What is Musical Romanticism?
What is Musical Romanticism? A great number of musicians, poets, musicologists and critics have attempted a definition of the term 'Musical Romanticism' - but there has not been a single simple explanation of the expression so far. It seems even though the main characteristics of the Romantic period can be pinned down, it does neither necessarily mean that they can therefore be found in every piece of music composed during this era, nor that these characteristics will make any sense at first, because very often they are contradicting themselves. Thus a broad overview of the 19th century is the only possibility to understand what Musical Romanticism is and how it started, and how it more or less became the equivalent to the Sturm and Drang movement in German Romantic literature. There are basically three different definitions of the term 'Romanticism' in general, as discussed in D.G. Charlton's book on the French Romantics. The first possible meaning of the term describes a spiritual state that reached from the Middle Ages right through to the 20th century and therefore includes everything of the 'new age'. The second definition refers to 'Romantic' or 'Romanticism' as "imaginatively and emotionally inspired art"1, while the third description mentions the historical use of the term, referring to the so called 'Romantic movement' in all the arts, namely literature, art and
Mimesis - Is music an imitative art?
Mimesis - Is music an imitative art? For centuries books and articles have been written about music, the arts in general and influences on the composers which led to deliberations whether music is actually a purely imitative art or whether it is a self-sufficient art form that is merely concerned with representation. It seems that from Plato onwards, the issue about mimesis and the arts became the most important basis for aesthetic theories: Plato himself developed a theory which states that all art is mimesis, i.e. representation or imitation of natural forms or features, which in turn are already copies of the ideal forms, the "real ones"1. Therefore the imitation is twice removed from the ideal2, the true original. However, to argue Plato's point of this theory, we need to be clear as to what mimesis means exactly and whether the term should be applied to the arts, in order to find out if music really is an imitative art or not. Mimesis and similar words that stem from the Greek word mimos are usually translated as imitation, copying, representation, reproduction or even expression3, depending on the era in which the term was used. Mimos and mimetes refer to the people who do the imitating and representing4. In connection with the arts mimesis is the representation or imitation of the natural forms which results in an arousal of feelings and emotions in every human
Cuban National Ballet
The Cuban National Ballet Introduction This case study will examine the historical, cultural and artistic contexts of The Cuban National Ballet, from its origins in 1948 through to the present day. An in depth exploration will be given on the political influence Batista's dictatorship had on the potential establishment and growth of ballet until 1959. Subsequently, an analysis of the political changes Castro's revolutionised Cuba had on the development of the Cuban National Ballet between 1959 to 2008 will be investigated. Research will be taken from a range of resources, both National to Cuba and Internationally. Correspondence with the department of Science and Culture at the Cuban Embassy in London has provided historical data and links to other literature. Before the Cuban Revolution (1959) the type of formal dance class most widely available was Spanish, which had to be paid for, afforded only by those in higher social classes Wray 2006 Implanted into Cuban life is music and dance, originating from both African religious dances and localised social practices. Over centuries dance developed into an important aspect of the Cuban way of life (Wray 2006), and regardless of restrictions and state imposed limitations, dance in Cuba has remained an inherent part of its national culture. The Creation of The Cuban National Ballet - Alicia Alonso In 1937 Alicia and
Compare and contrast contemporary fashion with two past periods of fashion.
Compare and contrast contemporary fashion with two past periods of fashion. Show how they were influenced by social events of their time. Alfiya Akhmetova BA (Hons) Fashion Business Year 1 PS100 CONTENTS Introduction.................................................3 Analysis & Evaluation...................................5 > Modern day's fashion.............................5 > Twenties fashion ...................................7 > Sixties fashion.......................................14 Summary......................................................23 Bibliography .................................................24 INTRODUCTION Fashion is a unique social phenomenon of humanity. Enveloping not only our material culture, but also many other sorts of our activities, including music, architecture, theatre, medication, etc. The meaning of fashion is very important for understanding a particular historical era. Fashion has its own theory, and not only theory of art. There is much more to this. Fashion is something we deal with every day. Even people who say they don't care what they wear choose clothes every morning that say a lot about them and how they feel that day. Fashion is always changing, as well as music, videos, books, TV, etc. There are lots of cultural icons that dedicate fashion, such as musicians, celebrities, actors, and also political figures and
Was Modern Art Greater Influenced by the Invention of the Camera or Kindergarten?
