26 October 2010

The Four Seasons

...summer days
all about the musical craze
staring at the stars
waiting for Mars...
...autumn breeze
waiting for the first freeze
writing everything on a staff
playing it back to laughs...
...winter sheen
sitting by the fireplace like a queen
holiday spirits in the air
to the cheerful melodies nothing can compare...
...spring blooms
flowers sharing sweet perfume
music singing about rebirth
enjoying the harmony of the Earth...
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
This was inspired by haiku and Vivaldi's Four Seasons.  We needed to write poetry for Music & Language.  I've plan on making a movie that has seasonal pictures and the music snippets I played with the words during class.
I've put ... at the beginning and end of each verse because I intended this to be able to start at whichever season you want (and then follow the cycle).
Stay Tuned!

17 October 2010

From All Around the World

Pageviews by Country

1 - Ukraine, UK
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10 - Denmark, Canada
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281 - US

Total Pageviews 329!!!!

Keep reading!  I always appreciate comments and suggestions!
And don't forget to take the poll on the left side of the page (down a little)!!

13 October 2010

The Rebirth of the Flame

(A short story for class - I'm not sure how good it is... :\  comments are appreciated)

It was dark and lonely, mostly lonely.  Fiammetta awoke, no longer surprised that it was still black and shadowy.  She had not seen any light for a long time, almost as long as she could remember.  Hearing anything but the scurrying of mice was not such a distant memory.  She did not even know where she was and had given up trying to figure it out once the music stopped—she knew from the music that she must be near the concert hall or the school.
The last time Fiammetta felt the warmth of the light was grand!  She had been the centre of attention…well, aside from Antonio, but he could steal some of the spotlight if he wanted.  At the front of the orchestra, the wonderful A Minor Concerto played by the best violinist in Venezia, Fiammetta singing out to the concert hall.
How she missed Antonio—how long had it been now?  It must have been years.  She never heard Antonio’s music anymore; he must be gone now.  She paused a moment on the ideas of where he could have gone without her.  He probably did not move away.  Venice was his home.  Had he forgotten her?  That would be horrible!  That could not be the reason she was left in this isolation.  She was his little flame, his friend, and his counsel in the most dismal days of his life.  That left only one reason for her solidarity.  He must have died.
This made Fiammetta feel even lonelier than before.  She would not be able to join him; she could not die and pass into the next world Antonio had talked about when he was a priest.  What was she to do now?
A few more years passed, but time was all the same to Fiammetta, nothing about her ever changed.  Even the scurries of the mice faded away—now she was really alone.
One day, there was noise from above.  It shocked Fiammetta, even scared her for a minute.  What could it be?  It was loud, just one at first.  Thud, thud, clump, thud, clump.  Each one echoing, making the sound grow all the louder.  Then more.  The last time she heard that much noise was when the orchestra set up.  But why would an orchestra be setting up?  Could it actually be an orchestra?  Maybe she was going to get stuck underneath the rubble from the building!
Then, almost as if to answer her question, Fiammetta heard a cello playing, then a horn, and a flute.  It shortly turned into a cacophony of instruments.  It had to be an orchestra!  Such excitement!  Fiammetta wondered if she would ever be found and played again.
She grew accustomed to hearing the orchestra play.  No one found her, and they did not play Antonio’s music very often, but she found herself enjoying it nonetheless.
A few weeks later, there was noise that seemed to be in the same room, coming closer.  Fiammetta wanted to scream, “who’s there?!”  Rustle, thud, clump, bang.  Something had fallen, but it was not her.  Phew! Then she heard a creak—and there was light!  It was so bright!  She had forgotten how bright.  Someone picked her up and glanced over her body.
Soon she was brought out of the darkness.  And was on stage!  Back to the concert hall!  Ready to sing so even the people in the back could hear.  But the man holding her handed her to a little girl with red hair.  “I thought I would find this beneath the stage.” the man said.  “It was your uncle’s.  He called her Fiammetta.  Here is the case with some of his music.  Make him proud Rufina, bring her back to life.”
Antonio’s niece?  That would not do!  She could not possibly be as good as Antonio or love Fiammetta as much!  But what could Fiammetta do about it?  There was no way for the man and girl to know what she, Fiammetta, wanted.  No way for Fiammetta to stop it.  And so “life” began again with this young redhead.  Fiammetta did not want to live for this girl.
Antonio Vivaldi
Rufina played for hours every day.  It was exhausting after all those years sitting underneath the stage!  Despite Fiammetta’s resentment and resistance, Rufina began slowly but burst with talent once she had the basic skills.  Fiammetta continued to hate her.  She missed the conversations of music and the feelings that she shared with Antonio—Rufina never had a musical conversation with her, never told Fiammetta about her thoughts.  Everything Rufina played was written already.  Never missing a note on the page, never creating one either.
Rufina was selected to do a solo piece with the orchestra in the spring.  “Great,” thought Fiammetta, “now everyone will see what a diaster this girl is, and I will be shoved back under the stage.”  But Rufina chose to do Antonio’s No. 6 A Minor Concerto—one of Fiammetta’s favourites, the last time she had been with Antonio.  It was hard not to help Rufina whilst she played; Rufina even added some of Antonio’s old tricks and frivolities.
When the night of the concert came.  Fiammetta could feel the tension in the concert hall as Rufina stepped out from behind the curtain.  Fiammetta was not expecting the fear she felt—what if she had lost something after all these years?
They started out a wobbly, but as they got farther and farther into the music, Fiammetta and Rufina became one.  Just as Antonio and Fiammetta had.  After the final draw of the bow across the string, the audience jumped to their feet.  Fiammetta could not have imagined the glow she was emitting.  This little red-haired girl had put the flame back into an old violin.

