Music and literature are constantly evolving with each new release, but how ground breaking are these pieces compared to its contemporaries? Miles Davis and Jorge Luis Borges have contemplated and answered this question frequently. Rather than add on to a previous style, these two took the future of their genres into their own hands. In Davis’s “Kind of Blue” as well as Borges’s “The Garden of Forking Paths,” old ideas are completely abandoned and new, inventive styles flourish. Not only do these two play with the content of their work, but they also explore different styles and means of composition. Both Davis and Borges experiment with new innovative ideas and concepts in their works successfully creating a unique style of their own. As …show more content…
In “The Garden of Forking Paths,” Borges utilizes a rather labyrinthine style of writing. The story itself takes many forking paths, similar to those one would encounter in a labyrinth, splitting off into various digressions. These digressions eventually are resolved and loose ends are neatly tied up. For example, amid pondering various outcomes and motives combined with seemingly random interjections, Yu Tsun suddenly contemplates how to escape Madden once and for all (Borges 121-122). Eventually the reader discovers that his wandering thoughts are far more central to the story than first expected. Besides weighted words, Borges references various texts throughout his stories, both real and imaginary. He occasionally employs multiple narrators, seen in cited texts or footnotes. Borges makes these fictitious works more realistic by alternating how they are employed. He sometimes references the same work in multiple footnotes or short stories, or in case of “The Garden of Forking Paths,” he intertwines a legitimate work, History of the First World War by Liddell Hart, with a fictional statement given by Yu Tsun, with the first two pages conveniently missing (Borges 119). These invented works combined with a multitude of other allusions throughout the story lead readers down different paths of a textual labyrinth. These labyrinthine writing styles that Borges created as well as his …show more content…
Within “The Garden of Forking Paths,” Borges manifests new ideas of time, questions the standard understanding of a novel as well as contemplates the concept of fate. Time, one of Borges’s favorite topics, is easily manipulated. In “The Garden of Forking Paths,” Borges attempts to make a visual model of an abstract idea. Adding to this, the title in itself is a metaphor to aid readers in imagining Ts’ui Pen’s idea of time - infinitely veering (Borges 126-127). Borges works Ts’ui Pen’s notion of time into a rather unique book that not only discusses the idea of time, but does it in a way that causes confusion and chaos among its readers. This textual labyrinth forks in time rather than space, creating infinite futures with completely different outcomes (Borges 125). Through these infinitely different futures, Borges brings up his ideas of fate. By actions and thoughts, it is made obvious that the protagonist is a firm believer in fate, saying “the future is as irrevocable as the past” (Borges 121). All the seemingly unrelated events in his life - Captain Madden, his arrival at Dr. Albert’s house, and the novel itself - all appear to come together for a single purpose, for Yu Tsun to signal where the artillery park was located. This combination of themes had rarely been written about before, leaving Borges as the creator of new
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
The remaining story developments of both books detail further growth in the character development of the protagonists and the principle characters. And so it is with us and how we unravel the mysteries of symbolism in literary word puzzles, that we as readers can also grow like "blossoms blooming" through the eyes of Hurston and Fitzgerald.
Subotnik, Rose Rosengard. Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991.
Fossum, Robert H. Hawthorne’s Inviolable Circle: The Problem of Time. Florida: Everett/Edwards Inc, 1972. 77-79
The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems for each work – that the effectiveness of their approaches in realising a sonic concept can be assessed only on a case-by-case basis. But the significance of early graphic scores does not depend entirely on how they sound; rather it lies in their capacity to accommodate or even to generate new forms, techniques and mediums, and to challenge notions of what constitutes a musical composition. In addition, these works demonstrate that notation can extend beyond instructional functionality to allow for prominent interpretive and aleatoric elements, and can harbour an intrinsic aesthetic value of its own, apparent before a single note is sounded.
Others do not explore the significance of how blues music relates to the commonly-agreed-upon basic themes of individualism and alienation. The chief value of living with music lies in its power to give us an orientation in time. In doing so, it gives connotation to all those indefinable aspects of experience, which nevertheless helps us make what we are. Works Cited • http://learning.hccs.edu/faculty/marie.dybala/engl-1302/research-paper-assignments-and-documents/baldwin-articles-on-sonnys-blues/Sherard%20Sonnys%20Bebop.pdfhttp://cai.ucdavis.edu/uccp/sblecture.html#bebop • http://wps.ablongman.com/wps/media/objects/1321/1353476/essays/jbgioia.htmlhttp://cai.ucdavis.edu/uccp/sonnylinks.html • http://introduction-to-literature.wikispaces.com/Baldwin+and+Sonny's+Blues http://davinci.choate.edu/dloeb/webpages/SummerSchool/sonny'sblues.htm http://www.marinaskendzic.com/essayscriticalpieces/baldwinssonnysblues.html • http://www.jstor.org/pss/2901246
Here, Beethoven takes melodic expression to a new level: The appoggiatura in bars, 14 and 16 create a harmonic tension over a diminished 7th chord that creates “the highly expressive progression used by nineteenth-...
Nisenson, Eric. The making of Kind of blue: Miles Davis and his masterpiece. Macmillan, 2001.
The book The Time Machine has various key elements that connect with literarily terms. Another connection that Wells makes us wonder is the time in this story, whether its human time or geologic time.
...knowledge, or ideologies change how I view the world, and I continue to change as time goes by. Just as a story is not exactly etched in stone, values change and stories are told in new lights. I think it is important to see how novels can entice readers, draw them into a reality similar to the ones we live in. The idea of a metafiction is akin to metaphysics. Is our reality just like a novel, created by us and molded to out liking, or dismay? I think both Barthelme and Borges intended to show that it may in fact be true, as tales we told as fairy tales can be modernized and events can be interpreted in multiple ways.
‘Do not forget that the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection…’(3)
In itself, music has intrinsic value. From Ludwig Van Beethoven to Miles Davis, instrumental music can stand on its own legs, and have meaning that transcends grammatical meaning. However, the implementation of words that are either spoken or sung creates a new genre, and a different aesthetic. In a sense, this is literature juxtaposed over rhythm and melody. This has the effect of giving a more concrete meaning to the music, and more emotion to the words or lyrics. It is a matter of taste, and a subject of intense debate to try and say one style of music does this the best. Blues music, one of America’s greatest exports, is a contender for this title, and is also interesting in a linguistic sense.
Although Beethoven had a rough life as a child and as he got older, he still was able to produce phenomenal compositions. He refused to conform to traditional musical standards and strived for perfection. Beethoven took composing music to a whole new level. “Beethoven opened up new realms of musical expression that profoundly influence composers throughout the nineteenth century.”
Many of our today as “normal” considered values are everything but self-evident. One of the most striking aspects in the novel is time; and our relationship towards it. “ We yearned for the future. How did we learn it that talent for insatiability. ” In this particu...
...es it easier for their audiences to picture what is taking place. Borges manipulates fact and fiction in his stories to vividly and clearly describe events that occur in his mysterious novels and to make them seem more captivating.