Beethoven and Schuman - Free Essay Example

Sample details Pages: 5 Words: 1465 Downloads: 2 Date added: 2019/10/30 Category People Essay Level High school Tags: Ludwig van Beethoven Essay Did you like this example? As a result of the structural changes made, Beethoven was able to better project the type of emotion that he had intended to while composing. Gordon goes on to explain that the overall effect that is ultimately produced by these slow, repetitious triplets is an emotional one: One mood is thus sustained and unbroken throughout the movement, thereby establishing a serene but intense emotionalism. 24 Op. Don’t waste time! Our writers will create an original "Beethoven and Schuman" essay for you Create order 27, no. 2 provides evidence suggesting the possible beginnings of Beethovens attempt to clearly project a specific emotion or a definite state of mind in his sonata. The structure of Moonlight Sonata and the majority of the sonatas composed afterwards became subjected to the emotional content that was being projected. After the Moonlight Sonata, Op. 53 and 57, and Beethovens usage of experimentation has become all but uncommon, Beethovens late period of sonata compositions begins to take place. Beethoven has now broken so far away from the traditional, classical sonata form that his works are now widely considered by many to be romantic. It is no longer as simple to examine one of Beethovens sonatas which once so easy to compare to the other sonatas of the same time period. It is also interesting to note that some of these late compositions including Op. 109 are considered by some modern musicologists to not be sonatas at all. 25 In this final section of Beethovens sonata analysis, o nly a brief overview is offered. Most of Beethovens final piano sonatas all contain very detailed directions regarding tempo and expression that were written in German rather than the traditional ?at ease and ?sustained. In doing so, Beethoven, as a composer, is communicating to the performer the way in which the music should feel in a very clear and understandable way rather than including the standard, often vague allegro or allegretto. As mentioned in the introduction, the attempt to express emotion or lyricism better is definitely an aspect of romantic music. Many of the sonatas composed in the late period contain a type of lyricism that separates them from the earlier and middle sonatas and placing them into the romantic era of music. Similar to the problem we encountered when explaining the Moonlight Sonata, it is very difficult to explain how this type of lyricism is produced in Beethovens later piano sonatas. The opening movement of Op. 101 (1816) is an excellent example of Beethovens usage of musical lyricism. Gordon compares Op. 101 to Beethovens earlier Moonlight Sonata by explaining that both sonatas have an uninterrupted melodic intensity that is sustained from beginning to end. However , the musical structure of the first movement and those that follow it are very different from those found in his early and middle sonatas. Such structural differences include but are not limited to: a short development in the introduction of the second and last movements, abrupt changes in tonality and, most importantly, the usage of a style similar to the fugue of the baroque era. These final changes made to the sonata lead many people to consider them to be romantic. It can be understood from the evidence given in the previous section, concerning the musical changes that Beethoven made in his sonatas alone, that he was indeed a catalyst in the development of romantic music in Europe. This point can be found in countless essays, articles, and books on Beethoven and the role that he played in helping the transition. Many sources pay little or no attention to other pre-romantic composers. For example: The Development of Western Music, a text book in which the chronologically progre ssion of western music is examined, dedicates the entire section on the transition from classical music to romantic music to Beethoven only. But, should Beethoven alone receive credit for sparking the transition into the romantic era of music? Should the studies of the transitional period be limited to only Beethovens works? Is the time in which Beethoven composed the only time period that can be considered the transitional period? My answer to all of these questions is easy to anticipate: no. Beethovens significant contributions to the transitional period from classical to romantic music should not overshadow the contributions of other composers, Schubert in particular, working in the same time period and slightly after most what most would consider ?transitional. It can also be argued that the transitional period extends slightly beyond the time in which Beethoven was composing. Beethoven is necessary in understanding the development of romantic music but, studying his compositions, alone, is not sufficient in fully understanding the musical progression from classical to romantic. The first questions that this argument raises are, Who can also be credited with having helping move western music forward into the romantic era and when did this take place? The time period in which we are most concerned with in this situation will not be the period before Beethoven was composing but the period during and immediately after. The Sonata Since Beethoven, in a chart depicting the production spans of romantic composers , provides us with an idea as to when the most important composers of the now romantic era were producing their works. In the short time period before the greatest composers that we now recognize as romantic began writing† Liszt, Chopin, Schumann, Mendelssohn, and Wagner†and during the same time in which Beethoven was composing, we see afore mentioned Austrian composer, Franz Schubert. Of course, as is to be expected, there is a slight overlap between Schubert and these romantic composers. However, it is clear that Schubert was composing before all of them. This leads us to consider the possible influences that Schubert may have had on these composers and, quite possibly, Beethoven himself. In order for us to begin to understand the possible influences that Schubert had on the composers of the romantic era and the involvement that he had in creating the transition, it is importan t to very briefly examine some of Schuberts compositions. Unlike the previous section in which Beethovens sonatas were analyzed more specifically, however, a much broader, less specific overview of the changes that Schubert created is offered. Rockstros remarks that Schuberts method of working differed entirely from Mozarts and Beethovens. He never prepared a perfect mental copy, like the former.[He] wrote almost always on the spur of the moment, committing themselves on paper, as fast as his pen could trace them.Taking this into consideration, it is perhaps easier to understand why the works Schubert are considered to be different from those of Beethoven and the former composers of the late eighteenth and early nineteenth century composers. It also helps further suggest that many of the changes brought forward by Schubert were, for the most part, very original thus making his contributions more meaningful. From the beginning of Schuberts compositions until the very end, we can view a type of evolution or progression similar to that of Beethovens as viewed in the prior analysis. The difference lies within what the two composers experimented and contributed during the evolution. One of the major contributions made by Schubert during the transition into the romantic era which is not found so much in Beethovens compositions pertains mainly to harmonics. Gordon comments on the contributions of Schubert by saying that Schuberts musical style contains a mixture of the traditional and the forward looking. When Gordon mentions the traditional he refers to the traditional musical structure established in the classical era; looking forward refers to Schuberts new harmonic experimentations. The other aspect of Schuberts musical compositions that has proven to be a critical part in the development of romantic music and very unique to his style is his creation of lyrical or songlike melodies in his piano and other non-voice compositions. Schubert went beyond Beethoven in creating very lyrical themes or melodies. Songs without words they are often referred to as. Similar to Beethovens case, it is difficult to analyze and explain exactly why these piano pieces and other works have such attractive, sweet melodies. W. H. Hadow (1859-1937), a critic of early and late romantic music, writes: In clarity of style [Schubert] was inferior to Mozart; in power of musical construction he was far inferior to Beethoven, but in poetic impulse and suggestion he is unsurpassed. Schuberts later piano sonatas present his lyrical melodies and unique harmonic experimentation and progression better than his early ones. His seventeenth piano sonata (D. 845, composed 1825) contains these strange harmonies and his romantic melodies. D. 845 received great attention in the beginning of 1826 with positive reviews by Schumann and Fink, a music critic from Frankfurt. Fink comments on sonata No. 17 in an article written in 1826 by saying, it moves so freely and originally within its confines, and sometimes so boldly and curiouslyIt is easy to see that these [original melodic and harmonic] inventions are often somewhat odd and that their exposition is even more curious.

