Franchot Tone

Formal Analysis of The Shining In his exemplary horror film, The Shining, Stanley Kubrick uses various components of editing and sound to create unique and terrifying scenes. Kubrick relies on editing and sound design to aid the horrifying and creepy feel that was made in the in the movie. All throughout the movie, the unique sound design and strong editing techniques create many diverse effects on the viewer, however the most evident effect created a sense of fear and suspense. One scene specifically

The poem “Anastrophe Elegy” by Rebecca Foust tells the story of a woman who falls madly in love with a man. This woman, was the “it girl” she was talented, smart, beautiful, and athletic. She had many different roles in peoples lives such as girlfriend, wife, mother, friend, coach and many more. However, she met a man whom she falls in love with. As a result of love she gives her all to him. She went above and beyond for this man giving up much of herself to make sure he was happy. After spending

*Listen Boulez – Structures pour deux pianos When a tone row is turned backwards, its rhythmic pattern is also reversed. For example, a minum followed by a quaver followed by a semi-quaver becomes a semi-quaver followed by a quaver followed by a minum. It is in this way that every conceivable musical element

This order could be based on properties such as symmetry or pre-determined intervals, or even just instinctive ideas of the way in which notes could relate to one another. This order of notes is called a tone row; this tone row was then re-arranged through a set of rules to form variations known as set forms or row forms. The basic forms of these rules are retrograde and inversion, arranging the notes in reverse order (for example B-C-G becomes G-C-B) or upside

and listeners were losing themselves in an aural swamp. Schoenberg's solution was to find a means of organization other than tonality. In his quest, he pursued methods dictated by free atonality, by text (Sprechstimme) and ultimately by the twelve-tone method. By removing tonality, Schoenberg emphasized the independence of each musical line by the importance of a set of intervals. It was a radically new way of creating and perceiving music, but one cannot emphasize enough that this idea—the idea

Harrington, Gardiner, & Attwell conducted a study among classical symphony musicians. Sound level measurements during five rehearsals and two performances were taken. An audiometric questionnaire and hearing thresholds were measured by clinical pure tone audiometry. It was not noted whether hearing protection use was advised or recommended. This study concluded that there is a potential for occupational noise induced hearing loss within professional classical musicians. More recently, Jansen,

When you play a note you can only play it again once you played all the other 11 notes. This is called a tone row. For Example, In opus 23 all 12 tone are presented in this order: C#, A, B, G, Ab, F#, Bb, D, E, Eb, C, F as you can see no note repeats until all the other 11 notes are played. The tone rows in a way function as scales in tonal music. The first time that he tried using all the notes in the chromatic scale was in Piano opus 9. In that piece

In 1920, Schoenberg formulated his twelve-tone technique which can be heard in his one-movement Piano Concerto. One of the warmest and richest harmonies Schoenberg created was The Chamber Symphony No. 2 (1939) which had late Romanticism harmonies with neo-classic spirit (Schoenberg 1). Through Schoenberg and his students, the twelve-tone method became a dominating force in the mid 20th century composition and strongly influenced the course

present study compared the neural processes underlying the discrimination of the high rising and low rising tones in Cantonese between two groups of typically developed native speakers differing critically in their production of the rising tone contrast. The design allowed us to gain insights in the online processing of the two highly similar contour tones and to reveal the relationship between tone perception and production. The main findings are the longer discrimination latency demonstrated by the

Music underwent a plethora of changes throughout the twentieth century, including a complete transformation from the large symphonic works of the late 1800s to the short, electronic ditties of the late 1900s. With all that change, choosing only three composers to represent the entire twentieth century would be impossible. For example, the innovation of electronic music added an entirely new genre to the world of classical music; however, the three composers discussed here did not write in that style