Many history aficionados are aware that, for several millennia, civilizations have flourished into gargantuan empires only to be consumed by corruption and ultimately meet their demise. This very concept is embodied by Coldplay’s critically acclaimed “Viva La Vida.” The song provides a considerably deep narrative that involves a once-esteemed monarch reminiscing about his golden age upon the throne, and detailing how his transition toward totalitarianism ultimately caused the citizens to seek retribution through a coup d’état (“Viva La Vida”). The song debuted in early May of 2008 and was initially exclusive to Apple’s iTunes Store for nearly three months until a proper music video was released alongside a CD single at the end of July. Having …show more content…
While the instrumentation includes a variety of instruments, including violins, cellos, acoustic and electric guitars, drums, cymbals and a piano, the melody does not sound like an actual orchestra; synthesizers were likely utilized to produce an ethereal tone that would represent the fallen monarch’s golden age that he references throughout his lament. The melody initiates at 0:13 with a moderately fast tempo in which the king recalls his early stages of regality when he was universally acclaimed (“Viva La Vida”). Alongside the main melody, the stringed section produces the primary form of accompaniment, and drums help structure the tempo with a soft dynamic. Despite the relatively fast tempo, the guitars and violins form a timbre that acts in conjunction with the vocalist’s higher pitch to maintain a mellow atmosphere and avert a sense of disarray; however, throughout the melody, the drums transition to a higher dynamic level and a cymbal is used to accentuate this great dynamic increase. Furthermore, at 3:00 the song culminates in the introduction of the rubato section during which the vocalist’s dynamics increase to a tremendous extent; this pervades the section with a sense of overwhelming strife, and this is likely representative of the coup d’état and ultimate demise of the king. The original melody returns at 3:16, and the …show more content…
Similarly to Coldplay’s version, the audience is thrown into the melody at 0:13; the tempo is infinitesimally faster than Coldplay’s version, and the vocalist carries a mildly belligerent timbre, a trademark of many punk rock bands (“Coldplay - Viva La Vida Rock Version”). The instrumentation also contrasts from Coldplay’s and Karlberg’s version, as the only instruments used are an electric guitar and drums; however, the drums are a much more prominent focal point, as several drum riffs are thrown into the accompaniment, such as the one at 1:04, that help the melody transition into the chorus during which louder dynamics are used. This vast dynamic range helps the audience discern the chorus from the other portions of the song. Each of these elements contributes to eliciting a subtle sense of aggression throughout the song, indicating that the narrating monarch does not regret his heinous actions and ironically covets another opportunity to have utter control over his fallen kingdom. Unlike Karlberg’s cover, the rubato remains intact and begins at 2:47 (“Coldplay - Viva La Vida Rock Version”). However, unlike Coldplay’s utilization of louder dynamics throughout the rubato section, the dynamics remain virtually identical to those used in the song’s chorus. The chorus returns at 3:00, and the legato notes from the rubato section
In this piece, two male musicians took turns during the performance to sing their parts. It starts off slow, as opposed to most of the music played that afternoon. During the middle of the piece, the guitarron continued strumming while Stacy Lopez, the vihuela player, made noises that sounded as if the vihuela itself was being struck. “Para Que Me Haces Llorar” soon came to a close; at least, it sounded like it was. As immediately as that song ended, the next piece started just as quickly and it had a song that had a familiar rhythm- and sure enough, it was the song “Stand by Me” but in Spanish. This part starts off with violins being plucked and with a calmer tone with a pace that builds up. Later on, all the musicians snapped their fingers as one of the singers were singing. After the singer finished his part, the violinists took over the microphones and made a deeper sound than what was heard out of the eight pieces
Section 3 is more merry and cheerful with the violins leading what feels like a race to be won. As they slow slightly we are soon dragged back to full speed and the race is on again. The violins and cello play off of each other as if in composition to see who will win the race. The bass brings in a dramatic flair as if building the suspense for the final climax of the music. The music slows to the point where you feel you have reached the end, but soon you are back on the journey again racing with the violins and lower instruments toward the finish line and the conclusion leaves the listener breathless.