How Hemingway Has Too Strong Opinions On Homosexuality

Hemingway has extremely strong opinions on homosexuality, which Gertrude Stein attempts to dissuade by convincing him that those who attempt to assault young boys are not well in their heads. While Stein attempts this, Hemingway proclaims that because homosexuality exists, â€Å"you [carry] a knife and would use it when you were in the company of tramps when you were a boy in the days when wolves was not a slang term for men obsessed by the pursuit of women† (Hemingway 16). It seems that Hemingway does not realize that, when objectifying women, he turns into one of the wolves of which he is so afraid. However, Hemingway maintains his fear of homosexuality; he â€Å"ridicules an effeminate homosexual named Hal, satirizes Fitzgerald’s sexual uncertainties, and professes disgust at the lesbian practices of Stein and Toklas† (Kennedy 187). Hemingway is horrified by homosexuals, because he is afraid that he will be objectified by homosexual men just as he objectifies the women in his own life. He believes that leering after unsuspecting partners is only okay when he is an active participant; he is just afraid of being objectified and therefore, forced into an action against his own will. However, â€Å"homosexuality disturbs Hem, less because it involves alternate erotic practices than because it subvert his fundamental assumptions about sex, gender, and desire† (Kennedy 191). He believes that men are only right to objectify, not to be objectified. He believes that the gender and sexualShow MoreRelatedLogical Reasoning189930 Words   |  760 Pagesby Wadsworth Publishing Company, Belmont, California USA in 1993 with ISBN number 0-534-17688-7. When Wadsworth decided no longer to print the book, they returned their publishing rights to the original author, Bradley Dowden. The current version has been significantly revised. If you would like to suggest changes to the text, the author would appreciate your writing to him at dowden@csus.edu. iv Praise Comments on the earlier 1993 edition, published by Wadsworth Publishing Company, which

