Tag Archives: Music
Students from the music theatre cabaret class performed Broadway musicals on Nov. 21.
The theme of the event was “The Lullaby of Broadway.”
“This term we have been focusing on repertoire up through the 1960s, which were known
as the ‘Golden Years’ of musical theater,” said Adjunct Professor of Music Natalie Gunn, who
directed and prepared the students in their performances for the event.
Broadway scenes and songs were performed from a variety of musicals, including
“Anything Goes,” “The Fantasticks,” “Street Scene,” “Carousel,” “The King & I,” “Showboat,”
“Guys & Dolls,” “Annie, Get Your Gun.”
The performers included Izgi Gulfem Torunlar, junior Ryan Thompson, junior Jeremy
Odden and freshman Mary Beth Jones. The students performed duets and solos to the songs. All
four of them also sang together in the beginning and end of the event.
During the final song “Anything Goes” by producer Cole Porter, both Odden and
Thompson acted out proposal to two women from the local Hillsdale Retirement Community.
One of the women, Kit Nelson, said that it was honorable to be purposed to at her age.
“Cole Porter was saying [in the song] isn’t it amazing how times have changed,” Gunn said
when describing the significance of “Anything Goes. “Isn’t it amazing how loose and crazy
people are. Now it’s 2013 and ‘Anything Goes’ means something very different.”
However, Gunn also said that through the performance the performers to the “Anything
Goes” the performers work portray the innocent spirit of the era when the song was produced in 1934.
“[The event] was lovely. I did not know what to expect at all,” said Gale Williams,
member of Hillsdale Retirement Community and 1947 Linfield alumna.
Gunn said that in May the music theatre cabaret class will be focusing modern day
repertoire from the 1970s through today’s new music.
by Mariah Gonzales / Culture Editor
Before “Pitch Perfect,” there was “The Sing-Off.” Before the Barden Bellas and the Barden Treblemakers, there was Pentatonix—the third season winners of NBC’s singing competition show “The Sing-Off.”
I am sure that if you do not remember the group from the show, then you are remembering them from the Internet. I discovered Pentatonix on their YouTube channel, PTXoffical, and then caught some of their sing-off performances later on.
Their videos have become a viral sensation, which include the amazing and recent “Evolution of Beyoncé,” which have garnered more than five million views.
The a cappella group consisting of five vocalists was formed in 2011 in Arlington, TX., as three of the members went to the same high school. One of the members, Scott Hoying, found out about “The Sing-Off” from his former a cappella group and the rest was history.
A year after the release of “PTXmas,” Pentatonix returns with their third extended play album, “Vol. II,” which features covers of popular songs such as the EP-opening “Can’t Hold Us,” “I Need Your Love,” and “Don’t You Worry Child.”
Though the album features carefully-picked covers, Pentatonix collaboratively wrote three original songs that are featured on “Vol. II” and they do not disappoint.
“Natural Disaster” is an upbeat, catchy tune with amazing vocals from Hoying, the equally-impressive vocal bass from Avi Kaplan and the remarkable beat boxing from Kevin Olusola.
“Don’t you worry ‘cause the night is young, dance until the morning sun,” the group chants.
As great as Grassi’s tenor is in “Love Again,” Olusola’s beat boxing skills steals the show, setting the tone of the song with the energy that could be played at a club until the wee hours.
Pentatonix’s “Run to You” is as haunting as it is breathtaking. The group lightly treads the melancholic tone of the song as they touch on loss and despair. “I’ve been settling scores, I’ve been fighting for so long,” they croon.
The song shifts and beautifully builds around the bridge, offering some light into the dark, soulful track.
A highlight on the album is the Daft Punk medley, which features bits of “Harder, Better, Faster, Stronger,” “Get Lucky,” “Digital Love,” and “One More Time.” The arrangements are, to no surprise, insane and impressive. The transition, and change of pace, of one song to another blend seamlessly.
If you are not a fan of a cappella, Pentatonix will have you changing your tune. “Vol. II” demonstrates what Pentatonix does best with their artistic abilities. They display impressive vocal ranges, effective harmonies and creative arrangements. Pentatonix proves that they are one of the best a cappella groups to beat.
Pentatonix’s extended play “Vol. II” is available for digital download on iTunes and available for purchase in stores.
You can also check out “Vol. II” on KSLC 90.3 FM and listen online at www.linfield.edu/kslcfm or stream the station on iTunes.
Vanessa So / KSLC Music Director
Vannessa So can be reached at firstname.lastname@example.org
Anyone that missed the Oct. 31 Halloween performance by Naked Soul at Fred Meyer Lounge missed a great performance. Naked Soul, a band from California’s Bay Area has been together for five years and merges many genres of music to create a great sound.
Naked Soul started in January of 2008. The motto of the band, “Undress your soul, make it whole,” is a perfect explanation of the type of music that they play. Naked Soul self describes their music style as alternative, folk rock, funky soul and pop, but there is so much more going on with their music.
Chris Bryden, the lead vocalist and guitar player for the band has experience playing both acoustic and electric guitar and has the vocal skills to play either as well.
Bryden brings a mix of Dave Matthews Band, Ben Harper and Bob Marley to the stage to produce a very relaxing sound. Brothers Joe and Tony Glaser have the same versatility in their playing abilities. Joe can go from a Cajón, a wooden box used for percussion, to a full drum set without any drop in quality.
