Igor Stravinsky
In the passage by Igor Stravinsky, he uses not only comparison and contrast, but also language to convey his point of view about the conductors of the time and their extreme egotism. Stravinsky believes that conductors exploit the music for their own personal gain, so rather, he looks on them in a negative light.
To show his aggravation and irritation, Stravinsky uses the rhetorical device of comparison and contrast to convey his opinion of conductors. He compares the "great" conductors to "great" actors in that "[they] are unable to play anything but themselves". Moreover, being unable to adapt, they have to adapt the work to themselves, not themselves to the work, which is obviously offending to a notable composer such as Stravinsky. In addition, he attributes the egocentric view of the conductors to the attention of the public who make more of the conductor's gestures and appearance than the music quality. The public is then compared to the reviewers and critics, who also "habitually fall into the trap of describing a conductor's appearance rather than the way he makes the music sound." Furthermore, Stravinsky goes on to say, for a public that is incapable of listening, the conductor will tell them what to feel through his gestures. He notes that these people, the conductors, have a high incidence of "ego disease" which "grows like a the sun of a tropical weed under pandering public" illustrating that the conductors perform for and are inspired by th...
A conductor may be seen by many as a very important part of a musical but others may see them as unnecessary. Stravinsky feels that conductors don’t deserve the all the attention and respect that is given to them by critics and audiences. The passage tells of how Stravinsky finds conductors to be more of a distraction than talented musicians. In the Passage, Stravinsky uses diction and metaphors to explain his disdain of conductors.
When he states that a successful conductor can be an incomplete musician and that he relies on and is encouraged to engage the audience to set a fake sense of leadership, this shows how much
The way perspectives of composers and the cultural paradigms that they are influenced by are of a peculiar and often hidden nature. Through thorough textual analysis, the possibility of revealing these cultural values is enhanced, allowing the observation and appreciation of the how different ways of thinking have developed over time. Cultural values that deal with topics of gender inequalities, racial and social status prejudices and the result of societal dynamic are often hidden in texts from the Victorian Era, and this is absolutely true of Vanity Fair by William Thackeray as well as Virginia Woolf’s A Room of One’s Own. The two texts hold many areas of diversification and commonality which provide a basis of characters and their ways of thinking, in turn exposing attitudes towards certain cultural values.
Debussy was the first modernist composer; and considered by many to be the greatest French writer, this was because he was not a part of the common fundamental German tradition in music. Instead of following to the rules created at an earlier time for common practice harmony, he liked to make up his own chords, which he called "chords with no names." He is known for composing "Voiles" and "The Prelude to the Afternoon of a Faun." He was connected to the symbolist poetic movement and known for using selective orchestration. Debussy's famous opera, Pelléas et Mélisande, was completed in 1895. It became a sensation when it was first performed
Frederic Chopin, the Polish composer and pianist, was born on March 1,1810, according to the statements of the artist himself and his family, but according to his baptismal certificate, which was written several weeks after his birth, the date was 22 February. His birthplace was the village of Zelazowa Wola, part of the Duchy of Warsaw.
Antonio Stradivari, a man known by many as on of the greatest luthiers of all time. The question at hand is why? From as early as the early 1700’s Stradivari was well known in the music world and still is. His instruments are reproduced in order to fool consumers into buying an instrument that has the same design as a Strad. There are also luthiers that try to replicate Stradivari’s beautiful design for their own satisfaction. Antonio Stradivari’s instruments have become socially and technically popular over time due to his superior craftsmanship, and for others, its large price tag. Stradivari’s life, affecting how his instruments were made, changed the perception of his instruments technically and socially.
successful lyricist. Also, it was Ira’s interest in music that made their parents purchase the
Wolfgang Amadeus Mozart, as he is generally known, was baptized in a Salzburg Cathedral on the day after his birth as Joannes Chrysostomus Wolfgangus Theophilus. The first and last given names come from his godfather Joannes Theophilus Pergmayr, although Mozart preferred the Latin form of this last name, Amadeus, more often Amadé, or the Italiano Amadeo, and occasionally the Deutsch Gottlieb. Whatever the case may be, he rarely - if ever - used Theophilus in his signature. The name Chrysostomus originates from St. John Chrysostom, whose feast falls on the 27th of January. The name Wolfgang was given to him in honor of his maternal grandfather, Wolfgang Nikolaus Pertl.
