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Essay Instructions: First Step: Writing (300 words)

Assignment Criteria: Write a response to the following prompts...
1.How would you describe your personal aesthetic? What styles of music and entertainment do you prefer?
2.What is your dance aesthetic? What kinds of movement interest you?
3.Answer the following questions regarding the three Le Sacre du Printemps videos from the "Aesthetics" lesson.
1.How are the three choreographers using bodies, space, time, energy and relationships?
2. What is important to each of these choreographers in terms of physical and emotional expression?
3.What is important to each of these choreographers in terms of their relation to the musical score?

Second Step: Respond to at least three other posts. Your responses to others should identify commonalities, discuss differences and find connections. (100 words each)

It is expected that you will post an initial response and three peer responses each week.

Remember that all your discussion threads need to be in formal English, with a clear and logical presentation of ideas that is grammatically correct, and must utilize proper citation of any quotes, ideas, images or videos borrowed from other sources than yourself.



Alyssa said:


I would describe my personal aesthetic as simple, but beautiful open space. To me, the most beautiful thing is open land that is surrounded by mountains. I think in a space like this, something small can stand out as beautiful without being overlooked. I enjoy many different types of music from hip hop to jazz. I love live entertainment such as music festivals, but I also am easily entertained by movies. My dance aesthetic is sharp, technical movements in unison. This can be seen in many ballet performance. I enjoy how ballet can still be about creativity, even though the form of dancing is very technical. The movements are sharp but still flow nicely, allowing a story to be told.

In the Joffrey Ballet dance company piece, the choreographer, Vaslav Nijinsky, puts the focus on a dancer located in the middle of the stage. Around the soloist, are groups of dancers equally spaced from one another. While the soloist in the center of the stage in not moving, the focus is still directed towards her at the middle of the stage. The relationship between the soloist and the other dancers is what tells the story. Towards the end of the piece, others begin to stand up and surround the soloist. The energy and relationship between the soloist and the other dancers becomes stronger as more dancing begins to occur. The soloist in the center stands still, without responding, but the feelings are expressed through the surrounding dancers. Slowly, many of the dancers begin to leave the stage. The unison movements have a natural flow and feeling, even though they are technical and carefully choreographed. This gives a natural feeling to the piece. The movements are choreographed to the music, allowing each movement taken to be more dramatic.

In Wuppertal Dance Theater's piece, the attention is on the two, male and female dancers who are located at the front of the stage. In the back, a large group of dancers, made up of both genders, begin with slow movements. As the music picks up, the movements become sharp and exact. Full body movements are choreographed into the piece. The dancers in the back contribute to the story of the two dancers in the front. Similar to the soloist in the Joffrey Ballet piece, these dancers have very few movements, but are still the focus of the dance. At the end, the male dancer pushes the female dancer away and she is left alone. The expressions on the face of the main female dancer shows fear as she is pushed away and left alone. The steps in this piece are not choreographed to every beat, and the movements are more continuous. Even when the dancers seem to have paused, they are still moving. The change in music shows changes in the dance as well as changes occurring in the story being told.

The piece choreographed by Emanuel Gat includes two male dances, and three female dancers. Two of the males are paired up with a female partner at all times while rotating, leaving one female dancer alone at all times. As the music being to change to distinct, louder and stronger beats, dancers leave the stage leaving one female dancer alone. Her movements become sharp and choppy, showing a feeling of distress. The other dancers join back on stage, and as the music become faster, the dance speeds up and becomes more complicated. The dancers weave in and out of each other while still dancing and switching partners. The relationships between the dancers are constantly changing since each partner is changing. As they switch partners, the space is still clear and easy to see. Emanuel Gat choreographs the music with the dance and each movement, allowing the audience to have more of a relationship and connection to the performance.



Joffery Ballet 1987 Rite of Spring (3 of 3). 30 January 2010. YouTube. Web. 30 November 2010.

Le Sacre du Printemps by Pina Bausch Wuppertal Dance Theatre. 9 December 2006. YouTube. Web. 30 November 2010.

