Bernstein and Beethoven

Bernstein and Beethoven Free Online Research Papers A product of his times.that seems like such a clichà © way of telling a story – but, yes! A product of The Age of Enlightenment, Beethoven was all about some revolution. Through his free and fierce nature, he wrenched music out of the 18th century and into the next Stravinsky would do the same thing a century later. What Beethoven did makes him if not the last of the Classicists then arguably the first of the Romantics. His adventures in disregarding 18th-century structure, requirements and protocol marked his music and his daily life, and in both areas he achieved a virtually complete freedom of expression. He was like Elvis Presley of the symphonyonly he never wiggled his crotch on Ed Sullivan. The idea of the authority of a composer and that his word was considered definitive were some of the common thoughts during that age. The creative mind was respected, with the composer an object of reverence. This was the Romantic view. Mozart and Haydn were definitely influences on Beethovens work. Beethovens â€Å"Quintet for piano and winds† is said to bear a resemblance to Mozart and his version, only he Beethovened it up. He also explored new directions and gradually expanded the scope of his work. Some important pieces from the man are the First and Second symphonies, the first two piano concertos, and the famous Pathetique sonata. Sources show Beethovens disdain for authority, and for social rank (whats cool about this is how Bernstein captures that exact topic in West Side Story – at least I thought that was pretty cool). He stopped performing at the piano and called a bitch out if the audience chatted amongst themselves, or afforded him less than their full attention. At parties, he refused to perform if suddenly called upon to do so. Eventually, after many confrontations, the Archduke Rudolph decreed that the usual rules of court etiquette did not apply to Beethoven. He was a rebel just like The Jets. Many later composers of the Romantic period and beyond were influenced specifically by Beethovens Ninth Symphony. The famous choral finale is Beethovens musical representation of Universal Brotherhood. Wagner completed a piano arrangement of Beethovens 9th symphony, an important theme in the finale of Johannes Brahms Symphony #1 is related to the Ode to Joy or â€Å"Ode to Freedom† or any eventual â€Å"Ode tofill in the blank† theme. Bernstein had a pretty exuberant conducting style. He actually had a pretty â€Å"fuck you all who dont like it† kinda style. I like this man very much. He strayed far from classic conducting techniques, using his whole body to get the best out of his orchestra, and had evident fun doing so. Exploring his output, one finds the famous and obscure works that both are reflective of their times and somehow preserve and encapsulate them. Bernstein also used the podium as a way to popularize the music he loved. In 1958, he began a series of televised Young Peoples Concerts that brought symphonic music into the homes of Americans. He was like â€Å"Check this shit out, kids!† But now lets move on to some West Side Story! In West Side Story the sung text is crucial to the telling of the story. When the music is conveying certain emotions there can only be language left to really hit it home to the listener. The lyrical beauty in love ballads, the language of the characters in songs by street gangs and ethnic characters and the poetry of the lyrics truly help to take the music a step further. Bernstein was very effective in bringing modern society and the 20th century to stories and musical themes that were familiar or previously explored. He added his own flair to classical pieces as well as giving a modern twist to age old tales for the current times. As far as the â€Å"hope dies last† and â€Å"despair does not rule† ideology – I think the ideas presented in West Side Story and Beethovens 9th are similar in the fact that they deal with brotherhood of man. The end of West Side Story touches on the idea that the two different cultures are going to work as brothers from now on and not enemies, Beethovens entire purpose of his symphony is to promote that idea of a coming together peacefully. When Beethoven premiered his symphony in Vienna he received five ovations. At that time, it was customary that the Imperial couple be greeted with three ovations when they entered the hall. The fact that five ovations were received by a private person who was not even employed by the state, and moreover, was a musician, was in itself considered almost indecent. Police agents present at the concert had to break off this spontaneous explosion of ovations. This certainly tells of the class that musicians were put into at the time and how private people were looked at. It makes the ideas Beethoven was presenting all the more controversial and liberal. If I were Beethovenand could hearI would have been like â€Å"Please, please! Lets have at least one more round of applause for the Imperial couplethen we can return to me!!!† I would have been blackballed. Bernstein tackled quite the liberal idea of brotherhood in his musical. He addressed issues including rebellion from authority, troubled youth, poverty and racism. Juvenile delinquency is seen as an ailment of society: No one wants a fella with a social disease! It certainly was teeming with American ideas toward immigrants. At the time nothing like this show had ever been produced with its raucous dance numbers and brutal subject matter. I would imagine that if, in the end, you feel the urge for Tony and Maria to be together – the idea that love can transcend all racial boundaries may even affect people that let themselves sit through shows about gay relationships as well. I think shows like West Side Story pave the way for further exploration of topics concerning tolerance and acceptance. If he were alive today I am sure that Lenny would bust it out with some amazing gay story like that since he was definitely no stranger to some boys in his life. Gotta love him! The idea of these pieces being program music made me sit on the fence for a moment. But, although there may not be text for the audience to read in West Side Story to some of the instrumental moments, I do think that those moments tell a story. When The Jets are dancing to the familiar theme of their song – the music definitely represents what is going on and the feeling that is being conveyed