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Rhiannon Trujillo

Instructor Yumae

Music Appreciation

6 December 2015

Assignment 5

For m assignment! I "ent to see the #$ Da%is &mphon'(rchestra) The concert that I

"ent to "as hel* on &atur*a! +o%ember 21! 2015) It "as hel* at #$ Da%is, Mon*a%i $enter)

At the per-ormance! I trie* to be a percepti%e listener because I "ante* to obser%e* all o-

the .ualities o- the music that "as being plae*) I listene* to the music as a critical! re-erential!

an* casual listener) I trie* listening as a critical listener b paing attention to ho" the

 per-ormers plae*) The plae* "ell an* in time! but at some points I *i* notice small mista/es!

mostl in ho" the per-ormers o- the stringe* instruments "ere plaing) %er once in a"hile!

one "oul* get lost an* ha%e to pause -or a moment to get bac/ into time) I trie* to be a

re-erential listener because I "ante* to un*erstan* "hat the image "as that the composer "as

tring to accomplish) M -a%orite part o- listening to music is the meaning or i*ea behin* it! so I

listene* to each piece care-ull an* trie* to -igure out "hat the "ere about! then I "oul* rea*

the program) astl I also trie* to be a casual listener just to /no" "hich piece "as the most

enjoable or entertaining to me) I *i* ha%e a -a%orite piece that I li/e* listening to the most)

There "ere three pieces that "ere per-orme*) These pieces "ere Les Offrandes oubliées b

(li%er Messiaen , This Is Not a Toy for a Child  b &am +ichols , an* &mphon +o) 3 in $

Major! op) 52 b 4ean &ibelius) M -a%orite piece "as Messiaen Les Offrandes oubliées b -ar)

The piece just ha* a %er uni.ue soun*! but it "as still %er prett) It "as *i%i*e* up into three

i*eas The $ross! &In! an* The ucharist) ach o- the three sections "ere beauti-ul an*

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"ere easil *istinguishe* -rom each other) M -a%orite "as The ucharist because it "as the

-alling action o- the stor an* the resolution) The other t"o parts built up tension in the music!

 but this one ease* the tension an* it "as %er prett an* peace-ul a-ter hearing the other t"o) I

li/e the uni.ueness o- the contemporar perio*! ho"e%er! m least -a%orite piece "as This Is Not 

a Toy for a Child ) I li/e* the creati%it an* the message behin* it! but I *i* not enjo ho" it

soun*e*) The piece "ent on -or a long time! but I -elt that it "as repetiti%e) $acophon can reall

compliment the harmoni7e* parts o- a "or/ o- music! but this piece spent too much time in

cacophon! rather than in harmon! an* this ma*e it har*er to -ollo" an* pa attention to) I *i*

enjo the thir* piece because it "as %er emotional an* I -oun* the histor behin* it interesting) I

*i*n,t li/e ho" long it "as because it "ent on -or thirt minutes! but it "as still enjoable "hen I

trie* to un*erstan* the images an* i*eas that it containe*)

ach o- the pieces ha* their o"n historical stle) Les Offrandes oubliées "as "ritten in

1830! an* "as part o- the contemporar perio*) &am +ichols is part o- the sta-- at #$ Da%is an*

he "rote his piece! This Is Not a Toy for a Child in 2015! "hich "oul* be consi*ere* *uring the

contemporar perio*) The last piece! &mphon +o) 3 in $ Major! op) 52! "as "ritten b

&ibelius in 1809) It "as part o- the Romantic perio*) ach o- the three pieces -it the soun* o- the

historical perio* that the "ere compose* in) Les Offrandes oubliées ha* the uni.ue soun* o- the

contemporar perio*! but it still ha* some in-luences to earlier perio*s o- art music) This Is Not a

Toy for a Child  "as %er uni.ue! an* "as *i--erent -rom the art music that I am use* to hearing)

Although it "as "ritten *uring the contemporar perio* li/e Les Offrandes oubliées, it soun*e*

much more uni.ue an* seeme* more li/e the art o- to*a! rather than the art o- pre%ious eras) It

soun*e* abstract an* it use* %arious objects that *on,t get use* o-ten in smphonies) Among

these objects that "ere use* as instruments "ere tin cans! cups! pipes! an* e%en pieces o- bubble

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"rap) &ome o- the instruments that "ere use* "ere *i--erent -rom those that "ere in the other

 pieces! li/e a gloc/enspiel an* crotales) The last piece! &mphon +o) 3 in $ Major! op) 52!

soun*e* more tra*itional than the other t"o) It "as the longest! an* laste* -or thirt minutes!

