The Prominent Clarence Cameron White Born in Clarksville, Tennessee on August 10, 1880, Clarence Cameron White was a very renowned African American neoromantic composer and violinist. As a child White moved around a bit, moving from Oberlin, Ohio, Chattanooga, Tennessee, and to Washington, D.C. At the early age of eight, Clarence began to study violin, and at age fourteen he wrote his first composition for violin and piano. Within four years of studying violin, White was studying with an accomplished violinist, Will Marion Cook who influenced him. After a year of attending Howard University, Clarence enrolled in Oberlin Conservatory in 1896 and graduated in 1901.While studying and traveling across the world, White began to grab the attention …show more content…
Washington, and Harry T. Burleigh.
The style of White’s compositions began to change as he progressed in life. When he first started composing music, his compositions were “neoromantic”. However, as he traveled around the world and his social circle expanded, he gravitated towards so called “black folk” music as inspiration and for music material. Among his many great compositions, his piece “Chant, Op 12, No. 1 "Nobody Knows the Trouble I've Seen" is one that has influenced many individuals. The form of the song starts softly with the low pitches of the piano and then the violin accompanies it. Around two minutes into the song, the pitches of the violin changes to very high pitched for about forty seconds, and then the song goes back to its normal texture until the song ends. The texture of the song is polyphonic. As the violin is the instrument that is the main instrument in this piece, the piano accompanies it with its harmony of low and high pitches. When the song starts, the melody is a what catches the audience’s attention. The song starts with low piano
William Grant Still was an African American composer born in Woodsville, Mississippi on May 11, 1895. He grew up playing violin, starting at the age of 14, in Little Rock Arkansas. He attended Wilberforce University in 1911 determined to be a composer of concert music and opera. Early in his musical career, his primary role model in the classical world was Coleridge- Taylor, a british composer of mixed race. Around 1916, Still started to work for W.C. Handy in the arranging business.
Even when he studied for his degree Samuel Colebridge-Taylor had one numerous awards for small pieces that he composed. Samuel was being recognized for fusing African American music with the British music to create a unique and popular style. While still being dicriminated by others at The Royal College of Music, Taylor continues to change the stubron view of peers by creating a new spin on European style of music. Later on in the years he begans to branch off so he can again create new systems of music to complemend the music of this time period. In, 1896 he and African American poet Paul Laurence Dunbar and Samuel Colebridge Taylor became good friends and decided to work together ro improve the life of the arts.
When he had the most successful Afro-American symphony by richest philharmonic. It’s been only performed by 38 orchestras in the U.S. and Europe. He to los Angeles for a writing job, before he know it he was performing a major opera company. Troubled island, when still gives an African American character to the symphony by using a tenor banjo as part of the orchestra. The elements that recall spirituals and jazz tunes.
Introduction: Duke Ellington was a pioneer in the jazz movement, and helped turn what was considered shoddy dance music into an acclaimed art form. Once a young, musically inclined boy eventually found himself caught up in the center of the Harlem renaissance, giving him the connections, knowledge and opportunity he needed to pioneer a different kind of jazz music. The man always considered himself a composer over a musician, and his body of work remains the largest personal jazz legacy. Biography: Edward Kennedy “Duke” Ellington was born on April 29, 1899, to James Edward Ellington and Daisy Ellington in Washington, D.C.
He was a music writer for his band, musicals, films, Broadway performances, ballets, comic opera and movies. His work can be recognized in American Ballet The River. The dancing in the ballet was choreographed to his music by Alan Ailey June 25, 1970 in New York at the New York State Theater. Some of his films you will recognize his work in are, just to name a few Cabin in the Sky, Black, and Tan Fantasy. Mr. Ellington wrote the music all the music in the film Anatomy of Murder with his co writer Billy Strayhorn.
Emma Carr Professor Dylan Jack The History of Jazz March 10, 2023 The Significance of Duke Ellington’s “Black, Brown, and Beige” Duke Ellington’s “Black, Brown, and Beige” reflects the experience of African Americans and Black musicians during the early to mid 20th Century. Combining aspects of early jazz with blues and swing, Ellington is able to portray three different messages in each of his movements, calling his audience to recognize the historical significance of slavery in America, racism and lack of respect faced by black Americans and jazz musicians, and the impact that jazz music made on American history. Through the lens of author Garth Alper, writer of “Black, Brown, and Beige: One Piece of Duke Ellington’s Musical and Social Legacy”,
The orchestra maintained the musical score and provided ornamentation and emphasized the melodic contour of the singer’s vocal line. Without reading the subtitles, there is such emotion and energy in the male singer’s performance that it is easy to see, along with the physical positioning and facial expressions of the female performer, that there is an impassioned dialogue being given from him to
He then continues to strum the violin along with undertones from the guitarist to introduce the first verse. No melody, no accompaniment,
The introduction is about Duke Ellington’s role in his musical career: composer, bandleader, and pianist. However, due to massive works that Ellington was involving such as compose music for orchestra, ballet, film, radio,
Some of them included Duke Ellington, Fletcher Henderson, and Jimmy Lunceford. Interestingly enough, because of the popularity of the music, African Americans were able to produce music and bring it into white society for them to listen to. These African American musicians also influenced many of the white musicians as well. White jazz musicians had taken inspiration from black jazz music for many years, but because of swing, they became even more deeply devoted to integrating this music to blacks and whites. Benny Goodman was one of these white musicians.
The melody intensifies with a moving dynamic from soft to loud. Which is answered by a pianissimo response from the clarinets. Movement three is a very delightful
Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.
The melody of this song described as restlessly chromatic and undulating, a swaying Arabic-sounding tune. The melodic line is filled with emotion and oddly unbalanced consisting of seven alternating sections of held tones and movement. The harmony is added behind the melody is dissonant but simultaneously lush. The rhythm was played with in Ella’s version making the classic song her own giving the clarinet a smooth solo. The simple rhythm of the song has an AABA pattern it sticks too.
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
Piano and violins are in line with each other while the horn steadily plays offbeat in the ' 'though she feels as if she 's in a play. Through out the song, both string and horns come in without us noticing until the mood