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In this paper, I briefly review the entire concert by considering the various performances that graced the occasion. Particular interests are on the artists, instruments used in the performances, and how skills were combined to generate rhythm, melody and harmony.
The first part is the performance of John’s Cages third construction. The artists involved are Ksenija Komljenovic, William Kaufman, Mathew Nichols, and Peter White. The four artists in this electrifying performance of Third Construction use an assortment of exotic instruments. Some of the instruments are clearly visible whereas others can be perceived through the sound that they produce. Examples of instruments present include Aztec log drum, cymbals, tin tans, tom-toms, claves, shakers, quijadas (jawbone rattle), and a lion’s roar. A lion’s roar is made up of a washtub having a small hole and generates loud noise when a rope is pulled through. The performers coordinate their skills to generate endless possibilities of percussion rhythms harmonised by alternating quick and slow paced tempo. It was humbling to witness how several artists could come together and play an ensemble with such perfection. Each of the artists in the ensemble played a different thing , but they all fitted together perfectly.
The second part of the concert was the performance of Alejandro Viñaos Book of Grooves (Texture Groove and Dance Groove Drifting) by Maria Chlebus and Dmitrii Nilo. Just as anticipated, this part of the concert generated sufficient rhythmic thrills. Chlebus and Nilo on two marimbas effectively replicated the movements of Alejandro Viñaos Book of Grooves. As the name suggests, the performers effectively evoked plenty intricacy and momentum with their stylistic combination of these instruments. The instruments assumed subtle to and from movements separated by interlocking and unison rhythms. Seated in the b back seat of the concert hall one gets a feeling
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