Mikhail Glinka is one of the most renowned Russian composers, and his opera A Life for the Tsar is regarded as one of the milestones of Russian opera. One of its major peculiarities is linked to the use of folk music. It is necessary to note that nationalism became the central paradigm for all spheres of life of many Europeans as well as people who lived in other parts of the world (Leerssen 606). The composer’s contemporaries emphasized that folk music did not have a decorative function, as in previous pieces, but was an integral part of the opera that still followed major rules of its genre (Naroditskaya 151). The composer created a piece for flutes, oboes, clarinets as well as trombones, harp, strings. However, the use of horns and trumpets is what makes the opera bear features of Russian folk music. Trumpets add the solemnity that is important for the creation of the patriotic mood.
When watching the opera, I felt like I understood Russian people or rather Russians who lived in the 19th century. I felt that the folk melodies were used in a very natural way and did not stand out. There was a feeling that there was a certain background like a choir of singers of folk songs somewhere behind the scenes. I also understood that people felt very serious about their country and their monarchy. The composer managed to create a very patriotic piece that really inspires. I have to admit that I was expecting the use of balalaika (which would introduce the folk element), but was surprised (and glad) that other instruments can also create the necessary effect.
The Role of Musical Expression
Lawson and Stowell note that “the symbol and its prototype cannot be made to coincide absolutely” (11). This quotation can be regarded as a reflection of the issue concerning musical expression. One of the most relevant questions in this respect can be as follows: Is it possible to reveal the meaning ‘ancient’ composers (or simply composers of the past) tried to convey, and, more importantly, is it necessary?
Interestingly, the issue concerning interpretation has been raised for centuries. For example, Mozart often focused on the way his works would be performed and expressed certain regrets that the music had to be adjusted to accommodate it to some performers’ peculiarities (Agawu 3). Modern people can never understand those who lived centuries or even decades ago as symbols could often have different meanings. Music Mozart created spoke to his contemporaries’ hearts in a way that was shaped by various factors (environmental, technological, political, and so on). Modern people would have been unlikely to have similar views on the genius composer’s works if they had had a chance to listen to a piece performed by the creator. Even composers always understand or have to admit that their works sound differently as they are shaped by the performer (Desainte-Catherine, Allombert, and Assayag 61).
However, the second part of the question mentioned above seems to be more important. It is simply unnecessary to try to seek the meaning other generations could elicit from musical pieces. ‘Ancient’ music is beautiful, and it teaches people a lot. However, it is possible and even desirable to listen to it in many ways. Thus, it can be played in accordance with all the technical details, but it can also be interpreted by performers. Both approaches can adorn people’s life as humans need music like air. The value of music is its universality as it speaks differently to each individual and makes everyone feel in a very specific way. More so, even identical pieces can make different impressions on people in different periods of their life or even different parts of the day. This is the great mystery and gold of music.
References
Agawu, V. Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press, 2014. Print.
Desainte-Catherine, Myriam, Antoine Allombert and Gérard Assayag. “Towards a Hybrid Temporal Paradigm for Musical Composition and Performance: The Case of Musical Interpretation.” Computer Music Journal 37.2 (2013): 61-72. Print.
Lawson, Colin, and Robin Stowell. The Historical Performance of Music. Cambridge: Cambridge University Press, 1999. Print.
Vladimir Stasov was a great music critic of the 19th century who became an outstanding representative of his profession of that time. He had rather conservative views on Russian culture and art, which can be proved by his desire to avoid the influence of Europe. Unlike modern professionals, who tend to be highly interested in the works of foreign artists, Strasov emphasized the necessity to refer to national traditions. Fortunately, some of our contemporaries support this tendency and use their native motives as a reference point. Stasov tightly cooperated with musicians, prompting them to create new works that would reveal his preferences.
Alexander Serov is one more representative of the same century and Stasov’s friend. He was forced to study Jurisprudence but still gave preference to music. As a result, Serov got a lot of knowledge before he became an artist himself, which is not typical for contemporary critics. Being both composer and music critic, he received an opportunity to develop revolutionary ideas that affected the world of music greatly. Some of his statements led to conflicts with other critics because he did not always support Russian music with its folk motives, for example, one of his operas had Italian text.
Cesar Cui is a unique representative of Russian critics of the 19th century. He did not have any Russian ancestry, but it did not prevent him from promoting this music in other countries. Such dedication can rarely be seen today but still, his own works did not reflect that inclination, which is more typical for the contemporaries. Cui successfully utilized French resources while being a Russian composer. Still, as a critic, he did his best to promote the music of this country and his colleagues known as The Five (Maes 43).
Dargomyzhsky’s and Musorgsky’s Approaches to Realism in Music
Alexander Dargomyzhsky was a composer who composed several operas, including one private. It was developed on the basis of Pushkin’s work The Stone Guest. Dargomyzhsky set it to music with no reference to the traditional libretto. He emphasized the text verbatim, which was extraordinary and also turned out to be his way of approaching realism. His music responded to all words and emotions, following the rules of the existing spoken play. This method did not include operatic conventions, which made it so outstanding (Maes 95). The composer emphasized the fact that he was willing to reveal the truths in his work. He paid attention to the ancient Greek tragedy that was originally sung and considered it to be a great basis for his opera. In this way, his main idea was to “sound directly to express the word” (Taruskin 70).
As Dargomyzhsky got ill, Modest Musorgsky and other composers came to his place to show their performance. They started working on a new project together, which made a great influence on Musorgsky and affected his views on realism. As Dargomyzhsky died, his work was continued. Musorgsky tried that new approach with characteristic songs, which turned out to be rather successful. Becoming devoted to artistic realism, the professionals searched for opportunities to reveal life in the way it was observed in reality. As a result, the composer abandoned repetitions. He stopped using symmetrical music forms and tried to unite aria and recitative for them to sound more natural.
In this way, Musorgsky underlined the value of lyric declamation. The thing was that it should have been syllabic also (Brown 103). In The Marriage, he made a greater step to realism. The humdrum dialogue was introduced to emphasize naturalistic word-setting and vocal writing became valued (Walsh 215).