10 October 2010

In Process...

so, I have several "working posts" - hopefully I can finish them within the next week, but some are dependent on my time availability (it is hard to write about things you haven't seen or heard)

in the meantime, I am looking for new ideas.  So, what do you want to read about???
please leave your prompts/ideas/questions/concerns/etc.!!!

(and vote in the poll on the left side of the page...down a little bit)

5 October 2010

Is Music Dying Off?

With the Internet invasion, the poor economy, and nothing new coming from composers who are gone, orchestras across the country have been struggling to survive. Is the population of orchestra concertgoers just simply dying off? And, if so, why? Why are there not more young music lovers attending great orchestra concerts? Why are people not interested in hearing the great symphonies? Pop music sales are down, but people are still listening.

I do not know a lot of people outside my family that regularly go to orchestra concerts or other “classical” music venues. Most of my friends before college had never even been to an orchestra concert (a concert doesn’t count if you are performing in it), and I always wondered why none of their parents took them right downtown. The Rochester Orchestra & Chorale had concerts about once a month from October to April, and tickets were cheap. I went to every one of those concerts until I left for college. Even a number of my music-majoring peers had not been to a professional orchestra concert until our theory class went with Mozart scores in hand.

Several decades ago, conductors were part of “popular society.” Nowadays, people don’t even know their names. Few people know that Leonard Bernstein did more than write West Side Story—he directed the New York Philharmonic, wrote books, and played piano.

The shrinking concert attendance cannot be only from the economy; even when concerts are free, there is never a full house. Even though orchestras typically only get around 35% of their revenue from ticket sales, the large amounts of donations and sponsors are holding back money in the rough economy.



Maybe people think they’ve heard it all before: “what new could I possibly hear this time?” Yes, a horrible attitude to have about music. Live performances are the best places to find the new in the old. What is this orchestra doing to bring out different aspects of the piece? Are they playing it at the same tempo as everyone else? But are people bored? There are plenty of 20th- and 21st-century composers and concerts showcasing their works that people could get a taste of the new. But those concerts aren’t highly attended either. Orchestras are trying new strategies: what can be done to get more people to concerts? There was an article in The Ledger on October 1st that discussed some of the new tactics.

The internet allows people to download their favourite movement(s) of a piece, so why not do what The Imperial Symphony Orchestra will be doing: opening their season with a concert only playing the most recognised movements of orchestral works that include 5 in their title. But will it actually draw more people? How are you supposed to advertise to people who don’t normally read your advertisements or listen to the radio stations that play your ads? They aren’t going to pay attend just because entire symphonies won’t be performed.

Many have come to the conclusion that music is actually dying this time—a slow painful death. Orchestra concertgoers are typically of the senior crowds, and not being replaced by younger generations, as they are unable to attend concerts any longer, fewer and fewer people fill the concert hall. Why not make it a family event? A lot of small orchestras have kids concerts or family based events. Why are parents not introducing their children to all types of culture?


Will classical music survive this downfall?

4 October 2010

Wagner - The Ring Cycle

A $16 million production, The Met's rendition of Wagner's opera cycle "Der Rind des Nibelungen" got off to an interesting start.  Over the next two years, the magic of the four-part opera is to unfold.



I read an article by Alex Ross in Music & Language...
and now I am curious to know what everyone thinks about the massive production in NYC!!



The Met's Website Article (with links to more pictures & videos/trailers & synopses!!)

2 October 2010

What makes these people "musicians"?

With the explosion of new artists, how many of them are actually satisfying our musical needs?

Today in class, we talked about knowing who is popular in the music business right now.  But why are those people popular?  We watched part of one of Drake's videos--I, personally, was not impressed.  I didn't care for the lyrics, didn't really like his voice.  Could his recently found music success be based on his previous stardom, playing Jimmy Brooks on Degrassi: The Next Generation?  Or what of Justin Bieber? I think he sounds like an 11 year old girl, and I'm not seeing how he looks any better than other boys his age.  He's even written a book--there are VERY few people who have the talent to write a truly good story or even write well that are his age.  Miley Cyrus?  Hate her voice.  Yet every young girl is obsessed with her - and becoming her.  Hannah Montana is a frequently watched show when I babysit.  Are people interested in her because she is also an actress?

Then they all have their merchandise, artists have clothing lines, make-up lines for what purpose?  A way to forge more loyalty?


Are the "real" and great musicians being hidden by all of this?  I know so many people with talent, so many people that could inspire the world.
So how do we get these people into the recording and radio world?

1 October 2010

Trent Reznor and Atticus Ross - The Social Network

Not knowing much about creating electronic music, I am at a loss for how Trent Reznor and Atticus Ross came up with the music for the movie The Social Network.  The ability to express the story around the Facebook phenomenon and all of the drama at its beginning is amazing.

Knowing the movie isn't completely accurate doesn't change the effects of the music.
I am curious about the process Reznor & Ross went through: did they write the music after seeing some of the film?  Did they ever get to see part of the film before composing?

I will hopefully be able to give you an analysis after I see the film, so stay tuned!!

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