From The Diary Of Virginia Woolf

Section one is introduced with a pedal solo which is used to maintain the rhythm of a ¾ pattern that is consistently present throughout the entire piece and initiates the ostinato theme. A significant part of section one can be distinguished in measure 33 where the melody of both hands shifts to the swell organ manual. Also, the melody switches again to the choir organ manual in measure 49.

Atticus’ Role in To Kill A Mockingbird Atticus represents justice and morality. He plays a very important role in his children’s lives, teaching them reason, and raising them much different than those around them. He brings the lessons that he teaches his children to the courtroom, making sure people see both sides of the story, and keeping things fair. Atticus treated people fairly, even if it they didn’t deserve it. He was very conscious of what was morally right, and attempted to keep things as moral as possible.

To begin, as the song progresses through each of the nine stanzas, it describes a year and dystopic view of innovation, time, and ultimately revelations. Man’s actions in the song have placed traditional morals, religion, the Earth, and their own survival at risk. The base line and percussion drives a dramatic tempo that alludes to the rapidly ticking of a clock. The final stanza of the song is unlike the rest. It offers

Virginia Woolf, in the excerpt from her memoirs, reflects upon her childhood summers, expressing the significance of the “perfect lesson” that impacted her life. Woolf captivates her reader by painting a vivid picture of a summer day spent on the luggar with her father before utilizing a metaphor to reveal how the experience had a profound impact on her. She does this in order to reveal how this memory left a lasting impression on her subsequent path through life. Woolf addresses to all who have an interest in her persona as a writer in a nostalgic and passionate tone. Woolf commences the excerpt by recounting her experience on a luggar with her brother and father.

These refrains would serve as more than just a repeated stanza. These incremental refrains took place in the second, fourth, sixth, eighth and tenth stanzas. In the second stanza, the speaker asks “Can it be forever dark?” (6). The first two words in this line seem to be asking permission, “Can your random love / Only leaving me desiring more?”(7-8).

The piece opens very quickly, with a quickening of the cello but it is suddenly interrupted with the piano in a deep key. The opening part of the piece has a significant amount of dissonance, bringing a sense of anxiety and desire for the piece to end. As it rises, the listener is both anxious for an ending and a resolution. The piano is this ending. The piece then picks up in a minor key, entering a more mystical and quiet place. The piano takes precedence with the cello sitting in the background yet when the listener thinks the pieces will be piano heavy, the cello takes over the piano withdraws to the background. The deep vibratos of the cello are contrasted with the light single key of the piano. This leads the listener to associate the cello with a lament and the piano for hope. The piano always closes the movement with a deep, somber key, suggesting that though hope is out there, there is still an air of sadness, of melancholy.

The tone which eventually creates the mood of the poem slowly progresses as the poem moves on. It is a slow, monotonous, interrupted and repetitive tone in the beginning, “drowsy syncopated tune” on which the musician is swaying to the soft and calm “mellow croon”. Moreover, with the personification of the piano “poor piano moan with melody” the tone is changed into a more satisfying one yet with more distress. The piano may also symbolize black and white people and that even though black keys are less, they make music too and are above the white keys. This gives the musician hope.

There is no clear climax to the song but it has a conjunct motion throughout it because of the very few and spread out leaps. There is a fair amount of variation going on in this song but it also has a lot of repetition. The entire first verses rhythm is variated and every other measure has the same rhythm within it. After the chorus, the next three measures are all repeated and then the rhythm of the chorus is used again. Most measures in the song are either ascending or descending. The overall mood of this song is a happy one because it is diatonic and the repetition even though it has a slower

The two enjambments in lines 5 and 6 increases the readers’ speed of reading, showing the eagerness and frustration when the speaker is chasing, the losing the deer/lady; meanwhile, the two end-stopping in lines 7 and 8 slows down the readers’ reading speed, effectively suggesting the speaker’s feeling of helpless and bitter by giving up the effort of pursuing. The rhyme of lines 5-8 follows the format of abba, which demonstrates the beauty of symmetry together with the consistent rhyme in lines 1-4; however, visual rhymes appear in the two words “mind” and “wind”, which stands out from the text, possibly showing the potential turbulence of speaker’s mind