Musorgsky’s Boris Godunov
One of the operas that were composed by Musorgsky and attracted the enormous attention of the general public and critics is Boris Godunov. First of all, being a cinematic opera, it received a chance to move beyond the limits of a theater and provide the audience with the opportunity not only to listen to the opera but also to deepen their impression with a picture. Theatrical scenes that tend to be located in a rather limited area make the atmosphere tense. Still, the introduction of other scenes, those that are made outside, allows us to observe this opera from an unusual perspective.
One more interesting idea revealed in this work is the way in which the characters appear on the screen. The singers are usually placed in the center, which emphasizes their importance, while the members of the choir are those who surround them. The crowd shot is on the third level. Being behind the choir seems to be a part of it, so the scene looks more impressive.
The combination of music and vocals is also worth mentioning. The characteristics of the music coincide with the voices of the singers and the situation. In some cases, music was used to enrich the speech while in others it was successfully used for the substitution of words. It created tension and prepared the audience for the following events. Music also revealed emotions expressed by the character and allowed them to experience the atmosphere of the scene. All in all, the opera impressed me greatly with its integrity. Regardless of the fact that the main emphasis was made on the vocals, the music never remained without attention (Herur22 “Part 1”; “Part 2”).
References
Brown, David. Musorgsky: His Life and Works, New York: Oxford University Press, 2010. Print.
Maes, Francis. A History of Russian Music: From Kamarinskaya to Babi Yar, London: University of California Press, 2002. Print.
“Part 1: Boris Godunov, Bolshoy Theatre (1954), Nebolsin.” YouTube, Web.
“Part 2: Boris Godunov, Bolshoy Theatre (1954), Nebolsin.” YouTube, Web.
Taruskin, Richard. On Russian Music, London: University of California Press, 2009. Print.
Walsh, Stephen. Musorgsky and His Circle: A Russian Musical Adventure, London: Faber & Faber, 2013. Print.
Not all art is subject to a straight forward interpretation in fact some, such as abstract art, can have varied interpretations depending on the person viewing it. The reason I mention this is due to the fact that I picked two particular types of abstract art for this paper, namely the Kuduo, an abstract public sculpture by Paul Marco, and the Star, another abstract piece made by the artist Albert Paley.
These two particular pieces were chosen for two reasons, for one thing their location is rather convenient and as such I was able to easily visit them and the other reason is the fact that I was curious as to what interpretations other people would draw from seeing a similar sculpture. As I mentioned earlier, art is subject to individual interpretation with abstract art in particular being subject to the whims of a person’s imagination, similar to the concept of a block of wood looking like a block of wood to one person while to another this particular block is a potential canvas from which they can create a masterpiece.
Based on what I’ve just stated my goal for this particular paper was two things, to view the piece and create my own interpretation of what it means to me and secondly to see what others think of it and compare what they see to what I see and try to interpret how they can see it in that particular way.
Examining the Kuduo and the Star
The abstract sculpture, Kuduo, was created in 1987 by Paul Marco and is currently located at the Mennello Museum of American Art. Various accounts regarding the statue’s construction all agree that its form and shape is reminiscent of Marco’s earlier work which takes the form of the abstract concept of an animal yet incorporates the author’s interest in various African sculptures and masks from which the head and certain parts of the anatomy are based off of. On the other hand the Star, similarly in the Mennello Musuem of American Art, was created in 1991 by artist Albert Paley who is noted for integrating both art and architecture into is works thereby giving them a kind of intrinsic integration wherein the art and architecture seem to blend into a seamless whole.
Impressions on the Sculptures
The first impression anyone would get from looking at the welded steel structure created by Marco would have to be that its skeletal appearance represents the bone structure of a dead animal. In fact when the sun strikes it in just the right way the shadow that falls onto the ground does in deed look the sun drenched bones of a corpse. This opinion is evidenced by the main frame of the sculpture which takes the form of the bone structure normally seen in an animal structure with a spinal cord on top with a series of ribs jutting down.
Further more the skeletal quality of the legs which are on the ground when combined with the overly thin neck and skull like head that is facing up further contribute to the thought that this statue represents a skeleton. On the other hand it must be noted that the statue seems to come alive under a certain angle when the light hits it in just the right angle to produce a large fat shadow. In this state it could be stated the statue itself is representational of an animal that is dead but can seemingly come alive at any given moment.
While the sculptor used hard lines and very little in the form of intricate shapes on the molding of the sculpture the fact of the matter is his use of planes particularly on the front end of the statue as well as on ribs actually results in the statue seemingly reflecting in a shadow a whole animal rather than a mere skeletal figure. The sculpture uses the shape of ovoid rectangles on the front and hind quarters into order to produce this in effect which in turns help to emphasize the hard lines used on the neck and the spine.
It must be noted that when examining the overall balance of the statue itself it can be seen that most of the emphasis was done on the front rather than the back, in fact when I saw it I got the distinct impression that the animal itself seemed somewhat like a mutated version of a bulldog due to the front skeletal quarters seemingly being hunched. The overall color utilized is a form of rust colored paint or it could be the statue’s natural rust color which actually lends to overall impression that you are dealing with an old skeleton. On the other hand the “Star” created by Paley is a non-representational geometric masterpiece incorporating hard lines, circles, planes and a variety of geometric shapes.
The base of the sculpture starts out as an amalgam of different types of geometric shape such as planes, cylinders rectangles and squares, yet this haphazard configuration actually appears to be quite intentional and architecturally inspired. As the work progresses upwards it makes less use of planes and instead starts to use shapes such as hard rectangles and sharp triangles in order to give balance and emphasis to the major point of the piece which is a large asterisk like star perched at the very top.
What is impressive about this pieces is that despite the base which seems out of balance and fragile the entire piece actually stays steady. On the other hand it cannot be stated that there is balance in the creation of the work since shapes seem haphazardly added in here and there yet overall the white color of the statue along with the hard geometric lines helps to contrast nicely with the natural shapes of the trees and sky in the background which makes this piece that much more noticeable.
