontaneously during the performance, as opposed to having a composer write down the music beforehand. Improvisation was an important skill during the Baroque music era, instrumentalists and singers were expected to be able to improvise ornaments, during the classical period, solo instrumentalists were expected to be able to improvise virtuostic cadenzas during a concerto. During the Romantic music era, composers began writing out ornaments and cadenzas, in contemporary classical music, some composers began writing pieces which indicate that the performer should improvise during certain sections
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Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
7.
Musical phrasing
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Phrasing is the manner in which a musician shapes a sequence of notes in a passage of music, in order to express an emotion or impression. A musician accomplishes this by deviating stylistically from the sheet music—altering tone, tempo, dynamics, articulation, inflection, Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composers intention. For example, accelerating the tempo or prolonging a note may add tension, there are two schools of thought on phrasing, says flautist Nancy Toff, one more intuitive, the other more analytical. The intuitive school uses a model, equating the function of phrasing with that of punctuation in language. Thus, said Chopin to a student, he who phrases incorrectly is like a man who does not understand the language he speaks, structural information gleaned from the score is visually apprehended and as such is predisposed to visualist models of structure. These models are premised on symmetry and balance and on a notion of objective structure. Temporal and aurally-apprehended structures are denied reality because they cannot be said to exist in the way that spatial, Musical investigations exhibit the Western prejudice toward visualism in the dependence on visual symmetry and balance. Information about structure from listening experience is suspect because it is considered subjective and is opposed to information from the score. Musical technique Tempo rubato Quotations related to Musical phrasing at Wikiquote Liebling, Emil, the American History and Encyclopedia of Music. Lessons in Vocal Expression, Course I, Processes of Thinking in the Modulation of Voice
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Musical form
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The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. According to Richard Middleton, musical form is the shape or structure of the work and he describes it through difference, the distance moved from a repeat, the latter being the smallest difference. Difference is quantitative and qualitative, how far, and of what type, in many cases, form depends on statement and restatement, unity and variety, and contrast and connection. This phrase may be regarded as the unit of musical form. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, thus, form may be understood on three levels of organization. For the purpose of exposition, these levels can be roughly designated as passage, piece. The smallest level of construction concerns the way musical phrases are organized into musical sentences and this may be compared to, and is often decided by, the verse form or meter of the words or the steps of a dance. In the analysis of form, any components that can be defined on the time axis are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions, if one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales, for example, consider the analogy with rhyme schemes, The following verse is composed of two differently-rhymed couplets, and thus its organization is binary or twofold. Twinkle, twinkle, little star, How I wonder what you are, up above the world so high, like a diamond in the sky. There once was a fellow from Leeds Who swallowed a packet of seeds, in less than an hour he burst into flower And he died trying to pull up the weeds. The next level concerns the structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If the theme is played, then a new theme is introduced, great arguments and misunderstanding can be generated by such terms as ternary and binary, as a complex piece may have elements of both at different organizational levels. The grandest level of organization may be referred to as cyclical form and it concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a theme may be presented as a song-cycle
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Performance
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A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand, the means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance, in Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performers faces. Sometimes the dividing line between performer and the audience may become blurred, as in the example of theatre where audience members get involved in the production. Theatrical performances can take place daily or at some other regular interval, performances can take place at designated performance spaces, or in a non-conventional space, such as a subway station, on the street, or in somebodys home. Theatrical performances, especially when the audience is limited to only a few observers and this increase takes place in several stages relative to the performance itself, including anticipatory activation, confrontation activation and release period. The same physiological reactions can be experienced in other mediums, such as instrumental performance, heart rate shares a strong, positive correlation with the self reported anxiety of performers. Other physiological responses to public performance include perspiration, secretion of the adrenal glands, a performance may also describe the way in which an actor performs. In a solo capacity, it may refer to a mime artist, comedian, conjurer. Audio electronics Entertainment Live sound mixing Performance science Rock festival Sound technology Spectacle Stadium Stagecraft Theater
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Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
