...Genre Theory The movie that I would like to talk about for this genre discussion is The Nightmare Before Christmas I would say that it falls under two categories, animation would be its main genre and its sub-genre would be classified as a musical. The way a musical is done is exactly the way it sounds, they add musical numbers throughout the film. http://www.youtube.com/watch?v=DOtEdhKOMgQ They do not typically sing the entire time, but usually every ten minutes or so after watching some of the acting, it will flow into a musical number. Also the songs normally have something to do with what just happened with the actors. The Nightmare Before Christmas meets its musical criteria with more than ten songs in the entire movie. Three of its most popular numbers being “This is Halloween, Jacks Lament, and What’s this?” This film was written by Tim Burton, another movie I could compare it to and that he directed would be Sweeny Todd : The Demon Barber of Fleet Street, it is also in the musical genre. “It tells the story of a serial killer. Typically, however, musicals depict lighter fare, and indeed, in each case mentioned they make what might have been more difficult material easier for the audience to relate to.” (Goodykoontz & Jacobs, 2011, Ch. 8.2). I feel that musicals are more of a required taste for movie lovers. I myself enjoy them as well as all movie genres, as the book says, they further add to the story and include more details and feelings into the movie. Sweeny...
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...took place in 1881 in the city of Istanbul; the city still referred to by the practitioners of this complex art by its more ancient name of Constantinople. For the purposes of this essay, the name Constantinople will refer to the city up to and including the present day. To provide for a clearer understanding of the theory of Byzantine music, the process of the development of Byzantine music as it is known today will be divided into two eras. We will call these two eras pre-Byzantine, and Byzantine periods of musical development. The pre-Byzantine part of the essay will cover developments made before the foundation of Constantinople. This period includes everything before c. 330 C.E. The Byzantine period will include all of the advancements made after the founding of Constantinople and the Byzantine Empire. Every refinement made up to the present day, the most important dates being the simplification of the notation in 1821 by John Koukouzeles and the great council of 1881, will be included in this period, but not, unfortunately in the essay. Although there is a very significant part played by notational theory on the development of Byzantine music theory and Hymnography, the scope of this essay does not allow for us to delve into this connection too deeply. It is therefore necessary to attempt to separate these two arts as much as we can and focus on the strict Hymnographical and theoretical part of the development. BACK TO TOP Pre-Byzantine The date of 330 is...
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...of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people (such as music at the court), or the modes of performance at a particular place and time (such as the performance forces of Johann Sebastian Bach's choir in Leipzig). In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of the methods see the section on "Research in Music History" below) Some of the intellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and the reflections upon the place...
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...1. Summarise your prior musical study and experience (250 words) 2. Briefly describe your knowledge and interest in specific musical repertoires (250 words) 3. Outline how tertiary study will assist you in your musical, professional or scholarly goals for the future (250 words) 1. Music and performing have always been a part of my life, commencing dancing at the age of 3. Around the age of 8, I was encouraged by a dance teacher to take up the drama and singing class and it was around that time that I fell in love with singing. I started taking private singing classes immediately and a few months later started participating in eisteddfods and other competitions. By the age of 10, I started taking lessons with a new teacher, who taught me classical technique and would always show me how and why we did things a certain way to ensure I could apply all the technique to any song I will ever sing and that is what set my singing apart. My love for music, singing and performing grew when I had the chance to attend the McDonald College of Performing Arts from grade 7 through to 12, excelling, even though my music theory background was almost nil compared to all my friends who had studied piano and music theory from young ages. I studied music for 2 hours per day, 5 days a week. Being a music vocal student, these lessons consisted of jazz vocal choir, music composition, music theory, contemporary music choir and madrigal choir. Being a soloist, through these classes I learnt...
