Arts and art history - presentation - school essay - research papers - summaries - Oboulo.com - 5

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arts and art history

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12/09/2007

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Ragtime is an American musical genre that was most popular during the first twenty years of the 20th century. It is a dance form that is written in 2/4 or 4/4 time, where there is a walking bass that plays legato on beats 1-3 and staccato chords played on 2-4 beats in the right hand. A big portion of ragtime is written in classical (Sonata) form. This type of structure includes four themes, where the last theme is altered. Ragtime is known to have a syncopated feel and is written so that off-beats get accented.

If they have any breakthroughs in developing new products, however, it could launch the price of their stock up a good amount
Some confuse ragtime and early jazz as being in the same musical category
Ragtime music had its roots in the minstrel performances, but it developed its own flavor; while important to the creation of jazz, ragtime is separate style
Ragtime's most striking characteristic was its use of right-hand syncopated phrases
Not only did ragtime follow rules of rhythm, but of structure and harmony, as well. The structure, or form, of most rags is similar to marches.
Though Scott Joplin's music is the most famous ragtime music, there are holes in what we know about his life.
Ragtime is believed to be a strong influence on early jazz and blues music.
Though most rags were composed to be played on the piano, it is not meant to be exclusively played on the piano.
Cakewalk was a dance form that grew in popularity until 1904, and is meant to exhibit an African American dance contest, where the prize is a cake

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arts and art history

school essay

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12/09/2007

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To experience music as it is exactly is a great thing, but a difficult thing. Being an audience to a piece of music does not ensure such experience, and in fact the performers of music themselves can experience music. Bystanders and composers also experience music in unique ways. All of these people who experience music have parts of their experience in common. The music affects each and every person, and each and every person then recovers the music in a particular way. To recover music is to be able to respond to music as well as simply to listen to it. When you respond to music, “you make your mark on it, casting it in your terms. But the [music] makes its mark on you as well, teaching you not only about a subject but about a way of seeing and understanding a subject” (Bartholomae and Petrosky 4). You will be able to “see through someone else’s powerful language” (Bartholomae and Petrosky 4).

Each sort of recovery is unique: first let us take the case of a bystander
Another example of recovery is the experience of a musician preparing to give his work to the public.
Now, let us give this musician an audience.
Barring such perfect circumstances, recovery can still occur.
Sophistication is not necessary for such recovery
The average listener will recover music best listening to pieces that are a common part of the culture of his time
Every sort of recovery has its own advantages, and the recovery of the composer may in fact be the most complete.
In this way, the composer gives birth to music.

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29/08/2007

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The introduction to Christopher Marlowe’s The Tragical History of Doctor Faustus in The Norton Anthology of English Literature describes the play’s protagonist as “an overreacher, striving to get beyond the conventional boundaries established to contain the human will” (990). While not grossly inaccurate, this description gives unwarranted grandeur to the hero’s downfall. It is partly this same false grandeur that characterizes Doctor Faustus’ misguided notions of Renaissance Humanism – a belief in the ability of humans to transcend traditional earthly limitations through the pursuit of a broad base of knowledge.

Faustus commits, on a symbolic level, the most extreme possible act of humanism.
Faustus then graduates to the necromantic arts, an idea encouraged by the Evil Angel, who says that the practice is that 'Wherein all nature's treasury is contained?
The two passages use the same logic and share the belief that the enlightened scholar can break free of established limitations and, in a sense, create a form of paradise on earth
The play consistently mocks this false sense of self-importance associated with Faustus' humanism.
The most effective vehicle for satire in the play is the parallel comic sub-plot that periodically interrupts the main narrative
Of course, Faustus gives a constant air of skepticism – likely self-imposed – as to the infinite nature of the afterlife.
This portion is even more difficult to support because, for the most part, it is not based on a great deal of evidence within the works, themselves.
Faustus knows that he has squandered the price of his soul, but he still makes it seem uncertain whether he fully comprehends the concept of eternity
Todd Pettigrew argues more specifically, 'I will suggest that whatever its nature, the mechanism of Faustus' fall is this persistent resistance to matters of infinity?

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28/08/2007

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Throughout history there have been an infinite number of composers. These composers range in time period from the 1600s to present day and their styles of music range from classical to rock ‘n’ roll. Two of the most influential composers of all time are Johann Sebastian Bach and John Philip Sousa. Though these two men lived in different time periods, studied different instruments, were taught by different teachers, and composed different styles of music, both Bach and Sousa’s works are patronized by millions today.

Schnittke was born in the Soviet Union in 1934 into a Russian Jewish family. The father was a German Jew from the Baltic area, and the mother was a Catholic from Germany. Given this, his first language was German. In 1945 for three years, he lived and studied in Vienna where he heard much of the music that has shaped him as a composer. In 1953, he began studies at the Moscow Conservatory with Evgeny Golubev in composition and Nikolai Rakov in orchestration.

The Legendary Pink Dots, featuring members of Skinny Puppy, played the Howlin’ Wolf on Saturday, June 12th. Upon scanning the stage and seeing the medley of performers, I knew it would be an interesting show. The saxophone player, dressed in a purple and orange suit, a rather average-looking guitarist and bassist, and a tie-dye wearing keyboard player lined the stage waiting for their singer/frontman, who finally emerged donning leopard-print pajama pants, a purple shirt, what appeared to be some sort of fuzzy scarf, and, of course, the invariably cool, ‘60s- style, Lennon-esque sunglasses. Classic.

