The Legacy Of Daniel Libeskind

Daniel Libeskind is a Polish-American architect, artist, professor and set designer of Polish Jewish descent. Libeskind began his career as an architectural theorist and professor, holding positions at various institutions around the world. His practical architectural career began in Milan in the late 1980s, where he submitted to architectural competitions and also founded and directed Architecture Intermediate, Institute for Architecture & Urban-ism. Libeskind completed his first building at the age of 52, with the opening of the Felix Nussbaum Haus in 1998.Prior to this; critics had dismissed his designs as "un-buildable or unduly assertive. In 1968, Libeskind briefly worked as an apprentice to architect Richard Meier. In 1970, he received

This speech is Karl Paulnack’s welcoming address for incoming freshman students. He addresses that music isn’t apart of arts and entertainment rather music is an invisible force that helps us piece ourselves together. Paulnack believes that music is an essential part of life and goes to prove it by telling his experiences with it. He describes the first moment he truly understood music and the impact it has on people. Paulnack portrays the day after 9/11 after he struggles to find any meaning in being a pianist. After a long time of questioning himself he observes the city and notices something. He sees that in this time of grief and sadness people are singing. From this he learned that music is a form of expression, it allows people to express their feelings when they have no other words to describe them. Paulnack goes on to describe what he says was the most important concert of his life. He and a friend were playing a concert at a nursing home. During their performance, one man began to cry, it was at that time Paulnack knew the man was a veteran. After Paulnack and his friend finished the piece, they announced that the piece they were playing was Aaron Copland's Sonata, which was a work

In the memoir A Long Way Gone, author Ishmael Beah describes his survival journey as a lost child in his country, because of the civil war in Sierra Leone, then becoming a child soldier facing war daily, afterward the process that Beah went through during rehabilitation and finally in fear escaping the civil war. Ishmael Beah emotional journey has three stages of development in which Beah utilized music. In the first stage, Beah uses music as a survival mechanism to keep sane and safe. In the second stage, begins when he loses his brother and friends, Beah reaches the lowest point with the loss of his entire family again, some friends, music, and being forced to join the war. In the final stage, is the process of rehabilitation where Beah connects with music once again. Ishmael Beah exposure to music at a young age stayed with him throughout his life. (Beah, 2007, p. 5-218)

Music is known to leave its mark on people helping them to overcome challenges in their lives or to give them courage to defy the odds. In one’s daily life, music is normally taken for granted or is seen as nothing special. As ordinary as it may seem, music can convey emotion in times when the body is numb or all hope is lost. Similarly, in The Cellist of Sarajevo by Steven Galloway, the cello’s music gave people hope and determination to live their lives in spite of the rampant siege around them. Therefore, music very much impacts the lives of the principal characters Dragan, Kenan, and Arrow.

Ossie Davis once said, “Any form of art is a form of power; it has an impact, it can affect change, it can not only move us, it makes us move”. Similarly, The Cellist of Sarajevo by Steven Galloway tells the story of how three individuals Arrow, Dragan and Kenan suffering from the unrelenting and ruthlessness of war are impacted by one musician’s art. All three characters suffer from the war in different ways, but the art in the form of music finds a way to connect them all. Galloway’s novel illustrates that art helps lessen the suffering of those facing the brutality of war as the cellist’s music provides healing of the spirit, mind, and body. The cellist’s music provides hope and inspiration to the people of Sarajevo that they will be able

Louis Daniel Armstrong was an American trumpeter born in New Orleans, Louisiana on August 4, 1901. He had a poor family, with his dad leaving him soon after his birth. His mom was constantly working and he quit school in fifth grade, so he could work. A jewish family with the last name of Karnofskys gave him a job of collecting junk and delivering. Then, on New Year’s Eve in 1912, he fired his stepfather's gun in the air, immediately getting him arrested. He was then sent to “Colored Waifs Home for Boys” as a juvenile delinquent. There, he got musical instruction, and fell in love with his new talent. In 1914 he was released, wanting to start a new life making music. With the skills that he had, he was playing in marching bands and jazz bands.

