...Romantic music. The romantic era (1800-1850) in music is made by large pieces of work that start to make bigger orchestras with bigger sounds. This music places a strong point on “stirring emotions” within the listener, and doesn’t have to do with the emotion of “love”. Romantic composer made this by writing more complicated music. They use key changes, dissonance, and chromatics a lot. This was done by improving instruments that was played in music theory and teaching how to write music. Beethoven played a major part in bringing music into this new style, and his 3rd symphony is a prime example. Few Romantic composers were Schumann, Chopin, Rossini, and Tchaikovsky. Few characteristics of Romantic music are intense expression of emotions, more freedom in the structure (form) of the music, more complex use of tone and rhythm, larger orchestras/developments in wind instruments, greater technical virtuosity, sense of “nationalism” in musical styles, and links music with other art forms. 2. Discuss the romantic orchestra, program music, nationalism, and exoticism. Romantic orchestra has a wider range of instruments and pitches. It has many more players than a classical orchestra. Romantic orchestra was used in different ways. For example, composers start to use more adventurous techniques like flutter-tonguing on the woodwind instruments and col legno on string instruments. Romantic orchestras have larger brass and percussion section. Program music is a musical...
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...“Although terrifying, many of the stories are also darkly comic.” Consider at least two of the stories from The Bloody Chamber in the light of this comment. * candidates must consider at least two stories here – they may consider more * exploration of the ways in which the stories may be considered terrifying, an aspect of the gothic – likely reference to the numerous instances of horrific violence, sexual depravity, supernatural powers, psychological fear etc * exploration of the ways in which some of the stories may be considered comic – “Puss-in-Boots” is obviously comic – other stories have moments of sardonic humour, often created by surprise or defiance of our expectations * Response to the word “darkly” in the question and its implications of black comedy – laughing at things which are not normally considered funny – expect some personal response here – sense of humour is very individual! * some candidates may discuss Carter’s language – her intermingling of the poetic and literary with the bluntly crude may be seen as a source of dark humour, equally her choice of structure may make her writing darkly comic – her use of juxtaposition – some readers have seen the absurd brevity of “The Snow Child” as comic and it is unquestionably “dark” Carter’s ‘The Bloody Chamber’ certainly embeds an element of terror within the collection. However, despite claims of horror apparent in the Marquis from the very start, it is also reasonable to argue that...
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...the subject of art appreciation for those entirely new to the subject. This is a complex topic to deal with and it is impossible to have a truly comprehensive discussion on the topic in such a brief essay. The student is advised to consult more advanced texts to gain further understanding of how to appreciate art more fully. HUMANITIES: What is it? • The term Humanities comes from the Latin word, “humanitas” • It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized. HOW IMPORTANT IS HUMANITIES • The fields of knowledge and study falling under humanities are dedicated to the pursuit of discovering and understanding the nature of man. • The humanities deal with man as a being of purpose, of values, loves, hates, ideas and sometimes as seer or prophet with divine inspiration. • The humanities aim at educating. THE ARTS: What is it? • The word “art” usually refers to the so-called “fine arts” (e.g. pictorial, plastic, and building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts) • The word “art” is derived from arti, which denotes craftsmanship, skill, mastery of form, inventiveness. • Art serves as a technical and creative record of human needs and achievements. The word 'art' is often used in our daily lives. However, when we scrutinize the word in depth, defining what is art may not be as...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...HUL 231: INTRODUCTION TO LITERATURE History and its representation in literature * The Holocaust Name: Pooja Nath Entry No: 2009CH10087 Group No: 1 Contents | Chapter | Page Number | | | | 1. | Literature from the Holocaust: An Introduction | 3 | 2. | Piecing Together History: Stories of Survival | 4 | | Map: Nazi Concentration Camps | 4 | 2.a | Before the war | 4 | 2.b | During the war | 5 | 2.c | After the war | 6 | 3 | Maus: Graphics and Symbolism | 6 | 4 | Comparative Analysis: Understanding the Characters | | 4.a | Sophie and Vladek | 8 | 4.b | Sophie and Anja | 9 | 4.c | Nathan Landau and Holocaust survivors | 10 | 4.d | Stingo and Art as narrators | 10 | 5 | Bibliography | 11 | Literature from the Holocaust: An Introduction “The Jews are undoubtedly a race, but they are not human.” Adolf Hitler Official figures tell that six million Jews, two million Poles, one million Serbs, five million Russians were exterminated during World War II – the actual toll of executions by the Nazi Government, can never be estimated. Holocaust was a period of unspeakable horror and infernal ramifications which were not only felt across Europe but also in places like Laos. When I began this term paper, it was meant to be a study of the literature pertaining to this period of Nazi regime in Poland during World War II. What it turned out to be was a account of implacable and starkly real evil. A subject that has inspired countless movies...
