Warning – focus on the drum, authentic shooting with high iso in challenging lighting conditions. Kaleidoscope Art & Music Festival is a celebration of the arts in our high desert community. There are two viewing rooms, plus viewing stations, scanners, Macs and PCs, large study tables, and smaller carrels for studying.
Through its wind instruments, it invites one to visit other cultures and heritages. ‘Play a Part’ from Armenian producer Teom drags us quickly until we find ourselves contemplating a surreal sunset in the desert. Without a doubt, the vocals along with the electronic sequences are the perfect engine to get us there comfortably. The Art of Music is “an innovative way of bringing kids together with Music and Art to develop the whole child.” Through movement and object play , we offer 6 week sessions of 1-hour enriching experiences for children (ages 1-21). You are invited to watch this video that shares some of the many collaborations the University engages in to promote its Art & Music Department. Your custom MP4 video and sheet music will be available for instant download and sent to your email.
- In short, this is a highly entertaining piece if not a terribly deep one, but Zwilich’s sure grasp of the musical elements involved make it work.
- Around the world, music traditions have used elements that are not readily apparent to most listeners unfamiliar with the tradition.
- Here, Zinn is the first soloist up, and he does try to play Witzel’s game of creating an entirely new piece from the basic material.
- Les Deux Amis, Flute and Guitar Duo Emerging young artists and currently graduate students at The Hartt School, Garcia and Hershey will present a delightful evening of chamber music.
- Were his bandmates not on such an exalted level, it probably wouldn’t matter so much, but since they are, my verdict is that he is OK but nothing to write home about.
- In between Nos. 2 and 4, however, we get the relatively long, almost surrealist Nocturne No. 3, which almost sounds like one of the composer’s Cartas Celestas in miniature.
‘Ethera’ by Sasson is a piece that invites us to reflect on life without leaving the dance-floor. It features delightful moments of calmness yet showcases resolutely uplifting parts. With its magical sounds it keeps one’s mind completely focused at all times. Called a “master composer” by The Boston Globe for his jazz orchestra’s debut CD, First Storybook, Hans Indigo Spencer’s career includes working with theater directors, filmmakers, animators, and choreographers. He is also an educator who has been teaching music for over 20 years and recently joined MECA&D as an adjunct instructor in the newly launched Bob Crewe Program in Art and Music.
In other projects
James W. Iman is a Pittsburgh-area pianist and teacher who specializes in music written since 1945, although he also includes some modern works written in the 1910s, ‘20s and ‘30s. This, the first of three CDs he is contracted to produce for the Divine Art-Métier label group, is a reissue of his first album, released by ZeD Classics in 2017 . Although more popular than his Fifth or Seventh Symphonies, Mahler’s Ninth isn’t really one of most people’s top picks. It is more restless and moody than almost any of the other symphonies, and only seems to respond well to those conductors who understand this. My favorite recordings are the ones by Sir Georg Solti , Bruno Walter and Klaus Tennstedt , although Sir John Barbirolli came very close to greatness in his 1960s recording with the Berlin Philharmonic.
Music in all its varied forms is the most accessible and affordable form of art we have today. Justine is involved in project conceptualization, instrument design, and all facets of art direction . She’s also involved in stage direction, music critique and future developments. Unexpectedly beautiful Experimental Pop Percussion that is intricate, playful and powerful, and that delights the ears, eyes and heart. The Romance for violin and orchestra is a nice piece, developing from a somewhat over-sweet opening into some very interesting modal variations at a faster tempo.
We also strive to help students appreciate Art, Music and Theatre as significant dimensions of the human experience. Studying the history of the arts brings home the central role that they have played in the development of human thought, both within and outside the Judeo-Christian tradition. Practicing the arts encourages students to incorporate creative expression into their wider intellectual and personal development. In forming the human being more completely, the department fulfills a fundamental goal of Catholic education.
Unspoken symphony analyzed your artwork to create a unique melody with pre-selected instruments, but there’s more! Preview and play your melody with other instrument combinations to create a symphony that’s music to your ears, or click ‘i’m done! He directs a world-class five-member touring ensemble, Scrap Arts Music, that exclusively plays his 145+ invented instruments and his original repertoire at leading international festivals and theatres around the world. The Department of Art & Music is dedicated to this premise by preparing students to develop into superior, well-rounded, and accomplished intellectuals and professionals, whatever their chosen career paths. The Scherzo, too, walks a fine line between ultra-precision and excitement.
Matthew just responded to this subtle change of sound physics of the new mouthpiece and further advanced our already highly ever-evolving symbiotic musical relationship. The Flute Concerto No. 1, evidently written to comply with the Soviets’ demand for accessible music, is an unusually chipper piece for him at this stage of his life , but chipper it is. Coming on the CD between the Seventh and Third symphonies, it acts as a sort of upbeat emotional buffer. Gražinytė-Tyla’s performance, along with flautist Marie-Christine Zupancic, is appropriately upbeat. There is little or no angst here, but how can you make a flute express sadness and despair? The opening of the last movement is wholly unique, sounding like a phone ringing that is not answered before going into soft, moving figures in the violins.
Now mind you, I’m not saying that there’s anything wrong with Svedlund’s performance. All music is open to interpretation, and unless it is insensitive, there’s nothing wrong with a straightforward reading of the score, particularly in this early stage of Weinberg’s career when his angst was not so keenly felt. What Gražinytė-Tyla does is to “preview” the growing sadness in his music through her interpretation. Or maybe it’s just a matter of Rudolph codifying already-existing forms used by jazz musicians in a new and, to me at least, more complex manner. The purpose of this book is to inspire both instrumentalists and composers to look at musical elements in new ways.