My Thoughts on the Work
As I mentioned before, art is completely subject to interpretation however in this particular case I would have to say that in my opinion, while the statue of Marco does look overly intricate, it lacks a sufficient “pull” so to speak in that it doesn’t capture the attention as much as other pieces within the area. While it is interesting to look at, the use of rust colors on the sculpture actually makes the sculpture rather forgettable since it makes itself seem rather subdued and as such not eye catching or memorable.
In complete contrast to this is the work of Paley which immediately captures the eye. In fact the work is so eye catching and vivid against the organic background of the environment it is in that one cannot help but notice it. Further examination of the piece reveals that the sterile white color of the sculpture and the use of geometric shapes with a hardness and sharpness not found in nature is in fact intentional which gives it a nice contrast to the overly natural shapes in the background.
Message of the Artist
It is my belief that the message of Marco through this particular sculpture was one directed at the concept of endangered species. An examination of the work of Marco in the past reveals that a continuing theme in most of his sculptures has been the creation of unique animal forms based off of African art. These forms are usually skeletal in appearance yet when hit with the light at a certain angle they show a unique representation of an animal from the African continent.
It must be noted while other people may state that the use of a skeletal structure is not in fact directly connected to endangered animals but could just be an aesthetic choice. While this may be true for some works the fact remains that in the works of Marco his use of masks on his animal pieces changes the dynamic of interpretation. If you will observe the placement of the skull on the sculpture you will see that it is placed downward in the form of a mask, this is similar to many of the sculptors pieces where instead of a head it is a mask.
It must be noted that the use of masks has always been connected to the representations of that which is hidden and in this case what is hidden is the plight of animals within Africa and in other parts of the world which are kept from the public eye. On the other hand the overly geometrical sculpture created by Paley seems to be in defiance of nature itself. Its white color stands in stark contrast to the natural world around it making it stand out on its own. Due to the architectural background of Paley it can be assumed that message he is trying to achieve is to have viewers of the piece realize that the piece itself is symbolic of the current state of mankind.
The stark harsh colors and the adherence to sharp geometric shapes cannot help but make a person think that man is no longer in tune with nature and in fact stands in stark contrast to the natural world. This view is supported by the fact that the use of geometric shapes and the vivid white color was meant to stand apart from the natural environment. It was meant to show something that contrasted with the environment around it, something which didn’t belong but was there nonetheless.
Overall Impact
In terms of its impact on me I would have to say that I was not significantly impacted in the least due to the fact that the sculpture by Marco seems overly subdued when it could have had a greater impact if the color was different instead of the rust color the sculptor chose. As such while the work is being featured by a museum I would still say that for me it lacks the necessary impact necessary to continue to attract visitors but like I said before art is completely subject to interpretation with others having a different interpretation of the sculpture itself.
On the other hand I was deeply impacted by the sculpture created by Paley, its vivid nature and the way it stood in stark contrast to its surrounding environment makes one think of the nature of man and how he stands in contrast to nature. While I do not disparage the work of Marco when taken in comparison to the work of Paley, Marco’s work seems less subdued and less eye-catching. It is based on my impression of the piece that I definitely agree that it belongs in a museum and that its worth as a piece of art is in its ability to a deep contrast between the artificial nature of humanity and the shapes of the natural world.
What can be learned from the Sculptures
From Kuduo western society can learn that just because we shut our eyes to the truth doesn’t mean that it is not there, the extinction and slaughter of animals is real and is something which should not be hidden from the eyes of the public by the mask of civilization but rather should be viewed clear eyes in order to understand the destruction that is being done. On the other hand from the piece Star, western society can realize how through modernization we have lost our place in nature wherein we stand in stark contrast to the natural world.
Interview
Subject: Kyle Peters.
Age: 13.
Reason for being there: Mother made him come along with her to the museum.
When looking back on the interview I cannot help but think on how popular culture has influenced modern society and people. When I asked Kyle what he though of “Star” by Paley he described it as being similar to what he saw in the Superman movie where the Kryptonian city burst forth from the ground.
While I do see the similarity between the two I cannot help but think that it is an overly simplistic view of the art itself since he even fails to mention contrasts to the natural environmental or even takes into account the style utilized by Paley on the other hand since Mr. Peters is only 13 years old it is to be expected that his views are grounded more towards what he knows rather than a thorough understanding of art.
The same type of response was noted when asked to describe the piece by Marco wherein Mr. Peter’s did have the same response as I did in that he thought it looked like a skeleton however he didn’t have anything to say about the interplay of shapes and lines and merely said that it looked like a deer. When asked of what he thought of both works he mentioned that the sculpture by Paley was cool but disparaged the sculpture by Marco as being weird and lame.
As such his views do indeed reflect some of my own however in a baser intellectual perspective. When asked about what he thought the artist was trying to communicate from the piece Mr. Peters did respond rather surprising regarding the work of Marco wherein he stated that the artist was probably trying to call attention to dying animals which was rather close to the original message. on the other hand his response to what the message from the work of Paley was is something disappointing since he mentioned that the sculptor was probably a science fiction buff and wanted to build something that looked like a space station. Again I do see the connection between the two views however it is a rather simplistic take on interpreting the work.
When asked how either sculpture made him feel Mr. Peters said that he really didn’t feel anything for any sculpture however he did mention that he thought the work of Paley looked cool. Further questioning regarding if the work had any value resulted in him stating material value rather than culture or intellectual value while his response to if western culture can learn anything from the sculptures merely stated how both can be used to teach people about art. Overall the interview itself was rather anticlimactic but my interviewee did provide some reasonable answers about the pieces.
Identify trend name, and give a brief description of the message behind this trend
Serenissima (“the most serene”) represents an atmosphere that is romantic yet modern. The color palette of this trend primarily consists of purplish pinks, mint green and turquoise hues that remind a state of calmness. These colors can be applied to various appearances and fine materials such as ironwork, silk, tapestry, embroidery, jewelry, Murano along with many others.
More luxurious materials such as semi-precious stones, gems, and marbles are harmoniously combined with colors of this trend. Depending on the material, the same color may create an extremely different atmosphere. In general, the soft color palette of purple and green evokes a sense of modern femininity and decorativeness. The purpose of this trend is to represent the new side of beauty.