Afterwards the same guitar roars in for half the time it did before as Mr. Collins proceeds to go into the first verse of the song. After the first verse he returns back to the chorus this time with additional vocals that lags behind his every word and ends with the guitar roar once again that comes predictably at the same time. The first words to his second verse starts with the singer's voice tweaked up a bit with the reverb machine. The prophet and a host of warm instruments continuously ascends with every whole note for a total of four measures in a harmonious fashion, but returns back to the tonic key after the fourth keystroke. In closure of the last verse the song increases from a (p) piano to an (mp) mezzo forte. An intense eleven strikes on a live drum set introduces the climax of the song, which then cancels out the sound of the electronic drum set, yet introduces the sound of a brass instrument that appears every two or three measures.
In the second movement have a brief violin solo songs with the latter half of the elements (Schwartz, 2015). Faster featuring piano part as follows, gradually building, until near the end, in a piece of this point seems to pull back to the original melody, now given to the flute. In a peaceful, introspective rhythmic movement ended.
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
Imagine living in a world of complete rejection of liberal ideas and absolute conformity. Citizens of this world do not have the freedom to choose their occupation. In fact, these citizens have no rights. They cannot speak freely, they do not enjoy any personal freedoms or privacy, and the media is aggressively censored. This is the world of George Orwell’s 1984 and Ray Bradbury’s Fahrenheit 451. The protagonist of Fahrenheit 451 is Guy Montag, and he is a fireman. His job is to destroy books completely by setting fire to them. Winston Smith is the main character in 1984, where he works as a civil servant in the lower class ruling party. Both of these men become entranced with the past and how life was before a totalitarian government. This fascination gives rise to a rebellion inside both men. Both societies that are revealed in these books face loss of freedoms, and are very highly controlled. The loss of personal freedoms allows a totalitarian government to instill loyalty in its citizens by using propaganda to condition the thinking of the citizens, stealing away the privacy of individuals, subjecting them to poverty, and constant fear of punishment as demonstrated by the novels Fahrenheit 451 and 1984.
The same line is repeated ecstatically by the quartet, which soars upward to it’s peak. The orchestra and chorus re-enter at a rapid tempo to bring the movement to its conclusion.
In many real and fictionalized totalitarian societies, children live apart from their families. I believe that dictatorial leaders enforced this living arrangement because they don’t want parents to influence their children, to make sure people are loyal to the society, and to maintain everyone equal. They do this so that they have total control over their society.
Firstly, perhaps no book has linked animals to human counterparts better than Animal Farm. Orwell's beasts serve as a representation of important characters of the World War II era and beyond. For example, Karl Marx, the inventor of the communist movement, was represented by Old Major, the most important animal on the farm until his death. Much like Old Major, Marx was a visionary who dreamed of equality. Old Major states:"Is it not crystal clear, then, comrades, that all the evils of this life of ours spring from the tyranny of human beings? Only get rid of Man, and the produce of our labour would be our own. Almost overnight we could become rich and free. What then must we do? Why, work night and day, body and soul, for the overthrow of the human race! That is my message to you, comrades: Rebellion!"(Orwell, Animal Farm, 30). In addition, he inspired the Russian Social Democratic Leader Party, led by rivals Joseph Stalin and Leon Trostky. Napoleon is represented by Joseph Stalin and much like him, he builds loyalties within the communist party ( pigs and dogs) so that he can overthrow Snowball (Trostky). Snowball displaying similar traits with Trotsky in the fact that they both fight bravely in their respective battles. Trotsky was an important component to the victory in the Russian civil war, Snowball displaying this bravery during the battle of the cowshed. The hens, geese, and sheep that are executed are a representation of the millions who opposed Stalin's, and who are killed banished as a result. The hens and geese are not known for their docile natures, and serve as perfect rebels . As well, the pigs' metamorphosis of their face and behaviour is symbolic of the transition of a government initially for the people, into ...
Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.
The melody is consistent with the song. The string instruments are prominent whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del movimiento.
...re the flute returns accompanied by a string sequence. The tonality alternates between major and minor continually. The strings play an arpeggio melody, in major, as the oboe plays a descending chromatic scale with a diminuendo and perfect cadence
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
The Oxford Dictionary defines totalitarianism as ‘a system of government that is centralized and dictatorial and requires complete subservience to the state’ . A totalitarian regime possesses power over affairs of the state and its inhabitants under one party and bears no opposition. A key attribute of a totalitarian government is that is looks to shape the mind and actions of society through determination, philosophy, and in general, force.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.