Ross Was Modern Art Greater Influenced by the Invention of the Camera or Kindergarten? Shelley Ross Mentor: Mr. Gamache Visual Arts 000193-094 Word count: 2420 Abstract Does the amount of exposure to conforming pressures of society affect one self’s artistic expression? Environment heavily influences style of art. Without realizing, we start to imitate certain qualities of people and things around us. Art Brut represents the work of people who are the least conformed to and influenced by society. Is there a correlation between the amount one is conformed to society and style of artwork produced? While the movements between the times of cave art and modern art varied greatly in use of colors, techniques, and mediums, they are heavily influenced by the environment the people are in, and by other pre-existing art. Inventions of cameras and optics tools greatly changed the ways in which artists painted and created. In more recent years, the original ideas of very structured kindergarten have led to children growing up to be artists that created pieces in the style of cubism. Modern and abstract art movements grew rapidly across the world during the late nineteenth, early twentieth centuries. Ideas spread and influence others, so what if someone is uninfluenced by current styles? Today, these types of works have been categorized as outsider art. What
Write a critical review of Andre Breton's 'Nadja' (1928) and how it sheds light on his vision of surrealism, woman and the city of Paris.
Write a critical review of Andre Breton's 'Nadja' (1928) and how it sheds light on his vision of surrealism, woman and the city of Paris. Effective literary criticism usually requires an understanding of the particular genre under consideration. Immediately Breton's Nadja confronts and confuses: 'The first thing is, this is not a novel. The second: it's not strictly factual either.'1 Lacking the literary 'automatism' of Champs des magnétiques, the prose poetry of Baudelaire, or the narrative description of Emile Zola, Nadja defies categorization. Faced with such uncertainty the critical reviewer is already on his guard. Surrealist followers add little to his confidence, asserting 'the reticence of critics and professors regarding this work, their palpable helplessness as they try, without success, to handle it with their usual methods of explication and analysis.'2 At the risk of further ridicule this critical review will advance a few tentative observations. Breton appears to have created his own rubric, substituting traditional narrative and description, with his own surrealist techniques for creating structure, imagery and myth. Understanding how Breton evokes his vision of surrealism, through the pages of Nadja, is the first step in analyzing this technique. Discussing this maelstrom of ideas, the inevitable focus is on the fulcrum around which the book turns,
Essay with Tutor's comments. I will compare two artists plates, outlining the key differences between them Plate 1.3.24 Cezannes Jug and Fruit (1885-87) and Plate 1.3.30 Zubarans Still Life with Lemons, Orange and a Rose (1663).
Assignment 2 - Learning from Feedback Original assignment - TMA01 part b with tutor comments CEZANNE Within this Essay, I will compare two artist's plates, outlining the key differences between them - Plate 1.3.24 Cezannes Jug and Fruit (1885-87) and Plate 1.3.30 Zubarans Still Life with Lemons, Orange and a Rose (1663). [J1] Although both pictures are of still life objects, they way in which they have been painted are quite different and therefore give the viewer quite different experiences. Composition [J2] The composition of both plates are Cézanne's Jug and Fruit (Plate 1.3.24), and Zurbarán's Still Life with Lemons, Oranges and a Rose (Plate 1.3.30) [J3]is important in establishing a sense of perspective in each painting key in giving a different perspectives of the plate. [J4]Cezanne has achieved a sense of depth by the use of scaling the fruit - the pieces of fruit are different sizes giving a 3 dimensional perspective to the picture. It almost looks like the pears to the front of the picture are rolling off the table and that one could grab one. Cezanne has also achieved a real sense of depth in this picture by his use of atmospheric perspective in the use of the blue colouring at the rear of the picture against the darker table. This contrasts with the composition of Zurbarans plate painting[J5]. He as he has used a different type of composition in that
Natural and synthetic materials and dyes for clothing.