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...Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation of the musical sound itself, the art of musical notation...
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...Crouching Tiger, Hidden Dragon CHIN 1088 12/15/2015 Fang 1 Crouching Tiger, Hidden Dragon Let’s look back to the title of this essay. Yes, it is the very film’s name that I would like to talk about. Crouching Tiger, Hidden Dragon was released in China in 2000, and directed by Ang Lee. I believe that lots of people are not unfamiliar to this person. Ang Lee was born on October 23, 1954 in Taipei, Taiwan. His titles are not only a film director, but also producer and screenwriter. Early year, he attended the National Taiwan College of Arts, where he graduated in 1975, and then relocated to the United States, where he studied at the University of Illinois at Urbana-Champaign and New York University. Ang Lee made his directorial debut in 1992 with Pushing Hands and earned Academy Award nominations for his next two films, The Wedding Banquet (1993) and Eat Drink Man Woman (1994). His later films include Sense and Sensibility (1995), starring Emma Thompson, Kate Winslet and Hugh Grant, and for which Lee earned an Academy Award nomination for best picture; The Ice Storm (1997); Crouching Tiger, Hidden Dragon (2000), for which he received four Oscars, four BAFTA Awards, a Golden Globe Award for best director; and Hulk (2003). He also went on to direct Se, Jie (2007) and Taking Woodstock (2009). In 2006, he became the first Asian to win an Academy Award for best director, for his film Brokeback Mountain, a small-budget, low-profile independent film based...
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...Music Society and its Impact Music and society have always been intimately related. Music reflects and creates social conditions – including the factors that either help or delay social change. The development of recording techniques in the last half of the 20th century has developed the amount to which most people have access to music. All kinds of music are available to most people, 24 hours a day, at the touch of a switch. The down side of this easy availability of music in the Western world is that there is a tendency for it to be taken for granted. Music is a very powerful medium and in some societies there have been attempts to control its use. It is powerful at the level of the social group because it facilitates communication which goes beyond words, enables meanings to be shared, and promotes the development and maintenance of individual, group, cultural and national identities. It is powerful at the individual level because it can induce multiple responses – physiological, movement, mood, emotional, cognitive and behavioral. Few other stimuli have effects on such a wide range of human functions. The brain’s multiple processing of music can make it difficult to predict the particular effects of any piece of music on any individual. The power of music to act intensely has long been recognized. Therapy can involve listening to or actively making music. Increasingly it may involve both. Music can be effective in coincidence with other interferences in promoting...
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...Shine include camera work, music, and the terrifyingly subtle use of lighting to develop the atmosphere and create apprehension in the audience. On the contrary, Stephen Chow’s ostentatious special effects, camera work, lighting and sound in Kung Fu Hustle in no way waned to present the same ideas and rivet the audience on to the end of their seats to witness the anticipated metamorphosis of antagonist to protagonist. In Shine, Hicks’ concoction of multiple cinematic techniques effectively portray the idea of the change and the transition from the suppression of the individual to the strength of the individual. Hicks’ use of specific techniques helps the audience learn more about Peters Authoritarian mindset and further develops the oppression felt by David’s character whilst portraying the idea of change. This enables the audience to understand the more complex underlying themes in the film and makes the audience more aware to the specific role of each character in the film and how they are all intertwined with each other at a deeper level. Consequently, it successfully challenges us, the audience, to consider how we might have felt in David’s situation and helps us draw conclusions about the nature of relationships and family dynamics. A scene, in Shine, that Hicks uses cinematic techniques, lighting, music/sound, symbolism and dialogue is scene ten where David has decided to defy his father and accept the scholarship to The Royal Academy of Music in England. The aforementioned...
