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Symphony No. 2. States Of Mind, Opus 87. Grade 5.

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Symphony No 2. State Of Mind, Opus 87. Graad 5.

Oorspronklik

Symphony No. 2. States Of Mind, Opus 87 composed by Teo Aparicio Barberan. For Concert band. Concert works. Grade 5-6. Score and set of parts. Duration 0. 28. 38. Published by Beriato Music. BT.0704-1-374. I- Logos. reason. II- Pathos. emotion. III- Ethos. credibility. The ancient Greeks believed that music shaped the character of man. In Egyptian temples, music was an essential part of the magical rites to alter the course of nature or to treat illness. And today we know that sound can actually alter matter. The secret of music lies in harmony and mathematics, as many great musicians and experts have always known. One of the most important qualities of music is that it enables the listener to focus his attention inwards instead of on what is around him. It is indisputable that music can inspire emotion. Music leads us into a universe of emotions that are difficult to put into words. In short, music reaches into corners of our soul and thoughts that words cannot reach and makes it possible to more clearly describe these different States of mind. The composer of this symphony also believes that each musical argument must be constructed so that it will induce the desired reaction in the listener. Music. more than words In recent times, most orchestral symphonies have been based on a story, a text or something similar so that their composition must be structured accordingly. The intention of this work by Teo Aparicio-Barberan is quite different. The composer describes the three elements of the argument as the only formal structure of the work. Since certain philosophers in world history were able to subdivide grammatical argument, why shouldn't that also be possible for the musical argument. Since ancient times the power of the spoken word has captivated mankind. How can an argument move people and mobilise the masses. Where does the power of words come from today. The answer lays not so much in what people say but in how they say it. Rhetoric is one of the oldest humanist disciplines in Western civilisation. Aristotle, in the 4th century BC, called it the art of persuasion. Indeed, the terms rhetoric and persuasion are mutually interchangeable. More than 2000 years ago Aristotle structured his rhetoric according to the following three elements. the logos, the pathos and the ethos. Logos. words, reason. is the reasoning that gives freedom to the structure of the text by expressing what one wishes to say using specialist terms. With logos we create arguments to receive public approval and to defend our ideas. Pathos, the second element, refers to the effective use of public psychology. Pathos can be considered as the capacity to induce the desired emotional response in the public, by creating an emotional connection with the public so that they accept our message. The third element, ethos. credibility. , refers to the character of the speaker and is perhaps the most important of the three elements. Aristotle based his concept of ethos upon his belief that truth and justice will always have the upper hand over anger. He believed that what was true and good was easier to prove and was more persuasive. This second orchestral symphony from the composer from Enguera follows these three parameters of the argument according to Aristotle. Each movement tries to summon a different state of mind in the listener so that the message itself can be better understood and appreciated. Apart from these three general concepts the music is only structured, as Claude Debussy would say, in a formative way. The first movement, logos, is based on a scherzo melody that undergoes various changes in rhythm and harmony. The arguments are presented by means of conventional techniques of composition. The second movement, pathos, is characterised by suggestions of sound. It is subdivided into two large parts. The first part is based on a five seven sequence with five sounds that are repeated in different environments, structures and dynamics. The second part, which is largely tonal, brings out more directly the emotional overtones that each argument must have. The third movement, ethos, is a faithful rendition of the composer's personality. In this last part, clear rhythmic sequences stand out, there are large dynamic contrasts and lots of tone variation. In addition, and this is quite in keeping with the composer's earlier work, the harmony in States of Mind is handled in a manner that is both original and efficient, as a result of which Aparicio-Barberan's message is well understood by the listener. This second symphony by Teo Aparicio-Barberan is devoted to my dear Henrie Adams, a guiding light in this eternally dark musical world. Thank you for everything.

