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The summary of the rite of spring
Comparing and contrasting classical and romantic eras in music
Comparing and contrasting classical and romantic eras in music
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Stravinsky’s and Schoenberg’s music embodied a new form of abstractness and obscurity that left audiences with a feeling of apprehension. Unlike the music from the romantic era, which emanated a more personal and emotional connection with the audience, the music produced by Stravinsky and Schoenberg lacked emotional connection between the music and the audience due to its abstractness. In Stravinsky’s “The Rite of Spring”, audiences were appalled by how aggressive and violent the music was. It’s dissonance and loud orchestra shocked the audience so much that they did not wait until the end to express their disapproval (Igor Stravinsky is Displeased). Instead, they expressed their dissatisfaction by laughing and making loud comments in the
Baz Luhrmann's Production of William Shakespeare's "Romeo and Julie in Baz Luhrmann's production of William Shakespeare's "Romeo and Juliet", our expectations are swept aside and a modern film appears. When I sit down to watch one of Shakespeare's plays, I expect to see medieval clothes in a rural setting with plenty of poor people. I also expect the words and acting to blend together harmoniously. Instead Baz Luhrmann chose to set the opening scene at a beachside, gas. station.
I had the pleasure of being in Western Kentucky University Dance Department’s concert, An Evening of Dance. The performance took place on April 29th through May 2nd in Russel Miller Theatre. It consisted of many works from faculty and guest artists. I felt like the concert was a success and that the choreography was all unique in its own way. I enjoyed the pieces that I performed, and the ones that my fellow company members were in. Through the analysis of “Petrichor”, I found that each production and chorographic element plays a large part in the successful outcome of a dance and emotional responses can be evoked by the simplest ideas.
It is true that the essence of any story is emphasised through distinctively visual images created for the audience. The ability of any composer- an artist with paint brushes, a musician with chords or the writer with words- to entice and evoke is at the centre of a narrative. Both Peter Goldsworthy’s novel Maestro and Beneath Clouds by Iven Sen evoke emotions in the responder through distinctively visual elements and exploration of the concepts appearance versus reality and influence of environment.
The Cask of Amontillado is an 1846 short story by Edgar Allan Poe, which gives an account of Montresor, a man who executes a plan of vengeance against his friend, whom he claims insulted him. As the narrator in the story, Montresor provides a vivid image of his plan to lure Fortunato to his death, which ends in the eventual live burial of Fortunato. The theme of revenge is the most prominent element of this story, which enables the reader follow the narrator’s character, thus gaining a comprehensive understanding of the story. Similarly, the development of William Shakespeare’s play, Hamlet, is founded on the theme of revenge. From the onset of the play, the ghost of Hamlet’s father appears to him and asks that he carries out revenge on Claudius, who killed him and took the throne from him. However, unlike The Cask of Amontillado, the theme of revenge in Hamlet is mainly manifested through the protagonist’s inability to execute vengeance till the very end of the play. The theme of revenge is an integral aspect of the two literary works, to enhance the development of characters and their role in bringing the specific stories to life.
them as unattractive and menacing and everything about this scene is threatening and ugly and makes the audience feel uncomfortable impact. in the audience of the. The music is like funeral music, loud and sad. The... ... middle of paper ... ...bloodshed and murder that follow.
The march to the scafold begins to become disoriented when rather than a death march, it starts to develop a pompous overtone, and become more or a grand prominade, but this is part of the composer?s genius. He composed the music to what would be the disjunct qualities of a dream-like state. This music relates an abstractness that is symbolic of the mind in a semi-conscious state.