Emanuel Gat Dance Rite of Spring #2. 24 August 2008. YouTube. Web. 30 November 2010.



Nichole said:



1. I feel I would describe my personal aesthetic, is the beach. The beach is something you can appreciate and in my eyes it is perfect. The sun, the waves, and even the noise when you are there is just pure relaxation and beauty to me. It’s how you appreciate the beauty of your music. All music I enjoy. I definitely though have an interest in Hip-Hop, and the Music that is out today. I love all kinds of music that you can dance too, it puts me in a good mood when I am driving, especially somewhere far. I love going to live concerts, but I love going to concerts that have a lot of dance in them so I can relate to it, because I used to dance. Britney Spears is a great concert to go to, because she puts on an awesome show. Britney Spears does tons of dancing and singing all together in one, and she puts on an awesome show. Her moves are all together in unison, and she puts on an awesome performance from start to finish. I enjoy her dance moves, because they are quick, clean, neat, and always adds a little bit of craziness to them to make her performances awesome and complete!



2. In the Joffrey Ballet dance company piece of dance, the choreographer Vaslav Nijinsky shows their dance piece reflecting on the girl in the middle. She has a serious expression on, as all of the dancers dance around her. Almost as if she is not even there, she keeps her serious expression on and stands still, however though the camera stays focused on the center of the stage. All the dancers tend to do their own thing with their partners on stage, but towards the end they come to surround this girl who is still standing their with an evil and horrified look on her face. You see it is a very dramatic piece with tons of tension throughout. No smiles are really used in this piece. Just all kinds fear and strange looks on all of the dancers faces. They use their arms to make you feel the types on tension going on throughout the piece of dance. The piece is choreographed very well and you can see how dramatic each individual is as they move through each step that has been choreographed.



3. In Wuppertal Dance Theater’s piece by Pina Bausch, that they are trying to explain the four signs of facing a Heart Attack. You see the women and man towards the front of the stage, as he admires her, because her body seems to be acting up. In the background of them two there are all dancers. Their movements start off very slow, and then as the music becomes very loud and upbeat, you see their arms and body movements become very strong and precise. Again, as the piece shown before this, no one has happy facial expressions. Everyone’s faces are shown of fear and tension, and you can see it in their movements when they dance. They are not sloppy however, they hit ever beat in the music very sharply. Even if they are standing in a group with no arm or leg movement, you can see them breathing heavily with body movement in their chest, to show signs of fear and how heavy they are breathing to get you to pay close attention to them.




The last piece choreographed by Emanuel Gat, was a little different then the first two pieces of dance, because this piece only consisted of five dancers. They had two males and three females. Their piece was in darker lighting, almost as if it were some kind of sneaky mystery. Each male would dance with the female at the same time and the left over dancer would dance in the back, but would quickly switch spots, and all rotate so they would all have a turn to dance with one another. The way they choreographed it, t almost looks as if all the bodies are dancing together doing the same thing, but also having a very neat rotation throughout so everyone had their fair share. In the beginning the piece sounds very emotional with soft movement, and towards the end the music becomes louder and louder, and the dancers movements like the other two videos become very precise and sharp. The audience can see and hear this by the change of dance and the sound and sharpness of the music throughout the piece.

Joffery Ballet 1987 Rite of Spring (3 of 3). 30 January 2010. YouTube. Web. 30 November 2010.

Le Sacre du Printemps by Pina Bausch Wuppertal Dance Theatre. 9 December 2006. YouTube. Web. 30 November 2010.

Emanuel Gat Dance Rite of Spring #2. 24 August 2008. YouTube. Web. 30 November 2010.



Jonathan said

I would describe my own personal aesthetic scene is that of the view of the landscape below as viewed from a very high location. The view from the top floor of the building in Manhattan in which I worked this summer was one such example. From that high up, the view commanded my attention completely- in that moment, I both felt like a giant, and was reminded of how truly small I was in the scheme of my surroundings.

My own preferences for music vary wildly from classical to punk rock, but currently I enjoy country and folk music that is heavy on instrumentals and participation. This ties in nicely to one of my favorite forms of entertainment- live music performance. I enjoy seeing the music being played in person- regardless of style. There is something about watching the effort being put into making the music that intrigues me. I also enjoy sporting events and films as entertainment.

