Leitmotif

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    Symphony Fantastique could be considered one of the most important pieces of music ever written, using a strong, vivid narrative throughout and redefining programmatic music. Berlioz made sure that when the piece was performed, the audience were supplied with a copy of the program describing the series of visions that a young artist (Berlioz) experiences under the influence of opium. The use of the infamous ideé fixe dominates the piece, connecting each movement whilst also helping to shape programmatic

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    Hector Berlioz's Symphonie Fantastique Hector Berlioz wrote the Symphonie fantastique at the age of 27. He based the program on his own impassioned life and transferred his memoirs into his best- known program symphony. The story is about a love sick, depressed young artist, while in his despair poisons himself with opium. His beloved is represented throughout the symphony by the symbolic idee fixe. There are five movements throughout symphony. The program begins with the 1st movement: Reveries

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    The third movement is entitled Scène aux champs, or “scene in the fields.” This pastoral setting alludes to Beethoven’s Am Bach from his sixth symphony, although with less serenity as Berlioz creates a “mood of sorrowful loneliness.” The piece is, like the second movement, in ABA form, with the idée fix attached at the end as a coda. The movement begins “with an echo from Berlioz's childhood: the sound of a cowherd's melody. Berlioz uses the huge orchestra to create the sense of suspension of time

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    different from the other. Contrary to that flatland has incorporated both into one eccentric novel. Written in eighteen eighty four, by Edwin Abbott Abbott, a square plays the narrator as we follow him through the escapades of flatland. The key leitmotif in flatland is the fear of the unknown among many flatlanders, line landers, and space landers. Math and literature work together to portray this theme by incorporating the Victorian Era’s strict social classes with geometric shapes. As in the book

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    The leitmotif that can be heard in the opening of the opera can be described as longing. The notes are drawn out and sound unhappy and there is this sense of anticipation. Through my skipping about in this opera I have deduced that this leitmotif can be found through the entire opera, at least the drawn out and unhappy notes can, especially towards the end. The romantic era style operas differed from that of the baroque style in that the romantic operas emphasized emotions in a far superior way.

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    The progression of passion leitmotif is marked by the increasing intensity through words such as “suggestion,” “eager,” “drawn by,” “bright,” “poem,” and “hot.” A relationship cycle is created through the increasing passion, indicating that the poem describes different stages of the speaker and the man’s relationship, from strangers to a couple. This passion drives the cause of their relationship, suggesting increasing interest by both the speaker and the man, which leads them to the “stalking” habit

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    Progression of images/leitmotifs: Duffy establishes light and body parts as the leitmotifs in the poem to illustrate the joy in motherhood, when a mother can watch her child grow up. The speaker associates the daughter as a “Light gatherer” who “held a candleworth,” “glowed” in the speaker’s hand, and mirrored “the soft lamp,” which creates the light imagery. Light drives out darkness which has connotations of sadness and evilness while light has the connotations of innocence and purity. Light is

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    beehive, and even though the instruments were playing the same notes, the different timbres of the variety of string instruments gave each sound a distinct feel. The overall lack of leitmotifs and musical themes reflects the dark and nihilistic tone of the film, and the attitudes of Daniel Plainview. In other epics, the leitmotifs are often tied to love, friendship, family, or other sacred values, but Daniel’s character does not believe in the sanctity of any of these values. A major turning point in

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    “The multivalent themes and leitmotifs with which Vasari regales his readers - the major and minor artists, the diligent and the delinquent, the inventive and imitative, the mentors and apprentices, the fathers and sons, and the mothers, wives and daughters - bring the history of Italian Renaissance art to life in his monumental text.” In order for us to understand the purpose of the preface pages, it is important first to consider the purpose of Vasari’s text as a whole. Vasari was himself a notable

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    Who is Richard Wagner? Who is John Williams? How did Richard Wagner influence John Williams? What is leitmotif and how did both of these men use the idea of leitmotif? In this paper I am going to talk about whom these men are and what advancements they brought to their era of composition. I will focus on each mans take on what leitmotif meant and how they chose to use it to better the music in the film industry and outside of the film industry. Wilhelm Richard Wagner was born on May 22, 1813, in

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