Summary of Natalie Hodges's Uncommon Measure

Everest Media

Description

Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The pattern of my failures on stage was that I would spend days, even weeks before the performance, thinking about a spot in the score that I knew I would mess up. It could be anything: a shift into the stratospheric reaches of the E string, a passage of rapid-fire sixteenth notes, or a finger-contorting pattern of double-stops.
#2 I had to play a piece called La Campanella, or The Little Bell, by Niccolò Paganini, in my senior year of high school. It was a studio class, and I was extremely nervous. I could play the piece at home, but I knew it would buckle under the pressure of the performance.
#3 The author’s performance of Paganini’s La Campanella was going well. He felt as if he were inside the music’s time, in the heart of a tolling grandfather clock whose gears turned at an allegretto grazioso rate of six eighth notes to a bar.
#4 Music sculpts time. It is a structuring of time, a layered arrangement of audible temporal events. The most fundamental rhythm is the beat, which dictates the tempo and keeps musical time.

Sujets

• Ethnic
• Cultural
• Biography
• Asian American
• Regional
• Asian
• Autobiography

Informations

• Publié par: Everest Media LLC
• Date de parution: 01 mai 2022
• Nombre de lectures: 0
• EAN13: 9781669395782
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Insights on Natalie Hodges's Uncommon Measure
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6
Insights from Chapter 1

#1

The pattern of my failures on stage was that I would spend days, even weeks before the performance, thinking about a spot in the score that I knew I would mess up. It could be anything: a shift into the stratospheric reaches of the E string, a passage of rapid-fire sixteenth notes, or a finger-contorting pattern of double-stops.

#2

I had to play a piece called La Campanella, or The Little Bell, by Niccolò Paganini, in my senior year of high school. It was a studio class, and I was extremely nervous. I could play the piece at home, but I knew it would buckle under the pressure of the performance.

#3

The author’s performance of Paganini’s La Campanella was going well. He felt as if he were inside the music’s time, in the heart of a tolling grandfather clock whose gears turned at an allegretto grazioso rate of six eighth notes to a bar.

#4

Music sculpts time. It is a structuring of time, a layered arrangement of audible temporal events. The most fundamental rhythm is the beat, which dictates the tempo and keeps musical time.

#5

Musical form, like temporal structure, is a macro-rhythm that moves the listener through time. The ear can sense the harmonies to come based on the relative intensities of those that came before, or when thematic material will return by the buildup of a cadence at the end of a development section or variation.

#6

Musical time is different from ordinary time, as it is not determined by the passage of minutes, but by the shaping and sculpting of rhythms into music. It is this connection between sound and time that makes musical time so enthralling.

#7

Entrainment is the synchronization of a person’s movements to the beat of music.