I have never given much thought to my dance aesthetic- it was not a form of entertainment with which I have had much exposure. I suppose that it would have to be hip-hop dance, in particular the movements during which the dancers ‘pop’ and make small movements that are isolated, yet in time. Furthermore, when such routines are performed in groups, it is even more impressive and captivating to me.

In the choreography by Vaslav Nijinsky, performed by the Joffrey Balley dance company, the choreographer divides the dancers into several groups that move with definition and purpose . However, the groups then move together to become one large outer group that surrounds and moves about a solitary female dancer. She does not move for the entire segment, instead telling a story with her facial expressions. The relationship between these two parts cause an interesting emphasis on the difference between the high energy outer group, and the motionless inner dancer. For this choreographer, a large range of physical and emotional expression is important. For the sole female dancer in the center of the piece, it is her face the emphasizes fear and tension, while for the group, it is their movements that form the collective emotion. With regards to the musical score, the movements are largely connected to the music- during the parts of the score that are upbeat and clearly defined, the movements of the group are also quick and defined. Similarly, the movements of the group drag and move into one another when the music does the same. Finally, as the music begins to pick up and create a tense atmosphere, the group of dancers move in on the soloist, which creates a tense environment that reflects the music.

In Pina Bausch’s version of the Rite of Spring, the soloist has a male partner to help guide the story. Similar to Nijinsky’s version, the soloist (and now her partner) are relatively stationary, while a group move in unison behind her. The soloist and her partner seem almost devoid of energy, while the secondary group is very high energy, and as they approach makes the relationship between the two groups to be almost of one of pursuance. Emotion seems to be more important to this choreographer, as the expressions of the soloist are confined not only to her face, but also in her physical language and movement- she is fearful and weary. Similarly, the group uses not only their movements, but also their faces to convey their emotion. Finally, the movement of the group behind the soloist corresponds closely with the musical score. The music creates a tension as the score guides the listener to expect completion yet with holds it. As this happens, the group moves closer and closer to the soloist.

I found Emanuel Gat’s version of The Rite of Spring to be interesting, in that it was very different than the other two- there are couples instead of a soloist. As opposed to the other pieces in which the focus was drawn to the soloist, the focus here is dispersed over all the dancers. Their proximity to each other makes the piece more of a single group with parts as opposed to two distinct groups. However, while the partners always switch, there is always one female dancer that is left without a partner at any time. Therefore, there is always the ‘idea’ of a soloist, though the identity changes as they weave in and out of each other, blurring the lines between the couples and a group. Furthermore, the solo female dancer’s movements are similar to the movements of the other female dancers, which adds to the cohesion of the group. As the musical piece moves towards its climax, the movements of the dancers become more frenzied and sharp. Gat choreographed this piece very closely to the musical score, with the moves reflecting the changes in tone and speed. He used the energy level of the dancers to reflect the energy of the music.


Joffery Ballet 1987 Rite of Spring (3 of 3). 30 January 2010. YouTube. Web. 30 November 2010.

Le Sacre du Printemps by Pina Bausch Wuppertal Dance Theatre. 9 December 2006. YouTube. Web. 30 November 2010.

Emanuel Gat Dance Rite of Spring #2. 24 August 2008. YouTube. Web. 30 November 2010.

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Essay Instructions: Write a paper of 400 - 600 words, type written, relating your experience attending a live jazz performance. Provide a description of the setting (time, place, atmosphere); the name of the band, the players and their instruments; the style of jazz they perform, including the titles of pieces (if you can hear the titles introduced); the soloists, and a description of their solo styles. Observe whether the group adheres to the "chorus, solo, solo . . . chorus" format when they play pieces, or some other organization of solos. Describe your response to the music and your impression of the musicianship of the performers.