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Symphony No 2. State Of Mind, Opus 87 gekomponeer deur Teo Aparicio Barberán. Vir Konsert orkes. Concert werke. Graad 5-6. Score en stel dele. Duur 0. 28. 38. Gepubliseer deur Beriato Music. BT.0704-1-374. I- Logos. rede. II- Pathos. emosie. III Etos. geloofwaardigheid. Die antieke Grieke het geglo dat musiek die vorm van die karakter van die mens. In die Egiptiese tempels, musiek was 'n noodsaaklike deel van die magiese rites die loop van die natuur te verander of siekte te behandel. En vandag weet ons dat 'n gesonde eintlik saak kan verander. Die geheim van musiek lê in harmonie en wiskunde, soos baie groot musikante en kundiges het altyd bekend. Een van die belangrikste eienskappe van musiek is dat dit in staat stel om die luisteraar sy aandag binnegoed in plaas van op wat rondom hom om te fokus. Dit is onbetwisbaar dat die musiek kan inspireer emosie. Musiek lei ons in 'n heelal van emosies wat moeilik is om te sit in woorde. In kort, musiek bereik in hoeke van ons siel en gedagtes wat woorde nie kan bereik en maak dit moontlik om die verskillende state van die gees meer duidelik beskryf. Die komponis van hierdie simfonie glo ook dat elke musikale argument moet gebou word sodat dit die verlangde reaksie in die luisteraar veroorsaak. Musiek. meer as woorde In die afgelope tyd, het die meeste orkestrale simfonieë is gebaseer op 'n storie, 'n teks of iets soortgelyks sodat hulle samestelling dienooreenkomstig moet word gestruktureer. Die bedoeling van hierdie werk deur Teo Aparicio-Barberán is heel anders. Die komponis beskryf die drie elemente van die argument as die enigste formele struktuur van die werk. Aangesien sekere filosowe in die wêreld geskiedenis in staat was om grammatikale argument te onderverdeel, hoekom moet dit nie ook moontlik wees vir die musikale argument. Sedert antieke tye die krag van die gesproke woord betower het die mensdom. Hoe kan 'n argument beweeg mense en mobiliseer die massas. Waar kom die krag van woorde kom uit vandag. Die antwoord lê nie soseer in wat mense sê nie, maar in hoe hulle dit. Retoriek is een van die oudste humanistiese dissiplines in die Westerse beskawing. Aristoteles, in die 4de eeu vC, noem dit die kuns van oorreding. Trouens, die terme retoriek en oorreding is wedersyds verwissel. Meer as 2000 jaar gelede Aristoteles gestruktureer sy retoriek volgens die volgende drie elemente. die logo's, die patos en die etos. Logo. woorde, rede. is die redenasie dat die vryheid om die struktuur van die teks gee deur te druk wat 'n mens wil sê met behulp van spesialis terme. Met logo skep ons argumente openbare goedkeuring te ontvang en ons idees te verdedig. Patos, die tweede element, verwys na die effektiewe gebruik van openbare sielkunde. Patos kan beskou word as die vermoë om die gewenste emosionele reaksie in die publiek te oorreed, deur die skep van 'n emosionele verbinding met die publiek sodat hulle aanvaar ons boodskap. Die derde element, etos. geloofwaardigheid. , Verwys na die karakter van die spreker en is dalk die belangrikste van die drie elemente. Aristoteles grond sy konsep van etos op sy oortuiging dat die waarheid en geregtigheid sal altyd die oorhand oor woede. Hy het geglo dat dit wat waar en goed was makliker om te bewys en was meer oortuigend. Hierdie tweede orkestrale simfonie van die komponis van Enguera volg hierdie drie parameters van die argument volgens Aristoteles. Elke beweging probeer om 'n ander staat van die gees te roep in die luisteraar, sodat die boodskap self kan beter verstaan ​​en waardeer. Afgesien van hierdie drie algemene konsepte van die musiek is net gestruktureer, as Claude Debussy sou sê, in 'n formatiewe manier. Die eerste beweging, logo's, is gebaseer op 'n scherzo melodie wat ondergaan verskeie veranderinge in ritme en harmonie. Die argumente word aangebied deur middel van konvensionele tegnieke van samestelling. Die tweede beweging, patos, word gekenmerk deur voorstelle van klank. Dit is verdeel in twee groot dele. Die eerste deel is gebaseer op 'n vyf sewe volgorde met vyf klanke wat in verskillende omgewings, strukture en dinamika herhaal word. Die tweede deel, wat grootliks tonale, bring meer direk die emosionele ondertone dat elke argument moet. Die derde beweging, etos, 'n getroue weergawe van die komponis se persoonlikheid. In die laaste deel, duidelike ritmiese rye staan, is daar groot dinamiese kontraste en baie van die toon variasie. Daarbenewens, en dit is heeltemal in ooreenstemming met die komponis se vroeëre werk, die harmonie in State of Mind word op 'n wyse wat beide oorspronklike en doeltreffende hanteer, as 'n gevolg van wat Aparicio-Barberán se boodskap goed verstaan ​​word deur die luisteraar. Hierdie tweede simfonie deur Teo Aparicio-Barberán word gewy aan my liewe Henrie Adams, 'n leidende lig in hierdie donker ewig musikale wêreld. Dankie vir alles.