Serenissima is influenced by two zeitgeists of two different epochs: Renaissance and Romanticism. Renaissance is famous for challenging religious visions and considerations. This period brought the idea of superiority of human mind and body. The attitude towards religion changed as people became more self-aware (Romanek 4). Tom Nichols considers Renaissance painting to be a visual poetry (75). The same is with Serenissima.
This trend renders ideas of calm freedom. For example, the unity of the stylish mixture of flourishes, flowers, arabesques and intarsia of fine materials or wrought iron renders poetic meanings (“Serenissima. Surfaces Material Trends” n. pag.).
Romanticism, on the contrary, emphasizes the significance of human emotions and celebrates human life (Shostak 38). Serenissima combines zeitgeists that glorify emotions and the human mind. This juxtaposition gives the new idea about modern beauty — beauty that seeks inspiration in two fundamental features of human nature.
Describe the target market that this trend theme would apply to
There is no doubt that the target audience of this trend is able to appreciate the magnificence of past. However, when identifying the target audience, it is necessary to think about age and income and education level (Porta par. 10). Thus, the trend would apply to individuals who are well-educated and understand at least basic concepts of epochs. Most representatives of this audience will be middle-aged people with middle and high socio-economic status.
However, the notes of modernity and new romanticism would attract the younger audience as well. Sculptured transparencies and shininess would be attractive for youth who appreciates modern luxury (“Serenissima. Surfaces Material Trends” n. pag.). The trend will bond to people who know their goals in life and ways of their achievement. Serenissima is for those who can see something new in the juxtaposition of already existing ideas, thoughts, styles, and materials.
How might this theme relate to product categories and price-points?
This theme may be realized in a variety of products. However, its power may be fully recognized in interior decorations. Colored transparency may be utilized for the embodiment of new ideas in furniture. Simple color schemes may be combined with textured and sculptural interior designs in 2016 (“Modern Interior Design Trends 2016 to Stay and Go Away” par. 3).
The combination of purple and silver may be realized in closing and accessories. Shimmering and transparency can contribute to closing drastically as well. Laser cut and mini sculpture can comprise a significant source of the creation of home accessories (“Serenissima. Surfaces Material Trends” n. pag.).
Price points for these product categories may be accessible for middle-class representative due to the combination of expensive luxury materials and semi-precious materials. Nevertheless, the mastery needed for the creation of these products may be costly.
Works Cited
Modern Interior Design Trends 2016 to Stay and Go Away. n.d. Web.
Nichols, Tom. Renaissance Art: A Beginner’s Guide. London, United Kingdom: Oneworld Publications, 2012. Print.
Porta, Mandy. How to Define Your Target Market. 2010. Web.
Romanek, Trudee. Great Ideas of the Renaissance. New York City, New York: Crabtree Publishing Company, 2009. Print.
Serenissima. Surfaces Material Trends. 2016 ed. Vol. 58. Milan: A+A Design Studio, 2014. N. pag. Print.
Shostak, Art. Viable Utopian Ideas: Shaping a Better World. London, United Kingdom: Routledge, 2015. Print.
Can a singer lost in a decade give a stunning performance in the world of such stars as Lady Gaga, Beyoncé, and Alicia Keys? This question arises when a singer is lost from the limelight. Well, the Nigerian-born songstress, Sade Adu, stood the test of time. I regretted having missed her concert ten years ago, but certainly, she did not disappoint us, because I believe she performed perfectly last night and demonstrated the enduring unique style.
She is best known for her pop hits such as “Sweetest Taboo” and “Smooth Operator.” One would have wondered whether it was appropriate for her to be in the palatial Amway Center on that Sunday or rather in a smoky lounge where the songs beautified as if Bartons were over ice on a mellow Saturday.
This sultry singer brings out the jazzy little nightclub so that one enjoys every song even when they hear it for the first time. The crowd recognized a powerful voice of the ’90s from the very beginning of her performance and was so excited to welcome her back. The ecstatic nature of the crowd showed one feeling as if Sade could bring out the world with her music, as they filled the venue with representatives of all races and generations. To those at home, this concert brought a myriad of stimulating peace. For instance, the application of stage-sized curtains to “filter” the band was inspiring, making one have difficulty in choosing between the two (Harris 1997).
Review
It was not possible for anyone to conclude that John Legend was a veritable back-up singer. John had no business in the arena of Amway’s scope. He could perform effectively at House of Blues. However, in the company of such a talent, he could never excite the crowd like a legendary Sade. The only criticism for Sade’s tour is that the show is predictable for the moment when it comes to arrangements. It did not overpower Sade as it happened to John Legend. One considers the faultlessness of the organization, as well as an impeccable performance by her band. In essence, one realizes when eavesdropping on the music that it is worth every penny of the concert ticket (Abbott 2011).
A deep-toned voice was very high when compared to the vocal mix at the beginning. Rather, it was the consequence of a floor seat and was subsequently resolved. The mix was subtly elegant. When the slow acoustic songs came on, it astonished the way she handled her vocals. The dynamic nature of her voice is breathtaking. The majority of the show was visually new and reinvented overwhelmingly to overshadow the arena. The “film-noir” intro for “Smooth Operator” was real! She might not be able to resuscitate every song at the start.
However, she took up her moments of range magnificently to the extent of exciting the crowd with the resurrection of 22 hits from her past albums. The accompanying visuals made the whole show a sight stopper. The montages of every performer on the screen corresponded to what they presented on stage (Johnson–Sheehan & Paine 2009).
No one could possibly refute Sade’s powerful voice and the quality performance of the band. Featuring saxophonist and guitarist Stuart Matthewman, keyboardist Andrew Hale, and bassist Paul S. Denman, the outfit performed heartily. They created a fundamental foundation upon the tinge of jazz music (Harris 1997). A pair of singers, a drummer, and a guitarist augmented the band. The extra set of singers was unnecessary.
