A person cannot fully grasp the full effect and intricateness of music without attending a live concert. On Tuesday, October 27 at the Sharp Concert Hall, I had the opportunity to attend a concert held by D. Frazier and Ricardo Coelho de Souza exhibits musical styles from Africa, South America, and parts of North America. All of the musical pieces contained several African retentions, a variety of instruments and other musical accompaniments such as vocalists and dancers. The concert as a whole, methodically put together, revealed the development of instruments through time and intertwined traditional music with modern styles of music. Listening to each piece, the complexity grows with either increasing the number of instruments and vocalists, difficulty of the musical notes, or the layering and overlapping of multiple rhythms. The first half of the program focused on praise and worship music pieces and then the second half, incorporated music that heard at festivals, celebrations and in the streets.
The program began with Mr. Frazier and Mr. Souza on stage playing a piece entitled “Jaliya Lamban” which is a traditional Malian praise song. Mr. Frazier dressed professional, casual wearing a black sport coat, dark jeans, a red undershirt and red converse and played the Kora, an African harp, during the first piece. Mr. Souza, also professional, casual, wore a short-sleeved button up shirt with nice slacks and comfortable shoes and played the Dun-dun (talking-drum) and other smaller instruments including rattles attached to his ankle, a tambourine in his hand and played a bell with his foot. I have to applaud Mr. Souza for playing all of those instruments encompassing different rhythms simultaneously and having memorized the entire piece takes noteworthy amounts of skill and passion. Jaliya Lamban opened with soft rattles and the Kora playing a soft melodic cadence, which was the focus of the song. The Kora played continuously while Mr. Souza added his drums, rattles and bell in the background. Throughout the piece, Mr. Frazier and Mr. Souza had a few call and response sections where Mr. Frazier would play a measure of the Kora and then Mr. Souza would play a similar version of the rhythm or play an entirely different sequence with his drum and rattles. Then they would either fall back into sync together or continue to improvise off each other while playing within the assortment of the song. As I was listening to this song, I felt astonished, only two musicians playing a few instruments creating a soothing and enchanting ambience. Jaliya Lamban, as a whole, is beautiful and melodic and reminded …show more content…
Mr. Frazier and Mr. Souza played an assortment of drums and another man joined them on stage playing yet another set of drums. I enjoyed this piece because I could imagine myself dancing to the beat more specifically tap dancing to that beat, maybe even, improvising with the beat, and collaborating with the drummer. I have always enjoyed listening to drum heavy music and I especially appreciated Wolosodon because of the layering of different rhythms and the build up to the chaotic but intricate ending. Even though there was only three different sets of drums, there was still a wide variation of pitches and their sound filled the entire theater. I felt encompassed by the music felt a part of the music and that I could join
The program began with Mr. Frazier and Mr. Souza on stage playing a piece entitled “Jaliya Lamban” which is a traditional Malian praise song. Mr. Frazier dressed professional, casual wearing a black sport coat, dark jeans, a red undershirt and red converse and played the Kora, an African harp, during the first piece. Mr. Souza, also professional, casual, wore a short-sleeved button up shirt with nice slacks and comfortable shoes and played the Dun-dun (talking-drum) and other smaller instruments including rattles attached to his ankle, a tambourine in his hand and played a bell with his foot. I have to applaud Mr. Souza for playing all of those instruments encompassing different rhythms simultaneously and having memorized the entire piece takes noteworthy amounts of skill and passion. Jaliya Lamban opened with soft rattles and the Kora playing a soft melodic cadence, which was the focus of the song. The Kora played continuously while Mr. Souza added his drums, rattles and bell in the background. Throughout the piece, Mr. Frazier and Mr. Souza had a few call and response sections where Mr. Frazier would play a measure of the Kora and then Mr. Souza would play a similar version of the rhythm or play an entirely different sequence with his drum and rattles. Then they would either fall back into sync together or continue to improvise off each other while playing within the assortment of the song. As I was listening to this song, I felt astonished, only two musicians playing a few instruments creating a soothing and enchanting ambience. Jaliya Lamban, as a whole, is beautiful and melodic and reminded …show more content…
Mr. Frazier and Mr. Souza played an assortment of drums and another man joined them on stage playing yet another set of drums. I enjoyed this piece because I could imagine myself dancing to the beat more specifically tap dancing to that beat, maybe even, improvising with the beat, and collaborating with the drummer. I have always enjoyed listening to drum heavy music and I especially appreciated Wolosodon because of the layering of different rhythms and the build up to the chaotic but intricate ending. Even though there was only three different sets of drums, there was still a wide variation of pitches and their sound filled the entire theater. I felt encompassed by the music felt a part of the music and that I could join