Stories & Legends Study Guide
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Rachel Barton Violin Patrick Sinozich, Piano DDD Absolutely Digital™ CDR 90000 041 INSTRUMENT of the DEVIL 1 Saint-Saëns: Danse Macabre, Op
Cedille Records CDR 90000 041 Rachel Barton violin Patrick Sinozich, piano DDD Absolutely Digital™ CDR 90000 041 INSTRUMENT OF THE DEVIL 1 Saint-Saëns: Danse Macabre, Op. 40 (7:07) Tartini: Sonata in G minor, “The Devil’s Trill”* (15:57) 2 I. Larghetto Affectuoso (5:16) 3 II. Tempo guisto della Scuola Tartinista (5:12) 4 III. Sogni dellautore: Andante (5:25) 5 Liszt/Milstein: Mephisto Waltz (7:21) 6 Bazzini: Round of the Goblins, Op. 25 (5:05) 7 Berlioz/Barton-Sinozich: Dream of a Witches’ Sabbath from Symphonie Fantastique, Op. 14 (10:51) 8 De Falla/Kochanski: Dance of Terror from El Amor Brujo (2:11) 9 Ernst: Grand Caprice on Schubert’s Der Erlkönig, Op. 26 (4:11) 10 Paganini: The Witches, Op. 8 (10:02) 1 1 Stravinsky: The Devil’s Dance from L’Histoire du Soldat (trio version)** (1:21) 12 Sarasate: Faust Fantasy (13:30) Rachel Barton, violin Patrick Sinozich, piano *David Schrader, harpsichord; John Mark Rozendaal, cello **with John Bruce Yeh, clarinet TT: (78:30) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foun- dation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by grants from the WPWR-TV Chan- nel 50 Foundation and the Illinois Arts Council, a state agency. Zig and zig and zig, Death in cadence Knocking on a tomb with his heel, Death at midnight plays a dance tune Zig and zig and zig, on his violin. -
Gangsters, Pranksters, and the Invention of Trick-Or-Treating, 1930–1960 S Samira Kawash
Gangsters, Pranksters, and the Invention of Trick-or-Treating, 1930–1960 s Samira Kawash For most children in North America, Halloween is one of the most exciting holi- days of the year. But some critics insist that its emphasis on ready-made costumes, store-bought candy, and trick-or-treating seduces children into cultural passivity and socializes them to mindless consumption. These critics argue that trick-or- treating was an inherited tradition, invented, initiated, or imposed by adults to control undesirable Halloween mischief. This article turns to newspaper accounts from the 1930s through the1950s to suggest that these beliefs and conclusions about trick-or-treating are false and that, in fact, children originated trick-or- treating and shaped it to their own ends. In her view of trick-or-treating as part of the development of children’s culture in twentieth-century America, the author presents the role of children in initiating their own forms of play and contesting and negotiating such play with adults, all of which suggests a more complex understand- ing of Halloween and trick-or-treating in the contemporary context. Key words : beginning rituals; children as consumers; gangsters; Halloween; Halloween rituals; Halloween sadism; pranking; trick-or-treating When I was a kid in the late 1960s and early 1970s, Halloween was a very big deal. Picking a costume could take weeks. Then, there were special decorations on the streets, haunted houses, church parties, a costume parade at school, and most important of all, trick-or-treating. The neighborhood kids would all go together, with a parent when we were little, and with a high school neighbor when we got bigger. -
The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction Virginie Douglas
The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction Virginie Douglas To cite this version: Virginie Douglas. The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction. Publije, Le Mans Université, 2018. hal-02059857 HAL Id: hal-02059857 https://hal.archives-ouvertes.fr/hal-02059857 Submitted on 7 Mar 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Abstract: This paper focuses on novels addressed to that category of older teenagers called “young adults”, a particularly successful category that is traditionally regarded as a subpart of children’s literature and yet terminologically insists on overriding the adult/child divide by blurring the frontier between adulthood and childhood and focusing on the transition from one state to the other. In Britain, YA fiction has developed extensively in the last four decades and I wish to concentrate on what this literary emergence and evolution has entailed since the beginning of the 21st century, especially from the point of view of genre and narrative mode. I will examine the cases of recognized—although sometimes controversial—authors, arguing that although British YA fiction is deeply indebted to and anchored in the pioneering American tradition, which proclaimed the end of the Romantic child as well as that of the compulsory happy ending of the children’s book, there seems to be a recent trend which consists in alleviating the roughness, the straightforwardness of realism thanks to elements or touches of fantasy. -
