...The Lover-Duras The Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography. Summary of the movie Set against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accepts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until...
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...Right as I began to dive into Kim’s biography, the lights dimmed and the trio took the stage. After tuning and preparing themselves, the trio began the first piece, Ludwig Van Beethoven’s Piano Trio in B-flat Major, Op. 97, “Archduke”. The piece begins in Allegro Moderato with the piano leading an already powerful ranged melody on top of a powerful low range rhythm. The strings seem to slowly creep in for the few seconds, but soon the intensity builds. The piano strikes twice and then rests while the strings play a beautifully haunting melody on top. This persists three times with the piano seeming to descend chord wise. The same feeling is felt throughout the piece, but in a different kind of sense. This can be seen in the development section as the piano does not come to full stops, but rather evokes the feeling of a short stop with high ranged notes being played. The development begins to unravel into a beautiful scene of descending dissonant notes contrasted with accessible melodies from the strings...
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...sure every box on my calendar with a corresponding date to the future concerts held at Sacramento Community Center Theater would have a big red circle around them. Fast-forward four days to October 8th, the day of the impending masterpiece, and I couldn’t be more ready. I arrived 10 minutes early to the 8:00 start time, along with over half of the other patrons and took my seat. I began to mentally prepare my ears for this performance, starting with Benjamin Britten’s “Violin Concerto Op. 15”. The orchestra was composed of a solo violin, three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, a tuba, timpani, percussion, and the strings. The lights slowly dimmed, and the performance began with Moderato con moto, the first of three movements. My ears were first greeted with the mezzo piano sound of timpani’s played Allegro, serving as an indication for events that are to soon follow. This made my heart nearly pound in anticipation, unaware of this sound leading to a soothing, or adrenaline-filled experience. Eventually the tempo had an accelerando feel soon after the bassoon, and a variety of other instruments become very much apparent. This was it. This is the experience that my body so much yearned for, the feeling of need from the music. Eventually, as the title suggests, the violin comes in with fortissimo dynamics, becoming more apparent and much more distinguishable than the other instruments being played. Although I didn’t know...
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...Classical Period (1750-1825) Listening Bridge Both of these excerpts are from CONCERTOS. Listen and compare, using the following questions as guides: • What is the solo instrument in each piece? • How would you describe the orchestra that accompanies the soloist in each example? • In which piece does the orchestra and soloist play the same “theme”? • In which piece does the accompaniment part include many repeated tones? • In which piece are there more sudden and extreme changes in dynamics? • Which one has a basso continuo? • Which one features a more “singable” melody? • What purpose do you think each piece was intended to serve? |[pic]Four Seasons: Winter |[pic]Piano Concerto No. 21 C major | |[pic] |[pic] | |Antonio Vivaldi |Wolfgang Amadeus Mozart | | | | |Born: 1678 |Born: 1756 | |Died: 1741 |Died: 1791 | |Period: Baroque |Period:...
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...THE Theory of Music. AS APPLIED OF TO VOICE THE TEACHIN" AND INSTRUMENTS. AND PJtAOTICE LOUIS Author of " C. Cuwositibs German oi' ELSON. Mtjsic," Etc. " History of Song," This Course is adopted and used in Music. the New England Conservatory of BOSTON : New England Consekvatory of Music. EIGHTH MDITION. 1900. Copyright, 1890, by Lotjis C. Elsom. F. H. GILSON, MUSIC PRINTER AND BOOKBINDER, BOSTON. PREFACE. This work is not so much a intended for self-instruction,as course to provide may systematized their is by the which teachers assist which keen at pupils sary neces- toward to that general knowledge true musician. branches the to The tion competipresent, to in the musical is gradually merely of such those as a leading specialist j principles musician counteract become this, a study all which underlie music, the most laws of Acoustics, and a musical form, etc., is are necessary, to this little volume of such the intended It become text-book but an studies. details In the naturally gives are outline, the of which matter are to be filled in by teacher. facts to of of the Acoustics, utmost only those ...
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...Fundamentos del Estudio del Piano, 2a Edición Por Chuan C. Chang 8 de Abril del 2008 Copyright 1991-2008; Ninguna parte de este documento puede ser descargado o copiado sin incluir el nombre del autor: Chuan C. Chang, y esta declaración de derechos de autor. Este sitio Web proporciona lecciones de piano gratuitas, material educativo para el piano, e instrucciones para afinación de pianos. Tu puedes aprender a tocar el piano hasta (¡) 1000 veces más rápido (!) comparado con otros métodos (ver el Capítulo Uno, IV.5). Este es el primer libro jamás escrito sobre cómo estudiar el piano. Por cientos de años, muchos profesores y otros libros te enseñaron que técnica dominar, pero esto es de poca utilidad a menos que conozcas como adquirirla rápidamente, como Mozart, Liszt, etc., lo hicieron. Puedes descargar gratis el libro entero usando las ligas que encontrarás a continuación. ii Información General Fechas de revisión más recientes: Año 2004 Cáp. Uno: II.20 & II.21, adiciones significativas, 25-Ene; III.5, Escalas y Arpegios, adiciones significativas, 25-Ene; III.10, adiciones significativas, 26-Ene; III.20, nueva sección sobre las Invenciones de Bach, 5-Feb; III.5, III.7.d, adiciones menores, 16-Feb; III.4.b, adiciones menores, 3-Mar; III.16.e, nueva sección, 4-Mar; III.5, Escalas y Arpegios, adiciones menores, 5-Mar; agregado III.21, 18-Abr; Cambia mi dirección de Colts Neck, NJ, a Odessa, Florida, 18-Abr; Cambia mi dirección de Odessa, a Tampa, Florida, 15-May; Testimonios:...
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