without the lyrics. Beethovens 9th was primarily instrumental until the final movement, so I would say that his piece could count if there were program notes given to the audience to explain the earlier movements. It is like the way Vivaldis Four Seasons captures the idea of each of the times of year or the way Berliozs Symphonie Fantastique captures the idea of killing the one you love and burning in hell for it, the music in Beethovens symphony and West Side Story – respectively capture a feeling or an idea. They certainly perform the same function that film scores do now â⠂¬â€œ they pull emotions out of you while you are listening to the story and make you feel it on a much deeper level than words alone could ever do. The bottom line for me is that they both definitely tell a story and are conveying a message to the audience. I think that lends them the right to be called program music. Both men certainly use their music to convey a variety of emotions and help to really move their message and ideas forward. Beethoven utilized cyclical structure in his symphony to link the movements thematically. Bernstein did the same with his characters and events – you would hear lilting music with the themes of â€Å"Somewhere† or â€Å"Maria† when the two lovers were thinking of each other, within close parameters of one another or holding each other. The Jets and the fighting scenes were underscored by the themes that were featured in â€Å"The Jet Song† and â€Å"Dance at the Gym† similar themes can be heard in both compositions and are identifiable with those characters. Beethoven incorporated a Turkish march in his final movement to represent a military aspect and war, I believe he was talking about what the present held and then moves onto the idea with voices soaring – that all men can be brothers. It is very much like the end o f West Side Story. Bernstein uses frenetic percussion and latin styles to create his mambo theme and the energetic â€Å"America† has a mexican cha-cha-cha feel to it like a mariachi song. He uses themes like Beethoven does in his movements to tie his musical theme together. Bernstein assigns musical themes to characters the way Beethoven returns to them in each of his movements. Like I said earlier – The Jets have similar themes when they are causing a scene – even when they are harassing Anita in the store the music is very disjointed and has elements of the musical themes underscoring their rumble with The Sharks and their other songs as well. Bernstein uses immediate and quick tempo with strings and clashing percussion in â€Å"Tonight (Ensemble)† that sounds foreboding – its almost like the strings in â€Å"Jaws† and there are maracas shaking as well to help illustrate who they are referring to (The Sharks). When Tony and Maria begin to sing, the strings become soft and soaring and feel hopeful. They really soar when Maria begins to sing her part – then immediately they are loud and frenzied when The Jets begin their parts again. When Tony sings â€Å"Somethings Coming† the strings are excited yet soft as he begins to talk about this amazingly great feeling he has. Beethoven really uses strings and brass to produce this feeling of duty almost, at least thats what I hear when the brass gets loud and the strings come under softly and then begin to crescendo before the brass takes over. It sounds very regal and then gets frenetic like The Jets songs. But that is only how it begins. That â€Å"Bah-Bah-Bah-Dum!† that occurs with the brass gives me the idea of duty to your country, military men standing at attention and those sort of ideas. Its like the loyalty the gangs feel to one another and their â€Å"war† in West Side Story. Beethoven and his â€Å"Bah-Bah-Bahs† that happen later tend to ease up a lot – the â€Å"Bah-Dum!† is replaced by another quick â€Å"Bah† instead. Im totally explaining this like I should be fingerpainting and writing this in crayon. The strings get nice and quiet and soothing towards the end – before the chorus busts it down. The chorus starts out kind of sounding stern t o me. Then when the women join it isnt so â€Å"military† like. It begins to take on a happier tone. Then its just all sorts of amazing and breathtaking. The strings get sweet and low (no pun intended) and then the voices come in much quieter and begin to slowly crescendo and its like â€Å"Heeey! Whats up, now? Go on witcha baaad self!† The part I think is awesome is when the voices start singing in the style that reminds me of the English madrigal – its like â€Å"Fair Phyllis† and it is a complete surprise when it just happens out of nowhere – there are the sweeping moments, the regal sounding moments and then suddenly there is the overlapping texture. He creates this feeling of many emotions happening with the differing dynamics much like Bernstein creates so many emotions with the texture of overlapping in â€Å"Tonight (Ensemble)† and his amazing rhythms. To decide which composition is more artistically powerful – I immediately think of Leonard Bernstein and his West Side Story. Not only because the end made me cry like a little bitch, but because there are so many themes and rhythms being explored to tell this age old story that is just as relevant today as it was then and in times before and it will continue to be relevant I am sure of that. It is a lot more distinct to me to see what Lenny was doing with his story, characters, moods and emotions than it was for me to pick things out of Beethovens 9th. West Side Story affected me more on an emotional level. I can identify with the â€Å"love that is not accepted by the majority† theme – and holy shit did I ever have to keep myself from sobbing at the end. I kept saying â€Å"Its not real! Natalie Wood isnt even Puerto Rican! Shes Russian for Christs sake!† I was literally saying these things in my head so I wouldnt bawl my eyes out when she started to s ing â€Å"Somewhere† without accompaniment (which by the way is another way that Lenny used just a single voice to make the audience feel stripped and vulnerable – and it worked – well!). I am just simply in love with Bernsteins music in West Side Story. Research Papers on Bernstein and BeethovenHip-Hop is ArtThe Masque of the Red Death Room meaningsWhere Wild and West MeetAnalysis Of A Cosmetics Advertisement19 Century Society: A Deeply Divided EraMind TravelMarketing of Lifeboy Soap A Unilever ProductQuebec and CanadaThe Spring and AutumnHarry Potter and the Deathly Hallows Essay