Essay Instructions: I need 2 (150 words response) on the following info.
Please see 2 information below for response or comments.
I numbered them
1) comparing & contrasting of Conversion of Saul
2) Handel's MESSIAH HALLEUJAH CHORUS


1) I NEED 150 WORD RESPONSE/ COMMENTS:
In comparing and contrasting Michelangelo's The Conversation of Saul with that of the same piece by Caravaggio there are some differences as well as similarities. It is my opinion that the piece done by Caravaggio is more dramatic than Michelangeos. I get this impression from the darker shading and lack of much color in the piece by Caravaggio. Also the image of Saul in Caravaggio's piece seems to be more in anguish, by the way that Saul is on his back with both arms extended to the heavens. He appears to be reaching out to the heavens for God. That along with the image of the horse just about on top of him as he lies there alone on the floor gives a cold lonely feeling. Michelangelo's projection of the image to me does not seem as dramatic. He uses more color in his image instead of the dark background, his piece is full of color. Also in his image there is someone there to help him through this time, giving a feeling of some support, verses the abandonment that is felt in the image by Caravaggio. Michelangelo's piece also appears to have a horse in it but, the animal is almost out of the picture instead of being right on top of Saul thus creating a less dramatic feel. Both artist seem to approach the subject matter in the same manner but with Caravaggio's piece being a more dark and dramatic one. I perfer the less dramatic piece by Michalengo due to the use of color and the image of Saul being comforted by man verses having a horse standing over him
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Message: Hi Shanna
You have a neat way of beginning to categorize the art for compare and contrast. I'd like to summarize what I see you saying about the Michelangelo and the Caravaggio paintings depicting the story of Saul. I will then ask a question, okay?

Shanna writes about Michelangelo's CONVERSION OF SAUL: less dramatic, more color, less background darkness (no tenebrism), animal is almost out of the picture...creating a less dramatic effect

Shanna writes about Caravaggio's CONVERSION OF SAUL: dramatic, dark, Saul is on his back with both arms extended to the heavens, horse on top of him as he lies alone ... cold feeling.

Kris comment: Your emphasis is on the Caravaggio having more emotion. You note that Saul is depicted much more dramatically. I would add that the effect of drama is increased by Caravaggio's use of tenebrism -- tenebrism is a stylistic element (credited to Caravaggio) that creates drama by spotlighting subject matter (as one would do with a spotlight on a stage--we spotlight the 'star' or the action most important to the plot in staged productions, don't we?). His use of bright, concentrated lighting juxtaposed with background darkness creates the effect of high drama for the viewer.

My question for you is: what is occurring in the culture that would make an emotional, dramatic appeal interesting to the patrons of the arts?
OR
How does this drama reflect cultural phenomenon?


2) I NEED 150 WORD RESPONSE/ COMMENTS:
Message: Handel's MESSIAH HALLEUJAH CHORUS is characteristically Baroque. It also reflects the culture in which it was created and was different from that of Renaissance music.

Two of the key elements that define this piece of music as Baroque are the expressiveness being used to stress meaning and emotion. And the vituosos, master musicians, especially singers, performing with great skill and vivd personal style. In HALLELUJAH CHORUS the expressiveness is used in the voices and music getting louder and softer. The performers sang with meaning in their voices, as if they were singing to God. The MESSIAH'S popularity "stems from its Baroque qualities: the emotionally stirring choruses and the delightful embellishments the soloists are permitted in their arias."(The Western Humanities p 407)

This piece of music reflects the culture in which it was created in that the musical trends drew all the elements of the music of the Baroque period that was opera. By the 1630s opera started to lose its aristocratic origin and became a popular form of entertainment. By the end of the age the operatic form was stylized including "improbable plots, inadequate motivations for the charaters, and magical tranformations - signs of its Baroque nature."(The Western Humanities p406) Handel's piece was an orotorio - an opera form without stage action. It was diferrent from that music of the Renaissance in that the music form that period usually a single sound prevailed. Also most were sung a capella stressing the words so they could be understood by listeners.

