Cage Essay, Research Paper
Dave Matthews and
the Raging Animal in the Cage
On August 10, I went to a Dave Matthews Concert which was held in F ( *^^ ( *^ ( ** % , ) ) ( & A ; *^n. I estimate, that the audience outnumbered at least 10,000 people. Unlike in a little concert where the audience gathers up in forepart before the set, this concert was dumbly populataed in the forepart every bit good as in the dorsum and even behind the set.
The witnesss were overpoweringly 15 to 19 twelvemonth old adolescents although I could descry several centers aged spread across the immense concert hall runing between 25 to 50 old ages of age. During the full event, the vocals were accompanied by self-generated applause, shouting and shouting of an audience which seemingly prefered to have on insouciant vesture to anything conservative. Sometimes, I could acknowledge a group of green hair colored fans standing in the dark with their faces illuminated by the torchs.
After the first vocal had ended after about five proceedingss, the full crowd would interrupt out into an exhilerating and about deafening: |DAVE MATTHEWS! Ten that captured even the less attentive members of the audience and incorporate us into one ground forces of devoted fans. Daves+ set consisted of a guitar player, a fiddler, an alto saxophone participant and a drummer. The music reminded me of Jazz since it was based on a batch of free improvisation, little jazz bands and a fast pacing. Dave would ever play the chief rythm of a vocal with his guitar accompanied by single inputs of his set. Every new vocal was truly a new composing because so much was left up to the participants. Another musical facet of the set was the difference in tone colour between the single instruments. Daves+ voice and guitar had a soft, determined and unstable sound while the fiddler played presto and really lively which would frequently remind me of state music. The wordss were all based on love, relationships and personal emotions. They reflected the temper of the leadsinger every bit good as of the audience and therefore created a certain grade of understanding between us and Dave.
I liked the concert because it was underlined by a really brooding, peacefull and positive
temper in malice of the howling feedback response by the audience. I left the concert, experiencing visible radiation and brooding as if I had merely attended a really good Jazz event.
I attended the Artaria Quartet of Boston on October 20, which was held in Gasson 100. I noticed that the 10 to 15 member audience was chiefly in-between aged and was have oning conservative vesture such as ties, dinner jacket and nine jackets. The Program, which consisted of classical to nineteenth century Western Art music, was handed out at the beginning of the concert. The four instruments playing through all three pieces were three fiddles and a cello.
Haydens+ piece lasted for about 30 proceedingss and was followed by Villa-Lobos+ Quartet No. 5. In contrast to the other two pieces, this one could be characterized as disconnected since pacing and kineticss were frequently changed. I could besides hear many disonances in the quality of sound unlike Haydens+ and Mendelssohns+ piece.
The intermission lasted for about 10 proceedingss in which the instead tense ambiance was broken and audience members indulged into short treatments with the participants. Felix Mendelssohns+ Op. 80 was introduced to us by one participant stating the background information of the piece. Consequently, this was Felix Mendelssohns+ last piece he wrote before his decease, which was marked by the preceded decease of his darling sister, Fanny,
who had been an complete instrumentalist herself and Felix+ adviser throughout his life. The piece showed the strength of his feelings about his sister and was therefore described by the fiddle participant as a |very intense and powerful pieceX. The concluding motion could be compared to a |raging animate being in a cageX. The piece was really expressive and included some really demanding subdivisions during which the witness could expect the professional playing qualities of the Artaria Quartet.
I liked this peculiar piece most, since it vividly reflected the feelings of the composer. I besides liked it because there were many sequences in which one fiddle and sometimes the cello would play a solo during which the peculiar delicacy and inside informations of the instrument could be anticipated.
The chief difference between Dave Matthews and Felix Mendelssohn or Joseph Hayden lies of class in the clip period during which their pieces were composed. The feelings aroused during an Alternative Concert in a dumbly populated concert hall with everybody let go ofing his emotional province are surely different from the formal etiquette in Gasson 100.
After all, music finds its chief intent in eliciting or quieting the emotions. Whether a connoiseur of classical music finds himself overwhelmed by the first-class public presentation of a twine four, or whether a 17 twelvemonth old dances with his friends harmonizing to the round of a drummer is eventually indistinguishable every bit long as he or she enjoys the event.
JOE SCHUMANU
( Ms. Franklin I love your bluish shirt you wear over your ruddy bandeau. )