Materials essay Foundation Degree in International Fashion Marketing L1 (2509 words) 08.11.2011 Textiles are made up from natural or man-made fibres or a combination of both. “Fibres are thin, hair-like structures” (Blair, n.d: online) that are categorized into two types: long filament fibres and short staple fibres. Natural fibres are usually staple, whilst man-made fibres are filament, with the exception of silk that comes from a natural source. These raw fibres are spun to produce a long, continuous thread referred to as yarn, which is then used in a series of methods that include, stitching, knitting and weaving in order to produce a fabric. The content, construction and finish of a fabric can determine it’s aesthetic and functional qualities. This essay will explore the classifications and characteristics of fibres, yarns and fabrics, expanding on colouration and finishing techniques. (Udale, 2008)(Hallet & Johnston, 2010)(BBC Bitesize, 2011) Natural fibres are produced and obtained from plants and animals; they are 100% biodegradable and contribute towards a greener planet. Cotton and linen are two of the most popular plant fibres recognized in the textile industry. Cotton is a soft fibre extracted from the seeds of the cotton plant; it is used to produce 40% of the world’s textiles from clothing apparel to home furnishings. It is durable, absorbent and
It was whilst in New York visiting the Metropolitan museum that I first saw David Hockney's picture of Mount Fuji and Flowers. It struck me as a work of great beauty and
Understanding Hockney Introduction It was whilst in New York visiting the Metropolitan museum that I first saw David Hockney's picture of Mount Fuji and Flowers. It struck me as a work of great beauty and made me want to look at and find out more about the artist that painted it. It was from that initial viewing that I have researched and looked in depth at the life of David Hockney. Hockney has experimented and pioneered movements and phases in the art world with notable contributions to pop art and photography. He has had such a major influence in so many areas of art in the 20th century that it is important to understand how this impact came about and what influences affected his development. In this dissertation I will follow roughly Hockney's timeline. By the end of this essay I want people to know what makes this man so extraordinary. Mount Fuji with flowers 1972 Hockney up to the Royal College From Bradford would come one of the finest talents of his era. By the age of 11 Hockney would be awarded a scholarship to Bradford grammar school. By the age of 15 he would make his first sale and soon go on to the Royal College of Art. The Royal College would inspire and contribute to his style of expressionism helping him form the pop art movement. Bradford. Born on the 9th July 1937 to Laura and Kenneth Hockney, David Hockney was the fourth of their five
Discuss in response of either the Irish Artist or the Irish composer to European trends in one of the 18th, 19th or 20th century. Include reference to the life and works of at least an Irish Artist or one Irish composer in your answer.
Discuss in response of either the Irish Artist or the Irish composer to European trends in one of the 18th, 19th or 20th century. Include reference to the life and works of at least an Irish Artist or one Irish composer in your answer. Art is the creation of beautiful or significant things and throughout Ireland in the early 19th century, they were many artists that emerged and produced such art. Roderic O'Conor was a significant, famous individual who emerged out of Ireland as the most important Irish artist of the late 19th century. O'Conor was born in 1860 at Milton in County Roscommon. He was an immensely talented character, independent thinker and experimentalist that painted with great range and distinction. He firstly began his work at the Metropolitan School and then at the Royal Hibernian Academy (RHA) in Dublin, where he studied for one year. Like many of his contemporaries at this time, O'Conor wanted to further and broaden his horizons and artistic knowledge and in 1884, he moved from Dublin to Antwerp and then to Paris, where he became an 'eleve de M Carolus-Duran. He never returned to Ireland. O'Conor has been called, variously, a little known member of the Pont-Aven school, an Irish Expressionist, a 'Fauve, a master of color and even an Irish-American as you will later on, understand why. O'Conor's origins are obscure and his life to say the least is