Original Paper Leonardo's Skull and the Complex Symbolism Of
Journal of Research in Philosophy and History Vo l . 4, No. 1, 2021 www.scholink.org/ojs/index.php/jrph ISSN 2576-2451 (Print) ISSN 2576-2435 (Online) Original Paper Leonardo’s Skull and the Complex Symbolism of Holbein’s “Ambassadors” Christopher W. Tyler, Ph.D., D.Sc.1 1 San Francisco, CA, USA Received: January 31, 2021 Accepted: February 10, 2021 Online Published: February 19, 2021 doi:10.22158/jrph.v4n1p36 URL: http://dx.doi.org/10.22158/jrph.v4n1p36 Abstract The depiction of memento mori such as skulls was a niche artistic trend symbolizing the contemplation of mortality that can be traced back to the privations of the Black Death in the 1340s, but became popular in the mid-16th century. Nevertheless, the anamorphism of the floating skull in Hans Holbein’s ‘The Ambassadors’ of 1533, though much discussed as a clandestine wedding commemoration, has never been satisfactorily explained in its historical context as a diplomatic gift to the French ambassadors to the court of Henry VIII who were in the process of negotiations with the Pope for his divorce. Consideration of Holbein’s youthful trips to Italy and France suggest that he may have been substantially influenced by exposure to Leonardo da Vinci’s works, and that the skull may have been an explicit reference to Leonardo’s anamorphic demonstrations for the French court at Amboise, and hence a homage to the cultural interests of the French ambassadors of the notable Dinteville family for whom the painting was destined. This hypothesis is supported by iconographic analysis of works by Holbein and Leonardo’s followers in the School of Fontainebleau in combination with literary references to its implicit symbolism. -
Monsters and Near-Death Experiences in Eric Mccormack's First Blast Of
ARTICLE https://doi.org/10.1057/s41599-019-0374-y OPEN Monsters and near-death experiences in Eric McCormack’s First Blast of the Trumpet Against the Monstrous Regiment of Women Martin Kuester1* ABSTRACT Following Linda Hutcheon’sdefinition of parody as “repetition with a differ- ence”, this essay exposes how a contemporary Canadian novel parodically responds to 1234567890():,; seminal Early Modern English pre-texts. Eric McCormack is not only a Canadian post- modernist (and postcolonial) writer born in Scotland but also a specialist in Early Modern English literature and thus an ideal representative of the intertextual situation of Canadian writing between literary tradition and the challenges of postmodern/postcolonial writing. The essay interprets McCormack’s sexual gothic novel First Blast of the Trumpet Against the Monstrous Regiment of Women discussing the way in which a literal or even literalist—rather than metaphorical—interpretation of literary and religious texts of the Early Modern period can make an important and sometimes harrowing difference in the lives of somewhat unsophisticated literary characters. McCormack’s ominously named character Andrew Halfnight literally interprets religious and literary texts he sees as signposts and guidelines of his personal behavior, thus showing how a literal interpretation of “canonical” texts limits the character’s ability to lead a self-determined happy life. The texts he refers to include the pamphlet The First Blast of the Trumpet Against the Monstrous Regiment of Women by Scottish reformer John Knox, Robert Burton’s Anatomy of Melancholy and John Milton’s Paradise Lost, and these subtexts are more than challenged through their intertextual transfer into erotic or perhaps even pornographic contexts which probably would have shocked the Early Modern authors (although, for example, Milton was at least not unwilling or unable to include ero- ticism in his work). -
Gardiner's Schumann
Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner. -
The Happy Ending – Will It Happen to Me Too? Mako Nagasawa Last Modified: October 2, 2007 for BCACF
The Happy Ending – Will It Happen to Me Too? Mako Nagasawa Last modified: October 2, 2007 for BCACF Introduction: What Story Do You Live In? This morning I want to ask you, ‘What story do you live in?’ All of us live in a story. We have a storyline running through our heads. And we play a major role in it. Let me give you some examples. Do you live in the hero story? This is a story where someone who makes a difference in the world and makes a name for himself or herself. You start off with some kind of hidden talent. You face obstacles, adversity, mountains and valleys of hard work, only to overcome in the end. What matters is the quest, the challenge, and the victory. It is the story of Harry Potter, the unlikely hero who is given a burden that no one else could carry, who fulfills his destiny. It is the story of King Leonidas, who gives his life against King Xerxes and the Persian Empire. Here’s a clip from 300 on that. [clip from Scene 17, where Xerxes is calling Leonidas to submit to him.] Notice how the threat of Xerxes is to wipe out Leonidas’ story. But as we know, the story is being retold by Dilios, who finishes his story on a new battlefield. As he finishes his story of the 300, he says, ‘Here they stare now, across the plain, at 10,000 Spartans, commanding 30,000 free Greeks,’ who are now united behind Sparta. Did you know that that story was retold in World War II. -
