Category: Art 2722

The Bottled house in Boswell

The Bottled house in Boswell, Canada, is an extraordinary roadside attraction. The house was built from more than half a million useless enclosing fluid bottles. The over 500,000 square-shaped bottles weighed over 250 tons (Darby2, 2006). The house, built by David H. Brown in 1952, is a three-dimensional work of art. The foundation of the bottled house was set upon a solid rock. The whole house takes a cloverleaf pattern, while the three main rooms take a circular shape.

The bottles are generally stuck together using mortar. The windows contain a wire mesh for security reasons. The color of the walls of the house is light blue; the area surrounding the windows is colored brown and red, while the floor is light purple. The bottles were arranged in such a manner that the walls appeared like small bricks of rectangular shape on the outside. This arrangement appeared rough from far, but when touched, it was as smooth as fur. The colors and lines used by Mr. Brown are well balanced, with no singular color being more conspicuous than the other.

The subject matter depicted by this artwork relates to the use of useless materials in our environment. As a result, the artwork is representational. It represents the employment of some materials that are discarded to make important items. Mr. Brown was trying to encourage people to indulge their whims to do peculiar things with discarded materials. The house is used as an attraction site, a habitat, and for aesthetic purposes. The role that this work of art exemplifies is showing the human race a New Way. Mr. Brown saw similar things as his colleagues but interpreted them in an inventive manner. As a result, this would help other people observe the earth in new ways. A final point of caution goes to those people who live in glass or bottled houses; never throw stones!

Manhole covers

The second type of artwork is the manhole covers. This type of artwork also offers magnificent features to look at. They are usually three-dimensional works of art. Manhole covers are made from cast iron and sometimes have concrete infill. Regularly, manhole covers are made using sand casting procedures (Timmons & Huggins, 2007). This type of artwork does not depict any subject matter apart from showing its aesthetic value. The colors used vary depending on the place of application.

Depending on the place of application, manhole covers use different types of lines to depict different textures. Also, they come in different shapes; however, the most prevalent shape is circular. This kind of artwork is non-objective. This is attributed to the fact that it takes nothing from actuality. As stated earlier, this art form is purely created for aesthetic purposes. As such, this kind of art intends to utilize the components and rules of art in such a manner that would be visually stimulating. It is purely that simple. The artwork has no symbolic meaning.

There are four traditional roles of the artist that are exemplified; maintaining historical records; giving structure to the indefinable; exposing the hidden, and explaining the world in a new manner. The images or shapes or figures depicted on the manhole covers could depict any one of these roles. The artist can interpret things, record history visually shows emotions, and reveal truths in an inventive manner.

References

Darby2. The Bottle house of Boswell. (n.d). Web.

Making of Manhole covers. (n.d.). Web.

Manhole cover. (n.d). Web.

Timmons, H., and Huggins, J. A. (2007). New York Manhole Covers, Forged Barefoot in India. The New York Times. Web.

The ART: 21 Fantasy video is obtained from season 5 of the series Fantasy. The episode focuses on a few artists with hallucinatory, irreverent, and sublime works. Their works lead the audience to create imaginary worlds with adjusted levels of perception. The video contains the works of four different artists, each with their own kind of artwork that reflects their ideologies. For instance, the work of Cao Fei represents strategies such as sampling, role play, and documentary film making, as she reveals the divergence between reality and dream.

The work of Cao Fei is a reflection of a fluid world in which cultures associate with each other and disperse in fast evolution. Her work mainly revolves around the mannerism of avatars in the digital environment of second life. In addition to this, her art looks at the motivations behind individuals who discover and dwell in virtual worlds. Feis work, and especially her video installations and new media works, explore awareness and realism in diverse places, including a Chinese factory. Fei is able to be both a participant and observer by using her second Life avatar, China Tracy, whose role includes being a guide, academician, and traveler (Cao Fei 1).

Another artist whose work is presented is Jeff Koons. His work is a representation of the seventeenth-century French garden design, focusing on classical art.

Rider Spoke a work for cyclists is a more likable game as it involves the audience more actively. In the city, they look for a place to hide, and once they find it, they record a short message and begin searching for other peoples hiding places. The game sort of creates social spaces in which the private and public meet. The game challenge is that the audience has to be willing to cycle alone at night throughout the city. The audience may choose to either take their own bikes or rather get one from Blast theory (Work Rider 1).

