How successfully do you think Handel's 'The King Shall Rejoice' fits the occasion for which it was written?
How successfully do you think Handel's 'The King Shall Rejoice' fits the occasion for which it was written? 'The King Shall Rejoice' was just one of Handel's four Coronation Anthems, which were written in 1727 for the accession of George II. The King requested Handel, after the original composer appointed to write the piece of music, William Croft died. The first movement 'The King Shall Rejoice', opens in the key of D major, with a long introductory ritornello, this exercises the strength of the orchestra. The key of D major allowed Handel to exploit the availability of trumpets, which were generally played in this key at the time, and the use of the brass was necessary to create the sense of magnificence and ceremony by a state occasion such as this, as was the use of the timpani. Strategic uses of cadences are particularly common throughout, providing perfect order and structure to the piece. Repetition of phrases is also a device, which gives the piece excellent order. This movement is full of primary chords I IV and V, and was Handel's typical chordal structure. It was very simple but effective. The note values are linked to the actual words, for example the word 'strength' is used with a long note value, showing the definition of the word. The trills added decoration, making gestures of royal significance. Tension is built up by the time we reach the opening of
Drama - Research Exercise on The Playbox Theatre Company.
Drama 12CAT- Assignment #2: Research Exercise Claudia Buttazzoni The Playbox Theatre Company was founded in 1976, by Carillo Grantner, Graeme Blundell and Garrie Hutchinson. Known in 1976 as Hoopla!, Playbox's original home was the Grant Street Theatre. In 1977, Hoopla! not only found a new home at The Playbox Theatre, Exhibition St, Melbourne, but also a new name: The Playbox Theatre Company. It was to call The Playbox Theatre its home and main venue, for the next 7 years, until a fire burnt the venue down, forcing Playbox to perform in various different venues. Among these venues were such theatres as: St Martin's Theatre, The Studio Arts Centre and various other venues around Melbourne. It would be two years before Playbox found, what is to this day, its permanent place of residence. In 1986, John Elliot, head of Elders IXL, which owned Carlton and United Breweries, donated the late 19th Century Barrett Brothers & Burston Malthouse in Sturt st, South Melbourne, to Playbox. Over the next four years, what is now known as The CUB Malthouse, was constructed and Playbox had it's first production there in March 1990, but the theatre wasn't officially opened until August of that year. Playbox developed a mission statement, in 1990, when it took up residence at The CUB Malthouse that positioned the company in terms of : "Aiming to secure the long-term future of Playbox
The Aerial Photography Weapon.
UNIVERSITY OF LINCOLN MEDIA PRODUCTION Assignment Title: The Aerial Photography Weapon Brief: Select a key moment in the technological development of photographic image production and give evidence of how profoundly this development has affected contemporary visual culture. Author: Paul Cook Deadline: 08.05.2003 THE AERIAL PHOTOGRAPHY WEAPON This essay will describe the key moment in the development of photographic image production when aerial photography was turned in to a weapon of war and will demonstrate how this has affected the meaning of images for today's audiences. It will consider briefly, the origination of aerial photography, why it took nearly fifty years for the military to apply it's potential and what effect the massive exploitation and technological developments of the weapon have had on it's audiences over the past century. The essay will argue that no other military weapon has had such a wide ranging, and catastrophic effect on warfare or such a profound impact on contemporary visual culture and public opinion as the aerial photography weapon. By the end of the First World War (WW1) more than ten million people had been killed. Over the preceding sixty years, the combined total killed in the Crimean War, The American Civil War, The Prussian Wars, The Boer War, The Russo-Japanese War and the Balkan War totaled just over two million. This
The 20th century has seen a huge upsurge in the importance placed by Western society on physical beauty, particularly for women.
