Claire De Lune

Music in the nineteenth century saw the creation and evolution of new music genres such as the piano miniature, short expressive piano pieces. During this time raw emotion and expressionism prevailed as the focus of music during this described “Romantic” movement. Robert Schumann’s “Grillen”, from Fantasiestucke, Opus 12 was written in July 1837 contains several virtues of music during his time period. Schumann’s uses various qualities in his music such as form, pitch, rhythm and meter, and texture so express different attitudes within his music. These qualities convey music that characterizes romanticism as very emotional, expressional, and dramatic. Schumann’s piano miniature remains a supreme example of the Romantic style in its uses

The imagery used in this verse appeals to the sense sight. This helps the reader visualise what the writer is taking about. It also allows the reader to relate and connect more to the poem.

Seurat and Monet both approach the same ideas and concepts to create too very separate and unique works that actually have a lot in common in subject matter as well as both historically and stylistically. Overall, both paintings, A Sunday Afternoon on the Island of the Grande Jatte by Georges Seurat and La Grenouillère by Claude Monet, are excellent

This contrast serves to communicate the scattered nature of our consciousness with the unity, elegance and fluidity of our subconscious. Furthermore, these drawn out sounds serve to also further the imagery of the tide’s “uninterrupted sweep” which is particularly effective in conveying the image of the wave rushing to envelope the shore, the word “uninterrupted” conveying this sense that the wave of inspiration is all smooth and relentless. This imagery is furthered by the 3 line-long segment, uninterrupted by punctuation. Yet, the central point made in these four lines is when the speaker states that “(he) heard” the waves. The description of the sea gives you a mental image, but Longfellow stresses upon the fact that the speaker only hears the tide, as this can be seen reflected in the title of the poem “The Sound of the Sea”. Hearing is an auditory action that allows one to be aware of the presence of the object through the sound, but not visually or physically grasp it. This suggests that inspiration is similar, in the sense that one can be aware of it but cannot consciously grasp, control or dominate it.

Construct a close reading of this poem that demonstrates your awareness of the poet’s body of work.

To elaborate, the reader can not truly hear what is taking place in the poem, but does get a sense of being able to hear what they are reading. For instance when the speaker says “While his gills were breathing in” (22), the reader can almost hear the fish breathing. The speaker again stimulates the auditory senses when she says “and a fine black thread, / still crimped from the strain and snap” (58-59). Again the reader can virtually hear the sound of the line snapping. The next aspect of imagery that needs to be examined is the sensory imagery. An excellent example of sensory imagery is found when reading the lines “It was more like the tipping, / of an object toward light” (43-44). These lines can give an almost unbalanced feeling to the reader as they conceptualize these words. Imagery is not the only important element used in this poem. As stated earlier, irony is an important component involved in “The Fish”.

8.      Claude Debussy was among the most influential composers of the late nineteenth and early twentieth centuries. Born Achille-Claude Debussy in 1862 in St.-Germain-en-Laye, France, his mature compositions, distinctive and appealing, combined modernism and sensuality so successfully that their sheer beauty often obscures their technical innovation. Debussy is considered the founder and leading exponent of musical Impressionism (although he resisted the label), and his adoption of non-traditional scales and tonal structures was paradigmatic for many composers who followed. The son of a shopkeeper and a seamstress, Debussy began piano studies at the Paris Conservatory at the age of 11. While a student there, he encountered the wealthy Nadezhda von Meck, whom was most famous as Tchaikovsky's patroness. She employed Debussy as a music teacher to her children; through travel, concerts and acquaintances, she provided him with a wealth of musical experience. Most importantly, she exposed the young Debussy to the works of Russian composers, such as Borodin and Mussorgsky, who would remain important influences on his music. Debussy began composition studies in 1880, and

“There are no ghosts in the paintings of Van Gogh, no visions, no hallucinations. This is the torrid truth of the sun at two o’clock in the afternoon.” This quote that Antonin Artraud, stated from, Van Gogh, the Man Suicided by Society, explains the way in which Van Gogh approached his artwork. He believed in the dry truth and as a result his work was remarkably straightforward in the messages that he portrayed. While visiting Paris, France this past April, I was fortunate enough to have visited Musée d’Orsay, a museum that contains mostly French art from 1848-1914 and houses a large collection of impressionist and post-impressionist masterpieces and 19th century works from the Louvre [The Oxford Companion to Western Art]. I was also

historically, and much more about the painter himself to have a complete understanding of the

Looking at the suite from a German perspective, it seems as if the French suite is less cohesive and refined as compared to the fixed structure of dances found in the German suite. The French suite is described as a ‘loose form’ as it is sometimes seen as a sequence of contrasting dances and other times as a series of dances in the same key. In early French suites it can be said that the influence of other cultural aspects in society is vast on the music. Trends noted in society pertaining to aesthetics and values can be found represented in the music. One of the earliest significant publications of a keyboard suite was “Pieces de clavicin” by Jacques Champion Chambonnieres, who was seen as a big figure in the development of suite. Another significant manuscript, known as the Bauyn MS , features dances by both Chambonnieres and his student, Louis Couperin. The arrangement of early suites in France differs, but it is noted that these manuscripts are arranged by composer, key and genre. The dances were arranged by key in ascending order. In these early examples the Courantes always appeared before the Sarabandes and Gigue. Some evidence does exist that some consideration was taken by the composers to specify the order in which pieces should be played. Notes were usually made on the top of manuscripts for example written on a Gigue from D’anglebert’s

The musical lives of Claude Debussy and Johann Sebastian Bach were anything but lackluster. They each lived fascinating and musically fulfilling lives, one having grown up within a well-known musically talented family and the other growing up in a poverty-stricken city. Both composers became especially successful within their musical careers, careers in which changed the course of history in the musical world. Their success ensued not without challenges and teachings, in which influence their music in many ways. Both composers you could say are on either side of the spectrum when it comes to music, one being extremely non-traditional and the other being exceedingly “old-fashion” even for his time. Although

Paintings that have textures that can be smooth and flat or have tooth and be lumpy which can depend on the type of paint or how it is applied the surface of a canvas. In many of Monet’s Impressionism paintings, he uses a dry brush technique and created dabs. In Sunrise, the paint is not blended together instead it is layered, which created a

Besides, Claude Debussy as one of the most brilliant musician of the Impressionist music was inspired by Katsushika Hokusai’s painting. More specifically, La Mer

In 1903 Debussy wrote, “Music is a mysterious form of mathematics whose elements are derived from the infinite. Music is the expression of the movement of the waters, the play of curves described by changing breezes. There is nothing more musical than a sunset.” (Vallas 8) Debussy felt a strong connection with the arts and nature. According to the Oxford Music Online article on Claude Debussy, written by Francois Lesure and Roy Howat, Debussy once said, “I love pictures almost as much as music”.

As well as Matisse’s Bonheur de Vivre, Pablo Picasso’s Les Demoiselles d’Avignon was inspired by and deviated from Cezanne’s great achievement. Cezanne’s landscape is a broad open field with the abstract females surround a pond as they bath with abstract surroundings, very much different from Picasso’s