However, in their presentation, there was excitement with no iota of disappointment. Moreover, one may not compare John Legend and Sade to many present artists. Sade has always been of her own class-true vocal endowment and creativity with sincere emotion. Notwithstanding, a sultry voice is her niche, sleek style. I considered it to be incomplete because I expected them to do a number together, which they did not.
This certainly became a memorable concert, which concentrated on her gorgeous vocals and the marvelous sound and talent of the band. In addition to the tremendous musical performance of the musicians, I still hum the saxophone at the back of my mind. The songs of Sade touch ones’ soul presenting her true performance with her own fashion that brings life out of music.
Conclusion
This is a lifetime show that I would live to tell. It marks the reintroduction of passionate music to contemporary society. The essence of the soul, tinged with jazzy-blues fusion, entices one to love this genre of music irrespective of their previous tastes. Served with the perfect sound mix, as this output from studio, one enjoys every bit of it. This music invites a shake-leg, nod of the head, and submission to the full rhythm of the music.
The invitation by itself is involuntary. Sade presents a real deal. It comes so naturally from her, as it did a decade ago. It matches the standards of Whitney Houston. The essence of entertaining all the audience without discriminating against other genres like pop, rock, or even reggae is not lacking! It is an understatement to call the whole experience magnificent! It was an elegantly excruciating, perfect recipe for a soulful night.
References
Abbott J., (2011).Concert review: Sade at Amway Center. Web.
Harris, J., (1997). A Teaching Subject Composition. London: Prentice Hall.
Johnson–Sheehan R., & Paine C., (2009). Writing Today: Technical Communication Today, 3rd Edition.NewYork: Longman.
The essay is a response to a reading of an article by Valery Paul titled ‘Aesthetic’ and ‘The Conquest of Ubiquity’ which was translated by Manheim Ralph written back in 1934. Strictly speaking, the response typically reflects on what I have grasped from the readings. Additionally, issues raised are closely examined and my views about them are succinctly brought out.
Main
In ‘The Conquest of Ubiquity’, the author compares the fine art of the past and that of the present. It is evident that innovations have seen to it that there are indeed tremendous changes in the art of today since all physical components of art are completely affected. Even our notion about art has been impacted. According to the author he anticipated that the only things that would experience change were reproduction and transmission. Art has been compared to commodities and services such as water, gas, and electricity. With that in mind, sounds and pictures will be easily accessible by clicking a button. An atypical example is a music. To the author and which I fully agree; music is part of humans as it is being enjoyed globally.
The main obstacle which was making it available and produced at will have been removed. However, visual was a problem at the time the article was written but not now since there is a technological innovation that has aided in curbing the problem related to color and vision.
One major difference in the past and at present is that currently, people can enjoy music according to the moods and time appropriate to them. One major problem the author sees with the advent of technology in art especially music is that it will be disturbing as it will be played everywhere. I agree with this view since whenever a man is, music is with him. To curb the menace associated with music there is a need to set rules.
In the article titled ‘Aesthetics’, the author acknowledges that its definition is difficult. This is attributed to the voluminous literature he has gone through in trying to find a succinct definition to no avail. I believe that what one takes aesthetic to mean might not really mean the same to another; this is why we experience criticism regarding art. However, he brings forth the issue of beauty and pleasure as the major attributes of aesthetics.
In his quest, of establishing what aesthetic means, he came across the work of one philosopher whose observation and appetite brought about aesthetics. The philosopher through his work brought forth pain and pleasure as attributes of aesthetics. According to the author, the two are incomparable, indefinable, or even incommensurable. Pleasure is what makes the audience feel to have a deeper understanding of the work of art. Additionally, I agree that the pleasure derived from a piece of art can stimulate one to reproduce fine art. The idea of beauty fosters the desire to know the truth in art. Artists are unable to free themselves from the concepts of arbitrary. They are driven by what is unknown to them to bring to light something unique through paintings, music, and poem.
Conclusion
Although the author concludes by saying that aesthetic exists, defining the term has been a challenge; he equates the problem in other subjects such as mathematics and physics. I agree with the notion that each and every individual will see a piece of art from different perspectives based on their culture and other attributes. Lastly, each subject is currently experiencing its own challenges. From the two readings, I have learned a number of things; among them, that technology impacts work of art, different people have different judgment, art is a multidisciplinary subject and time always dictates what is to be seen and experienced ‘tomorrow’.
The message of the painting is sometimes difficult to identify if one does not know what the artist wanted to say. Moreover, if we know nothing about the painter, his life, and the period of life when the painting was drawn, the task becomes more difficult. However, at the same time, the lines, the color, shades, and the very object of the painting. Of course, different people may see various messages of the painting, however, due to the fact the people who live in the same country and have the same culture have a similar understanding of the signs most people see the same message.
The painting “Lori” by Traci Morgan shows a woman who seems to sit near the wall. This woman is thinking about something. Looking at the painting under discussion, we do not see a woman’s eyes as hair covers them, however, it is possible to predict that the painting is about a lonely woman who stays alone in her flat and thinks about her life. However, she may read something serious as to take off the hair out of her face she throws back her hand apart from doing it stretching her hand before her eyes.
The impression of the woman’s loneliness is created also by the colors chosen by the painter. It seems that grey colors are dominating and the instances of pink do not create a positive atmosphere but add to the groom’s mood. After a thorough and attentive look at the picture, it becomes obvious that the grey and pink colors are not the only ones. Green is also present with brown, and one sees that pink is dominating; however, its combination with grey does not make it bright. Looking at the colors one may believe that the author intentionally wanted to create the groom’s mood, however, being sad, the painting does not create a negative or pessimistic impression.
The lines are not accurate, it seems that the artist used smears while creating the painting. Shades play a great role. The only attentive look helps understand how many parts of the picture are created using shade. Shade plays a really important role as it helps understand that the body is hilled, that the woman is thinking about something. There are a lot of different signs that help understand the woman in thinking about something.
I am sure that the main message a painter wanted to deliver to the audience is the thoughts of a woman about 30 about her loneliness. I suppose that women above 30 who are not married are to recognize themselves. The message of the painting is to show how being older people think about the problems which bother them. The impression is that a woman is not married, either she has never been married or she is divorced.