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...with music. These are some of my most joyful memories. I can still see her vacuuming, dusting, and scrubbing different rooms of the house while pausing for the big fanfares within the songs to dramatically sing along or throw down an awesome air guitar solo on the broom in her hands. These moments are the reasons I always have loved music. The problem is that I have never learned how to settle for a few artists and albums like my mother. I have a habit of liking too many types of music, and too many artists within each type. This has led to the development of my bad habit of collecting too many albums. My mother is my musical role model, encouraging the exploration of music. She promotes trying out different styles and genres of music. She always exposed my sister and me to various types of music, from church hymns to off-Broadway musical productions. My mother bought me my first music album when I was four. It was a Christmas album by The Chipmunks. I love that album and still enjoy it every Christmas. Later in my childhood, I loved Michael Jackson, and had to have all of his albums. I have replaced those records with compact discs in my collection. In middle school and high school, I developed an eclectic love for classic rock, punk rock, heavy metal, hip-hop, and classical music. With this, my collection of albums took off on a broad spectrum. I had gone from a few records, to a few cassette tapes, to a nice collection of nearly 100 compact discs...
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...Anthony Luchs Professor Ryan Pierson ENGFLM0200 12/3/13 Blade Runner: Proves Neo-Noir is Not a Genre Comparable films fall into the same genre if they include comparable traits. The qualities of the film have to be recognizable, distinct, clustered and transferable. A genre is when the films that are a part of it have these sortable qualities. When films have similar recognizable qualities it means that they have identifiably parallel traits with other films of the same genre. If a film has distinct qualities it means that it cannot include definable traits from other genres. A film with clustered traits has a bunch of associated things that would go on in the same genre. Transferable traits in a film mean that the traits can interchange between film varieties and styles. Neo-noir is a type of movie in which critics often argue whether it is more of a style than a genre because as Paul Schrader says it is, “not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood” (Schrader). Neo-noir movies are known for their dream/nightmare like worlds in which authority is chasing crime. In these dark, unknowing worlds the complex characters endure violence and eroticism in life or death situation (Silver). In Ridley Scott’s Blade Runner (1982) he has shown that neo-noir can be translated through any genre. He did this by proving it is more of a style because it is limited to technical elements. The...
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...Music in Different Cultures Popular Music and Contemporary U.S. Culture Popular Music in its Many Facets In its broadest sense, popular music is an umbrella term referring to a vast range of commercially mass-marketed musical genres contrasting with classical or art music and intended for mass consumption (e.g., rock, rock and roll, hip-hop, grunge, heavy metal, rhythm and blues, punk, soul, techno, funk, rap, house). This wide-ranging term encompasses a plethora of musical styles involving various rhythms, vocal styles, instruments, and technologies. Characteristically, popular music is a global cultural phenomenon and an accessible form of commercial music aimed at a worldwide audience. Traditionally, British and American forms of popular music have tended to dominate the industry. Corresponding to social, economic, and technological change, popular music is intimately linked to the identity of musicians, performers, or artists, as well as audiences and fans. Popular music is ubiquitous; from shopping malls and advertising to gymnasiums/fitness classes and political campaigns, popular music is a common feature of people's everyday lives and a significant aspect of consumer culture. For fans and enthusiasts, popular music can be a leisure-time pursuit occurring on evenings or weekends; alternatively, it can constitute a lifestyle, or way of life (e.g., Deadheads—a group of fans of the American band Grateful Dead who saw the band at...
