Wagner believed in the unity of drama and music, that the two arts share a connected expression of a single dramatic idea. "10Poetry, scenic, design, staging, action, and music work together to form what he called a Gesamtkunstwerk (total or collective artwork)."
Wagner had a vision for music and dramatic text which he called music drama, although he himself later rejected the term and decided to call his music opera, drama or Bühnenfestpiel (festival stage play). And within one of he's essay he suggested the phrase 'acts of music made visible.'
Wagner believed that the core of the drama was in the music and other arts make it apparent. "11The orchestra conveys the inner aspect of drama, while the sung words articulate the outer aspect". The events and situations that emphasized
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"15He accomplished this in part though large scale key strictest and associative tonality within the 'music drama'. The action of the music drama would unfold in a way that evoked the timelessness of myth, taking its shape within the kind of the spectator under the influence of the particles streaming by, endlessly associated and reassociated by the events depicted or described."
Wagner's earlier Romantic consisted out of small reminiscence of motifs and in his music drama he wanted to create something far larger and interrelated. He called the new particles 'Hauptthemen (main themes) or Grundthemen (fundamental themes) but are best know was Leitmotives (leading motifs).' "16A Leitmotif is usually far shorter than what is typically meant by a full-fledged theme, and some are really atomic particles- a mere turn of phrase, a chord progression, even a single chord or, at their most minimal, a single interval. Earlier reminiscence motifs had served a dramatic
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
William Henry Hadow and Charles Rosen are two historians who talk primarily about musical context. Hadow sets his discussion in the framework of classical composers' movement away from Baroque forms. He says that when Beethoven and his contemporaries chose ternary form over Baroque binary, typified in the dance suite, they chose a structure that was then used successfully into the twentieth century. This was only poss...
Until the nineteenth century, music was generally regarded as an international language. Folk music had always been in place and linked directly with particular regions. On a larger scale though, European music was a device for expression through the application of Italian techniques and styles. In other words, its technical vocabulary was Italian, and from the time of the early baroque, European music, in general, had evolved its styles and technical devices from the developments of Italian composers. Furthermore, court opera was nearly always performed in Italian, whether in Dresden or in London, no matter who composed it or where it was performed. For example, in 1855, Queen Victoria suggested to Richard Wagner that he translate his opera Tannhauser into Italian so that it could secure a production in London. Thus, European music, regardless of where it was composed could be (and was) performed throughout Europe and understood through the common Italian commands, descriptions, and styles. It was unacceptable for most to compose in any other way. The international idea began to collapse in the early nineteenth century as embattled nations or nations subjugated by a foreign invader began to think of music as an expression of their own national identity, personality, or as a way of voicing national aspirations.
Composers of distinctively visual texts are able to manipulate the emotions of the audience to influence the response of a collective group. This is demonstrated in John Misto’s play ‘The Shoe-Horn Sonata’ and Jason Van Genderen’s short film ‘Mankind Is No Island’ whereby distinctively visual techniques enable the audience to clearly imagine, form meaning and understand a composer’s unique perspective.
The artist’s composition utilizes theatrical gesture, dramatic facial expression, and local color, to convey a sense of urgency and drama to the scene. However, he places the composition in a classical
The Baroque period, traversing from 1580- 1750, was a period in which numerous styles were formed. Affected by progressions in religious deduction also moves in political mentality, the florid music is rich in differentiations and disagreements, and the imaginative beliefs to which one arranger aimed would not so much be the same as an alternate's goals. Be that as it may, there all were steady values imparted by inventive brains, and vital to the reasoning of a Baroque craftsman, whether it was a painter, stone carver or musical performer, was a proclaimed goal to move the enthusiasms. The conviction was that music spoke to the feelings, or affections, of life, and consequently ought to energize the audience's feelings. This point spread past Italy, the 'source of Baroque symbolization in all its structures', to turn into one of the 'recognizing characteristics of creative endeavor'[1] all around the seventeenth and early eighteenth hundreds of years.
Wagner believed that as time went on, Greek art slowly disintegrated, each individual art going a separate way, developing alone—instrumentals without words, poetry without music, drama without either, etc. He believed it further disintegrated with the introduction of Christiani...
Greek drama is said to be “the model on which the creators of modern opera at the end of the sixteenth century based their work on” (Grout 11). There are significant differences between Greek drama and opera. For instance, the casts of Greek dramas consisted of only men (Grout 13). Also Greek dramas were not entirely sung, many parts were spoken with the majority of the singing done by the chorus (Grout 12). The function of the chorus was to convey the audience’s response (Grout 12). By the second century BCE, Greek drama went through significant changes inc...
What would the world be like without music? The world would be a very silent place. Music is in many ways the material of our lives and the meaning of society. It is a reminder of how things were in the old days, a suggestion of how things are, and a view of where society is leading to. Music is the direct reflection of the picture of art, music, and literature. Music can be a way to deliver messages, being poetic, a fine art, or it can just be for entertainment. No matter what it is used for, music is the perfect art there is and there are various types of music; such as classical and romantic. This paper will discuss how classical music and romantic music had a turning point in humanity’s social or cultural development, and how they have
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
Artaud played a huge role in forwarding this concept of a Total Theatre within his own genre of performance, described as “one of the great, daring mapmakers” (Artaud, 1976, p.Ivii), he like Newson saw faults with the theatre of his time and realised his own genre of performance, the Theatre of Cruelty. Artaud was disgusted by the bourgeois culture of western theatre, a theatre which showed plays he believed skimmed the surface of reality making no effort to realise a deeper psychology. Artaud is quoted as saying “I have a body which experiences the world and spews out reality” (Esslin cites Artaud, 1976, p.48), “I no longer want to be deceived by illusions” (Esslin cites Artaud, 1976, p.48). He believed that the theatre along with media and publications were deceiving society “we are born, we live, we die in an environment of lies” (cites Artaud, 1976, p.xxvi). Much like Newson he was not afraid of controversial content and believed that to show an audience real emotion, you had to show it physically as well as verbally. His realisation brought theatre to reality, he saw that the body had the power to give the audience a reflection of their innermost human mental and emotional condition; it could uncov...
From Wagner, we can hear his love for his wife in his music. Wagner style of music is known to be romantic. His music was a part of the romanticism era where the movement focused on humanity with emotion and nature. Wagner transformed the opera with his conception of Gesamtkunstwerk ("total work of art"), in which he combined the poets, the visuals, the musicals and the dramatic arts, with music for the drama. Wagner greatly influenced classical music and is known to be the start of modern
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
After attending both a “popular” and “classical” musical concert it is easy to see the differences between these two genres of music. While attending these events, I noticed a wide variety of differences including the music being played, the atmosphere, the number of people attending and the expectations of the audience during the performance. As we talked about in Turino’s “Music as Social Life” earlier this semester both of the performances were presentational, placing a divide between the performer and the audience (Turino). In this essay, I will discuss my experiences at the performances, analyze a specific piece from each of the concert’s, identify musical elements within the piece and assess the role of the music in society. While both
...is expressed through emotion, imagination, and individuality. The period of Romanticism opened up a new Era to the world and continued that throughout other time periods. The art of self expression had become a new staple in western countries. The distinct qualities of romantic music made it simple to identify any artist and their work. The characteristics described through romantic music inspired composers to create a new form of the art important to them. Romanticism is one of the first ways artists stressed to reach their audiences through deep emotional appeals. Events in history were not always seen as a tragedies but as inspirations for pieces of music. Elements of music, acclaimed musicians lifestyles, famous composers, and the events in history that inspired these composers all are the contributing factors to the influential period of the Romantic Era.