While the contextual influences on texts in time are irrevocably profound, it is the composer’s attitudes towards societal values that provide an insightful understanding of the respective eras. Virginia Woolf’s polemics “A room of one’s own” and “three guineas” were written prior to the outbreak of war and was influenced by the first wave feminist movement as well as the modernist society dominated by male egoism and fascism. These contextual influences on her work helps portray the disenfranchisement of women and their exclusion from intellectual and creative freedom under the guise of patriarchy as well as the importance of money and financial independence on the lives of women, thereby provoking audience discourses. Through the incorporation

“Helft mir, ihr Schwestern” is song number five from Robert Schumann’s song cycle Frauenliebe und –leben. The song cycle was set to the text of a poem cycle of the same name by Adelbert von Chamisso. Each poem in the cycle provides a glimpse into the story of a woman falling in love with a man, getting engaged and married to him, getting pregnant and having a child, becoming a widow and finally sharing her life story with her granddaughter. At the time that Schumann wrote this song cycle, he was going through a legal battle with his future wife’s father over the right to marry her. This poem cycle contains themes of unending love, devotion, and longing that Schumann could personally relate to with his feelings for Clara Wieck, who would soon become Clara Schumann. In this essay, I will demonstrate how Frauenliebe und-leben is directly reflective of Robert Schumann’s own life experiences. In so doing, I will be analyzing the ways in which Schumann set the music in a fashion that emphasized the structure and emotional content of the poetry.

It starts with this lyrical primary theme at the beginning, then moves to a rhythmically driving transitory section that leads into the second theme defined by these dotted eight and sixteenth note patterns. The development begins with the flute playing these military sounding phrases before playing around with some of the primary material. The recapitulation brings back the exposition, leading to a very gentle and delicate ending. Drawing upon some of the livelier sections of the first movement, the second movement, Scherzo, zooms on by. Though it is written in a fast triple meter, the placement of some accents create a cross rhythmic feel between the flute and piano, which only serves to heightened the driving nature of the piece. There is a moment when all the running figures stop to give way to a slow and wafting melodic line, before jumping right back into the heat of action till the end. The third movement, Andante, is very lyrical and serves to contrast the first two movements. The movement begins with a very expressive melodic line played by the flute which transforms into these sensual sixteenth triplet passages that weave in and out of the piano part, and returns to the opening character at the end. The fourth movement, Allegro con Brio, is fast and exciting. The most demanding of the movements, it calls for precision in rhythm while also maintaining a driving character. The beauty of the movement

As he played, I ignored the notes altogether, and focused on the stories I imagined went along with them. My favorite musing accompanied Vivaldi’s Four Seasons. It tells the story of a girl dancing onstage when suddenly she transforms into an old oak tree. The four movements chronicle her attempts to adjust to the awkwardness of inhabiting an uncoordinated plant instead of a

The movement begins quite solidly in C major as the first component of the theme (figure 2), which we will call component A, is a repeating eight note C major chord which hammers the tonic tonality into the listeners’ minds. This component ends with an ascending three-note step-wise motion in the right hand into the dominant of the key, with the second note being a sharpened-F, temporarily tonalicizing the dominant, suggesting the idea to the listeners that the beginning C major chords may instead be serving a subdominant function to G. In measure 3 and 4, the left descends into B, serving as a bridge to the upcoming flat-VII to smooth out the jarring key shift. We will call the right hand motif in measure 3 as component B and the one in measure 4 as component C. All three motifs would come back later as important building blocks of the movement.

Both the short and the longer versions of the melody, which appear previously in film music Michurin (fig. 2), appear in all songs of the oratorio and give a sense of unity. Borrowing the terminology mentioned by Pauline Fairclough, the short version will be called motive x. Therefore, the full length version will be called melody x. Motive x starts on the first scale degree and ascends until the fifth scale degree with a sixth scale degree as a diatonic upper neighbor pitch.According to Fairclough, motive x connects songs number 1, 6, and 7, and this proves that the Song of the Forests was composed very carefully. In addition to Fairclough’s statement, motive x actually occurs in other songs as well generating a coherence in the oratorio. Below is several examples of the utilization of motive x in each song.