Arnold Schoenberg’s celebrated monodrama of 1912, Pierrot lunaire, op. 21, offers a compellingly personal perspective on Pierrot’s allegorical relationship to the artists of fin-di-siécle Europe. So too, in his fusion of music and poetry, does Schoenberg provide what may be the most powerfully illustrative example of the character Pierrot’s appeal to artists of the era.
Schoenberg’s libretto is drawn from Otto Hartleben’s German translation of the Belgian poet Albert Giraud’s Pierrot lunaire. In its original form, the work consists of fifty rondels (an antiquated poetic form structurally reliant on textural repetition) describing various commedia scenes and happenings. The poems vary widely in content, some depicting country idylls, others monstrous hallucinations or images of grotesque violence. Hartleben’s translation, by all accounts a significant improvement on the original, applies Expressionistic imagery and techniques to Giraud’s poems, heightening the already latent sensation of frenzied autobiographical narrative.
Albertine Zehme, who commissioned the monodrama and was the reciter at its first performance, had been performing twenty-two of Hartleben’s Pierrot poems in her own three-part arrangement – the first part dealing with relatively happy poems, the second with a dark series of “lurid and erotic nightmares,” and the third with images of death. Schoenberg, in crafting his own Pierrot lunaire, “…retained some elements of Zehme’s narrative progression from lightness, to darkness, to death, but he transformed them into a personalized narrative of the plight of the artist in society.” In selecting his twenty-one poems, the composer carefully omitted any that dealt with daylight (except, significantly, the fi...
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...spiration and the dictums of his past, was Schoenberg covertly commenting on the new musical vistas he saw before him? Always a composer keenly aware of his place in the history of musical development, did Schoenberg recognize that “Nacht” provided the groundwork for him to inherit the mantle of German developmental composition?
In all likelihood, it did not. While such speculation is entertaining, and even possibly illuminating, it amounts to little more than pseudo-musicological grandstanding. That Schoenberg viewed Pierrot as a metaphorical surrogate for artists is clear, and he says as much in a 1916 letter to Alexander Zemlinsky. That the more autobiographical interpretation of the song-cycle Schoenberg created can even be entertained is powerful testimony to the power of the character Pierrot and the sway he held over artists at the turn of the century.
As the evolution of healthcare from paper documentation to electronic documentation and ordering, the security of patient information is becoming more difficult to maintain. Electronic healthcare records (EHR), telenursing, Computer Physician Order Entry (CPOE) are a major part of the future of medicine. Social media also plays a role in the security of patient formation. Compromising data in the information age is as easy as pressing a send button. New technology presents new challenges to maintaining patient privacy. The topic for this annotated bibliography is the Health Insurance Portability and Accountability Act (HIPAA). Nursing informatics role is imperative to assist in the creation and maintenance of the ease of the programs and maintain regulations compliant to HIPAA. As a nurse, most documentation and order entry is done electronically and is important to understand the core concepts of HIPAA regarding electronic healthcare records. Using keywords HIPAA and informatics, the author chose these resources from scholarly journals, peer reviewed articles, and print based articles and text books. These sources provide how and when to share patient information, guidelines and regulation d of HIPAA, and the implementation in relation to electronic future of nursing.
Despite its non-Italian origins and because of its timing and specific achievements in the portrayal of the human form, emotions, and artistic balance, Jean Hey’s “Annunciation” can be considered a natural representative of the culmination of the transition from the learning process of the Early Renaissance to the perfect execution of the High Renaissance.
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
Previously, healthcare information has been protected by state law. However, since this information crosses state lines, the need for federal protection has been warranted. In 1996, Congress passed the Health Insurance Portability and Accountability Act (HIPAA). HIPAA provides the first federal protection for the privacy of medical records (Burke & Weill, 2005) HIPPA encourages the use of electronic medical record and the sharing of medical records between healthcare providers, because it can aid in saving lives. HIPAA requires that patients have some knowledge of the use of their medical records and must be notified in writing of their providers' privacy policy. HIPAA has technical requirements which a healthcare provider, insurer, or service provider, unless exempt under state law, must provide. An organization must conduct a self evaluation to learn what threats its records face, and develop techniques needed to protect the information (HIPAA, 1996). HIPAA's purpose is to protect the privacy of the consumers.
Unlike Schönberg, his student Anton von Webern did not make many comments about the relationship between text and music in his works. His George-settings appear rather different to Schönberg’s in their relationship to the text. He was guided much more by declamatory and rhythmical aspects of the poetry than Schönberg.