The 20th century has seen a huge upsurge in the importance placed by Western society on physical beauty, particularly for women. The fashion, cosmetics and plastic surgery industries have thrived on 20th century preoccupation with physical appearance. It is a preoccupation that affects women in every sphere, whether they choose to pander to it or not. This essay examines female beauty in the 20th century in terms of popular culture, in particular fashion, cinema and advertising. before exploring these areas, I intend to deal briefly with basic definitions of beauty. The main body of the essay will then be concerned with an overview of each decade's particular take in female beauty. According to Kant, the judgement of beauty is different from cognitive or moral judgement because it is effected subjectively, that is, exclusively in reference to the person making the judgement. For a judgement to be truly "aesthetic", rather than merely idiosyncratic, the person making the judgement must be adamant that their opinion be consensus. "A person who describes something as beautiful insists that everyone ought to give the object in question his approval and follow suit." Plato, one of the earliest philosophers to concern himself with beauty, defined it as a "property intrinsic in objects" which could be measured in "purity, integrity, harmony and perfection." Definitions of beauty
The 1960s were a time when young people progressed, but especially women.
The 1960s were a time when young people progressed, but especially women. Young people developed a culture based on attitudes and values that were very different from their parents. Fashion and pop music reflected the changes in lifestyle of the younger generation. The Kings Road boutiques and the Beatles from Liverpool symbolised the swinging sixties. Pop music expressed the challenge of youth to the values of the older generation, and also Bob Dylan in "The times they are a-changing". The mini skirt and the short dramatic haircuts by Vidal Sassoon became the look of 1960s girls. This look was for the city girls and models such as Twiggy and Jean Shrimpton. Later in the decade women would adopt the dress of the hippies and the flower power movement although this did not affect everyone. Young people had the money to spend on fashion and illegal drugs like LSD and it was part of the swinging sixties culture. Timothy Leary who urged young people to "tune in, turn on, drop out" encouraged the use of drugs. This took a toll of many lives including that of Jimi Hendrix. However other young people were encouraged by the Beatles and turned to the mysteries of eastern religion during the sixties. During the 1960s men and women's wages were rising quickly. There was little unemployment and many women had more money than ever before. Lots of women went out to work but still most
Develop a critical account of the role played in contemporary fashion and image culture by David Beckham
Q14: Develop a critical account of the role played in contemporary fashion and image culture by David Beckham. (A prominent celebrity) The dawn of a new century has brought about the emergence of a new breed of man. A man who is unafraid of dressing in fashion; who does not shy from facials or nail polish and who is definitely in touch with his feminine side. The 21st century hails the arrival of the metrosexual. A term that was coined by journalist Mark Simpson, the metrosexual is a dandyish narcissist in love with not only himself, but also his urban lifestyle; a straight man who is in touch with his feminine side. The typical metrosexual is a young man with money to spend, living in or within easy reach of a metropolis because that is where all the best shops, clubs, gyms and hairdressers are. He might be officially gay, straight or bisexual, but this is utterly immaterial because he has clearly taken himself as his own love object and pleasure as his sexual preference. The promotion of metrosexuality was left to the men's style press, magazines such as The Face, GQ, Esquire, Arena and FHM. They filled their magazines with images of narcissistic young men sporting fashionable clothes and accessories. And they persuaded other young men to study them with a mixture of envy and desire. Having read all of the above, who carries the ultimate manifestation of the
History of art: the social production of art
"Works of art ...are not closed, self-contained and transcendent entities, but are the product of specific historical practices on the part of identifiable groups in given conditions, and therefore bear the imprint of the ideas, values and conditions of existence of those groups, and their representatives in particular artists. [Janet Wolff, The Social Production of Art]. Using one example of an artist whose work falls within the chronological limits of this course, assess the extent to which Janet Wolff's claim for a 'social production of art' can be defended. I believe Janet Wolff's claim that art is not an autonomous object but rather inextricably linked to society and social relations is to a large extent appropriate in questioning the epistemological problem of what art is. Jeremy Tanner in The Sociology of Art: A Reader, distinguishes the 'dominant idea of the artist' which has pervaded western preconceptions of art; this is the idea of the artist as an 'isolated creator' and genius who's art work is the product of 'a unique and individual aesthetic vision'. Gustave Courbet in his painting 'The Painter's Studio: A real Allegory' (1855) which incorporates the artist amongst various aspects of the artist's exterior world seems to refute this idea specifically; it suggests that the artist's work is contributed to by exterior influences around him and thus cannot solely
The works that will be compared and contrasted in this essay are Gavin Turk's Habitat, a nylon sleeping bag cast in bronze, and Martin Parr's photograph Cigarette Box, from his collection Dakar.
