I am applying for admission to the DMA program at the University of Iowa School of Music for the purpose of equipping myself with a holistic understanding of piano performance. Since I have a great interest in music‚ I am looking forward to exploring new ways of looking at piano study. Moreover‚ the University of Iowa is one of the top universities in the United States‚ not only with its outstanding faculty but also its remarkable alumni all around the world. I was attracted to music at a young
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The New Classical Music Experience‚ an article written by Andrew Goldstein and published by The Huffington Post‚ proposed the idea of replacing ordinary concert halls with a more social setting in order to intrigue common listeners of classical music. Audiences would likely feel exhilarated to connect with classical music if they had a chance to personally communicate with the musicians and other members of the audience. Goldstein emphasizes that a profuse portion of individuals claim that they
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This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane’s improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns using the theoretical
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The CD I review was “Fanfare for the common man‚ The man and his music on Aaron Copland” conducted Michael Tilson Thomas. The style of music is classical and the music is played by the San Francisco symphony. Michael Tilson Thomas had a personal relationship with Aaron Copland and admired him in many ways. Aaron Copland was an American composer of concert and film. He was also a well known pianist. He was born in 1900 and died in 1990. The style of music Aaron Copland wrote was modern music
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Illustrate the features of Holborne’s ‘Pavane and Galliard’ that are typical of the late Renaissance period. Holborne’s work Pavane ‘The image of melancholy’ and Galliard ‘Ecce quam bonum’ appeared in a collection of music released in 1599‚ towards the end of the Renaissance period. The lack of specified instrumentation is a perfect example of its date (although it would most likely have been performed by a ‘broken consort’‚ a mixed group of wind and string instruments). As one would expect
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UNIT FOUR: Music Appreciation Text Questions Please complete the following questions. Answer the questions on this document. Submit your work as a file attachment. This means you complete all work in a word processing document (e.g.‚ Microsoft Word) and attach the file using the dropbox tool. The answers to the Text questions are worth 75 points. 75-70=A 69-64=B 63-56=C 55-50=D 49 or less = F Review Questions (5 points each) 1. What were the three forms of English madrigals? Describe each type
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Throughout history‚ musicians and composers‚ who possess a unique musical talent‚ found themselves been employed under the patronage system and or freelance system. Up till the classical era‚ the only way musicians could support themselves is under the patronage system. They could be servants of aristocrats or servants of the church. Under the patronage system‚ musicians were employed as servants. As servants‚ they have very few rights; they cannot leave their jobs without asking for permission
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The scope of this report is to analyze the control and use of music by the Nazi party from 1933 to 1945. The first point to be considered is the motive and logic behind the control of music in the Third Reich. The second subject to be discussed is the various ways in which the Nazi party controlled and used music. Finally‚ we will analyze the effectiveness of the control of music in Nazi Germany. Why was music controlled and used by the Nazi Party? To answer this question‚ we must first look at
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Analysis: Isorhythmic Motet There were a total of five separate talea consisting of three colores. The first three talea were in 3/2 time and the final two were in 6/8. Taleas A-I and B-I share the same color‚ while A-III and B-III also share the same color. A-II had the only unique color. While there are no actual repetitive talea in the upper voices‚ there are many cyclical repeated rhythms. For example‚ the triplum in measures eleven through eighteen match the exact rhythm for the eight
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Module C Conflicting Perspectives Practice Response Discuss how composers influence responses to events‚ personalities or situations through representations of conflicting perspectives. Composers are able to evoke in the audience certain reactions to characters or events in their texts by presenting conflicting perspectives on different issues through the manipulation of the language forms and features of their medium‚ often communicating their own ideas about issues in question‚ which results
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