...music, they became giving him opportunities to perform in public, with his first performance in church in their village. During his early years of music, Dvorak began noticing trains, starting from 1851 when a steam train was spotted by Dvorak at his village. Memories such as the steam train inspired Dvorak and from then on he developed a great interest in transportation. When Dvorak was then moved to live with his aunt and uncle around twelve years old, this was due to the fact that his family’s business was going down and wanted to move in order to make more money at a different village. During this time, Dvorak then began studying various instruments including the piano. After moving to Zionice, Dvorak began learning music under Liehmann, who taught him basic musical structures and helped Dvorak write his first few compositions of polkas. “Dvorak also attended classes in violin, organ, voice, music theory and piano.” (“ Antonin Dvorak Biography”). With Dvorak’s father finally recognizing Dvorak’s extraordinary talent in music, Dvorak was then able to attend a few music schools including the Institute for Church Music in which he was able to develop knowledge over 19th century music. However, Dvorak was unable to continue organ school due to the fact that his family was unable make much money, and so Dvorak was forced to leave the school and instead earned a position as a violist in an ensemble that performed in small events and venues such as dances and restaurants. As life...
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...Biography Early Life Dmitri Shostakovich was born on 25 September 1906 in Saint Petersburg, Russia. He began piano lessons at the age of nine with his mother, Sofiya Vasilievna Kokoulina, and already from the beginning he showed great skill and an excellent memory. In 1918, at just 12 years of age, he wrote a funeral march in memory of two leaders of the Kadet party, murdered that same year. In 1919, he was accepted at the Petrograd Conservatory, and the head of the conservatoire, Alexander Glazunov, became his mentor. He took piano lessons with: Leonid Nikolayev, composition with Maximilian Steinberg, and counterpoint and fugue with Nikolay Sokolov, with whom he became close friends. In composition, Maximilian Steinberg tried to guide...
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...Though he only wrote one piece of opera, Ludwig was not a one hit wonder. He created many well-known, and well-loved, symphonies, concertos, and sonatas. Vincenzo Bellini, who lived from 1801 to 1835, because of such works as Norma and I Puritani, Bellini is recognised as one of the leading composers of the Bel Canto, a style which uses a full, rich tone and smooth phrasing, style of opera. His operas were loved by the community and Wagner himself, who hardly liked anyone but himself, was enchanted with Bellini’s ability to fluidly combine music with words. Hector Berlioz, was born in 1803 and died in 1869. Berlioz's attempts to carve out an operatic career for himself were stopped by an unimaginative musical establishment. Nevertheless, he managed to produce Benvenuto Cellini, Béatrice et Bénédict and his masterpiece, the epic Les Troyens, a grand opera with liberetto based on Books Two and Four of Virgil’s Aenid. His opera, Les Troyens, was rejected by the Paris...
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...A term paper discussing Russian music Presented to: Michel El Zoghbi Prepared by: Maher Moubarak Mirna El Khoury Outline: 1. Abstract 2. Introduction 3. Literature Review 4. Centuries 5. Instruments 6. Effects on Russian Music: * Effects of War * Problems caused by Russian Climate 7. Conclusion 8. References Abstract: This term paper will be discussing the history of the Russian music and its evolvement. Moreover, it will include some native instruments and the effect of weather, war, and religion on the Russian music. Introduction: Beginning from the sacred music of the Russian Orthodox Church and passing through diverse centuries, the Russian music was and will always be legacy in the history of international music. Two major genres formed the early history of the Russian music. These genres are: the secular music used for entertainment and the sacred music of the Orthodox Church . The sacred music draws its tradition from the Byzantine Empire. Neumes were developed for musical notation, and as a result several examples of medieval sacred music have survived, among them two stichera composed by Tsar Ivan IV in the 16th century. Literature Review Folk music is certainly the oldest type of Russian music. The roots of Russian folk music dates back to the middle of the first millennium AC. Russian music started with the Slavic tribes that settled in the European part of the current territory of Russia. Those...
