Why Dana Gioia And Paul Salerni

“One Art” is a villanelle filled with sad sentiments of encouragement towards accepting loss. Elizabeth Bishop uses her tone to pull emotions from the reader that could be confusion and disagreement. Her tone deeply impacts the reader in such a way that it causes him/her to seriously think of accepting her opinion and advice. The capturing way she uses her tone in her word choice shows the reader her natural inflexion when she speaks. The tone of her work even affects her characterization. In “One Art,” Elizabeth Bishop uses tone to convey a character of false casualty, while also using it to emphasize the very heavy impact of her diction.

This very much represents the physical crossing from the ‘normal’ world into a world which is not seen from the outside, and pushed to the edge of society, and further resembles a glimpse of hope for the patients’ recovery. In the later scenes of the play, during the performance of Mozart’s opera, the entire theatre has been transformed into something completely different, with its white walls, the bright, colourful costumes, and Mozart’s “music of the spheres” echoing within the once dark and dismal place. The new theatre in all its splendour metaphorically resembles the transformations of the characters themselves, and from this, the audience is encouraged to realise the significance and therapeutic nature of art, in this case theatre and music: “the music of this opera will keep the world in harmony”, especially in contrast to hopeless treatments such as shock therapy. Through his play, Nowra also encourages the audience to agree with his personal view that war is unnecessary, and in a way is a kind of madness itself, due to its chaotic and uncontrollable nature.

The novel is able to share how music is of great importance and is able to affect people’s moods and thoughts.

Each individual has a unique way of coping with death, and this is evident throughout Christina Rossetti’s, “Remember” and W. H. Auden’s “Stop all of the Clocks”.

In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through compositional and musical techniques. Doing so heightens the audience’s understanding of the characters, their motivations, and the relationships between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience’s understanding of the characters. This is highly apparent in his last opera, L’Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh

A multitude of people nowadays choose their favorite songs because of how they sound and the attractiveness of the singer. However, some people select their favorite songs because of its appeal by relating to their personalities and feelings. Just as songs can relate to people, they can express countless similarities with stories as well. When it comes to the story, The Diary of Anne Frank, there are a variety of characters and events that songs can relate to. The songs “Chocolate Rain”, “The Last Goodbye”, and “Lost Cities”, verbalize numerous commonalities with The Diary of Anne Frank.

Non-diegetic music is also accompanied with voices in the scene of which Guido and Giosue are talking to Dora on the loudspeaker. Before this scene Dora was shown going through the clothes of those who were killed in gas chambers, this scene had dark music to portray the emotions of Dora. After Guido speaks the first sentence on the loudspeaker the music begins to play, at this point the audience realises that this event shows that Guido and Giosue are willing to get caught just so they are able to speak to Dora. Towards the conclusion of this scene the music begins to slow down and get sadder as the guards can go be heard going after Guido and Giosue. These scenes are closely related with camera shots in order to enhance emotion.

By biological logic, we human beings will face death sooner or later in our life and death has its very own ways to approach us - a sudden deadly strike, a critical sickness, a tragic accident, a prolonged endurance of brutal treatment, or just an aging biological end. To deal with the prospect of death come different passive or active reactions; some may be scared and anxious to see death, some try to run away from it, and some by their own choice make death come faster. But Viktor Frankl, through his work Man’s Search for Meaning, and Bryan Doyle; in his essay “His Last Game” show us choices to confront the death, bring it to our deepest feelings, meaningful satisfaction. To me, the spirit of the prisoners at deadly concentration camps, Frankl’s Logotherapy theory of “. . . striving to find a meaning in one’s life is the primary motivational force in man.” (99), as well as the calmness of Doyle’s brother on his last ride, like an awaken bell, remind us of how precious life is, how we should find the significance in every act of living, determine to live a meaningful life at any circumstances; hence, when death comes, we can accept it without anxiety nor regrets.

Thesis: Catherine Davis’ “After a Time” and Robert Plant’s “Stairway to Heaven” performed by Led Zepplin both focus on death and rebirth, the fact that no matter what we possess, we can’t change this.

By making a contrast between the psychological situations before and after Coss begins to sing, the author suggests that artistic expression is a cure for stresses and fears. The opera changes the tone of this hostage situation from distant and stressful to loving and caring. Listening to the beautiful music has become the path to hope, or a way to escape from the reality. People become gradually unaware of the terrible

“Dido’s Lament”, choreographed by Mark Morris, is an emotional dance theatre piece that illustrates the tale of Queen Dido, a character from the opera Dido and Aeneas, who prepares to commit suicide after feeling betrayed by Aeneas, a man with whom she fell in love with. Because the character that Morris is portraying is preparing to commit suicide due to being heartbroken, Morris wanted to translate this tragic and moving concept of suicide through not only his movement phrases, but through the dark setting created onstage by the performers as well. As the title suggests, the word “lament”, as well as the concept of suicide and despair, were the main elements on which Morris built the dance piece on. Through the dark ambiance and slow, dramatic movements onstage, Morris expresses to the audience through story how emotional grief, inner conflict, and sadness are.

As the history of Opera has progressed, characters have become progressively raw and themes increasingly dark. While Comedic Operas delight and entertain spectators, there is just something about controversial, visceral stories that keep audiences yearning for more. This trend does

Death is probably the most feared word in the English language. Its undesired uncertainty threatens society’s desire to believe that life never ends. Don DeLillo’s novel White Noise tells the bizarre story of how Jack Gladney and his family illustrate the postmodern ideas of religion, death, and popular culture. The theme of death’s influence over the character mentality, consumer lifestyle, and media manipulation is used often throughout DeLillo’s story.

There are two possible fates we each face in life. We either forget our mistakes or carry them on our shoulders forever. This burden has evolved into a common theme for operas, novels and other pieces of literature. For instance, Benjamin Britten uses this motif as a threshold for his opera Billy Budd. He explores the hunting troubles of captain Edward Fairfax Vere by setting up a narration on retrospect of the hanging of Billy Budd, the handsome sailor . Inspired by Herman Melville’s novel, the opera became well known. In effect, in 1997 John Dexter directed one of the performances in the Metropolitan Opera. The story begins with captain Vere as an old man who narrates in retrospect the story of Billy Budd on his ship the Indomitable. Billy, the handsome sailor, kills the master at arms, Claggart, and is, therefore, condemned to death by law. Vere decides not to influence Billy’s verdict and simply hears out what the other three highly-ranked sailors have to say. Despite the captain being against the ruling, Billy has to be hanged in order to follow the laws and avoid mutiny from the ship’s crew. The narration proceeds with Billy’s waiting for his hanging and the execution itself. By the end of the account, Vere asserts that he has accepted Billy’s death. It can be easy to believe this assumption, but nothing could be further from the truth. Captain Vere has not come to terms with this episode of his life, neither should he.

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.