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...Cultural Appropriation in Hip-Hop Hip-Hop is more than a musical genre. It is a transcending culture with its own rules and context. It’s a lifestyle that has reached beyond the inner-cities of the United States, and today, its power influences the entire world. Its message is unfiltered, at times angry, controversial, misunderstood, inspiring, and thought-provoking, and in many ways, hip-hop is the deafening voice of the minority. To many people who follow hip-hop almost religiously, the Mecca of hip-hop is the Bronx, New York City. The phenomenon started In 1975 when a local Jamaican immigrant and DJ named Kool Herc burst on to the scene with a new style of music in which he employed break-beats over samples of James Brown records. According to the writers of Old School Hip Hop.com “Kool Herc is the father of [the] underground sound from New York that found its way to becoming a worldwide phenomenon” (n.p). However, many other hip-hop historians credit James Brown much more than Herc, and even Kool Herc himself is quoted in a New Black Magazine. Com article crediting Brown with the words, “if it weren’t for James Brown, there would be no such thing as hip-hop” (n.p.) In short, if the Bronx is the Mecca of hip-hop, then James Brown is Allah, and DJ Kool Herc is the Prophet Mohammed. In the early years, hip-hop’s first emcees were DJ’s. It was their job to entertain the crowd, keep the party alive, and introduce the records that they were playing. Kool Herc was the first...
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...Beatles established themselves in the music industry because they created a norm that every new artiste followed. Composers that followed them always tried to be like them. On the other hand, there is a cost in breaking the existing musical rules. People always want to hear what they love from their past musical experiences. Introducing a new genre may not auger well with the popular style. Despite being radical composer, Beethoven actually composed what people liked. R. Murray Schafer has been successful in breaking the musical composition rules. One of his radical music was East, composed in the year 1972. It was totally different from the traditional techniques at that time. It had slow glissandos and the performers sung and hummed on top of playing the instruments. Generally, Murray employed his compositional creativity to challenge his listeners as well as the performers of his music. The spice girls joined the Pop music in the 90s and became successful. Their strength was largely due to the perfect combination of each individual talent and voice in addition to their youthful vigor. Michael Jackson broke the rules of the existing Pop music and introduced a style that was outstanding for four decades. Michael introduced sophisticated musical dance styles such as the moonwalk and robot largely evident in his 1982 album named The Thriller. Question Two Franz Schubet’s The Weathervane and Celine Dion’s The Power of Love In his song, Die Wetterfahne (The Weathervane)...
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...problems associated with advertised female subordination. The relative research involves a semiotic analysis of two sources, coupled with a survey of 40 candidates of varying ages. Furthermore, theoretical mechanisms of media framing and cultivation have been deconstructed throughout this article to uncover the impact of magnified female subordination on the domestic expectations of children and young adults. Through the collection of data, it was able to be conclusively recognized the impact of objectification on social attitudes. Results had shown the many conceptions concerning the female purpose, these include; a woman’s role as a domestic and sexual slave to her male partner. Through the convergence of data, semiotic analysis and academic theory, it may be meticulously understood how female objectification in the mass media is a social complication in the construction of an egalitarian future. ‘Women’s bodies are predominantly valued for its use to others’ Fredrickson & Roberts 1997 During the past decade, society has witnessed the progression of information technology, and has been a part of a global communication network that surpasses domestic and moral boundaries. This network has fabricated a sharp impact on national discourse, political policy, and the social attitudes of society, particularly children and young adults. As our society becomes more commercial,...
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...Major Essay: Question One Musical films have been present in Hollywood since The Jazz Singer (1927) premiered. Mast states that a film is a musical when the primary entertainment and investment lie in the musical numbers (p. 309, Wood, 2008). Musical films are often a beloved or hated genre due to the unrealistic nature of characters erupting into song and dance. This essay analyse four main conventions of the musical genre the spectacle, the narrative, the adaption of established stories and the power the combination of lyrics and music can achieve on screen. Examples from different periods in Hollywood will be used to explore these conventions and how they apply and have evolved to suite conventions of modern cinema. Kellner (2005) explains spectacles have been present in different cultures since pre-modern times. Examples of these spectacles include plays, the Olympics of Ancient Greece, in Ancient Rome public offerings of bread, circuses and gladiator games (Kellner, 2005). The human desire for the spectacle has not fallen into extinction but rather evolved with society and technology. Entertainment has always been a prime field of the spectacle and film has been one of the most productive industries to utilise the spectacle (Kellner, 2005). Hello Dolly (1969), My Fair Lady (1964) and Rodgers and Hammerstein’s Cinderella (1997) are three examples of film musical spectacles. All three of these movies contain elaborate costumes, bright colours and large dance...