“For almost thirty years I repeatedly saw one and the same dream: I would arrive in Vienna at long last. I would feel really happy, for I was returning to the most serene time of my life.” In this quote, Alfred Schnittke, in the final years before his death, recaps his pleasant times in Vienna, Austria. Schnittke, however, was not born in Vienna, but in Engels, on the Volga River, in the Soviet Union, on November 24, 1934. Schnittke’s father was born in Frankfurt, Germany into a Jewish family of Russian descent, who later moved to Russia. His mother was a Volga-German, born in Russia. In 1946, Schnittke began his musical training in Vienna, before moving to Moscow, Russia in 1948. In Moscow, Schnittke was able to complete his music education at the Moscow Conservatory, where he also taught from 1962-1972. Following his teaching career, Schnittke began to compose film scores as a means for supporting himself. During this time, he studied with Evgeny Golubev, a Russian Soviet composer. Thereafter, he began composing music other than film scores, but became a target of Soviet bureaucracy. Later in his life, Schnittke suffered a series of strokes, and way actually pronounced dead on several occasions. After his stroke in 1985, Schnittke remained in a coma for quite some time, but partially recovered, and continued to compose music. A final stroke left him almost completely paralyzed, and he died shortly after that in 1998.

'For almost thirty years I repeatedly saw one and the same dream: I would arrive in Vienna at long last
Schnittke's music was known for having an extreme Russian sound
Prior to 1968, many of Schnittke's compositions contained elements of serialism (like that of Arnold Schoenberg)
In one of Schnittke's compositions specifically, A La Albeniz, many of these musical characteristics are demonstrated
A similar problem arises when discussing public reaction to Schnittke's music
Schnittke's music is melodic and emotional, and not in the least bit grotesque

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arts and art history

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date published

24/04/2007

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In the fifteenth and sixteenth centuries, there was a flourishing of culture in the Netherlands with the rise of humanism and the patronage of the Dukes of Burgundy. With the advances in trade and commerce, there was also a general prosperity which contributed to the wealth of artistic endeavors. This extra capital the Netherlanders spent not only on domestic genre paintings for their walls, but also aural stimulation in the form of music. Visitors to Antwerp commented on the omnipresence of music, whether in processions, churches, or flowing out of windows to the pleasure of passersby on the street. Netherlandish music was not just important in the homes of the middle class, however, it was indispensable in the courts of nobles and kings, and Franco-Flemish composers of the time were sought after by rulers from the Pope to the Kings of France. Such composers as Guillaume Dufay, Josquin des Prez, Johannes Okeghem, and Orlando di Lasso were among those in Netherlandish school who were instrumental in the rise of choral polyphony; they were the indisputable leaders of the style in their time and contributed invaluably to the development of Western music.

Post-structuralism derives from philosophy , ‘ a discipline which has always tended to emphasise the difficulty of achieving secure knowledge about things’ (Barry;1995:63) .Philosophical writing, although following the structure thesis, anti-thesis then a synthesis of both, always comes back to the question, never achieving a single answer, a single truth, and opening the conflict even more.
Elaine Aston (1997: pg.un) has expressed that because of ‘her experimental approach to dramatic and theatrical form, Churchill’s theatre is not just a question of politics, but a politics of style’. In Blue Heart, which presents two short plays, one featuring the relationship between a father and daughter and the other between mother and son, form and content are constantly interrogated through a deconstruction of the concepts of plot, language and structure.
In Heart’s Desire, where a couple awaits their daughter’s return from Australia, the action is set back and altered. In Blue Kettle, a middle-aged man looks for his biological mother and as the action evolves, the words ‘blue’ and ‘kettle’ appear in the dialogue. Common to both pieces however is the questioning of the unity in the text and structure. This is why we can explore the contradictions that are exposed both in the language and structure of Blue Heart.

How does the use of live technologies in theatrical performance comment on our own positioning in a post-industrial technologically based society? How does this in turn exemplify some of the concerns of the postmodernists?

Postmodern cinema is rich in intertextual references, and is often self-reflexive. However, the same can be said of theatre performances that use technology, as it enables more possibilities for communicating in other ways than through the spoken text on stage. These references therefore be perceived through mediums such as visuals and sound. As composer Philip Glass (in Powell; 1997: pg.un) observed ‘technology is a lot of things. The grand piano was a piece of technology.’ Douglas Coupland (1995) also stated that ‘Language is such a technology.’ . Indeed, ‘technology’ can mean many things and postmodernism encourages the fusion and juxtaposition of many disciplines such as film, music, and the time-based medium of video art. As Auslander (1999:24) observed, ‘live performance now often incorporates mediatization such that the live event itself is a product of media technologies’. This highlights the inevitable positioning of the performer and of ourselves as the product and object of the technology being used and as cyborgs in our post-industrial and technologically based society.

The desire to use media technology in order to achieve what is not possible on stage
The sound
‘Total’ aspect is a result of the multidisciplinary quality of multi media performances
Whether the live ‘presence’ of the characters is following the ‘absent’ projected images of themselves or the contrary

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