Krate Digga is committed to improving quality of lives using music as a vehicle specifically through the prism of Hip Hop culture. Whether teaching middle school or at the collegiate level, opening for Grandmaster Flash or presenting his own stage production; it is music and the power therein that’s allowed Krate to serve as a conduit for artistic & community development. Others in psychology and other fields have asserted that both music and art are separate from other innate forms of communication.
- Born in Santa Cruz in Tenerife, he trained in the conservatoire in his home town and at the Escuela Superior de Canto Reina Sofía in Madrid before being accepted at the Busseto Academy , where he perfected his art with Carlo Bergonzi.
- And Witzel’s solo is an extension of that theme, using its harmonic base to improvise on but also extending the time—and the harmony—within his improvised choruses.
- The term “art music” refers primarily to classical traditions that focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener.
- Many people even hear music in their dreams, and some see colours when they hear music; a form of synaesthesia.
- In the context of Adderly’s soul jazz, Ho plays very well, but again it’s the leader who commands the most attention.
YAM was opened by lake highlands residents, Jen & Trey Johnson, with the goal to create a community-based space to help highlight amazing local yoga teachers, artists and musicians. The Bernard Osher Foundation Art, Music and Recreation Center offers material about the visual arts, performing arts, music, sports and recreation. The Center features information on artists, architects, musicians, actors, filmmakers, dancers and other arts professionals and athletes — primarily those who have lived and/or worked in the San Francisco Bay Area. Students studying design, art or music at Assumption have numerous opportunities to explore their creativity and showcase their talents. Our faculty are practicing designers, artists, and musicians, who are eager to guide students both professionally and academically towards a fulfilling career in the arts or beyond.
Why do music and art move us?
The history of music itself is largely an account of its adjunctive function in rituals and ceremonies of all kinds—religious, military, courtly—and in musical theatre. The Nocturnes are much shorter works than the Cartas Celestas as well as more rhythmic, although their rhythm is made up of complex meters. The exceptions are nocturnes Nos. 2 and 4, the former having a melody based on Beethoven’s “Moonlight” Sonata and No. 4 having a lovely, almost lullaby-like tune, which explains their having been previously recorded.
Art music
Boethius (c. 480–524), was well suited to the needs of the church; the conservative aspects of that philosophy, with its fear of innovation, were conducive to the maintenance of order. The role of music as accessory to words is nowhere more clearly illustrated than in the history of Christianity, where the primacy of the text has always been emphasized and sometimes, as in Roman Catholic doctrine, made an article of faith. In the varieties of plainchant, melody was used for textual illumination; the configurations of sound took their cue from the words.
We both have classical music backgrounds and have a completely open mind about how to organically deal with classical and jazz language in one piece as if it comes out of the same matrix. There is no question, however, that this is a virtuoso ensemble, or that Bychkov draws the very best out of them. He knows this music as well as anyone and, thankfully, has his own ideas on pacing and phrasing, all of which work very well.
The long but whimsical Ländler movement also has its surprises, again with accents and details normally glossed over. I also loved the swagger he gave to the music here; I’ve never heard this movement conducted as well. I also loved the way he did the “Rondo-Burleske,” almost making it an extension of the Ländler—but in the latter part of this movement, Rattle gets out of control. He makes up for it with a deeply-felt “Adagio,” however; this is as good as Solti’s performance. Although I get sick and tired of reviewing constantly-retreaded repertoire, I make exceptions for those few artists who are real interpreters and who have an affinity for certain composers of this kind of music. Simon Rattle is one such, particularly where Mahler or French impressionists are concerned.