on Ancient mariner Essay Example For Students

on Ancient mariner Essay The Rime of the Ancient MarinerThere is no explanation at all given of why the Mariner chooses the person that he does to hear his story. In fact, the poem is full of actions and events that are left unexplained; indeed, one can say that a principal theme in The Rime of the Ancient Mariner is the ambiguity and ultimate mysteriousness of motive. The central crime of the poem, the Mariners killing of the Albatross, is a crime capriciously committed. What kind of poem is The Rime of the Ancient Mariner from the point of view of structure and style? To what extent is the Mariner believable as a character? Does he have the authenticity of identity that a reader would desire? What symbolic purpose does the Albatross serve in the poem?The poem is written as a ballad, in the general form of the traditional ballad or early Elizabeth times. Coleridge uses the ballad stanza, a four-line stanza, rhyming a b c b, but he varies it considerably, with some stanzas extending up to nine lines. He is able to achieve a richer, more sweeping sense of the supernatural through these expansions; he is able to move beyond the more domesticated kind of supernaturalism of the homey four-line stanza. He starts with the usual ballad stanza in the first of the poem, in order to make the reader acquainted with the verse form and with the poetic ethos of The Rime of the Ancient Mariner. These early stanzas seem to anchor the readers mind. But in the twelfth stanza, the pattern changes to a a a b c b. By this time the reader has become at home in the poem. Interestingly, the change occurs, certainly by Coleridges deliberate intent, at the point in the poem when the Wedding-Guest makes his last major protest to the Mariner. The action of the voyage is about to begin. One example of the variation of the ballad form is that Coleridge throughout the poem will occasionally insert a line that does nothing to further the story ( see stanza three, Part 2) but that enriches the emotional texture of the poem. Coleridges attraction to the ballad form was probably owing in great measure to the liberation it afforded him from the confines of modern life, a freedom it gave him to move spaciously within the unbounded areas of imaginative creation. To what extent is the Mariner believable as a character? Does he have the authenticity of identity that a reader would desire?There is certainly behind the character of the Mariner in the poem the traditional story of the Wandering Jew, a figure that had considerable influence on Romantic literature, used by P.B. Shelly, for example, in the accounts of Ahasuerus in Queen Mab and the Revolt of Islam. The story has a Jewish tradesman refusing Jesus a moment of rest as He carried His cross to Golgotha; the Jew receives consequently condemnation to life-in death. He is condemned to wandering from place to place, where he must tell of his sin until the Second Coming of Christ. Coleridge used the story again in The Wandering of Cain.William Wordsworth was among the first to say that the Mariner has no character. But Charles Lamb, another contemporary of Coleridge, said the ancient Mariner as a character with feelings, faced with such happening as the poem tells about, dragged him along li ke Tom Pipers magic whistle. John Livingston Lowes in more recent times spoke if the real protagonist in the poem as the element Earth, Air, Fire, and WaterIrving Babbit echoed Wordsworths criticism in saying that the Mariner does not really act, but is acted upon only, and that the Mariner is an incarnation of the Romantic concern with the solitary. George Herbert Clarke has interpreted the ancient Mariner to be at one and the same time himself as a real character in the poem, Samuel Taylor Coleridge, and all men; the Mariner is Representative Man, sinning, being punished, being redeemed. .u6fede72dec44b18e64e6f21d4cba4fa9 , .u6fede72dec44b18e64e6f21d4cba4fa9 .postImageUrl , .u6fede72dec44b18e64e6f21d4cba4fa9 .centered-text-area { min-height: 80px; position: relative; } .u6fede72dec44b18e64e6f21d4cba4fa9 , .u6fede72dec44b18e64e6f21d4cba4fa9:hover , .u6fede72dec44b18e64e6f21d4cba4fa9:visited , .u6fede72dec44b18e64e6f21d4cba4fa9:active { border:0!important; } .u6fede72dec44b18e64e6f21d4cba4fa9 .clearfix:after { content: ""; display: table; clear: both; } .u6fede72dec44b18e64e6f21d4cba4fa9 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6fede72dec44b18e64e6f21d4cba4fa9:active , .u6fede72dec44b18e64e6f21d4cba4fa9:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6fede72dec44b18e64e6f21d4cba4fa9 .centered-text-area { width: 100%; position: relative ; } .u6fede72dec44b18e64e6f21d4cba4fa9 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6fede72dec44b18e64e6f21d4cba4fa9 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6fede72dec44b18e64e6f21d4cba4fa9 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6fede72dec44b18e64e6f21d4cba4fa9:hover .ctaButton { background-color: #34495E!important; } .u6fede72dec44b18e64e6f21d4cba4fa9 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6fede72dec44b18e64e6f21d4cba4fa9 .u6fede72dec44b18e64e6f21d4cba4fa9-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6fede72dec44b18e64e6f21d4cba4fa9:after { content: ""; display: block; clear: both; } READ: Parenting - The Irrational Vocation EssayOne possibility, perhaps the best one, is to consider the Mariner as poet more than character in the sense in which we associate personality with characters in literature. As a poet who speaks (I have strange