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...A term paper discussing Russian music Presented to: Michel El Zoghbi Prepared by: Maher Moubarak Mirna El Khoury Outline: 1. Abstract 2. Introduction 3. Literature Review 4. Centuries 5. Instruments 6. Effects on Russian Music: * Effects of War * Problems caused by Russian Climate 7. Conclusion 8. References Abstract: This term paper will be discussing the history of the Russian music and its evolvement. Moreover, it will include some native instruments and the effect of weather, war, and religion on the Russian music. Introduction: Beginning from the sacred music of the Russian Orthodox Church and passing through diverse centuries, the Russian music was and will always be legacy in the history of international music. Two major genres formed the early history of the Russian music. These genres are: the secular music used for entertainment and the sacred music of the Orthodox Church . The sacred music draws its tradition from the Byzantine Empire. Neumes were developed for musical notation, and as a result several examples of medieval sacred music have survived, among them two stichera composed by Tsar Ivan IV in the 16th century. Literature Review Folk music is certainly the oldest type of Russian music. The roots of Russian folk music dates back to the middle of the first millennium AC. Russian music started with the Slavic tribes that settled in the European part of the current territory of Russia. Those...
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...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...On July 14, 1789, a precedent was set for a new brand of political struggle as Parisians stormed the Bastille, sparking the French Revolution and beginning a new era in popular government. This Revolution, in addition to reshaping Europe in the nineteenth century, would be the inspiration for many revolutions to follow, including the Russian Revolution. Furthermore, it established a collection of values which many revolutions would aim to uphold: liberty, equality, and fraternity. Chicago Historian Sheila Fitzpatrick, however, argues that these are aims that “almost all victorious revolutionaries inevitably dishonour.”1 By examining the Cuban and Russian Revolutions, this can be seen to be too general a statement. Under Lenin, the Russian Revolution instituted one of the most progressive constitutions yet seen,2 while Cuba, with its unique role in relations between two Cold War superpowers, stayed mostly true to its primary goals of attaining social justice and equality. The objective that tends to be the most fraught by revolutions is liberty, because in order to completely reshape a society, power must be, at least for a time, concentrated in the hands of few. Thus, the Russian Revolution, particularly under Stalin, can be said to have dishonoured the goals of the original revolution, while the Cuban Revolution under Castro, for the most part, did not. The aim of eliminating inequality was central to both the Russian and Cuban Revolutions. Since before its independence...
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...A BRIEF CHRONOLOGY OF ARTHUR MILLER'S LIFE AND WORKS [This chronology has been compiled and crosschecked against a number of sources, however, a special acknowledgement should be made to the thorough "Literary Chronology" and appendices printed in The Theater Essays of Arthur Miller, eds. Robert A. Martin and Steven R. Centola.] 1915 Arthur Aster Miller was born on October 17th in New York City; family lives at 45 West 110th Street. 1920-28 Attends Public School #24 in Harlem. 1923 Sees first play--a melodrama at the Schubert Theater. 1928 Bar-mitzvah at the Avenue M temple. Father's business struggling and family move to Brooklyn. Attends James Madison HIgh School. 1930 Reassigned to the newly built Abraham Lincoln High School. Plays on football team. 1931 Delivery boy for local bakery before school, and works for father's business over summer vacation. 1933 Graduates from Abraham Lincoln High School. Registers for night school at City College, but quits after two weeks. 1933-34 Clerked in an auto-parts warehouse, where he was the only Jew employed and had his first real, personal experiences of American anti-semitism. 1934 Enters University of Michigan in the Fall to study journalism. Reporter and night editor on student paper, The Michigan Daily. 1936 Writes No Villain in six days and receives Hopwood Award in Drama. Transfers to an English major. 1937 Takes playwrighting class with Professor Kenneth T. Rowe. Rewrite of No Villain, titled, They Too Arise...
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...Journal of American Studies, 45 (2011), 1, 113–129 f Cambridge University Press 2010 doi:10.1017/S0021875810001271 First published online 19 July 2010 Jazz as a Black American Art Form : Definitions of the Jazz Preservation Act JEFF FARLEY Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation’s most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician’s individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example...
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