Genre and Subgenre
Genre and Subgenre Categories of Writing Genre = Category All writing falls into a category or genre. We will use 5 main genres and 15 subgenres. Fiction Drama Nonfiction Folklore Poetry Realistic Comedy Informational Fiction Writing Fairy Tale Tragedy Historical Persuasive Legend Fiction Writing Tall Tale Science Biography Fiction Myth Fantasy Autobiography Fable 5 Main Genres 1. Nonfiction: writing that is true 2. Fiction: imaginative or made up writing 3. Folklore: stories once passed down orally 4. Drama: a play or script 5. Poetry: writing concerned with the beauty of language Nonfiction Subgenres • Persuasive Writing: tries to influence the reader • Informational Writing: explains something • Autobiography: life story written by oneself • Biography: Writing about someone else’s life Latin Roots Auto = Self Bio = Life Graphy = Writing Fiction Subgenres • Historical Fiction: set in the past and based on real people and/or events • Science Fiction: has aliens, robots, futuristic technology and/or space ships • Realistic Fiction: has no elements of fantasy; could be true but isn’t • Fantasy: has monsters, magic, or characters with superpowers Folklore Subgenres Folklore/Folktales usually has an “unknown” author or will be “retold” or “adapted” by the author. • Fable: short story with personified animals and a moral Personified: given the traits of people Moral: lesson or message of a fable • Myth: has gods/goddesses and usually accounts for the creation of something Folklore Subgenres (continued) Tall Tale • Set in the Wild West, the American frontier • Main characters skills/size/strength is greatly exaggerated • Exaggeration is humorous Legend • Based on a real person or place • Facts are stretched beyond nonfiction • Exaggerated in a serious way Folklore Subgenres (continued) Fairytale: has magic and/or talking animals. -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
Herminie a Performer's Guide to Hector Berlioz's Prix De Rome Cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ewing, Rosella Lucille, "Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata" (2009). LSU Doctoral Dissertations. 2043. https://digitalcommons.lsu.edu/gradschool_dissertations/2043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HERMINIE A PERFORMER’S GUIDE TO HECTOR BERLIOZ’S PRIX DE ROME CANTATA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Rosella Ewing B.A. The University of the South, 1997 M.M. Westminster Choir College of Rider University, 1999 December 2009 DEDICATION I wish to dedicate this document and my Lecture-Recital to my parents, Ward and Jenny. Without their unfailing love, support, and nagging, this degree and my career would never have been possible. I also wish to dedicate this document to my beloved teacher, Patricia O’Neill. You are my mentor, my guide, my Yoda; you are the voice in my head helping me be a better teacher and singer. -
Hector Berlioz Harold in Italy, Op. 16
PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence. -
Orchestral Conducting in the Nineteenth Century," Edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds
Performance Practice Review Volume 21 | Number 1 Article 2 "Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Other Music Commons Brown, Clive (2016) ""Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai," Performance Practice Review: Vol. 21: No. 1, Article 2. DOI: 10.5642/perfpr.201621.01.02 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/2 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Illiano, R., M. Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, 2014. ISBN: 9782503552477. Clive Brown Although the title of this book may suggest a comprehensive study of nineteenth- century conducting, it in fact contains a collection of eighteen essays by different au- thors, offering a series of highlights rather than a broad and connected picture. The collection arises from an international conference in La Spezia, Italy in 2011, one of a series of enterprising and stimulating annual conferences focusing on aspects of nineteenth-century music that has been supported by the Centro Studi Opera Omnia Luigi Boccherini (Lucca), in this case in collaboration with the Società di Concerti della Spezia and the Palazzetto Bru Zane Centre de musique romantique française (Venice).