Schönbeit or the beauty of the music has strong ties to the aesthetic of the time period and it’s relation to the performers realization of the score. With beauty being an abstract
His life was a very tragic which was displayed through many of his works. Some of his poetry for example, could be construed as horrid accounts of death. "The Rave...
Secondly, Schafer has established himself as a leading figure in soundscape studies and is considered as th...
If you are in the healthcare industry, you have probably heard some rumblings about the Health Insurance Portability and Accountability Act of 1996, coolly referred to as HIPAA. The word is your medical practice will have to be HIPAA compliant by April 2003, but you're not exactly sure what this act mandates or how to accomplish it. In very basic terms, HIPAA has two primary components to which hospitals, health plans, healthcare "clearinghouses," and healthcare providers must conform: 1) Administrative simplification, which calls for use of the same computer language industry-wide; 2) Privacy protection, which requires healthcare providers to take reasonable measures to protect patients' written, oral, and electronic information. Congress passed HIPAA in an effort "to protect the privacy and security of individually identifiable health information. "1 Additionally, lawmakers "sought to reduce the administrative costs and burden associated with healthcare by standardizing data and facilitating transmission of many administrative and financial transactions." 1 HIPAA consultants say the new regulations should save the healthcare industry money in the long run, provide improved security of patient information, and allow patients to have better access to their own healthcare information.
Franz Joseph Haydn is widely imitated because of his excellent technique that makes his music, so rich in quality and quantity by having one of the most fertile musical minds. Haydn is one of the most prolific and prominent composers of the Classical period. He is also known as one of the pivotal figures in all western musical history. Here I will try to showcase and highlight some of Haydn’s brilliance by talking about the life he lead growing up, his work and career, a little introduction to his music, touching on some of his compositions, his contributions to music, and finally Haydn’s influence.
The composition reflects Webern’s yearning to mirror some of the ideas of his mentor, Arnold Schoenberg. One of the most prominent concepts throughout the six movements is the lack of any contrasts that call for resolution in the music. This portrays the new style of writing brought to light by Schoenberg in the development of atonal music. In addition, the movements are all through-composed. In other words, there are no clearly defined sections that mark a beginning or an end to a specific musical idea or motive.
Igor Stravinsky makes for a first-class example of differences and similarities between neoclassicism and modernism. Modernism is defined as “A term used in music to denote a multi-faceted but distinct and continuous tradition within 20th-century composition”1, while neoclassicism may be defined as “A movement of style in the works of certain 20th-century composers, who, particularly during the period between the two world wars, revived the balanced forms and clearly perceptible thematic processes of earlier styles to replace what were, to them, the increasingly exaggerated gestures and formlessness of late Romanticism”2 By not only comparing his works to others but within his own body of work the two movements can be better distinguished. Stravinsky composed in both styles throughout his musical career making his works not only a prime example but a map for the transition between periods/movements, thus giving distinctness to the movements. Stravinsky “cultivated a flexible and reciprocal association with his changing environment. While consistently producing work which transformed the sensibilities of those who heard it, he himself continuously allowed his own sensibilities to be fed, even transformed, by the music and music-making of others.”3 By comparing and contrasting the works of Stravinsky with not only his own works, but with his contemporary's of the early 20th century, the division and resemblances between neoclassicism and modernism can be thoroughly observed.
In his introduction to the Norton Anthology of English Literature M. H. Abrams attempts to overcome these difficulties by identifying the 'five cardinal elements' of Romantic poetry. According to Abrams, Romantic poetry is distinguished by the belief that poetry is not an "imitation of nature" but a "representation of the poet's internal emotions". Secondly, that the writing of poetry should be "an effortless expression" and not an "arduous exercise". The prevalence of nature in Romantic poetry and what Abrams calls "the glorification of the ordinary and the outcast" are identified as two further common elements, as is the sense of a "supernatural" or "satanic presence" (Abrams, 2000, pp. 7-11). It is with regard to this elemental understanding of Romantic poetry that I will conduct my close critical analysis of 'Frost at Midnight' to examine the extent to which the poem embodie...
It is also possible to sense some dissolution in the Moonlight. The portrait indicates a nocturnal landscape that somehow completes a part of the chronicle from his personal life and struggle. It is also easy to relate the portrait to the artist’s personal struggle with the coherence of the landscape, with main focus being the artist’s sense of crisis that subjectively attempted to explain his disenchanted history.
The central scenes contain the heart of the drama, that for which the rest exists – the drama of the revelation. The poet’s task here is to make its effect adequate to the expectation. He manages to spin it out to nearly 500 lines, and, instead of thinning, increases the excitement by spreading it out; it becomes a threefold revelation rising to a climax (36).