Kt(TM)a Kabanov(TM)s psychological state fluctuates throughout Leo Janek(TM)s opera. How is this indicated in the music?

Kát'a Kabanová's psychological state fluctuates throughout Leoš Janácek's opera. How is this indicated in the music? When comparing Janácek's opera with the play, The Storm by Alexander Ostrovsky, on which it was based, it was commented that 'Janácek gives greater emphasis on psychological tension.'1 In his analysis, John Tyrell wrote that 'Kát'a is the only character with flexible, distinctive music that changes and grows with her during the opera.'2 From these two quotations is it clear that the changing and growing music of Kát'a will reflect her mindset, particularly with Janácek's emphasis being on the psychological. This essay aims to show how Janácek's music portrays the different emotions of Kát'a in each scene. Mellers comments that 'in instrumental microcosm the overture has presented the story's psychological core.'3 As well as presenting important themes which will be heard in later parts of the opera, Janácek telegraphs Kát'a's emotions by the use of what is to become her theme, in the melancholy key of Db minor as seen in figure 1. Mellers says that this 'spontaneously pentatonic loveliness merges into [a] broken chromatic motif' which symbolises Kát'a's 'yearning'.4 The legato melody over the rippling tremolando strings below, along with the hairpin dynamics create an undulating effect which sounds sorrowful and yet sinister. Fig. 1

  • Word count: 2454
  • Level: University Degree
  • Subject: Creative Arts and Design
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Hey, Soul Sister.

TRAIN LYRICS "Hey, Soul Sister" Heeey heeeey heeeeey Your lipstick stains on the front lobe of my left side brains I knew I wouldn't forget you And so I went and let you blow my mind Your sweet moonbeam The smell of you in every single dream I dream I knew when we collided you're the one I have decided Who's one of my kind Hey soul sister, ain't that mister mister on the radio, stereo The way you move ain't fair you know Hey soul sister, I don't wanna miss a single thing you do tonight Heeey heeeey heeeey Just in time, I'm so glad you have a one track mind like me You gave my life direction A game show love connection, we can't deny I'm so obsessed My heart is bound to beat right out my untrimmed chest I believe in you, like a virgin, you're Madonna And I'm always gonna wanna blow your mind Hey soul sister, ain't that mister mister on the radio, stereo The way you move ain't fair you know Hey soul sister, I don't wanna miss a single thing you do tonight The way you can cut a rug Watching you is the only drug I need So gangster, I'm so thug You're the only one I'm dreaming of You see I can be myself now finally In fact there's nothing I can't be I want the world to see you'll be with me Hey soul sister, ain't that mister mister on the radio, stereo The way you move ain't fair you know Hey soul sister, I don't wanna miss a single thing you do

  • Word count: 295
  • Level: University Degree
  • Subject: Creative Arts and Design
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The Works of W. A. Mozart for the Basset horn: An Annotated Bibliography Including a Catalogue Discussion and Review of Mozarts Works Utilizing Basset Horn and Basset Clarinet

THE WORKS OF W. A. MOZART FOR THE BASSET HORN: AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND REVIEW OF MOZART'S WORKS UTILIZING BASSET HORN AND BASSET CLARINET. Keith Northover 6211-5955 Professor Mitchell Estrin Honors Research Project University of Florida, November 30, 2009 As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets, it would be imperative to study and research about the clarinet's history including its close relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its development around the later part of the 18th century. Early in its development, instrument makers would create and experiment with different shapes and sizes. As developers wanted bigger instruments, the technological inadequacies of the time influenced the designs of the larger clarinets, then called basset horns. Mozart, an influential and important composer, first heard clarinets most likely during his stay in London in 1764, in Milan in 1771, and Mannheim in 1777, but not in Salzburg because there were none in his home city.1 After hearing and discovering several virtuosi performing on the clarinet, the basset horn, and basset clarinet, Mozart became highly motivated and inspired to write numerous works involving these instruments. This project attempts to discuss and review all of the

  • Word count: 12466
  • Level: University Degree
  • Subject: Creative Arts and Design
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Eminem - good or bad music?