Even though the audience is unable to see the face of a woman, to notice the impression of her eyes, it is possible to read the life experience on her face, it is possible to see that she is not killed with sorrow, she is just sad about something maybe she is thinking to abut life and tries to draw some conclusions about what she had achieved and at the same time she understands that she has much time ahead.
Opera is performed using theatrical scenes where the art involves a combination of singing and dramatization. This kind of text is referred to as the libretto. It was a very popular form of art in early Europe. Opera remains popular today in some quarters of the society. The art brings together singing, speaking as well as acting. All these activities are performed in an opera house which is specifically designed for such purposes (Kennedy 62).
Linguistic on the other hand is the exploration of human language and its origin, revolution as well as application of the language. The application encompasses the use of morphology, syntax as well as the phonology in the composition of words.
The meaning of language has been explored by analyzing the meaning of other forms of art in the real world. This is with the view of understanding the origin of opera from different backgrounds. This means that opera can be analyzed from a linguistic perspective.
The opera is characterized by features such as the stage, orchestra pit and an audience area among others. Some operas are designed to accommodate various aspects of linguistic analysis. This is especially so considering the fact that operas were very popular in England and other countries during the early centuries.
A comprehensive analysis of linguistics in opera can be achieved by looking at the origins of this form of art. This is given the fact that linguistics in opera is influenced a great deal by the origins of this art. It is noted that the art originated in Italy towards the end of the 16th century.
It later spread to other parts of the world especially in Europe. To date, the operatic terminologies in these countries are referred to as the libretto (MacNutt 101). This is an indication of linguistics in opera. The origins of opera are evident in today’s compositions where aspects of Italian language are incorporated.
This is given the fact that most of them have retained the original Italian characteristics such as accent and others. Such aspects help in tracing the common origin of today’s opera performances as far as linguistics is concerned.
In this paper, the author is going to look at the use of linguistics in opera. The author will make reference to librettos from operas in English from England and the United States of America. Examples of linguistic operas will be put into perspective in a chronological sequence. The aim here is to depict the link between the two fields of linguistics and opera.
History and Origin of Opera from a Linguistic Perspective
Before embarking on the critical analysis of the link between opera and linguistics, it is important to look at the history and origins of opera as a form of art. This will give the reader an idea of what opera is all about. It will also give the reader an idea of how contemporary opera differs from classical compositions and performances.
The word opera is an Italian word implying “work” when translated. When loosely translated, opera involves the combination of “…….works from acting declamation in opera house stage” (Kennedy 75). Jacopo Peri is considered as the pioneer of this form of art. Dafne is actually a piece of work that was originally produced by Peri and it remains one of his most popular compositions.
A group of Camerata found out that the entire opera was performed by the Greek dramas. So far the idea was to conceive and restore the traditional art. On a sad note, Dafne was lost and Peri was forced to come up with a new composition, the Euridice. This is the only opera that is still performed to date. It is to be noted that singing was an important aspect of opera (Warrack & Ewan 25).
Libretto
Libretto is an elongated piece in form of music found in many categories of performances such as opera and cantanta. The word in some cases is associated with liturgical works such as the requiem as well as the expression of a story in ballet. Like opera, libretto also has an Italian origin, creating a link between it and linguistics. It literally translates into a book as already indicated in this paper.
Libretto is different when compared to other forms of art like synopsis. In libretto, the distinction is evidenced by the fact that it contains words (linguistics) as well as stage directions. Synopsis on the other hand is used to give a summary of the plot (Smith 31).
Historically, the ballet users have described libretto in different ways. For instance, libretto was recorded in a book of between 15 and 40 pages that contained ballets describing one scene or another.
This was in Paris in the 19th century. To this end, it is noted that the relationship between the composer and the writer of a given piece of music varies from one case to the other. This has varied the outcomes of such compositions for centuries. This is given that the writing criteria adopted as well as the sources used also varied (Simon 23). The language used in the composition varies from one case to the other.
Metastasio is an example of well known librettists in Europe. It was used by a composer and a writer in a practice commonly known as poetry. Poetry is part of linguistics, and at this juncture, the author notes that it is also part of opera. In some cases, libretto has been written before music.
Some composers used this idea in their creations. This is composers such as Mikhali Glinka and Alexander Serov who wrote down passages without accompanying texts. This was later to be modified by composers when vocalizing the lines (Smith 43).
Linguistics in opera is also evident in opera of the 20th century. It is to be noted that opera was widely used in America in the 20th century. Richard Rodgers is an example of a great composer who used this art in collaboration with other librettists.
In other relationships as far as libretto and linguistics are concerned, composers designed their own libretti. Other librettos established a close relationship with composers so that all works of opera could reflect a common origin. The common origin could be deduced from the language that was used.
Ingredients from other traditions were also effective in composition. But the efficiency improved when they were “combined under one work as far as composing and writing is concerned” (MacNutt 20).
In this case, the opera will not clash with the play in attempts to accommodate other linguistics works with different origins. In cases where there was a need to combine works with different origins, it was necessary to put the script down in the presence of all the composers and the writer (Warrack & Ewan 43).
English Language Opera and Linguistics
Opera was first used in England in the 17th century. The piece was performed towards the end of a play. It was frequently characterized by scandalous scenes which depicted a consistence use of the popular tunes phrased in a dialogue. In the same period, French operas were gaining roots in English courts. They had “……..favorite splendors with scenes that were realistic” (Smith 22) in the plays.
England had to use this kind of opera on the stage. Inigo Jones is credited as the pioneer of this art. He later became a quintessential specialist in all the productions (MacMurray & Franzetti 26). The opera contained both songs and dances.
Linguistic aspects were borrowed from different backgrounds for instance Italian and French which was taking hold in England. Opera revolution instigated the rise of linguistic elements from different artists. One such artist was Henry Purcell who also incorporated aspects of Italian language in his compositions.
This is for example in his first work Dido and Aeneas. He centered his work on the semi opera type of format. The Fairy Queen is also one of the most famous works produced by Purcell. In this text, he was targeting the use of English in all versions of opera as an art.
