Music : The Carnival Of The Animals

Talking about the performance art at that time, ‘Theater of Found Sound’ by Christian Marclay is one of the most popular works. (Fraenkel Gallery, 1979) He admitted the fact that he is under the influence of Marcel Duchamp and attempted to proceed experiment on composing phonograph records and turntables together. This fresh way in dealing with voice has arouse the awareness of musicians and artists in the following generation.

The Night Circus written by Erin Morgenstern depicts the tale of two lovers bound by a challenge that forces them to compete against each other. It is a romantic tale, from which the reader can develop a strong sense of emotion with the two lovers. Morgenstern uses the character Bailey to demonstrate the ideas of, love, passion vs obsession and magic in this novel. She engages the reader with an exciting story line and uses a lot of symbolism.

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

inspiration for the composition of the piece, as it was written in French to make use of the language’s sound and enhance its decadence.

‘Impressionism’ was a derogatory term first used to mock Claude Monet’s painting Impression, Sunrise, and other later paintings that were patterned after his revolutionary style. At a time when artists took great pains to make their artwork look as life-like as possible, the quick brushstrokes and blurry figures in Monet’s paintings looked anything but realistic to the art critics. Because of its focus on mental images, Impressionism later came to include not only visual arts, but also certain music as well. Debussy and Ravel are two of the most famous Impressionist composers, and our textbook states that what sets their style apart is that “instead of dealing with human emotions, [their] music evoked the atmosphere of nature” (p. 704). This type of

In The Night Circus, Erin Morgenstern symbolizes the characters lack of free will by comparing the circus and their lives to birds being held in cages. Celia and Marco lost their privacy and freedom at a young age because they were forced and manipulated by Hector and Alexander. They are like birds stuck in a cage, unable to go where they please, controlled by their masters. They are not the only ones who are stuck though. Bailey entered a tent, “no longer a door to be found” (142).

Similar challenges are presented by Romantic music; if a composer does not provide an explicit programme e.g. Berlioz’ Symphonie Fantastique it is up to the performer to interpret whether one was meant and to what extent it should be portrayed in a performance.

In the late eighteenth century, most musicians made money from performing in churches, courts and even cites. They also did compositions and teaching on commission. As attaining fame with the public became a chief concern, the musician's composed materials that pleased everyone from aficionados to the ones with little experience. During this era, two music specialists were known for reaching a diverse audience with their excellent compositions that have come to epitomise the classic period. No one did it better that Haydn and Mozart. Their music was outstanding; they created music that was immediate with a profound and enduring appeal. Though their music was exceptional, they illustrated differences in which specialised musicians work. (Nettl,

Disney 's Fantasia (1940) lies in a class separate from all other animations of program music. While its initial reception was less than stellar, it has since become a standard film in home collections. Theatrical performances, games, and many other derivatives of the brand now exist. Despite this, it has also generated a fair amount of controversy. For example, it contains scenes that allude to Darwin’s theory of evolution, and others that display negative racial stereotypes. Yet the most controversial scene at the movie’s premiere was the animation of Beethoven 's Sixth, the Pastoral Symphony. This feature upset many classical music lovers who objected to the idea of giving Beethoven’s symphony an explicit storyline and a set of images that he did not have in mind. The Pastoral Symphony is likely the most familiar example of program music, but most musicians and critics seem to agree that this does not give a free pass to any form of interpretation. In the intro to Fantasia, the narrator addresses this by cautioning the listener that the video clips were created based on the musical interpretations of animators, not of trained musicians. From that cautionary message to articles published as recently as this year, Fantasia remains a topic of controversy, influenced by factors such as audience familiarity and general views on Beethoven himself. The reach of this influence is not limited to reviews of the Pastoral Symphony feature, but rather extends to the whole

Further research could be done to identify how the compositional styles of 19th Century opera composers influence the development of post-nineteenth century music

Bergeron, paradoxically yet successfully, chooses to get to the core of the French mélodie by looking at it from a distance. Her focuses on the mélodie’s complex relationship with the German Lied, the pedagogical movements of the French language in the late-nineteenth century, and Claude Debussy’s opera Pelléas et Melisande in order to “examine the range of French expression [Debussy] puts on stage and how he represents that range in music” are all indirect yet inventive ways in which Bergeron embraces the challenges of defining this elusive vocal genre (xiii). Perhaps Bergeron sets out to define the French mélodie through indirect methods for exactly that reason; a genre as complex as the mélodie could not be fully understood if one attempted to get to its center through traditional means. Stating that French art song is “a musical repertory based on […] delicacy and restraint […]”, Bergeron clearly has a grasp on

Composer Howard Goodall looks at the extraordinarily productive musical period between 1650 and 1750, in which many of the musical innovations we take for granted today were invented. The orchestra; the overture, which led, ultimately, to the symphony; satisfying chord sequences, which gave music a forward momentum; modern tuning, which, for the first time, allowed composers to move from one key to any other they chose, and for different instruments to easily play together; the concerto, the oratorio, and, not least, the piano. In an age when Newton put in place the basic laws of science, musicians did the same thing in music. No wonder, in an age that also saw great advances in clock-making, that much of the music of this period sounds like

gale in France and as well in Saint-Saëns’s career. Admits the chaos, Saint-Saëns bore an incredible amount of notable works during and following the war, however, the pinnacle of this thesis is the often neglected but monumental, Marche Héroïque (1870). Within the confines of this work the much larger question of music and duty is how Saint-Saëns’s Marche Héroïque served to combat and subsidize the adoption of foreign music (especially German) in times of war? In addition, what was the longevity of the piece, and comparably, how did it differ from the military works of Schubert? More pressing, how did Saint-Saëns’s Marche, his participation in war, and post-war activities, redefine patriotism in regards to a musical

Music is a very powerful tool. It has the power to bring happiness or sorrow. It can stir up old memories that someone has forgotten. In Berlioz’s case he uses one of his most famous pieces, Symphonie Fantastique to tell a story. Berlioz combines the use of instrumentation, rhythm and dynamics in a stunningly effective way that conveys to the listener a tragic tale of an artist, whose true love didn’t reciprocate his feelings leading him down a path of self destruction.

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.