The game is exciting, has lots of fans, and, at the same, helps people socialize and know each other more based on the answers they give. The screen of the handheld computer acts more like a tracer or a positioning system in that it shows ones location the places surrounding it. Once a hiding place is established, the device flashes an alert and a question. The questions come from a selection provided by Blast Theory, and once the answer is recorded, one may go ahead to look for other locations. The fan part is when you actually find the hiding position of another cycler; one even gets to know the question they asked and their answers (Work Rider 1).

Can you see me now makes use of third-generation mobile telephony by taking advantage of the social forces that include continued online presence, location-based services, and bandwidth size? The location of a layer is key in this game due to the integration of the real and the virtual cities. The players also get to experience a powerful connection due to their online interaction, which is both physical and emotional, as to observe when the players tease each other or run to escape danger (Cysmn 1).

Ten backward used both observation and narrative to communicate its ideas to the audience. The seventy-minute projection was aimed at giving the audience a step into the future and back to the present time in seventy minutes. The results obtained were incredible, as the audience could momentarily be lost between the present and the future after watching the performance (10 Backwards 1).

The car advert had unique features including the absence of sound, twenty seconds of play, and integration of video picture and words to guide the audience in the right direction; in this case, persuade the audience to make a choice of the type of car to purchase (Car advert 1).

Desert train is unique in that it combines the aspects of performance and new media, in that it is a game and a performance that engages the participants in a virtual environment. The game has a time frame and uses teamwork to arrive at the targets, making it a very interactive performance. The game creates a sense of comparison between the virtual and real worlds, a concept that is aimed at realizing the misleading messages directed at people by marketers through media and helps to define what is imaginary, fictional and virtual, by placing them side by side (Desert train 1).

In summary, Blast theory is a blog for arts in the form of games and films, while Art21 is more of educational arts. The games are more interactive in nature and tend to allow the audience to enjoy themselves. Two similarities in the readings are that they all talk about art though it may be different kinds of art. The sites also offer links to other related blogs. The art in these sites seems to come alive in that it seeks interaction with the audience either through the internet, live performances, and even digital broadcasting. Black theory, for example, uses mobile gadgets, videos, performances, and even online technology to get information on the current ideologies.

Desert rain (1999) is a good example as it makes the view of art different using video programs. Another example is the airing of soft messages over the media via dialogue between the artists and radio listeners on their mobile phones. Art21 presents different artists work, such as handmade paintings, sculptures, and films. It focuses on developing art to move along with the current world status and technology. Artist Cao Fei, for example, studied fine arts and is featured in the fifth season of the film Fantasy. Her video installations explore realitys perceptions by applying certain strategies like role play and documentary filmmaking.

In conclusion, all the pieces of art examined in the examples are aimed at providing the end-user with a unique user experience that links the virtual world to the real world. Such a connection has been achieved by the juxtaposition of the two worlds, whereby the users appear to be moving between the two interchangeably. The most significant benefit for this kind of inter-dimensional travel is in marketing, whereby the audience can assume a situation whereby they acquire the particular item being advertised and picture themselves with it and without it. This kind of knowledge is likely to provide the audience with a sense of better judgment when purchasing items.

Works cited

Cao Fei. Art 21 on PBS.2008. Web.

Rider. Blast Theory. 2007. Web.

Cysmn. Blast Theory. 2007. Web.

10 Backwards. Blast Theory. 2007. Web.

Car advert. Blast Theory. 2007. Web.

Desert train. Blast Theory. 2007. Web.

This essay will analyze the painting Approaching Thunder Storm by Martin Johnson Heade. The painting portrays a man sitting near a seashore. There is also a dog nearby, as well as two dhows sailing in the sea. The painting depicts the sea and the clouds as black, which shows that this painting was done when there was some darkness. Color is one of the pivotal elements in any given image. The painter used various colors to bring out a clear distinction between various regions or areas represented in the painting. The colors also help the viewer to discern the exact time of the day the image represents.

Black is one of the transparent colors in the painting. The painter used black paint to bring out various components comprised in the image. One of the black colors used is to bring out the real-time when the painting was done. The fact that the clouds and the sea are displayed as black shows that the image was done when there was darkness. If the painting was done at day time, the clouds and the seawater could possess a bluish color. Secondly, the black color helped the painter display the two shows sailing in the sea. The black paint was also used by the painter to reveal the presence of hills at the edge of the sea.