December 2, 2002 Eminem: Good or Bad music? When discussing the song "Drug Ballad" by Eminem in class, a few people said that they don't like Eminem or his songs because of how obscene he is at times, however, I love Eminem. I think he is as honest as he can be. He has said and sang things that no other artist has dared to sing and/or talk about before. Of course you can't always take his lyrics literally all the time. Sometimes, he is a bit sarcastic and humorous and exaggerates in some of the lines of his lyrics. To judge whether a song or an artist is good or bad is very hard. An Eminem listener said in one of his reviews: "My favorite music-wise is "Drug Ballad." I love the beat on this one, it's the type you crank up and roll down the windows so everyone else can hear. The lyrics definitely don't send the right message, telling stories of drugs and being addicted to them. I sort of tune out the lyrics and focus on the music." (P.Williams, p.2). I had heard the song "Drug Ballad" only once before I heard it in class. I liked the beat very much and understood what the song was about; however, I had never stopped and listened carefully to see if there were more than just lyrics, a message, behind his words. I think this song is very interesting. More than just cursing and humor, it also has a message. It involves someone (either a friend or himself) who was

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  • Level: University Degree
  • Subject: Creative Arts and Design
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The kitchen, a 'realist text' is written by Arnold Wesker, a 'naturalistic writer'.

The Kitchen - documentation Text and Performance 3 'Realist art or literature is seen as simply one convention among others, a set of formal representations...' (Strindberg 1976) 'Naturalism alone corresponds to our social needs; it alone has deep roots in the spirit of our times; and it alone can provide a living, durable formula for our art...' (Emile Zola 1881) The kitchen, a 'realist text' is written by Arnold Wesker, a 'naturalistic writer'. These terms have been used for many years now in conjunction with theatre. Their meanings have changed and very easily overlap with each other, just as the above quotes suggest; because of this the task of performing in the form of realism as opposed to naturalism is impossible. This suggests that in performance there is a real possibility of creating the desired effect without having to justify whether it is naturalistic or indeed realistic. Performing a section of the kitchen requires at least a basic understanding of these terms. Arnold Wesker gives a lengthy explanation of what he wants to see on stage, he goes to great detail to explain his restaurant and the people in it: 'The quality of food here is not so important as the speed with which it is served (Wesker 1960). Wesker continues to give character notes on each of his main 15 characters that are also accompanied by specific actions for many of them. Now directors,

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  • Level: University Degree
  • Subject: Creative Arts and Design
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My Musical Appreciation.

My Musical Appreciation After long and careful thought considering my musical taste, I have come to the conclusion that it cannot be defined in a measured, succinct way. I realize that this sounds more than a little like a clichéd music student response, but I believe it to be true. Very little of the music that I listen to at this time in my life has any roots in childhood experience or memory. I remember listening to Blondie and the Beatles constantly whilst on family holidays before I reached double figures in terms of years, and I'm still very fond of both bands. Similarly, Ferry Cross the Mersey' - my favourite song as small child, despite me thinking that the song was all about a fairy - still holds a place close to me heart. But from then on it all becomes more difficult. There really is no definite theme that runs through my musical taste. It varies greatly from extreme metal through hardcore punk, to electronica, briefly crossing into acoustic and pop. I constantly carry thirty mini discs with me wherever I go, most of which consist of two or more albums. I find this a necessity as my choice of listening material can change a number of times between getting on a bus, and getting off at the end of a journey. The only umbrella comment that I can make is that all of the music that I am passionate about tends to be relatively obscure and, for the most part,

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  • Level: University Degree
  • Subject: Creative Arts and Design
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What opportunities does the music of Shostakovich offer for a discussion of musical tradition and dissent?