Dido and Aeneas Opera
This is one of the English opera composed by Purcell. It was a libretto from Nahum Tate in the 17th century. This was the only work that had started to use English traditions after the inception of the Shakespearian linguistics. It is noted that the desire to use the English language in opera was common among emerging artists during the century (Apel 47).
Opera Seria
Long English compositions emerged later and the first English composer to venture here was Thomas Arne (Smith 24). He did this by experimenting with the Italian style, a process known as comic opera. This art became a huge success with many other pieces incorporated into the opera seria in Italian and English (MacMurray & Franzetti 51).
Opera seria dominated the stages till late 1830s and by then he was the only English composer to have gone beyond the Italian composition to produce a unique English composition with aspects of the Italian language. Linguistics was also evident in Balla opera where the composers incorporated some aspects of the English language.
This is for example in The Love In Village (MacMurray & Franzetti 58). As a result of this many native operas developed by incorporating aspects of the Italian language. Linguistics here was evident as the composers combined aspects of two different languages.
The Yeomen of the Guard
The 19th century English opera has been greatly influenced by linguistics elements. Many operatic conventions dominated London stages with emerging English composers taking the center stage. One English opera of this time was The Yeomen Of The Guard which was greatly recognized.
It is a savoy opera that originated in Victorian England. The contributors to this art included Gilbert and Sullivan who came up with compositions from scratch.
Punch and Judy
In the 20th century English opera was characterized by independent works from contributors such as Ralph Williams and Benjamin Britten. The two have greatly influenced contemporary theatre operas. This is after it emerged that English opera was being used in many parts of the world. For example the work of Sir Harrison The Punch and the Judy is not only Britain’s important opera art but also globally recognized (Silke 24).
This work was evident in the 20th century and was performed in the American theatres. It was an indication that linguistics in opera was a common phenomenon across the globe. Using of puppets was an indication of how human behavior is linguistically transformed from one discipline to another (Silke 43)
In the early 21st century, Harrison concentrated with the composition of other popular pieces such as “Facing the Goya”. English opera has therefore become a significant ingredient of today’s opera world. For example, the National Lyric Stage involves the use of operas composed in the English language (Cooke 15).
American Opera
American opera became profound during the 20th century. The pioneers in American opera include Leonard Bernstein and Douglas Moor among others. Their works include The Porgy and Bess. They greatly influenced English opera as they performed music encrypted in English.
It was characterized by folklores and American music comedies. They are the ones who popularized this form of art in America. On their part, they were influenced by composers and performers in operas found in other parts of the world (Kennedy 28).
An American in Paris
This is one of the compositions from America done by George Gershwin. It is a well defined opera incorporating aspects of the French language in 1922. In this art, French was used together with American English with the aim of using linguistics to depict the experience of an American visitor in Paris (Smith 39).
Other Contributions
Still in the 20th century, other prominent opera arts include the Dead Man Walking which was successfully delivered through movie theaters. Another aspect of linguistics in opera can be discerned from the works of Italian opera composer Gian Carlo.
The composer produced several librettos from America and became a great figure in American operas in this century. One of his works includes The Medium and The Consul. Some of his works featured in television performances (Kennedy 49).
Conclusion
In this paper, the author sought to look at the application of linguistics in opera. The aim was to study the link between linguistics and opera. All these involve the use of different languages hence linguistics in opera. The author used librettos from operas in English from England and the United States of America in identifying the link between the two fields.
To this end, the researcher identified the link or the relationship between opera and linguistics. The author also looked at some of the key figures in English opera both in England and the United States of America. The origin of opera was also looked at.
The paper found that the origin of opera can be used to analyze the link between opera and linguistics. This is given that there are some aspects of the original opera language that are evident in today’s opera. For example, some aspects of the Italian language are evident in today’s works of opera.
Works Cited
Apel, William. Harvard Dictionary of Music, Cambridge: The Belknap Press of Harvard University Press, 2011. Print.
Cooke, Mervyn. The Cambridge Companion to Twentieth-Century Opera, Cambridge: Cambridge University Press, 2009. Print.
Kennedy, Michael. The Oxford Dictionary of Music, Melbourne: Oxford University Press, 2006. Print.
MacMurray, Jessica, and A. Franzetti. The Book of 101 Opera Librettos: Complete Original Language Texts with English Translations, London: Black Dog & Leventhal Publishers, 2009. Print.
MacNutt, Richard. The New Grove Dictionary of Opera, London: Prentice Hall Publishers, 2009. Print.
Silke, Leopold. The Idea of National Opera c. 1800: United and Diversity in European Culture c. 1800, New York: Oxford University Press, 2006. Print.
Simon, Henry. A Treasury of Grand Opera, New York: MacGrill Publishers, 2008. Print.
Smith, Marian. Ballet and Opera in the Middle Age, Boston: Princeton University Press, 2009. Print.
Warrack, John, and W. Ewan.The Oxford Dictionary of Opera, London: Oxford University Press, 2010. Print.
The day before seeing the art of Man Ray, I would have never thought that I could like African art. But casting only a glance at the amazing black-and-white images was enough to understand the grace and beauty of the African continent and its incredible culture. Insightful and intriguing, the artist created the niche which could embrace the entire world, so strange and so unfamiliar to the dwellers of the other continents.
If you ask me what the first impression about the artworks was, I would tell that this was complete bliss, the top of aesthetic enjoyment. However, as the fascination of the view subsided and gave way to more constructive thinking it occurred to me that the artworks were somewhat polished, that the tint of the ingenuity, so precious and so important, was missing. It was only the aesthetics that was left. In a personal interview Wendy Grossman, the curator of the exhibit, marked that Man Ray was interested rather in the postmodernist interpretation of a piece of art rather than in its initial idea and meaning.
It seems to top me that the artworks created by Man Ray showed only a little piece of Africa; they did not unravel the mystery of the country, nor did they lift the curtain over the African history and culture. Worked into a weird postmodern pattern, these artworks create the feeling of surreal, and this feeling haunts you as you watch the intricate play of black and white. Due to the play of fancy, the artworks make an impression of the surreal brought into life.