The painter also made use of golden paints in his painting. The golden color creates a clear distinction between the sea and the dry ground. The golden color also reveals that there was some light originating from an un-revealed source despite the evidence of darkness brought about by black paint on the seawater and the clouds. However, most probably, the golden color was originating from the sun when either rising or setting. The fact hence shows that the painting was either done early in the morning or in the evening. The grayish color at the end of the image seen between the black colors of the seawater and the sky shows clearly that there is a source of light enclosed by the clouds. This also proves that the paintings in real-time were either in the morning or evening. The painter also used green color to reveal the plantation evident on the seashores.

The painter used the above-named colors expertly to bring out an excellent painting, which attracts the eyes of the viewer. It also helps the viewer to highlight and distinguish various components represented in the image and mixed up colors of a dark and golden bright show that the painting was carried out when there was a transition either from the darkness to daylight or from daylight to dusk. The colors also help the viewer to understand the painters mind as well as the exact time when the painting was developed. The above discussion shows how colors are essential in an image. They should be used selectively and expertly since they help the viewers a lot when it comes to analyzing paintings. It is, therefore, clear that colors mean a lot in any given image.

I visited the British Museums website.

After going through the page, I found out that the museum engages in many activities. Their main activities include storage of ancient and new discoveries, exhibitions, providing training in collaboration with African museums, and offering international training programs for individuals who wish to be museum professionals.

The exhibition that appealed to me was Vikings: life and legend. The British Museum carried out this exhibition on 22 March 2014. The National Museum of Denmark and the National Museums of Berlin took part in organizing this exhibition. The exhibition mainly focused on the Age of the Vikings and served as the opening ceremony for the Sainsbury Gallery of Exhibitions.

The theme of the exhibition was Vikings: life and legend. It explored the rapid expansion of the Viking Empire and their cultural influence in Europe. It showcased their discoveries, artifacts, and other ancient objects. The exhibition took advantage of recent research and archaeological findings to describe the expansion of the Vikings Empire in the 8^th century. The Vikings had extra-ordinary abilities in building ships. These abilities were very critical in the expansion of their territory.

The main artwork on display at the Sansbury Exhibitions Gallery was a very long warship. The Museum of Denmark stores about 20% of the whole ship. The Vikings used to call it Roskilde 6. The museum put together the ships remains with other materials and re-erected the warship. Archaeologists date the building of the ship to AD 1025, when the Viking Empire was very strong.

The museum also displayed the Vale of York Hoard. The hoard contained six rings, bullion silver, and 617 coins. The components of the hoard showed the extensive network of the Vikings. It contained coins from almost all the parts of Europe and Asia. These coins indicated their contact with other Europeans.

Other items on display included gold and silver jewelry, which represented status among the Vikings. A silver hoard, which the museum borrowed from Gnezdovo, was also at the exhibition. This hoard also served as evidence of the interactions between the Vikings and other groups of people from all over Europe.

The artworks on display did not belong to one artist. They belonged to the entire Vikings Empire. The Vikings were very skilled at shipbuilding and jewelry. However, sometimes they took the jewelry from the people they conquered. They also bought some jewelry from other groups of people in Europe.

The artwork that appealed to me was African rock art. The British Museum has many paintings and engravings that Africans made many centuries ago. It acquires most of them through collaborating with the Trust for African Rock Art (TARA). These items interested me due to the quality of skill that Africans employed in coming up with them. I had never known that Africans could develop such art during a period when formal education had not reached their continent. They mostly made the paintings and carvings on rocks, but the museum has some gourds and musical instruments that also have the paintings. African painters and carvers mostly painted and carved animals and human beings. They painted and carved in colors that closely resembled the natural colors of the items. The images show men and women dressed like ancient Africans.

The Meadows Museum is known for its rich reservation of Spanish history. Perhaps, one of the most outstanding attributes of this museum is its nature of art collection that dates back hundreds of years ago. The upcoming exhibition plans to showcase artifacts and art-related objects that span close to 500 years. It is also interesting to learn that the Meadows mission is broad and comprehensive. Nonetheless, the same mission appears to be far-fetched because its collection dates back several centuries in history. The most intriguing issue is the approach that the management of this museum can use to develop a reasonable curriculum based on the number of their collections.

The artistic piece by Jaume Plensa (Sho, 2007) has a lot of historical significance more than the attractive stainless steel that was used to construct it. Pertinent historical facts such as the rationale for developing the piece of art uses during its historical era, and impacts to modern society should be highlighted.

