Fantasy as a genre of literature deals with things that cannot be, the construction of the impossible. At the outset, Hoffman describes the setting of Bellezza with such concrete and accurate detail – the sights, sounds and smells, that it acts as an anchor to reality, making the suspension of disbelief in the fantastic that much easier to achieve. The single most important criterion for a successful fantasy is the capacity to incite wonder and this is effectively shown in the vivid setting at the beginning of Stravaganza: City of Masks, as the protagonist Lucien is transported to a secondary world in his dream. Lucien, a twenty-first-century London High School boy, is sick and being treated for cancer. After receiving a marbled notebook as a present from his dad, he begins to fall asleep as his father “droned on in a comforting background” about where the notebook had been made -
THE CLASSICAL PERIOD (1750-1825) THE CLASSICAL PERIOD OF MUSIC 1) TIME OF GREAT MUSICAL EXPERIMENTATION AND DISCOVERY 2) CENTERS AROUND ACHIEVEMENTS OF VIENNESE SCHOOL A) HAYDN B) MOZART C) BEETHOVEN 3) THREE CHALLENGING PROBLEMS A) EXPLORE MAJOR-MINOR SYSTEM TO ITS FULLEST B) TO PERFECT A LARGE FORM OF ABSOLUTE INSTRUMENTAL MUSIC (THE SONATA CYCLE) C) TO DIFFERENTIATE BETWEEN ITS (SONATA CYCLE) VARIOUS TYPES 1) SONATA 2) CONCERTO SYMPHONY 3) ELEMENTS OF THE CLASSICAL PERIOD 1) ELEGANT AND LYRICAL MELODIES A) ELEGANT AND LYRICAL MELODIES B) CLEAR-CUT CADENCES 2) THE HARMONIES THAT SUSTAINED THESE MELODIES A) FIRMLY ROOTED IN THE KEY RHYTHM 3) A) MUSIC WAS IN EITHER 2, 3, 4, OR 6/8 B) STAYED IN RHYTHMIC STYLE IT BEGAN WITH 4) FORM A) UNFOLDED
The rain storm brings a bit of chaos and distress to the feeling of the first movement. The quickness in change from one sound to the next is rapid and rough sounding. Around the nine minute mark the song goes back to calmness but that swiftly goes back to the quickened uneasy tone created by the high pitched notes. The second movement is a waltz, beginning with a build-up using harps and other various stringed instruments. The song then turns to a dance rhythm.
Such as lyrical dance, which branched off from the modern dance, jazz, contemporary and other 20th century techniques. Lyrical dance began in the 1970’s to the 1980’s, which was a series of different dance techniques, including modern, ballet, jazz, and hip-hop dances. Lyrical dance became most popular in the 1990’s, It got its name from the actual meaning of the word lyrical; having a poetic, expressive quality; musical; characterized by or expressing spontaneous, direct feeling; expressing deep persona; emotions or observation; highly rhapsodic or enthusiastic. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. Music that is used when performing a lyrical dance piece is slow tempo versions of pop, hip-hop, and techno.
Piano Sonata in Bb, K.333: movement I is a classical sonata that was written by Mozart in 1783; Sonata for Horn, Trumpet and Trombone: movement I is a neoclassical piece of music that is in ternary form, it was written by Poulenc in 1922 and revised in 1945. There are many similarities and differences between these pieces and I will be comparing and contrasting the tonality and structure that they have. Mozart’s K.333 is written in sonata form, which was the form that was most common during the classic period, the period in which Mozart wrote this piece. A sonata form contains three main sections, which are called ‘subjects’. These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece.
Composers rely on memory to persuade responders to view history in a particular light. To what extent do you agree with this statement? Our perception of history is dependent upon a combination of events, personalities and situations. In this sense, it can be seen as a misleading impression of reality when the truth becomes distorted by our memories. This notion is evident in Stephen Frears’ film “The Queen”, the documentary “Pompeii: the Last Day” by Peter Nicholson and the novel “Mao’s Last Dancer” by Li Cunxin as all three composers rely on memory to represent a fusion of fact and fiction which ultimately influences our memory to view history in a particular light.
Bunuel and Dali swarm us with disjointed images alluding to humanities ancestry with nature, the problematic relationship with culture and attitudes towards time and social growth. The silent accomplice to the work is the creative cinematography that echoes the twisted annals of dream sequences. Fracturing, slicing, and twisting of linearity was a radical concept for the time and techniques pioneered in this film remain a staple in the language of cinema over 80 years later. As the narrative flows, symbolic images are presented to the viewer in a haphazard manner reminiscent of a dream like state. Sexual symbolism is woven into almost every scene from the beginning to the end of the film, as well as references to religion, nature and shifting cultural values.
Moreover, both composers accentuate the magnitude of every fleeting moment in life, as a split-second decision can lead to multiple possibilities and alter the course of one's future. Accordingly, the medium of film exemplifies the individuals’ capacity to revolutionize the personal world, vividly illustrating the significance of choice and selfdetermination in altering the course of one’s life. Distinctively visual devices presented in Tykwer's Run Lola Run demonstrate the conflict between the notions of fate and chance, exemplifying life as a series of volatile and unpredictable situations. This idea is apparent in the opening sequence of the film where a voiceover presents a series of rhetorical questions: “Who are we? Where do we come from?
Theme two starts at about 55 seconds and takes us off with a happy, major, melodic feeling that ends around 1:30. In traditional sonata form, the first two themes are usually repeated. As you can tell, that is exactly what Beethoven did. Soon after the repeat of the first two themes, we move into the development at around the 3:00 mark. In the beginning of the development, it gives you a hint of the first theme, and moves into a more minor sound at around 3:18, taking us off into a random dark sounding harmonic tangent.
We can live vicariously through romantic fictions, much as we can through daydreams. Terrifying novels and nightmares affect us in much the same way, plunging us into an atmosphere that continues to cling, even after the last chapter has been read — or the alarm clock has sounded. The notion that dreams allow such psychic explorations, of course, like the analogy between literary works and dreams, owes a great deal to the thinking of Sigmund Freud, the famous Austrian psychoanalyst who in 1900 published a seminal essay, The Interpretation of Dreams. But is the reader who feels that Emily Bronte's Wuthering Heights is dreamlike — who feels that Mary Shelley's Frankenstein is nightmarish — necessarily a Freudian literary critic? To some extent the answer has to be yes.