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...Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an economic and social tool to achieve some wealth, flexibility, and innovation for individuals and groups; Tradition functions, partly and at times largely, as a mythological state which produces the sensation of larger connectedness and stability in the face of shockingly massive social change over the last half-century. One might also say that Modernity is an economic force with social, cultural, and political correlatives; Tradition is a cultural force with social, economic, and political correlatives. Satisfyingly asymmetrical in their relation, they require us, in talking of one, to talk also of the other, just as they induce us to move as nimbly as possible between theoretical abstraction and experiential reality. But their separation is itself part of the mythological drama in current Indian thought, just as their mutual implication is the import of the same ironic smile that brings to an effective close any conversation one hears here about them. And so we take them in turn only...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...continuous sequence of emotions that arise in various contexts and circumstances. These emotions, or rasas, are what give life different hues, shades and colors. Thus it is not surprising that most performing art, which tries to present to the viewer a slice of human life focuses precisely on these rasas, or emotions in order to appeal to the audience. That rasas are the mainstay of performing art, or natya, is a fact that has been well-recognised for centuries now. The NatyaShastra is an ancient Indian text dated between 2nd century BC and 2nd century AD which analyses all aspects of performing art. It is often called the fifth veda because of its importance. In it one finds a thorough exposition on the rasas, or emotions that characterise Life as well as Art. The NatyaShastra describes nine rasas or NavaRasas that are the basis of all human emotion. Each is commented upon in detail. It is useful to keep in mind that a rasa encompasses not just the emotion, but also the various things that cause that emotion. These two things go hand in hand and are impossible to treat separately. This duality is part of every rasa to varying degrees. Today we try to bring to you a flavour of each of these nine rasas, explaining what each one means and presenting it to you through some Indian art form. Shringara Shringara means love and beauty. This is the emotion used...
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...Mass media From Wikipedia, the free encyclopedia Jump to: navigation, search The mass media are diversified media technologies that are intended to reach a large audience by mass communication. The technologies through which this communication takes place varies. Broadcast media such as radio, recorded music, film and television transmit their information electronically. Print media use a physical object such as a newspaper, book, pamphlet or comics,[1] to distribute their information. Outdoor media is a form of mass media that comprises billboards, signs or placards placed inside and outside of commercial buildings, sports stadiums, shops and buses. Other outdoor media include flying billboards (signs in tow of airplanes), blimps, and skywriting.[2] Public speaking and event organising can also be considered as forms of mass media.[3] The digital media comprises both Internet and mobile mass communication. Internet media provides many mass media services, such as email, websites, blogs, and internet based radio and television. Many other mass media outlets have a presence on the web, by such things as having TV ads that link to a website, or distributing a QR Code in print or outdoor media to direct a mobile user to a website. In this way, they can utilise the easy accessibility that the Internet has, and the outreach that Internet affords, as information can easily be broadcast to many different regions of the world simultaneously and cost-efficiently. The organizations that...
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...GRADE 9 Learning Module MUSIC (Qtr 1 to 4) Compilation by Ben: r_borres@yahoo.com MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 To the illustrator: Using the blank map of Europe, place pictures of ALL the composers featured in EACH UNIT around the map and put arrows pointing to the country where they come from. Maybe you can use better looking arrows and format the composer’s pictures in an oval shape. The writers would like to show where the composers come from. I am attaching a file of the blank map and please edit it with the corresponding name and fill it the needed area with different colors. Please follow the example below. (Check the pictures of the composers and their hometowns in all the units.) Medieval, Renaissance and Baroque Music Page 1 MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 Time allotment: 8 hours LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and art of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision...
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...BELHAVEN UNIVERSITY Jackson, Mississippi A CHRISTIAN UNIVERSITY OF LIBERAL ARTS AND SCIENCES FOUNDED IN 1883 CATALOGUE 2014-2015 EFFECTIVE JUNE 1, 2014 Directory of Communication Mailing Address: Belhaven University 1500 Peachtree St. Jackson, MS 39202 Belhaven University 535 Chestnut St. Suite 100 Chattanooga, TN 37402 Belhaven University 7111 South Crest Parkway Southaven, MS 38671 Belhaven University – LeFleur 4780 I-55 North Suite 125 Jackson, MS 39211 Belhaven University 15115 Park Row Suite 175 Houston, TX 77084 Belhaven University Online 1500 Peachtree St. Box 279 Jackson, MS 39202 Belhaven University 1790 Kirby Parkway Suite 100 Memphis, TN 38138 Belhaven University 4151 Ashford Dunwoody Rd. Suite 130 Atlanta, GA 30319 Belhaven University 5200 Vineland Rd. Suite 100 Orlando, FL 32811 Traditional Admission Adult and Graduate Studies Admission – Jackson Atlanta Chattanooga Desoto Houston Memphis Orlando Alumni Relations/Development Belhaven Fax Business Office Campus Operations Integrated Marketing Registrar Student Life Security Student Financial Planning Student Development Online Admission Online Student Services (601) 968-5940 or (800) 960-5940 (601) 968-5988 or Fax (601) 352-7640 (404) 425-5590 or Fax (404) 425-5869 (423) 265-7784 or Fax (423) 265-2703 (622) 469-5387 (281) 579-9977 or Fax (281) 579-0275 (901) 896-0184 or Fax (901) 888-0771 (407) 804-1424 or Fax (407) 367-3333 (601) 968-5980 (601) 968-9998 (601) 968-5901 (601) 968-5904 (601) 968-5930 (601) 968-5922...
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