Felsenfeld takes his readers on a journey from being an uninspired teenager, into the world of an adult “rebel” composer. Although Daniel was in piano lessons at a young age, he just couldn’t seem to spark an interest in the classical music that was being put in front of him. He continued the lessons through high school, and only had enough skill to make minimal money in piano bars and orchestra pits. Daniel regularly hung out with a friend, Mike, whose house he would go

My grandfather, George Eveleth, was eight years old when he and his family survived the 1906 San Francisco earthquake. Their house also survived, and on that day, George sat on the front steps watching the parade of refugee’s stream passed on their way to the tent city in Golden Gate Park. His father left the house that morning and when he returned, he brought with him two items - an antique clock and a banjo. George took up the banjo and by the time he was in high school, he was playing professionally. Along the way he met and was mentored by a local percussionist and bandleader named Art Hickman.

Annotated Bibliography Cohen, D. (1995.) Prohibition america makes alcohol illegal. Brookfield, CT: The Millbrook Press. Daniel Cohen is a very well know children’s fiction writer, which may be very misleading but this book is not fiction. His Alma mater being the University of Illinois at Urbana—Champaign, where he graduated with a degree in journalism.

“To achieve great things, two things are needed; a plan, and not quite enough time.” This quote by Leonard Bernstein is just one of the many things that represents how transcendent he was as an individual in his lifetime. The accomplishments he made throughout his life were far superior and unlike any by others. He began playing music at the age of ten years old and ever since then he was in love with it. The first instrument he played was the piano, which he received from his aunt.

‘The Pianist’ is a cinematic masterpiece by the Polish director Roman Polanski. One of the key ideas that appear throughout much of the film is that of ‘hope being instrumental in our survival’. This idea is portrayed through Wladyslaw Szpilman, a Polish pianist, as he struggles for survival in Warsaw as everybody that he once knew and everything that he once had is lost. The idea of ‘hope being instrumental in our survival’ is worth learning about as it allows the audience to realise the importance of hope in todays society – and to understand how Polanski uses music to symbolise ‘hope’ for Szpilman in the film. Polanski effectively utilises an array of visual and oral text features such as music, dialogue, and lighting to build further

During the Holocaust, Jews in the ghettos and concentration camps used music to keep hope alive and to fuel spiritual resistance, despite the Nazi’s use of music as another weapon in their murder and dehumanization of the Jewish people. Even as the Jews struggled to endure the horrible conditions of ghetto life, musical performance continued, both in secret and in Nazi sanctioned performances. Music encouraged hope in the camps as well, and offered comfort to many Jews during their final hours. However, the Nazi’s sought to use ghetto music as a propaganda tool and concentration camp music to dehumanize and pacify their victims. Nonetheless, many Jews found comfort and hope within the music that they continued to make and listen to, despite the horrors that surrounded them.

We develop our personalities through everything surrounding us. Culture, education, community, family, and religion influence our individuality to a great deal. Things get more complicated for children of immigrants, who struggle defining their identities. These children are exposed to a mixture of two different worlds: they follow their parents’ traditions at home while outside the home they live the culture of which they were born. In the memoir Greetings From Bury Park, Sarfraz Manzoor shows that belief in music can be comparable to that of religion. His obsession with music, Bruce Springsteen’s songs in particular, forms his way of thinking throughout his entire life.

You see, I love old things. I miss my grandfather and I love his 1905 Craftsman bungalow and all the old things in it. I could reconnect with him through his LPs. The joy, mixed with sadness in my mother’s voice as she spoke of how her father came to acquire those albums, some from the 1930s, made me want my own collection. I learned that while Tschaikovsky, Goodman, and Gershwin filled his teenage years during World War II, it was Cuba’s Ernesto Lecuona that made my grandfather smile again because this composer’s rhythmic Latin piano songs played while American planes flew overhead, signaling the liberation of the Philippines.

Hans Zimmer was born in Frankfurt, Germany in September 12, 1957. As a child, he began playing piano since he was three years old. Although he was receiving piano lessons, he quickly became uninterested after only two weeks of piano lessons. Even more astounding he decided to become a composer at age six. His father died when he was six and that is when he decided to become serious about music, because it was his refuge as he quotes, “It was my way of calming the demons in me or at the same time sometimes letting them roar, letting them rip, letting the monster out and seeing that it wasn't so scary being able to look it in the eye," (International Dictionary of Films and Filmmakers 2).