HA1504 Modern Art 21.4.2011 Emmi Mäkiharju 50902732 Comparing and contrasting Gavin Turk's Habitat and Martin Parr's Cigarette Box. Martin Parr - Cigarette Box Gavin Turk - Habitat The works that will be compared and contrasted in this essay are Gavin Turk's Habitat, a nylon sleeping bag cast in bronze, and Martin Parr's photograph Cigarette Box, from his collection Dakar. Both artists are infamous for their controversial works that picture modern society from angles unusual to many. Gavin Turk, a Young British Artist, uses everyday, ugly objects and glorifies them with the use of bronze. Martin Parr photographs mainly Britain at its low points. He is known for his pictures of obese people and chain smokers, for example. He also has projects outside of the UK, such as Dakar. Even though Habitat and Cigarette Box are completely different forms of art, one a photograph and the other a sculpture, but they both share a criticism of society and modern life. Consumerism is a topic that both artists are keen on presenting in their works. On top of the moral aspect, there is a certain beauty and glamour that the works possess, Cigarette Box's bright colors create a sense fashionability, while the use of bronze makes an ordinary, worn sleeping bag an object that requires our respect as the viewer. One of the more obvious differences between Habitat and Cigarette Box are
Rudolf Rocker (1873-1958)
Rudolf Rocker (1873-1958) was born in Mainz, in the German Rhineland, into a Catholic family of skilled workers with liberal views. His parents died young, and he was sent to a Catholic orphanage. He was apprenticed as a bookbinder, and followed the trade as a travelling journeyman for several years. He became a socialist in his youth, and joined the Social Democratic Party; but he supported the leftwing opposition group of Die Jungen (The Young), was expelled in 1890, and soon moved towards anarchism. He visited several parts of Western Europe, following his trade and his political interests. He observed the second congress of the Second International in Brussels in 1891, began contributing to the anarchist press in 1892, and left Germany to escape police harassment in 1892. He lived for a couple of years in Paris, and then settled permanently in Britain in 1895. Although Rocker was a Gentile, he became involved in the Jewish anarchist movement. He learnt Yiddish, lived in the Jewish community, and became the lifelong companion of Milly Witcop (1877-1953). He quickly became a prominent speaker and writer, on cultural as well as political topics, and for 20 years he was the most liked and respected person in the movement. In 1898 he edited Dos Fraye Vort (The Free Word), a new Yiddish weekly paper in Leeds, for a couple of months, and then became editor of Der Arbeiter
Pop art
Könyv és TV - egymásra ható "testvérmédiumok" vagy vetélytársak? A XXI. század embere egyre kevesebbet olvas - fogalmazzák meg lesújtó véleményüket oly sokan. Ezzel fordított arányosságban nott ugyanakkor a televízió elott töltött ido mennyisége. A TV nem csak a hírek elsodleges "beszerzési forrása", de mindennapi szórakozásunk alapveto eszköze is egyben. Ám vajon a TV élre törése tényleg problémaként kezelendo? Igaza van az idosebbeknek, akik panaszosan arról beszélnek, hogy a mai fiatalok folyton a TV elott ülnek? Az emberi információtovábbítás lépcsofokai mindig egy-egy forradalmian új médium megjelenéséhez köthetok: Guttenberg és a könyvnyomtatás egy egészen új fejezetet nyitott a korábban könyvekhez gyakorlatilag hozzá nem férheto nép számára, s a XX. század második felében a televízió elterjedése is hasonlóan kihatott életünkre. Raymond Williams A televízió - technika és kulturális forma[FE1] címu könyvét is azzal a megállapítással kezdi, hogy a televíziót sokan az egész világot megváltoztató eszköznek tekintik. Ennek okát részben abban látja, hogy kifejlesztésének elore nem látható következményeként csökkentette a többi szórakoztatási és hírközlési eszköz szerepét, illetve kihatott a társadalmi és kulturális életre. Társadalom-összehozó szerepe nagyban