"hich "as about t"ice as long a the other pieces)

The instrumentation o- the orchestra that "as in each piece %arie* *epen*ing on "hich

one "as being plae*) Les Offrandes oubliées an* &mphon +o) 3 in $ Major! op) 52 ha* the

same instruments! e:cept the secon* one *i* not inclu*e a bass *rum or a tuba) This Is Not a Toy

 for a Child  ha* much *i--erent instrumentation than the other pieces) It ha* the most instruments!

an* it use* %er uni.ue ones that I ha* ne%er hear* o-! an* it use* common objects as

instruments) The "or/ use* basicall the same instruments as Les Offrandes oubliées! but

inclu*e* e:tra instruments in the percussion section) The percussion in the piece inclu*e* a

gloc/enspiel! a :lophone! crotales! a si*e *rum! bo"ls! cups! an* pipes)

;ith the three *i--erent pieces plae* *uring the smphon! it containe* a lot o- *i%ersit

among its soun*) ach o- the pieces ha* the o"n unit an* %ariet in themsel%es! an* "hen the

are compare* to each other)

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into the *i--erent part because the soun*e* so unli/e each other) &mphon +o) 3 in $ Major!

op) 52 ha* *i%ersit in itsel-! but probabl the least out o- all o- the pieces) The least amount o-

instruments "as use* in this piece an* its parts "oul* last long amounts o- time be-ore changing)

The structure o- the music "as almost the same in each o- the pieces) The main

*i--erences "ere the *urations o- time that the pieces laste*) Les Offrandes oubliées "as thirteen

minutes long! This Is Not a Toy for a Child  laste* eighteen! an* &mphon +o) 3 in $ Major! op)

52 laste* thirt) ach o- the pieces "ere *i%i*e* into three i*eas) This Is Not a Toy for a Child

"as *i--erent in the sense that it containe* the solo cello that contraste* the music o- the

smphon)

All o- the pieces plae* e:press their o"n i*eas) The composers o- the pieces "ante*

images to be sho"n through their music) Les Offrandes oubliées an* &mphon +o) 3 in $

Major! op) 52 "ere both religious pieces) This Is Not a Toy for a Child  "as "ritten b a

composer at #$ Da%is as a memorial to his gran*-ather an* "as meant to e:press his memories

o- his gran*-ather to the au*ience)

The pieces ha* similar tempo patterns! rhthms! an* -orms) The "oul* each start "ith

slo" tempos an* rhthms! then the "oul* buil* up to -aster spee*s an* beats! then at the en* o-

the pieces! the "oul* slo" bac/ *o"n again) In This Is Not a Toy for a Child ! there "ere minor

%ariations in its tempos an* rhthms! but the major changes stae* to this general -orm)

The %olumes o- the pieces change* throughout the progression o- each piece) ;hen the

tempo an* rhthms spe* up! then the music "oul* get lou*er! an* "hen the slo"e*! then the

*namics "oul* get .uieter) At the beginning an* at the resolution o- each o- the pieces! the

*namics o- the music "oul* become .uiet) The one piece that ha* the most changes in %olume

"as This Is Not a Toy for a Child  because it "as such a constantl changing piece)

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ach section o- each "or/ ha* its o"n melo*ies) The piece "ith the simplest an* least

amount o- melo*ies "as &mphon +o) 3 in $ Major! op) 52! an* its melo*ies "ere repeate* the

most in this piece) This Is Not a Toy for a Child  an* Les Offrandes oubliées ha* more melo*ies

an* the "ere more uni.ue) This Is Not a Toy for a Child  ha* the most an* the most comple:

melo*ies because the music in it "as constantl changing)

$acophon an* harmon "ere use* in all o- the pieces) The piece "ith the most harmon

"as &Ibelius, smphon) $acophon "as use* in most o- the *uration o- This Is Not a Toy for a

Child ! an* this piece use* cacophon the most an* harmon the least) Les Offrandes oubliées 

ha* a goo* amount o- both! "hich is "h it soun*e* the best to me) It ha* enough harmon to be

able to -ollo"! but enough cacophon to reall compliment the harmonies)

The three pieces came -rom t"o *i--erent historical perio*s) Les Offrandes oubliées an*

This Is Not a Toy for a Child  "ere -rom the contemporar perio*) This Is Not a Toy for a Child  is

the most recent an* soun*s the most mo*ern! "hile Les Offrandes oubliées is -rom earlier in the

 perio*! so it soun*s much *i--erent) &ibelius, &mphon +o) 3 in $ Major! op) 52 "as -rom the

romantic perio*! an* it soun*s much more tra*itional in comparison to the other t"o)