The aspects of the music that appealed to me are the way the music gets louder and softer at different parts. It seems to expess a reverence for the Messiah. I liked the way the singers expressed themselves in the HALLELUJAH CHORUS. It was as if they were enjoying what they were singing and putting meaning behind the words. The musicians were doing the same with the music; they were putting meaning behind the notes they were playing. I hear this piece at Christmas each year so I am very familiar with it. Now I know a little more about the time period when it was written and that makes it even more appealing.

Because of the elements used in the writing MESSIAH it is characterized as Baroque. Also the music trends, opera, reflected the culture of the time. And although there was no stage action with this piece it was still opera because it is considered an orotorio. Both the elements and the form used reflect the culture in which this piece was written and that makes it different fom the music of the Renaissance which used different elements.
________________________________________
The following replies have been posted:
Message: Deborah writes: I liked the way the singers expressed themselves in the HALLELUJAH CHORUS. It was as if they were enjoying what they were singing and putting meaning behind the words. The musicians were doing the same with the music; they were putting meaning behind the notes they were playing.

Kris responds: What a nice way of articulating the musicians' emotional involvement in their performance! For me, one of the most interesting phenomenon in music for this period is the rise of the individual to the virtuoso and soloist stations. It reflects a growing cultural interest in and affirmation of the worth of the individual (remember, these cultures are emerging at various rates and in various ways from that medieval emphasis on the 'collective').

What major cultural events could we say contribute to this rise of the individual?

Deborah writes: ...MESSIAH ... is characterized as Baroque....the music trends, opera, reflected the culture of the time. And although there was no stage action with this piece it was still opera because it is considered an oratorio.

Kris responds: Your last paragraph makes a good point, but I think it may be a bit confusing, so I'd like to clarify.
Opera did and does include staged action.
Oratorios, like MESSIAH, include the characteristics of Opera such as story-line (plot), variety of musical expression and presentation, and the soloist. Oratorio is unlike opera in that it includes no staged action.

Essay Instructions: 1-Write a brief response about the concert. This can be just a couple of paragraphs. Write about the music that you heard and your reaction to it. Be constructive and talk about the music you heard.
Length - 4 page requirement
Grammar and Coherence - Papers must be written in sentence and paragraph form. The readability of the paper is very important and grammar is also graded for accuracy.
Musical Description - The papers should focus on what you hear at the concerts. Describe what you hear over the course of the music that is performed and describe in the musical terms that we learn in the semester, what is happening. Be creative and feel free to comment on wht you think of the performances.
Overall Form - The papers should be coherent throughout in that from the first paragraph to the last, the paper reads as a continuous stream of thought that maintains sense and continuity to the reader. The paper should also be double-spaced with indented paragraphs.

this is an example of how the first pager should look:

Swing Era Concert Videos that I Saw on Youtube


In selecting my first paper topic, I decided to focus on video concerts of bands from the seing era. I selected these bands from my notes of which artists from class that I thought I would like to listen to in more detail. There are 3 band leaders who I resonated with in class listening, Duke Ellington, Benny Goodman, and Tommy Dorsey. I decided to select 2 performances from each artist’s bands. This would give me the chance to write about two contrasting works from each band.
The first selection that I made was a live performance Duke Ellington and His Orchestra - Take the A Train This seemed to be a studio performance or a TV show appearance, because the orchestra was placed in ways that fit the camera angles. Duke’s face was smiling all the time. The piano played a short intro, and then the song began with the rhythm section and all of the horn sections playing at a strong volume. I recognized the melody, and the saxophones played it for the first section with the trumpets playing short horn hits, and the trombones played lines that seemed to echo the trumpets. In the second section, a trumpet soloist stepped out in front of the band and played a solo on muted trumpet. While the soloist was playing, the saxophone section played some quiet background lines that were quite interesting. The subdued volume was necessary to keep from overshadowing the quiet, muted trumpet solo. After the muted trumpet solo, the saxophones came in with a melody that was new thus far. The trumpet player then continued soloing without the mute as the dynamics began to build. The rest of the band came in playing the main melody of the song as the saxophones joined them, and the trumpet player would fill in the cracks with some solo fragments. This brought the song to a climax, and then the melody ended and the tunes faded out on a bass and piano riff.
The second song that I selected was



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