What opportunities does the music of Shostakovich offer for a discussion of musical tradition and dissent? When looking at tradition and dissent in any form it is helpful to first look at their definitions. The Oxford online dictionary states tradition is 'an artistic or literary method or style established by an artist, writer, or movement, and subsequently followed by others'. Therefore it follows that are many thousands of musical traditions. Dissent is defined as 'expressing disagreement with a prevailing or official view'. Which once again leaves many options. Since all traditions are a development of an earlier practice, so dissent is an evolution of these traditions into something new. Shostakovich led a life that brought him into contact with many traditions, musically speaking, and he was influenced by many sources. He lived during 'the Stalin era', and as such experienced conflicts both politically and personally, all of which were reflected in his music. When looking at the opportunities his music offers for a discussion as in this essay, there are so many subject areas, and routes down which one could go, that I shall try and restrict myself to discussing his music in terms of genre, form and meaning. As musical genre and form are very interlinked; and one cannot be properly discussed without involving the other. Shostakovich is a modern composer having lived

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  • Level: University Degree
  • Subject: Creative Arts and Design
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Describe 3 passages which you feel display Prokofiev's mastery of orchestral effects, giving one example from each section

Describe 3 passages which you feel display Prokofiev's mastery of orchestral effects, giving one example from each section. In movement 1, the passage which I feel really demonstrates Prokofiev's mastery of orchestral effects is the passage from bars 1-16. This passage serves as a sort of introduction to the suite, as well as the dotted quaver passage which follows. I feel that this passage really demonstrates Prokofiev's mastery of orchestral effects for a number of reasons: * Firstly, it involves almost every instrument in the orchestra used throughout the suite, really giving it a full, magnificent effect which fills the room with sound. * Secondly, the way in which Prokofiev builds up the passage by introducing one instrument after another, starting with the horns 1&2, followed by the horns 3&4, then the trombone and tuba followed by all the instruments, as well as the crescendo in dynamics. This passage not only demonstrates Prokofiev's mastery of orchestral effects, but also his use of harmony; bars 1-4 consist of a number of cluster chords which all build up to create a chords formed by 9 out of 12 of the degree's of the scale. Not only that, but this chord is, at the same time, a bi-chord as it is being played over a B minor chord in the lower third of the orchestra. Therefore, in bar 4, not only is Prokofiev using a large majority of the instruments in the

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  • Level: University Degree
  • Subject: Creative Arts and Design
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The Haas Effect - Echoes and Location

The Haas Effect - Echoes and Location The aim of this project is to research into Helmut Haas's observations about the way a human brain deals with the sounds it hears in every day life and thus learn how to fool a person into believing something is or isn't as it really is. To begin with its important to realise how the brain finds the location of sounds it hears, once this has been clarified more research can be done into the different discoveries which Haas made and how they can be used in modern life. The actual effects which Haas discovered can be simply written down as three separate findings. These three effects are commonly known as the Haas effect even though they are a plural. The official findings of Haas are as follows:I . Signals which arrive at the same time but from different sources are heard as one sound from a fictitious or phantom source that is localized between the two sources at a place dependent upon the relative intensities of the two sources. This is the basics of volume panning. 2. Signals from the same source arriving at different times are heard essentially as one sound, with the delayed signal adding to the original sound but, when audible, being heard much more weakly. 3. Signals incoherent in both time and direction are heard as not localized, neither from source nor from a large range of angles in space, i.e. as a diffused sound. This

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  • Level: University Degree
  • Subject: Creative Arts and Design
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Media. Music. You.

Media. Music. You. In our society today, people are influenced by many different things. The media uses advertisements and commercials to sell us what "we think we need" in order to fit in. This type of media hype is everywhere; in our magazines, on our television screens, on billboards, and in our music. Yes, music does control society in some aspects. Little girls idolize pop stars, and young men look up to the clever lyricists in our popular culture. Yet, sometimes these role model artists are not sending the right messages to young adults. Girls may judge what a man should be based on her current pop star crush, and guys may judge girls in the same way. Not all boys can be Justin Timberlake, and not all girls can be Britney Spears. This should not be the message to young people in the first place; they should listen to artists who present diverse issues in their music, so the young minds of these teenagers can form their own opinions about the world. The media and the big corporations that own the record companies place such a big hype on certain artists that some people may not take the time to dig deeper and find genuinely good music, or to see what underlying issues are taking place in the music industry. There is a website called Downhillbattle.org that provides information for music activists; the site shows the world how the big record labels are controlling the

  • Word count: 1883
  • Level: University Degree
  • Subject: Creative Arts and Design
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