When Upton Sinclair wrote the Jungle, a book about the terrible environment of the meat-packing factories in Chicago, he hoped to motivate reform in immigrant working conditions and promote socialism. Instead, what shocked readers the most was the sordid surroundings in which their future meals were prepared. Sinclair 's audience saw these conditions as a threat to themselves, and that energized reform in the meat-packing industry. What scared audiences the most was how real this threat was to their lives. As can be witnessed in the results of Sinclair 's crusade, the most effective propaganda is that which rouses the visceral survival instinct.
Among his many great compositions, his piece “Chant, Op 12, No. 1 "Nobody Knows the Trouble I've Seen" is one that has influenced many individuals. The form of the song starts softly with the low pitches of the piano and then the violin accompanies it. Around two minutes into the song, the pitches of the violin changes to very high pitched for about forty seconds, and then the song goes back to its normal texture until the song ends. The texture of the song is polyphonic. As the violin is the instrument that is the main instrument in this piece, the piano accompanies it with its harmony of low and high pitches.
This idea was an interesting start, because it caught the audience’s attention to really listen to what was going to happen next. Then the song, went into a lighter more atmospheric section, where there were many crescendos and decrescendos. The instruments in the piece included the chimes, maracas, timpani,
The brass section plays powerfully blows out the melody with such grace. The strings play in a pattern that anticipates action to be quickly passed in a hurry. They sound that they end up portraying is a serious manner of dedication. This song had a new instrument that I have never heard in other numbers and it is the tubular bells. The tubular bells complimented the
Throughout the novel, Eliezer comments on how silent the barracks generally are at night, but this silence is one of terror, nightmares, and desperate exhaustion. As noted earlier, silence is one of the main themes of the novel, and sounds that break the silence, such as Madame Schaechter's hysterical screaming, prove very noticeable. Similarly, Juliek's violin-playing disrupts the silence, this time filling the night with rare beauty and poignancy: "He played a fragment from Beethoven's concerto. I had never heard sounds so pure. In such a silence.
The music seems to be first very strong, then lead to fast, and then starts slowing down. I feel like this symbolizes war or a political battle. How you hear very strong instruments as the start to a war, then goes fast as to having the war currently happening. The marching in the excerpt symbolizes the political power. The ending as it gets softer it shows as the war is ending and everything is becoming more calm.
Each of these three movements contained a similar rhythm with even tones, and special emphasis on the softness of the oboe and clarinet to produce a predictable and melancholy sound. Altogether, I did not enjoy this piece as much as I did the second piece by Edward Elgar. I found it to be somewhat slow, and when it the upbeat came, the horns to be mildly too loud and somewhat annoying. However, I still see how this piece was considered to be a masterpiece and one of Tchaikovsky’s greatest compositions for there is a somewhat of beauty in the melancholy tones of the
The song starts out slow and peaceful, then it gains an urgency which almost feels like Romeo begging Tybalt not to fight. Then, there’s an influx of minor notes that scream suspense and insinuate a fight. Suddenly, a french horn enters sharply which emulates the high stakes of a sword fight. There’s a crescendo that ends abruptly and I can see Romeo’s sword impaling Tybalt’s chest. The song then ends on an open note, leaving us to deal with the weight of what Romeo's done and wondering what he will do
The gentleness of these sounds emphasize the focus of the loving relationship between the father and the son, as the father is willing to make an ultimate sacrifice-- protecting his son, but at the same time being hit with all of the difficulties in life. As well as emphasizing that point, the letter “S” mimics the sound of rain falling, further intensifying the image and somber mood. However, in the latter stanzas, the sounds used are more harsh, such as the “d”, “g”, and “r” in “if we’re not willing to do what he’s doing/with one another”. The sounds emphasize the way the mood makes a sudden turn to the serious, connecting to the overall theme of being kind to others. Nye uses the harshness of those consonant sounds to draw a reader’s attention to the message of being kind, effectively conveying the seriousness the need for kindness is.
This scene I chose to analyze was when Kristofferson first arrives to visit the family of foxes. The scene opens up with him appearing with his suitcase and a map in hand. This part of the scene is accompanied by “Kristorfferson’s Theme.” His theme is made up of xylophones, mandolin, banjo, record and other small instruments. Todd Martens wrote, “…[Alexandre]
Music in the film forshadows the trajic ending. The fast paced instuments, random violin strings and high pitched screeching shows the overpowering enviornment and unvails Jack’s inner madness.
The trombones, however, are abruptly interrupted by the string and percussion instruments, in which are louder (forte) and more passionate. The startling contrast between the trombones and the string and percussion instruments created a sense of disruption and uncertainty, while still returning to a slightly stable mood. Furthermore, the string and percussion instruments were followed by two more breaks and increases in tempo and pitch until the performance resigned back to its original, pleasant, melody of the trombones. Amidst a short break, the melody interchanged between becoming louder (crescendo) and softer (piano), but, despite the exposition’s aggressive abruptness, the general mood transitioned into a sense of longing and optimism, which shaped the developmental section of the overture’s Sonata form. Furthermore, softer (piano) parts of the developmental stage consisted primarily of wind instruments which permitted a wistful sound, thus alluding to a sense of passive longing.
The piece is a formed through theme and variation, and throughout the piece they key changes between minor and major keys. Variation one consists of the woodwind family, where the violin, harp, and triangle were added in during the solo. The first variation was peaceful, and reminded me of the forrest. The flutes and piccolos sounded like singing birds in the forrest, while violin had a way of smoothing the variation out. The transition to the second variation was very subtle and gentle.
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