The brilliant composer Clara Schumann was born as Clara Josephine Wieck on 13 September 1819. Even before her birth, her destiny was to become a famous musician. Her father, Friedrich Wieck, was a piano teacher and music dealer, while her mother, Marianne Wieck, was a soprano and a concert pianist and her family was very musically gifted. Her father, Friedrich, wanted to prove to the world that his teaching methods could produce a famous pianist, so he decided, before Clara’s birth, that she would become that pianist. Clara’s father’s wish came true, as his daughter ended up becoming a child prodigy and one of the most famous female composers of her time.
“To say the word romanticism is to say modern art - that is, intimacy, spirituality, color, aspiration towards the infinite, expressed by every means available to the arts.” Charles Baudelaire. The Romantic era in classical music symbolized an epochal time that circumnavigated the whole of Western culture. Feelings of deep emotion were beginning to be expressed in ways that would have seemed once inappropriate. Individualism began to grip you people by its reins and celebrate their unique personalities and minds. Some youth began to wear their hair long, their beards scraggly and unkept, and their clothing was inspired by the outlandish and the flamboyant. Music morphed from a once tangible aural stimulant into music marked by its decent into the depths of human emotions most of which were not rational. Classical music became a stream of consciousness, a vehicle to convey their countless emotions. In the Romantic Period, music now voiced what, for centuries, people had been too afraid to express. The culture, the composers, and the music of the Romantic era changed classical music profoundly. The Romantic era classical music manifested itself as a time of the irrational and peculiar, a time that allowed many people the opportunity to express their inmost convictions through the music.
Elements of this piece that helped shape a new musical language for thee twentieth – century would consist of Stravinsky experimenting with rhythm and new combinations of instruments. The way he uses dissonance in his pieces as well polyphonic and polytonal textures. His ballets were strongly nationalistic but contained rites of Russia in ancient times. On the opening night of The Rite of Spring, he caused a riot to ensue because it wasn’t like a regular ballet, it was totally different. It consisted of no ballet dancing at all, but more of a chant dance, the different melodies and the change in dissonance caused the ballet to be viewed as a frightening experience to some. Spring is something that is viewed as beautiful, light, loving and this ballet showed none of this, from the point of view of those who attended that night.
Allen, Priscilla. "Old Critics and New: The Treatment of Chopin's The Awakening." In The Authority of Experience: Essays in Feminist Criticism, ed. Arlyn Diamond and Lee R. Edwards. Amherst: University of Massachusetts Press, 1977, 224-238.
...es Art an inner power struggle. Subsequently, Art becomes resentful. Art’s resentment towards Vladek does not allow him to emotionally mature. Yet through writing Art forgives his father and becomes a man.
Antonio Vivaldi was born on March 4th, 1678, in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. His father, a barber and a talented violinist at Saint Mark's Cathedral himself, had helped him in trying a career in music and made him enter the Cappella di San Marco orchestra, where he was an appreciated violinist.
Berger makes his attempt to inform an audience with an academic background that there is a subjective way that we see things all around us every day and based on our previous experiences, knowledge, and other things that occur in our lives, no two people may see or interpret something in the same way. In the essay Mr. Berger uses art as his platform to discuss that we should be careful about how people look at things. Mr. Berger uses rhetorical strategies such as ethos, pathos, and logos. These rhetorical strategies can really help an author of any novel, essay, or any literature to truly get the information they desire across to the audience in a clear and concise