I indeed concur with the need to set up museums where women the voices of women can be heard alongside being empowered. Such a museum is a watershed in the history of feminism. Needless to say, women are equally creative contributors in the field of art. While some women artists have immensely excelled amidst male dominance, there are still thousands of potential female artists who have been locked out of fame owing to male jingoism. However, the museum should not only feature the outstanding past and present female artists. It should also offer some opportunity to upcoming young females who have demonstrated both talent and ability to excel as artists. In any case, some young artists may not be in a position to outshine their counterparts who have been in the field for a considerably long time. Besides, Justine Kurlands portrayal of women and children as the suffering lot does not necessarily add value to their massive contribution to art. Although the 2006 photograph attempts to create an impression that women and children have been ignored in society, the aspect of nudity is completely unpalatable in the picture.

There is a significant number of different masterpieces of art that depict some fantastic phenomena of nature that have always inspired artists. It is easy to understand. Nature has always been one of the most beautiful things in the world. It is impossible not to be stunned by the grandeur of its landscapes and phenomena. There is hardly a person who will remain indifferent looking at the beautiful sunset or starlit sky. Feelings and emotions, which appear at these moments, are complicated to describe. It is the highest delight and enjoyment. Looking at these scenes, a person feels himself a part of nature, and the feeling of unity appears. The term catharsis comes to mind at these moments.

It seems impossible to convey all these feelings with the help of some images. The majority of pictures, which depict different landscapes or natural phenomena, do not impress a viewer as they are just beautiful without any life in them. However, there are several masterpieces that can make the heart beat faster and stun a person. There are not so many pictures of this sort; however, only they can be called real masterpieces. It is enough to look at the marines painted by Aivazovsky or landscapes of Albert Bierstadt to agree with this statement and to understand feelings and emotions which appear while looking at real masterpieces.

It is easy for me to describe these feelings as I have experienced them. Looking at the landscapes and masterpieces of great artists, I can compare these feelings and emotions. It is possible to say that both these phenomena evoke something primal, and the realization of a human being as a part of nature comes.

It is erroneous for Britain to continue reserving the Parthenon Marbles in London. From the historical records, it is evident that Britain acquired the marbles during the forceful occupation of the Ottoman Empire. Greece did not have an option to resist this acquisition even if it was done in a legal way. The fact that Greece was the subject of Britain during this historical time explains why the marble changed hands quite easily. Greece likely gave out the marble as a way of mending its patches with Britain during the war period. There may be additional historical records not mentioned in the acquisition even though Britain must have employed its territorial tyranny to meet certain goals.

The Parthenon Marbles remain the historical artifact of Greece even if Britain remains adamant to give it back. There is no single nation that is not passionate about its culture and heritage. If that is the case, why should Britain deny the Greeks their right? The marbles were bought when there was pressure for war. Therefore, the sanity of the decision to sell it to Britain is still in doubt. Besides, it does not imply that Greece cannot safely preserve and maintain the marbles as insinuated by some experts.

I fully concur with the opinion that the marbles should be returned to Greece despite the excellent job done by Britain to preserve them for close to two centuries. At this point, Britain should acknowledge the fact that Lord Elgin never had the express rights to sell the marbles to any foreign nation. The marbles were pure symbols of national heritage and culture. Hence, they never belonged to any individual. Lord Elgin may have erred altogether at the expense of the Greek nation. How could an individuals mistake be shouldered on the whole nation? It is also apparent that the permission to sell the Parthenon Marbles was given by the Turkish empire. In other words, Greeks were never part and parcel of the deal. Before Britain could finally reject the plea to return the marbles to Greece, it can be recalled that the former had softened its stand but later opted to remain adamant.

On the other hand, it might not be harmful altogether if the marbles are left in Britain so long as the latter maintains it just as it has done for the last one and half centuries. The Greeks may also marvel at their cherished culture overseas if the marbles remain in London. The unwillingness by Britain to release the marbles may as well be a blessing in disguise for Greece.

In her article What the Heck Is Afrofuturism?, Jamie Broadnax aims at discussing the phenomenon of Afrofuturism from not only artistic and philosophical but also social and political contexts. Her work takes an important place in a creative tradition since she speaks about the movement that has a great potential to give people of African origin back their power. This article receives a positive evaluation since it carries out an important social idea and proves that with any forecasts in the future, the importance of black culture will increase.

