In 1910, the Gershwins had acquired a piano for Ira's music lessons, but George took over, successfully playing by ear. He tried out various piano teachers for two years, then was introduced to Charles Hambitzer, who acted as George's mentor until Hambitzer's death in 1918. Hambitzer taught George conventional piano technique, introduced him to the music of the European masters, and encouraged him to attend orchestral concerts. (At home following such concerts, young George would attempt to reproduce at the keyboard the music he had heard). He later studied with classical composer Rubin Goldmark.
His 1916 novelty rag "Rialto Ripples" was a commercial success, and in 1918 he scored his first big national hit with his song "Swanee".
In 1924, George and Ira collaborated on a musical comedy, Lady Be Good. It included standards as "Fascinating Rhythm" and "The Man I Love." This was followed by Oh, Kay! (1926); Funny Face in (1927); Strike Up the Band (1927 & 1930); Girl Crazy (1930), which introduced the standard "I Got Rhythm"; and Of Thee I Sing (1931), the first musical comedy to win a Pulitzer Prize.
It was in Hollywood, while working on the score of The Goldwyn Follies, that George Gershwin collapsed and, on July 11, 1937, died of a brain tumour. He was interred in the Westchester Hills Cemetery, Hastings-on-Hudson, New York.
Gershwin had a ten-year affair with composer Kay Swift. Swift was a frequent consult of Gershwin; he named the musical Oh, Kay after her. Posthumously, Swift arranged some of his music, transcribed some of his recordings, and collaborated with Ira on several projects.
Gershwin died intestate and all his property passed to his father.
JOHN PHILIP SOUSA John Philip Sousa was born in 1854, the third child of ten. He was born in Washington, D.C. His parents were immigrants. John Antonio Sousa is his dad. He was originally from Spain, even though his parents were Portuguese in origin.
Although there are some aberrations in Christianity and Islam, there are many more similarities between the two. Those who practice Christianity consider being Muslim taboo because they are said to have renounced Jesus Christ, the founder of Christianity. Aside from that factor, most practices are equal. Sadly, most Muslims and Christians will never get along because in their eyes, the few differences are colossal enough to keep them divided. Each side is too blinded by the error of the others ways to see how analogous to one another they actually are.
Clara Schumann was a concert pianist born to Frederick Wieck and Marianne Tromlitz in Leipzig, Germany on September 13, 1819 (Comminfo). Clara was the second of five children and the daughter of a prominent music teacher and piano proprietor (Friedrich Wieck) and an opera soprano singer (Marianne Tromlitz). She died in 1896, renowned as a classical pianist and composer in the nineteenth-century Romantic style. During her height of popularity, the press deemed Clara as the “Queen of the Piano” (Schumann, Clara [Josehpine], The Concise Oxford Dictionary of Music).
Georgi Melitonovich Balnchivadze, George Balanchine, was born on January 22, 1904 in St. Petersburg. He was born into a highly musical family. His father, Meliton, was a singer and composer and his mother Marie, was a pianist. His mother encouraged her children to have musical education. He began to take piano lesson at age 5. He also received a classical education with his sister, Tamara and his younger brother, Andrei. Ironically, Balanchine had no desire to dance at all. His sister and brother were dancers. Music was young Balanchine's passion he hated anything to do with performing.
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.
Some of the most well known composers came to be in the in the classical music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music. This new music had full rich sounds created by the new construction of the symphony orchestra.
life, and began composing for himself. In 1916, Gershwin had his first song printed and
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.
The setting of this scene is not only a metaphor for the internal character of Gertrude, but also functions as the platform on which Hamlet reveals how he feels about all of her transgressions. The use of the mirror as a metaphor is also warped from this point on, as the mirror is cracked and all reflections in the glass are distorted. The very same mirror that is shot in this scene is present when Ophelia gives her final monologue before she dies. She finds the freedom to speak her mind in her insanity and, arguably, the true, mentally fragmented reflection of her character is seen. The reflections and characterizations in the scene in Gertrude’s closet are consistent with Doran’s character driven rendition of Hamlet. Hamlet’s violence towards Gertrude continues, as he holds her head roughly and shows her the newspaper images of the late king and Claudius. This is an interesting part of the scene because Hamlet is describing the differences between the two men, when, in reality, both are played by the same actor, Patrick Stewart. In some ways, the queen marring her deceased husband’s “twin brother” results in an even more incestual feeling. This is troubling, yet keeps the focus upon the family drama of the play. While this scene unfolds, Gertrude is constantly afraid and on the verge of tears. This shows that she too is ashamed of
Families were the basis of Roman society while the dominant males-paterfamilias, “held absolute authority over his children” (Spielvogel 129) and others in his household . Roman citizens were classified with three names to differentiate them from other families, but women were usually only known by one. “Females shall remain in guardianship even when they have attained their majority”, (Spielvogel 119) upper-class women were never granted true freedom, but they started making breakthroughs and found ways around the “guardianship” of the males in their households.
Women in Ancient Rome did not have equal legal status as their husbands, fathers, or any other male figures in the society. Women were not allowed to make legal transactions without her husband’s or father’s consent. This showed how men were superior and controlled the money in the family. A woman was permanently attached to her family of birth and her husband’s family, if she got married.
I was surprised at some of the facts I discovered while researching this paper topic. It is not a “black and white” simple answer topic; explaining the role of women is more complicated than that. During the early years of Rome, the role of the woman was minimal; however as Rome evolved so too did the place of women in Roman society. Rome, and its men, eventually grew to understand that women could be helpful, indeed, more than that, they could be a working partner in a su...
The social hierarchy of ancient Rome reflected these views of sex as a means in gaining political power where the elite upper class male possesses certain rights and powers that later allow him the personal gain of a valued wife. The value of a wife increased in this period of sex and power, now changing the responsibilities of the common housewife from domestic tasks to the responsibility of boosting the male kin’s careers behind the scenes, a useful pawn in the game of elite male politics. The growing power of women grew into their personal accounts as well at the same time trade influences luxury in Rome. This period of laziness and luxury formed the era of moral deprivation and in turn enforcing the social lows of sex within class and the negative implications of pederasty as well as homoeroticism. This constant interweaving of sex and politics creates this era of social hierarchy or rank and marriage as a means for political gain, all of which encompassing the great journey of the Roman population in their deviance from Greece and into the spotlight of mistress of the
Ancient Athens and Ancient Sparta were two of the biggest city-states in Greece. Despite their geographical closeness these two city-states differed largely in many aspects, particularly the kind of roles women played in society and the amount of power women had. Whereas women in Ancient Sparta were believed to be very independent the women in Ancient Athens were not. Even the way these women dressed contrasted from one another. In this essay, I will shine light on the differences between women in Sparta, who had played a larger role in Spartan society, and the women in Athens, whose role was not considered as important as men in Athenian society and how this effected their status. I will provide examples from two of the secondary sources that were read in class as well as a primary source written by Aristophanes.