The Room Full of Memories
Organized in such a way that every newcomer immediately feels the spirit of Africa, the exhibition has a very peculiar design. As it has been noted by the critics, Man Ray shows the way the light can affect the first impression and create an illusion so intriguing and truthful. Casting weird shadows, creating the atmosphere of the unreal, moving visitors right into the center of Africa with its hot sand and bright savannas, and deep and black nights full of fire, it suggests exquisite make-believe. The light has been designed in such a way so that the things which could have been passed unnoticed would immediately fall into the eye of the visitors.
Playing with the light and the shades, he created the illusion of white spots where they could not be. Thus, taking a closer look at one of the exhibits, I realized that what I thought to be a white band around the neck appeared to be a spot of light cast on the exhibit. It is a matter of taste, whether to take this elegant fantasy for granted or try fighting the growing feeling of the “plastic savanna” – artificial Africa in front of you. Leave the reality to the snubs. Enjoy the show.
What Is There Written between the Lines?
Stylized drawings representing animals and people’s silhouettes add to the impression of Africa in miniature. Even though the atmosphere seems a bit unnatural, “too African”, it still provides a great impression. As I walked through the exhibits, I was already expecting to hear the beating of the jungle drums. Yet it was bearing the tint of the “African Africa” which I mentioned before.
However, one cannot demand too much. As Steiner said, “The concept of “authenticity” is among the most problematic and most difficult issues in the study of African art” (100). Indeed, sometimes it is very hard to draw the thin line between the authentic and the mock-art. On the one hand, the text on the wall is the ultimate proof of the authenticity and the genuineness of the art; yet on the other it adds the shadow of a doubt, making the art “too real”. Perhaps, this is one of the compromises between post-modernism and the cultural concept of the exhibition. I would describe the text as authentic and creating additional settings for the exhibition.
Primitivism: There Is so much to Discover in the Others
Man Ray’s art is an exact example of Primitivism mixed with the idea of “Otherness”. Because of the sharp contrasts and the black-and-white theme, this becomes even more obvious to the audience. With help of the most simple outlines and shapes, Man Ray created a peculiar monument to Primitivism in its splendid simplicity.
Speaking of the difference between the people, the “racial and sexual otherness” which stands between the people and the nations of different cultures, he drew the world of his own where he planted the most vivid ideas of the country called The Black Continent, the country which is considered, unlike the others.
Through the Prism of Personal Ideas and What I Saw There
Since people always pass any piece of arty through the prism of their background and identity, it is impossible to consider artwork as it is, regardless of one’s personal experience. All the ideas which my considerations were built on came from my own identity and the feeling of belonging, which is why the postmodern was intertwined with the African in my vision in such a weird way.
It was amazing for me to touch on the culture which I could only hear of before. While Man Ray “took the opportunity to employ objects from this prestigious collection for his creative ends” (Gratton 48), I had a brilliant opportunity to make even more use of his exhibition, trying to see Africa with the eyes of a post-modernist. Well, it seems that we both have succeeded.
Works Cited
Gratton, Johnnie and Michael Sheringham. The Art of the Project: Project and Experiments in Modern French Culture. Oxford: Berghahn Books, 2005. Print.
Steiner, Christopher Burghard. African art in Transit. Cambridge: Cambridge University Press, 1994. Print.
Judi Werthein was born in 1967, in New York, Argentina. Werthein work of art includes designing of sneakers and manicure decals. In 2001, she launched a manicurated piece of work in a big Museum where she selected more than ten paintings to act as nail decals. She later employed professional manicurist to help her in offering services to the visitors.
Most of these services were offered for free and they attracted a large number of audience. Werthein became famous not only because of her professional nail decoration, but because, her museum created an environment where other artists could converge to discuss more about art that went far beyond social class, race, and age differences.
Since the launching of the museum nail decals has become a significant constitute of the artwork. Other artists have joined the profession as a way of leisure and also to earn a living (The Balkans project 5).
Werthein can be considered as one of the artists who have had a major impact in the modern artwork. She is not only interested in nail decals put also takes part in media. Her work is described as one that defies classification. She works in media by challenging issues on national identity, human rights, and economic impartiality.
Her work is not only involved in contemporary art, but also other populations outside the world of art. Werthein manicurated work that was launched in 2001, in Bronx Museum formed a basis of her career in nail decals (Turvey, 2). She also realized that by inviting audiences from all races, ethnic ground and ages, she would promote peace and cooperation among the people living in Bronx.
In 2006, Werthein was requested to design a project that would investigate the relationship that existed between Southern California, and Tijuana. Her project (which she named Brinco) attracted the attention of the whole nation because of the compassion it created towards the illegal immigrants. At the same time, the nation was holding a nation debate to discuss the rights and obligation of all immigrants.
Two years after her project received nation-wide recognition, Werthein was able to design sneakers that were distributed to all the people living in Tijuana and others were sold in some of the boutiques located in New York and California (Anon. “New York, Volume 35” 86). From her work, we see that Werthein was not only concerned about making money; she was ready to help those in need.
For instance, BBC broadcasted news on a woman who was actually crying because she received a pair of shoes, something she had never had before. Werthein sneakers had American eagle embroidery indicating her royalty to her nation.
They also had a flashlight, compass, and some painkillers to help people who were crossing at night (The Balkans project 8). Werthein derives motivation from other pieces of art by other artists, such as paintings, and drawings.
Werthein sneakers were produced using some products that were imported from China as a way of emphasizing her support for global trade. These sneakers were also distributed in major countries such as China and Japan, and they attracted a wide audience because of their unique design.
Being a female, Werthein, was determined to prove that, artwork can be pursued by anyone if only they have the passion for it. All her art products were designed for women to show them that, they too can make it if they want to. Werthein was born at the time when the role of the woman was believed to be in the kitchen.
However, she was determined to fight against this perception and also to curb discrimination which was evident in almost all sectors.
Works Cited
Anon. “New York, Volume 35.” New York magazine Co., 2002.
The Balkans project. “Words and art from the Balkans.” Balkans project, 2010. Web.
Turvey, Lisa. “Judi Werthein: Art in General.” Findarticles, 2007. Web.