The author claims that Afrofuturism is a fast-growing creative scene of the black people, and its aesthetics is gaining ground. The idea of African heritage and its reinterpretation is important to this movement (Broadnax). Broadnax takes Ryan Cooglers Black Panther as an exemplary movie that manifests Afrofuturism as an ideology. Previously, all superheroes in Marvel comics were white, but in Black Panther, a new image of Africa was created (Broadnax). The author rightly asserts that this film is a hymn to Afrofuturism that is thundering all over the planet. It is a dream about the golden age of Africa of the past and its brilliant future, which will come thanks to new technologies.

In her article, Jamie Broadnax aims to demonstrate the significance of Afrofuturism for the black people, especially for African Americans who feel connected to the black continent but have been cut off from their traditions. Afrofuturism is an important phenomenon that helps to win back the past and the future of Africa from the West-centered culture. It is an ideology with black identity, steeped in the African culture and traditions, that paints the future from the perspective of black people. 

Work Cited

Broadnax, Jamie. What the Heck is Afrofuturism? HuffPost, 2018.

Rebel Without a Cause has been praised for capturing the complexity of emotions of an entire teenage generation. The movie has encouraged a wave of teenager dramas, and after the premier, it helped to solidify a completely new market in Hollywood, unique to the otherwise overlooked teenage demographic. Throughout the films narrative, a group of young people stepping away from childhood and toward adulthood gained a personality and individualism that has never been represented on the screen (Kashner). Teenagers have gained a new niche within their own identity, social rituals, and language, with their characterizations evident from their costumes. As in life, the wardrobe of the main character, Jim Stark, is as defining to his personality as his monologues, with the fashion transforming through the movie to express his feelings.

When the audience first meets Jim at a police station as he finds himself arrested for disorderly conduct and drunkenness, he wears suit bottoms and a white shirt with an untied tie. This implies that when he has left the house to go on a night out in the town, he was wearing a full suit, but then something went wrong. From the very beginning, the choice of wardrobe is used to signify the influence of parents on a young man. They want them to look and act in a proper way, but he rebels again and again. At the station, talking to the officers, Jim loosens his tie and has a heart-to-heart, crying about his negative feelings towards his parents, thus shedding their influence physically while also trying to shed it mentally.

The opening scene described above is instrumental for showing the importance of the connection between a scenes setting and costuming. Alone, the costuming does not suffice because the way in which characters are dressed only matters in a particular context. Thus, in the initial scene, the protagonist of the movie is depicted sitting in the interrogation rooms corner. Further in the film, Judy is also shown sitting in a detectives room corner, wearing a full red outfit (see Figure 1). While there is a contrast between their outfits in these specific scenes, the color red is a primary color of the film, as seen time and time again in Jims infamous red jacket. Notably, red has different meanings for the different characters of Rebel Without a Cause. For instance, for Jim, the color red signified rebellion against his parents and society overall. For Judy, red meant anger, while in Platos case, it represented peace. Even though every character wears red clothing, their alignment with the color is seen at different points throughout the film, Judy wears red during her first scenes, Jim in the middle, and Plato in the finale. Such a progression is essential for offering dimension to the narrative and characters unity, which is absent when the film begins.

After some time in the movie, Jim Stark is no longer seen with a tie as he has the initial day at a new school. Getting rid of the time is a notable point because it enables viewers to see the logical progression of the characters ark (see Figure 2). Jim wants his peers to see himself as an individual with his own unique personality and a vision of the world. This point is also transitional as it shows that Jim has not found himself just yet, and is somewhere in between: he has not abandoned the idea of pleasing his parents while also made several large leaps in the direction of rebellion. Such a juxtaposition is seen is not only in the fashion of the character but also in the battle between individuality and tradition. Jim is concerned with his place in a new group of peers, questions whether he should join them or whether he should oppose them.