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
When one thinks of a ballet they hear soft rhythmic notes and see elegantly dancing ballerinas softly tip-toeing around the stage. This is also what people in early 1900’s expected to see when they planned to attend a ballet. However, a couple of motivated artists in 1913 literally planned to change the design of ballet, music and dance forever. On May 29, 1913 a ballet named The Rite of Spring premiered in Paris, France. The original title as it translates from Russian to French is; Le Sacre du Printemps, meaning the rite of spring, but the literal translation from Russian to English means “Sacred Spring”. The ballet and music were composed by Igor Stravinsky, with the help of Nicholas Roerich, who proposed the general idea behind the ballet to Stravinsky. Roerich wanted to put into motion the ideas behind pagan pre-Christian rituals in Russia. Together the two created the story line behind the ballet; a sacred pagan ritual where a young female dances herself to death and is then offered to the “Gods” of spring to make them happy. The music was composed by Vaslav Nijinsky and the ballet was produced by Sergei Diaghilev for the Russian Ballet. This ballet was so different from what the spectators expected to see that it caused a riot. The Rite of Spring turned the tables of ballet in every sense: the dance, the music and the general idea of ballet was modernized by the group of artists who created and produced it.
Van Den Toorn, Pieter. The Music of Igor Stravinsky. New Haven: Yale University Press, 1983.
Ludwig van Beethoven was born in Bonn, Germany in 1770. His works are traditionally divided into three periods. In his early period, he focused on imitating classical style, although his personal characteristics of darker pieces, motivic development, and larger forms are already evident or foreshadowed. In his middle period, he is beginning to go deaf, and has realized that he cannot reverse the trend. His works express struggle and triumph. He stretches forms, with development sections becoming the bulk of his works. He is breaking from tradition and laying the groundwork for the romantic style period. In his late period, he breaks almost completely with classical forms, but ironically starts to study and use baroque forms and counterpoint. He is almost completely deaf, and his works become much more introspective with massive amounts of contrast between sections, ideas, and movements. He dies in Vienna in 1827.
Stravinsky opens the Rite of Spring with a three-measure phrase melody played by a solo bassoon spelling out 024579. The bassoon continues to measures 4 and 5 emphasizing 013 by repetition (A, B-flat, C). The clarinet responds in the next measure with overlapping 0235 pitch classes. In measures 7 to 9, the bassoon returns to the opening material of 024579 and the English horn responds with 0257 in measures 10 and 11. Set class 0257 will play an important role in the movement and will be the basis for its expanded variation in measures 15 to 19. Measure 12 functions as a cadential harmony with pitch class 0157. This harmony is important since it will be recalled later on in the pizzicato of the cello in measures 73 to 75 thereby preparing the
Do you ever wonder what an arduous task it is to listen to the music and understand the complexity of it? Just as Walker Percy implies in his essay "The Loss of the Creature," people generally tend to divide into two categories when it comes to viewing the issues of life. We have the "common" individuals who notice the complexity of the matters, but who interpret it in superficial ways, and we have the "complex" individuals who tear through the outer layer and look to find the answers to their questions (Percy . It was not until I remembered an event which took place a few years ago, that I started to apply this simple-sounding division to a process of enjoying the splendor of music.
Ballet has been around for many years, with influential figures in every country. In Russia, Lev Ivanov was a prominent figure who lived and breathe dance from a small age. He had to prove himself every step of the way but his memory helped his career. Ivanov also had an amazing musical talent which really aided his choreographies. As I learned about his character I learned about his passion, which was much similar to my passion for dance and also a little different.
Since 300 B.C, dramatists all over the world have modeled their works after Aristotle’s definition of drama as “the imitation of an action that is serious…in a dramatic rather than narrative form with incidents arousing pity and fear wherewith to accomplish a catharsis of these emotions.” Aristotle’s ideas have endured centuries of change and continue to transcend cultural and historical boundaries. Countless works, whether classical or contemporary, follow the example set by the ancient Greeks, Shakespeare and others, to create dramatic masterpieces that thrill, dazzle and overwhelm the audience by appealing to their emotions. However, the dawn of twentieth century gave rise to new theatrical forms that take the audience into a world of unfamiliarity and deep introspection. While modern plays differ vastly in form, scope and origin, they all deviate from Aristotle’s code by rejecting the fundamental belief that a drama must arouse specific emotions in its spectators. Specifically, the plays of Anton Chekhov, Bertolt Brecht, Tennessee Williams, and Samuel Beckett eschew emotional stimulus by deemphasizing sentimentality and encouraging a more cerebral experience in which the audience must actively evaluate and contemplate what they see.