Tony Glaser produces unique baselines creating upbeat sounds that sound fantastic.
When it is all put together, it brings out a sound that is incredibly hard to define, but accomplishes their goal of undressing the soul.
Naked Soul has traveled internationally and played with the likes of Carlos Santana, Dave Matthews Band and Willie K.
Naked Soul has performed at the High Sierra Music Festival and have also played shows at Yoshi’s and The Great American Music Hall.
Jerry Young / KSLC General Manager
Jerry Young can be reached at email@example.com
On Tuesday night Nov. 5, senior Zach Gulaboff Davis had his composition recital at Delkin recital hall in the Vivian Bull Music Center. This is his first of two senior recitals, his piano recital will be on April 19, 2014.
First, Davis performed two movements from his Suite for Piano. It is a three-movement set that was the first compositional work beginning composition lesson in November 2012. This piece demonstrates his budding interested in combination of consonance and dissonance within a single work.
Then, Davis and sophomore Quillan Bourassa performed Elegy for Clarinet and Piano, which was composed in September. Following a two piano piece Scherzo for two pianos performed by Davis and Professor Chris Engbretson.
This Scherzo contains many unanticipated musical elements, as the meaning of Scherzo is “music joke.”
Next, a group of musicians from Salem performed Davis’s String Quartet No.2: “Five Character Pieces.” This five-movement piece addresses different emotions to be determined by the audiences through creating a balance between instruments, exploring the full range of emotions, and maintaining a degree of audience appeal.
The movements are: Allegro con fuoco (fast with fire), Adagio cantabile (slow and stately in singing style), Presstissimo (more than extremely fast), Moderato (moderately), and Presto (extremely fast).
The Sonata for Viola and piano is the piece that helped him win the American Federation of Music Club’s competition for chamber music.
During the recital, this piece is performed by Professor Victoria Pich and Debra Huddleston. This piece explores the instrument’s expressive range and the many colors it affords the composer.
Last, also the climax of the recital, Davis conducted a group of musicians from Salem performed two movements from his String Octet, which is composed for eight string instruments.
This work contains some of dissonant elements, such as the first movement is completely atonal and full of dissonance.
As a senior music major at Linfield College, Davis is completing recitals in piano performance and composition during the 2013-2014 academic year. As a pianist, he has been future as a concerto soloist, chamber musician and solo performer, and has performed in multiple events with many ensembles.
Davis currently studies piano with Dr. Albert Kim, assistant professor of music. As a composer, Davis’s Sonata for Viola and Piano won the American Federation of Music Club’s competition for chamber music, as mentioned before.
Another works were featured in concert during the 2013 Oregon Bach Festival. Most recently, Davis has completed the composition of his Piano Concerto No.1
He is currently studying composition with Richard Bourassa, professor of music. Upon graduating, Davis will pursue a graduate degree in music, studying composition and piano.
YuCheng Zhang / Senior photographer
YuCheng Zhang can be reached at firstname.lastname@example.org
When news broke in August that Eminem had completed a new album, it arrived in a fashion nearly identical to the way Jay Z had announced his own record just two months earlier: in a tech-related TV commercial (Samsung for Jay Z, Beats headphones for Eminem) that aired during a much-watched special event (the NBA Finals, the MTV Video Music Awards.)
Both rappers, veterans of a joint 2010 stadium tour, even touted their involvement with Rick Rubin, the bearded super producer celebrated for his truth-teller vibe.
That’s about the extent of the similarities, though, between “Magna Carta Holy Grail” and “The Marshall Mathers LP 2,” due officially Tuesday after an unauthorized leak last week.
Where Jay Z’s album felt chilly and glazed-over—the work of a king in search of a specific mandate—Eminem’s scorches, spewing emotion as hot (and as damaging) as lava.
If anything, the record shares more with “Yeezus” by another of Jay Z’s recent touring partners, Kanye West, who like Eminem appears to view aging as a sharpening process.
But really “MMLP2” just demonstrates how singular a presence Eminem at 41 remains.
Though he’s unquestionably one of the form’s giants _ his last album, 2010’s quadruple-platinum “Recovery,” was that year’s biggest seller -he seems no less a hip-hop outlier today, in an age of sensitive smooth talkers such as Drake, than he did when he emerged amid the bling purveyors of the late ‘90s; his outsized feelings still set him apart.
Perhaps that’s why his primary reference point here is one of his own records, “The Marshall Mathers LP,” the 2000 disc (titled after his birth name) that solidified Eminem’s reputation as both a superstar and a serious artist.
The rapper has said the new album isn’t a sequel to the earlier set so much as a “revisitation” of its themes: his relationships with his mother and his ex-wife, for instance, and the toxic effects of celebrity.
Yet he hardly made an effort to avoid the throwback tag, with jokes about Monica Lewinsky and the Backstreet Boys as well as sizable samples of well-worn hits by the Zombies, Joe Walsh and Wayne Fontana & the Mindbenders.
He seems more eager to take ownership of several openly confessional tracks, including “Headlights,” which proposes a detente with his mom, and “Stronger Than I Was,” an almost embarrassingly vulnerable piece of self-help testimony that Eminem produced himself.
But even in his rare clunky moments, Eminem burns with purpose on “MMLP2.”
Mikael Wood / Los Angeles Times