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...classes." The term is further derived from the German expression Volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Traditional folk music also includes most indigenous music. However, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music (or folklore, or the folk) is. Folk music may tend to have certain characteristics[2] but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of "old songs, with no known composers", another is that of music that has been submitted to an evolutionary "process of oral transmission.... the fashioning and re-fashioning of the music by the community that give it its folk character." Such definitions depend upon "(cultural) processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of which is found not only in the lower layers of feudal, capitalist and some oriental societies but also in 'primitive' societies and in parts of 'popular cultures'." One widely used definition is simply "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was already, "...seen as the authentic expression...
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...In the article, Keith and Hughes outline the rise of the pop culture among the Japanese young schoolgirls, the comparison between girls groups from different point of musical genre boundaries . By describing the evolution of the idol together with the growth of media industries, the female idols nowadays embody the set visual performative and kawaii characteristics that focus on innocence and youth. They give out comparison of the performance of girls in AKB48 as , Sakura Gakuin and Babymetal to describe how their music are affected to satisfy the male gaze in terms of musical genre . They also mention the reason why the performers are lack of the power of management in making their own decisions on writing songs, defining their style and promotion . The domination of male in their fandom make the big influence on their commodification among the girlgroup in popular culture and especially in their repeatable, performable behaviours. Finally, Keith and Hughes determines that not only the vocalization , behaviors but also age - limited concepts also limit the girl groups’...
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...musicology encompasses five distinct fields. These include the study of historical musicology, ethnomusicology, philosophy of music, psychology of music and acoustics (Nation-master, 2013). The first major field, historical musicology, is the study of musical origins including subjects such as composers, genres and musical notation. Ethnomusicology is the second major field of musicology and is based around the field studies on music in diverse cultures. Thirdly, the philosophy of music is concerned with the central question of ‘what is music’. Another major field is Psychology of music which relates to the effect music has on human beings. The last musicological field of acoustics is the study of the science of sound (Nation-master, 2013). These five fields make up the fundamentals of musicology and will be explored within this report. Historical musicology focuses on the progression of music over time. This field studies the progressive styles of compositions, performances, receptions and criticisms of music (Nation-master, 2013). The methods of studying historical musicology also include source studies, manuscript studies, textual criticism, style criticism, the choice of historical method, musical analysis, and the application of musical analysis (Nation-master, 2013). This field of study also examines the lives and work of composers and performers (Queensland Studies Authority 2008). Influences and impacts on historical events in society are also explored in this field of study...
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...Running Head: ART AND CULTURE THROUGH THE MIDDLE AGES AND BEYOND Art and Culture through the Middle Ages and Beyond IWT1 Abstract In this essay I compare the art of Middle Ages period to the art of the Pop Art period. I begin by explaining each period and the social and cultural factors contributing to art during the era. I then give examples of musical works from each time, a liturgical piece from Guillaume de Machaut, and a rock and roll song from Pop Art icon Elvis Presley. A summary includes a compare and contrast of the styles in whole and of the specific pieces, noting the impact of rock and roll on modern day music and society. Art and Culture through the Middle Ages and Beyond The subject of art throughout history is one that is widely debated and highly subject to interpretation. One thing that isn’t debatable is that cultural influences from centuries ago are as relevant as ever, from theming box office movies to manipulating the way we see the world around us. Of course, art forms are available in a wide variety, but I find music to be perhaps the most influential. To further elaborate, I will give an explanation of two separate periods of music through history in the following essay. The Middle Ages The Middle Ages, also referred to as the Medieval period, was a time when science and technology were being pursued perhaps more than ever, yet humanism wasn’t quite in the lead. “We are inclined today to romanticize the Middle Ages as a time when things...
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