"The night culminated with a grand finale -- a “cherry on top" in the form of an original composition incorporating elements from the three title genres of bebop, doo-wop and hip-hop. The mash-up of these instrumentations felt natural and uplifting. After all, they hailed from the same humble origin. The final performance, however, included a surprise element -- the inclusion of the USC Kazan Taiko Ensemble. Some, justifiably, felt that traditional Japanese drums were out of place amid brass and keys, but perhaps the unexpected incorporation was meant to suggest a model of society based on the all-inclusive nature of music.
Soulful Thursday night's event featured student musicians such as Michael Mctaggart. - Daily Trojan | Vicki Yang At first glance, posters advertising the event suggested an ordinary concert. Perhaps some students poured into Bovard expecting to be passively entertained, to be carried along in the smooth flow of melody -- those students were mistaken.
The performance pulled listeners in, held them in rapt attention and engaged them in a life lesson through staggering tremolos. It taught us that poetry and music are inextricably tied and that the true musician considers himself duty-bound to embellish the composer's work with a personal touch. It taught us to embrace the loosening of our borders, between politics and song, freeform improvisation and rigid adherence to the written score. More than anything, it cried to us in the rich bass vibrato of Reverend Charles A. Tindley's “We Shall Overcome." The concert was an ambitious project that promised to at once enlighten, inspire and entertain."
Soulful Thursday night's event featured student musicians such as Michael Mctaggart. - Daily Trojan | Vicki Yang At first glance, posters advertising the event suggested an ordinary concert. Perhaps some students poured into Bovard expecting to be passively entertained, to be carried along in the smooth flow of melody -- those students were mistaken.
The performance pulled listeners in, held them in rapt attention and engaged them in a life lesson through staggering tremolos. It taught us that poetry and music are inextricably tied and that the true musician considers himself duty-bound to embellish the composer's work with a personal touch. It taught us to embrace the loosening of our borders, between politics and song, freeform improvisation and rigid adherence to the written score. More than anything, it cried to us in the rich bass vibrato of Reverend Charles A. Tindley's “We Shall Overcome." The concert was an ambitious project that promised to at once enlighten, inspire and entertain."
