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CAN YOU HEAR Music by James Papoulis / arranged with Francisco J. Nunez From the Sounds of a Better World = small voices calling STYLE PERIOD/GENRE 1. Contemporary 2. choral music COMPOSER/ARRANGER/EDITOR 1. Music by James Papoulis 2. arranged with Francisco J. Nunez COMPOSER INFORMATION About the Composer: James Papoulis’s work focuses on combining the music of his roots – classical and jazz – with the rhythms and influence of world beat, folk, and multi-ethnic sounds. His compositions for choirs, orchestras, string quartets, and chamber ensembles have been performed worldwide, including London’s Royal Albert Hall with the Royal Philharmonic Orchestra and a 300-member children’s choir, and at the Great Wall of China with a 500 member children’s choir. He recently collaborated with Geoffrey Holder to re-create the Alvin Ailey Dance Company’s signature piece, The Prodigal Son, and a 45 minute orchestral/tribal suite for the Dance Theatre of Harlem. He enthusiastically participates in the Arts in the Schools program, introducing various forms of music to students, and writes and produces songs with them. The lyrics that the children write, reflecting their thoughts and hopes, have been a great source of inspiration to him. Project Notes from the composer: Can You Hear is from the project Sounds of a Better World = small voices calling, a series of songs focusing on children, which examines their world and how small steps can be made to improve it. When this journey began for me almost five years ago, I was very disturbed to learn of various incidents around the world where childr4en were subjected to adverse conditions. I began to wonder how they could possibly develop into caring, responsible adults, with such hardship defining their childhood. As I read more and explored our attitudes as a society toward children, I began to feel that we (as Dr. Martin Luther King said) “…must ask ourselves how responsible we are for the well-being of others…” Do we have the courage to feel responsible? What ideals do we strive for? How can we find innovative ways in which the personal and social problems of childhood can be overcome? Can music be utilized as a potential bridge to reach out and address these issues? What I have come to understand is that we must send the best part of ourselves into the future through our children. If we want society to evolve, we need to understand the importance of childhood, and how vital our role should be in doing whatever we can to nurture every child. We should all be aware of our powerful influence on their minds. Through this incredible journey that Sounds of a Better World has taken me on, I hope to have somehow addressed these issues and to have embraced the joy that children can bring to this world. 1. still alive 2. music focus on kids world wide 3. composes varied genres TEXT 1. inspirational 2. by Jim Papoulis, Leo Schaff & Regine Urbach 3. English SOUND 1. SATB Choir 2. piano HARMONY 1. Major MELODY 1. prominent melody 3. percussion (clapping) 2. homophonic 3. simple, not changing 2. soprano voice 3. repetitious/ jumpy RHYTHM 1. developed from the text 2. syncopation - the process of displacing 'expected' beats by anticipation or delay of half a beat. The natural melodic accent which would fall, in 'square' music, on the beat, is thus heard on the off-beat. This adds a flavor of ambiguity as to where the beat is GROWTH/FORM 3. triplet figure – 3 beats performed evenly over one count 1. strophic ( or 'chorus form', commonly associated with folksong and art-songs based on folk-song, a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. It is the musical analogue of 'repeated stanzas' in poetry or lyrics: where the text repeats the same rhyme scheme from one stanza to the next, the accompanying music for each stanza is either the same or very similar from one stanza to the next.) 2. bridge ( the B section of an AABA song form, also called 'release' or 'channel', which, in jazz, goes into a different often remote key. By extension, a bridge (in this case, also called transition) is any transitional passage connecting two sections of a composition) TIME SIGNATURE 1. 4/4 time signature – 4 beats per measure, the quarter note gets the beat, 2/4 time signature – 2 beats per measure, the quarter note gets the beat. 2. duple meter – felt in 2 not in 3 3. = 110 – tempo is 110 beats per minute (with a joyous feeling throughout) KEY SIGNATURE 1. Key of Eb Major (three flats, Bb, Eb, Ab) 2. Key of F Major (one flat, Bb) 3. Key change – moving from one key signature into another in the same composition – intensifies the music building to the end NOTEWORTHY 1. Text stress/syllable stress 2. Intent of the composition – take care of children 3. Finale – the last song/a closer Dynamics – indicators of the relative intensity or volume of a musical line. Dynamics are critical to the development of a piece ff, fortissimo - very loud f, forte - loud mf, mezzo forte – medium loud (literally, half as loud as forte) mp, mezzo piano – medium soft (literally, half as soft as piano) p, piano - soft ritardando (rit.) gradually slower, retarding, to hold back, holding back, held back (gradual change of tempo), gradually delaying the tempo molto rit – very much slowing tutti (handclaps) – all together