Oliver Cromwell Essays (843 words) - Stuart England,

Oliver Cromwell Oliver Cromwell, a Puritan fundamentalist and undefeated commander of the Ironsides, forever changed the history of England with, perhaps, what he did not do, rather than what he did do after the success of the insurrection he led against Charles. Though rather unsuccessful as a politician, Cromwell, single-handedly redefining the art of war and military strategy, proved to be one of the greatest military geniuses of all time. Despite the professionally trained forces that often outnumbered him three to one in battle, he struck fear in his opposition and maintained an untarnished record in battle that proved the degree of his skill. Historians traditionally fail to classify his genius because of a desire to try to accredit him with political gains and historical precedence he did not earn. Unfortunately, in these attempts to elevate his stature from godly to God, the positive affects on society he did attribute go seemingly untold and underscored. The most highly contested argument d ebated today revolves around the Oliver Cromwell's advancement of political freedom in 17th-Century England. Peter Gaunt, in his book Oliver Cromwell, and John Morrill, in the Introduction of the book Oliver Cromwell and the English Revolution, take sides and present their cases as to whether or not Cromwell advanced political freedom. Though, John Morrill asserts the most historically accurate answer, he is still equally as guilty of misrepresenting opinions as facts and offers great leaps in logic as does Peter Gaunt. Gaunt's logic develops on the assumption that never before had the world seen democracy and that people in general had no freedom before the rule of the Lord Protectorate. He also suggests that the English all enjoyed the same rights as citizens of England and the oppression of the reign of Charles I had ceased. However, none of these assertions was true. In fact, historically because of things did not change after the defeat of Charles I, the legacy Cromwell envisioned leaving the country never even formulated because of the corruption of others. Gaunt's work, a rather weak source to base such lofty claims as Cromwell's advance of the political freedom, lacked clear presentation and focused more on the appearance of Cromwell than his influence. At most, the only legitimate claim that can be made is that Cromwell served as a hero to the people and a man of God and he fought for a fair and just society in accordance to the word of God. Professor Blair Worden of the University of Susse x offers some clarification: For him the earlier Cromwell, the warrior-hero and agent of divine destruction, had transcended politics. As protector, charged not with destruction but with reconstruction, Oliver was obliged, as a merely mortal ruler would have been, to haggle with parliament... Cromwell merely as the most heroic representative of that heroic movement, which itself was the representative because it represented the best of England. Thus, it is clear that Cromwell commanded the respect of the people. Unfortunately, he also faced a political system unwilling to change. Essentially, John Morrill presents arguments that are just as unfounded; however, his overall conclusion provides a foundation for true insight into the situation. John Morrill makes preconceived judgments on the character of Oliver Cromwell. Throughout his introduction to Cromwell, Morrill focuses on undermining every aspect of Cromwell, all in order to make a seemingly well-founded conclusion. Because very little first hand information remains on Cromwell, Morrill makes belligerent assumptions of historically weak evidence. Such a strategy proves to only undercut the authors credibility to educated readers. Granted that the Cromwell's policies did not produce the results that he intended, his successes and influence on the government remain historically strategic in changing the ideology in the world, particularly in the New World where his ideals took shape in the forming governments. Oliver Cromwell did not advance political freedom. Rather than break down the authoritarian rule of the elite, Cromwell relied on it for support and charity. Although he generally looked out for the good of the common person, Oliver could not, or would not, control the caustic behavior of those in control under his rule. He attempt to adjust the system by disestablishing the Rump and creating the Protectorate Parliament but this