The car race scene is one of the most remembered from the movie not only because of the action and drama that ensued but also because Jim wears the bright red jacket for the initial time in the movie. The red jacket is a symbol of the characters desire to be accepted by the cool kids and get into their circle. The rebellious look that Jim gets with the jacket gives him confidence, which is something he lacks at the beginning of the movie. The ambitions that he pursues, however, result in a tragic event, the death of the young man against whom Jim was racing, and he subsequently returns home. Despite the tragedy, Jim gathers all the strength he has and confronts the parents whom he finds useless. Still wearing his red jacket opened up almost all the way, Jim stands out against the beige surroundings of his parents house. The confrontation represents a long-standing conflict between parents and children. The ability of Jim to stand up for himself is also represented by his collar pointing upward, signifying defiance (see Figure 3). The confrontation scene is crucial to the process of Jims identity development. Standing up for himself, the young man looks much stronger compared to the hunched figure of his father behind him. The overbearing mother stands higher up than Jim, which causes him to look up in a defiant pose.

Developing his confidence and a sense of self-worth, Jim becomes strong enough to assume the role of Platos caretaker. Jim and Judy play the troubled young mans parents whose birth parents have been replaced by a continuously concerned housekeeper. In the attempt to save Plato from killing himself at the planetarium, Jim uses the confidence that he has attained and aims to transfer it to another person. In the rooftop scene, when Jim sees the boy shivering from the cold, he offers him a jacket as a way to make Plato give up his gun. The latter asks with awe if he could keep the jacket, which underlines the symbolic strength that the garment exudes. The simple gesture of giving away his item of clothing is two-dimensional. First, the young man offers Plato an object that signifies his acceptance of the troubled friend and the support he has for him. Second, Jim does not need the jacket anymore as he finally understood who he was as a person, with or without a stylish clothing item.

The red jacket remains present in the final scenes of the movie, which points to its overall importance to the narrative and character development. As the audience sees the characters of the movie gather over Platos body, the young man is still wearing Jims jacket that he was gifted. The scene is very important because it shows probably the first time in the movie when Jim introduces his parents to his friends, opening a new chapter in the relationship with his family (Fulmer 665). At this point, Jim manages to separate himself from the rebellious adolescence metaphorically. An important observation is that even Jims father acknowledges the fact that his son is no longer a child, making a comment that he did everything a man would do to save his friend. Therefore, Jims jacket plays a role of not only a confidence booster but also represents the young mans entry into adulthood.

Rebel Without a Cause is the first Hollywood coming of age story that has transcended generations and generations of young people who are just starting to find their life path. It includes many of the things that can occur in the years of growing up, such as romance, rebellion, family drama, and reckless acts. The costume choices for the main character have shown to play an important part in the storytelling, illustrating his personal development, making steps in the direction of adulthood. Although the movie does not make it evident that clothing plays a part in the story, the subtle use of Jims red jacket as a symbol of strength and confidence shows that teenagers would place importance on their image. The same way in which a person would put on their favorite sweater to go on a first date to feel more confident, Jim wore the red jacket because it reflected his inner successes and failures.

Works Cited

Fulmer, Richard. Rebel Without A Cause: A Psychoanalytic and Family-Life-Cycle View of Emerging Adulthood in the Film. The Psychoanalytic Quarterly, vol. 86, no. 3, 2017, pp. 665-691.

Kashner, Sam. Dangerous Talents. Vanity Fair, 2005.

In Beethovens Fifth Symphony, a motto-resembling four-note rhythm starts the first movement. It creates a rhythm for tapping rather than a music melody, and its unsolved form gives the impression of an unanswered question. The sentiment conveyed by the C minor key within this motto in the first movement often mirrors different sounds, including a roar, a pulse, or a hum. The first movement is exceptionally passionate, and the rudimentary four-note rhythm is of primary significance. Overall, Beethovens incomplete melody thrusts the audience into the first intense sensation of the Fifth Symphony.

If placed side-by-side with the first theme, the second theme can appear differently based on rhythm and style. The second theme of Beethovens Fifth Symphony has a unique beginning, which is distinct from the first theme. Unlike the suspenseful and dark opening to the first theme, the second one opens smoothly and gently. This effect is possible due to the distinct sounds of the lower strings. Consequently, the second theme is more triumphant and light because of the upbeat rhythm. However, the rhythms change does not allow the second theme to lose the beauty and richness that the first theme communicates. Overall, the rhythm of the opening moment is played repeatedly throughout the first movement, creating a coherent music piece.

The first movement of Beethovens Fifth Symphony is played at tempos ranging from 94 to 108 bpm. Thus, the tempo of this movement is considered to be Allegro con brio, implying that the music is played at a fast pace and with character. Lastly, the Fifth Symphonys meter shifts between its movements, starting at 2/4, moving to 3/8, then 3/4, and finally culminating with 4/4.