...Salanio and Salerino meet again in the Venetian streets to gossip. Salerio sadly reports that the news of Antonio’s ship potentially getting wrecked in the narrow seas between England and France has yet to be denied. They lament that Antonio’s fortunes are poor, but they’re interrupted by Shylock, or, as they say, the devil in “likeness of a Jew.” Salanio asks Shylock for gossip. That is in which old news to those two: Jessica has run off. Salanio and Salerino joke that it was about time she left the nest. As Shylock laments that his own flesh and blood has deserted him, the other two men are but only less than sensitive. They say Jessica was no more like Shylock than white wine to red. Talk turns to the fate of Antonio’s ships, and Shylock whines about that as well – though it’s unclear whether he’s gleeful or upset. Either way, he keeps reiterating that Antonio needs to “look to his bond.” suggesting that he has no plans to be merciful if Antonio forfeits. Salerio scoffs that he’s sure, in the case of loss, that Shylock wouldn’t actually want a pound of Antonio’s flesh. Right? Shylock gives an illuminating speech on the nature of prejudice, though it’s laced with vicious hatred and his desire for a pound of Antonio’s flesh. Shylock suggests he can use Antonio’s flesh as fish bait, but the most important thing the human meat will feed is Shylock’s hunger for revenge. Shylock lists off the little and big cruelties to which Antonio has subjected him and points out that Antonio’s...
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...traits of music during the Baroque period. Barbara Strozzi was a very successful female composer and was one of the very few women who had musical compositions that were published. Strozzi’s piece, “Lagrime Mie” is a cantata structured with a female solo voice and continuo using the harpsichord. A common method used by musicians of this time were to improvise and to add embellishments that they felt would compliment the piece, which is strongly portrayed in this work. The beginning of “Lagrime Mie” begins with the harpsichord playing an open E minor chord while the opening vocal line begins on a high E descending all the way down to a D sharp. While the vocal line descends, the vocalist adds a tremble to her voice presenting an image of lament. In this descend, taking place from mm. 1-4, the vocalist is only singing the phrase “Lagrime Mie” in a melismatic form which strongly brings out, not only the emotion Strozzi wanted to capture, but the lyrics. The chord progression of the harpsichord is within the sharp system creating an audible representation of pain and sadness. The progression and vocal expression go in hand with the lyrics of the piece...
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...Henry Purcell's two famous arias have been sung many different ways, by different artist. His use of of the different keys to conjure emotions was masterfully done. Purcell used major keys to evoke happiness and minor keys to evoke sadness. I believe it is well done in those respects, it sets the tone for what is going on up on stage. The two famous arias are Ah Belinda and when I am laid in earth(Dido's Lament) they both employ the ground bass technique, which a bass line is repeated as the basis of a piece, underneath vaiations, repeated over & over again, while the upper parts proceed normally. I think Emma Kirby done a tremendous job with her version of the aria. She has a outstanding voice and was only complimented with the use of Baroque instruments. Another fine example of the same piece of music is Jessye Norman's version of the aria, Ibelieve she exudes pain and suffering even through her facial expressions more so than Emma Kirby, very well done indeed. I also enjoyed Alison Moyet's more modern interpretation of the famous arias,tastefully done. It seems to have a lighter mood than the other two versions. The singer is not summoning or waking the troublesome agony that the others seem to be. I would have to say that I prefer Alison Moyet's version over the other two any day, because of the more modern sound and the lighter mood that it seems to exude. All pieces are beautifully done, and I suprisingly have a new respect for opera and all of it's allurment. It is an...
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...Section one: 10 lecture questions 1. Why did composers of early polyphony use chant as the basis for their new compositions? * Chant was believed to have originated from Gregory the Great, who received it directly from God. * C., 800 Charlemagne mandated the standardization of chant repertoire in his kingdom. * Given the long tradition, including chant in new sacred music legitimized the new composition. 2. Why is Paris an important site for the notation of polyphonic music? * Paris was home to a preeminent university * University members were smart and innovative * Acoustical reverberation in gothic architecture necessitated the rhythmic organization of music. * Rhythmic notation was devised to help coordinate singers. 3. How did Notre organum say something new and old at the same time? * N.D organum used official sanctioned melodies as the basis for new compositions, thus paying respect to God, church, authority , and musical tradition.(OLD) * N.D organum added voices to preexisting chants. * N.D organum composers rhythmicized these added voices. Renaissance 4. How does the sound of Renaissance music differ medieval music? * Sacred Music: * Imitative polyphony is used * sacred music and secular music is sung in vernacular * Rhythms are more uniform 5. What is Mass ordinary and what makes it special? * MO is text that remains the same in every mass * It is the part of mass that does not...
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...The Baroque Era: Baroque was a popular style of architecture, sculpture, music, and painting in Europe from the mid-17th to the mid-18th century, particularly in the countries of the Catholic Reformation, including Flanders, Bohemia, and the Catholic states of Germany. Characterized by elaborate detail and dynamic movement, the baroque is often associated with excess, exaggeration, naturalism, and sensuality. The style was also encouraged by the Catholic Church because it emphasized religious themes in an emotionally charged and easily accessible fashion. The painter Peter Paul Rubens in Flanders and the sculptor Gianlorenzo Bernini in Rome were among the many baroque masters. Painting: A defining statement of what Baroque signifies in painting is provided by the series of paintings executed by Peter Paul Rubens for Marie de Medici at the Luxembourg Palace in Paris (now at the Louvre), in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement. Baroque style featured "exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism". Baroque art did not really depict the life style of the people at that time; however, "closely tied to the Counter-Reformation, this style melodramatically reaffirmed the emotional depths of the Catholic faith and glorified both church and monarchy" of their power and...
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