The eNotes Blog Vestal Virgins Aint Got No Weaves Ancient Hairstyles Re-Created for the FirstTime

Vestal Virgins Aint Got No Weaves Ancient Hairstyles Re-Created for the FirstTime If youve ever crooned along to Procol Harems Whiter Shade of Pale, you might remember the line about the sixteen vestal virgins. Probably, you happily sang along without a clue as to what vestal really means.   In ancient Rome, vestals were priestesses of the goddess Vesta, who was the goddess of the hearth. Her priestesses attended an eternal flame that was never allowed to go out. These attendants took vows of chastity and devoted themselves to religious tasks that were off limits to priests and other men.  Vestal virgins could be easily identified by their elaborate hairstyles composed of six intricate braids which were artistically wrapped around the head. A few years ago,   professional stylist and amateur  archaeologist  Janet Stephens became interested in just how the hairstyles were physically possible. She practiced on dozens of mannequin heads, but despite her laborious attempts, none could hold the shape for very long.   She ensconced herself in college research libraries, looking at everything she could find about hairstyles of ancient Roman women. As she soon discovered, until very recently, most scholarship has been conducted by men who had little interest in the fashions of women other than the very elite, and even that was scarce. For seven years, Stephens came up empty handed in her research and frustrated as she continued her attempts at re-creation on mannequins. Until one day, she happened upon a little fragment of a mention from an scholar who had been writing several hundred years prior. This scholar mentioned a long needle that was made for both embroidery and for sewing of hairstyles. With a little more detective work, Stephens was able to track down the type of embroidery needle. Excited, she tried it on her wigged heads and voila! It worked! Not completely content with her discovery, Stephens wanted to try it on a live head. She placed an ad in the college paper asking for models.   One woman answered and through what was surely trying for both of them, the hairstyle was finally achieved: First, Stephens found, the Vestals hair would be separated into sections, each of which would be braided into six separate braids, including a pair of cornrow braids that ran flat across the head above the ears. The hair around the hairline would then be wrapped around a cord, which would then be tied at the nape of the neck. Leftover loose hair from around the face would then be weaved into a final, seventh braid. Next, the first six braids would be brought around the back of the head and tied in pairs in half square knots. The ends of the braids would then be wrapped up to the front of the head and secured to the cornrow braids above the ears. Then, the seventh braid would have been tucked up and coiled at the back of the head underneath the knotted braids. The entire process takes about 35-40 minutes, but Stephen feels that two slaves were probably able to do so in about ten minutes. Interestingly, she also discovered that only women with waist-length hair had enough hair to achieve the style. Check out Janet Stephens YouTube channel to watch her fascinating work on the vestals and many other ancient hairstyles.

Most and Least Favorable Approaches Assignment Example | Topics and Well Written Essays - 500 words

Most and Least Favorable Approaches - Assignment Example Nevertheless, to facilitate resolution of these issues, there is a need to have preparedness for dealing with conflicts, thereby establishing a statement of strategic issue that entail three elements. The issue identified is expected to give a concise description with a single paragraph, and the issue should be framed and addressed by the organization. However, there are situation when an organization lack the ability to address the question; thus, it ought to limit attention on the issues that cannot be resolved to avoid wastage of time. The element involves listing the factors that are basic policy questions. In this situation, the objectives, principles, opportunities, strengths and weaknesses of the organization are made strategic issues. Furthermore, these issues are listed, after which they apply in the following stage of strategy identification. The last stage involves a planning team, which is expected to make indications of the implication of not addressing the strategic issues. This involves a review of the consequences in order to inform judgments and various issues (Taylor, 1984). In this case, steps of identifying strategic issues in an organization are substantial t o facilitate survival and success of the organization and offering substantial advice on ways to achieve these objectives. Preferred approach of identifying strategic issues is a direct approach, which requires the strategic planners to focus on outlook of charges and objectives organization. The strategic planners are expected to conduct a SWOT analysis in order to identify the strategic issues that are compatible with the public and government agencies (Bryson & Delbecq, 1979). This approach is best applied in the absence of an agreement on goals. Direct approaches of identifying the strategic issues are useful in situations without pre-existing vision of achieving set objectives. It can also apply when there are no impositions of goals by hierarchical