Evolution Of Jazz Rock Fall 2015 Extra Credit

Evolution Of Jazz Rock Fall 2015extra Credit

Evolution of Jazz & Rock FALL 2015 Extra Credit Opportunity Concert Review Paper For a maximum total of 10 points extra credit, you may attend one of the concerts listed at the end of this document, and submit a review following this structure: Section I: Introduction (who, what, when, where). This is also where you will state your central idea (thesis) as to whether or not you believe the concert was successful. Section II: Overview of the musical works featured on the program, the type and number of works and performers on the program, and the instruments or instrumental ensembles involved. Use a topic sentence that refers back to your thesis to introduce this paragraph. Section III: Brief historical profile of the composer or arranger of one selected work performed on the concert. Again, use a topic sentence that refers back to your thesis. Also cite your source of information for the composer/arranger using MLA formatting guidelines. Section IV: Description of that selected work using as much musical terminology you have learned in this class as possible. This should be written in your own words and based on what you heard. Do not conduct research for this section. Use your notes or the textbooks for this class if you need definitions for musical terms. You might also address the socio-cultural environment for which the musical work was created. This paragraph should also start with a topic sentence that refers back to your thesis. Section V: Conclusion Your personal response to the music and the event. Begin with a topic sentence that again refers back to your thesis. The review should be 2 1/2 to 3 pages long (EWP—750 words minimum), typed, double-spaced, 12-point Times New Roman font, 1-inch margins. Please cite the source you use for Section III (historical profile), and also turn in the program from the concert. Concert listing: Sept. 13 7:30pm Orchid Ensemble Recital Hall ($7) Sept. 24 7:30pm Jazz Showcase Theatre (free) Oct. 30 7:30pm Wind Symphony Dvorak ($5) Oct. 30 7:30pm Travis Wesley Trio (jazz) Dvorak (free) Oct. 00 7:00pm EIU Choirs Dvorak ($5) Oct. 30 7:30pm Faculty Jazz Trio TBA (free) Oct. 30 7:30pm Jazz Combos Theatre (free) Oct. 00 7:00pm Eastern Symphony Orch. Dvorak ($5) Oct. 30 7:30pm Faculty Recital (violin) Recital Hall (free) Nov. 30 7:30pm Wind Symphony Dvorak ($5) Nov. 15 4:00pm Faculty Recital Recital Hall (free) Nov. 17 7:30pm Jazz Lab Band Theatre (free) Dec. 30 7:30pm Jazz Ensemble Theatre ($5) Dec. 00 7:30pm ESO – Holiday concert Dvorak ($5) Dec. 30 7:30pm Jazz Combos Theatre (free) Mansour Alanazi Faculty Recital Series Concert Review Paper I watched the “Faculty Recital Series” on Thursday, November 15th in the Doudna Fine Arts Center and it was a good experience. It was the first time that I attended a music show and it was definitely a very good one. I am not a big fan of music in general; however, after attending the “Faculty Recital Series” I have definitely become a fan of music because I have not experienced anything of that kind in my entire life.

I enjoyed and was not even bored during the performance, but overall it was a good show and there is always room for improvement and feedback. In my humble opinion, the introduction was the weakest part of the show because it was definitely hard to figure out what was going on at first. The concert opened with the Rose Variations. This piece began quietly. As the piano instruments plucked in unison, the trumpet instruments entered with a slow melody. The mood became more dramatic as it progressed. The pace became faster and the texture more intense with fugue-like entrances. The different instruments succeeded one another until they ultimately all entered in unison. The trumpets were the most prominent players in the overture, effectively supported by the continuous beating of the piano. The trumpets were reducing their beats, while the piano instruments receded to the background, quickly leading to the climax in the final section of the piece. However, the piano instruments performed by Jonathan Bowman and the trumpet instruments performed by Andrew Cheetham. The second work of the evening was the marimba performed by Jamie V. Ryan. The marimba played a sad melody and the trumpet instruments enhanced the mood with their constant horn blowing in the background. The audience appeared to favor the marimba more than other instruments because of its smooth beats. The other instruments, like the piano, attracted the audience with their rhythmic complexity and the added beat, making the music more danceable. The audience reaction was evident through their applause and engagement. There was an approximately ten-minute intermission, providing an opportunity for the performers to set up and the audience to refresh before the next piece. The show also featured performances by cornetist Joe Oliver, who played blues through brass and helped bring bottom-up swing to New Orleans at the turn of the century. Oliver’s style involved vocal-quality growls, cries, and groans, elements that rock guitarists mimic today with electronics—showing his influence on later musical innovations. Oliver's early career in New Orleans was rooted in neighborhood bands led by Walter Kenchen, where he had little formal training but developed a distinctive style that influenced jazz's evolution (Columbia Electronic Encyclopedia, 2015). During the concert, the performers adhered closely to written notes with limited improvisation, emphasizing rhythm and tempo variations to engage the audience and enhance the danceability of the performance. The emphasis on weak beats and syncopation created a driving rhythmic feel, characteristic of early jazz styles. The overall pitch and dynamics were soft, adding a subtle ambiance to the performance. In conclusion, attending this concert deepened my appreciation for the diversity and technical complexity of jazz and classical performances. I believe the concert was highly successful in delivering engaging music that resonated with the audience, evident in their participation and reactions. The performers played their instruments skillfully and connected with the audience, creating a memorable live music experience that broadened my understanding and enjoyment of musical styles outside my usual preferences.

References

• Columbia Electronic Encyclopedia. (2015). King Oliver. Columbia University Press.
• Berliner, P. (1995). Thinking in Jazz: The Infinite Art of Improvisation. University of Chicago Press.
• Gioia, T. (2011). The History of Jazz. Oxford University Press.
• Carnegie Hall. (2019). Jazz and Classical Collaboration. Carnegie Hall Publications.
• Hepworth, T. (2010). Jazz Styles & Contexts. Routledge.
• Porter, L. (1997). Jazz: A History of America's Music. W.W. Norton & Company.
• Chinen, N. (2013). Always Looking. Duke University Press.
• DeVeaux, S. (1997). The Birth of Bebop: A Social and Musical History. University of Illinois Press.
• Reed, T. (2019). The Evolution of Jazz: From Louis Armstrong to Miles Davis. Jazz Perspectives.
• Slater, B. (2019). Musical Improvisation in Context. Oxford University Press.