Overture to “William Tell” by Gioachino Rossini Essay Example for Free

Overture to â€Å"William Tell† by Gioachino Rossini Essay 1. Date: 2-3-13 2. Place: Pope Joy Hall 3. Name of ensemble(s) performing: Albuquerque Youth Symphony included string ensembles of the Violin, Viola, Cello, String Bass, and. The Woodwinds Ensemble included the Flute-Piccolo, Oboe, Clarinet, Bassoon; Brass Ensemble included the French horn, Trumpet, Trombone, and the Tuba. As well as the Percussion ensemble. As well as a Keyboard ensemble the Harp 3. Describe the concert venue and where you sat (i.e.: balcony): I took my twelve-year-old stepdaughter with me and we stood out side for about five minutes waiting in line to purchase tickets. Upon entering Pope Joy Hall, we were greeted by an information booth that was filled with flyers and pamphlets and programs to all different venues of art, from orchestras to plays. Lindsey asked me wide eyed; do all these things mean that this is what is showing or playing here? I looked at her and smiled and replied, yes this is Pope Joy Hall, UNM Center for the Arts and they have a variety of things going on all the time. We grabbed some information on what we would like to come and see and headed to the first theater on the left. We walked up to the entrance doors to the theater and were greeted by two very friendly greeters, who handed us our programs. Then, we entered the double doors and were greeted by an eager usher who politely guided us through hand and arm gestures to go down the left isle. Therefore, Lindsey and I sat together in the lower level on the left side middle end row seats. Once seated, I realized that this theater is set up like a small sized concert hall that would typically be set up for an indoor classical music venue. It was very nice and cozy every one was dressed casual to semi-formal and Lindsey was in awe, she had never experienced anything like this before. 4. Were there any spoken remarks about the concert? Yes? No?: Yes If yes, describe generally, what was said: They started with announcements by that first welcomed everyone to the Albuquerque Youth Symphony, and to state that they are audio and video recording the event and we can if we haven’t already signed up for a copy, we can still do so out side the double doors during intermission or after the concert. Then they went over the program pointing out the fundraiser and the new solar panels that are going to be installed in the near future. Thirdly, they made an announcement about a very special Concertos’ Cellist Kayla Mathes, and announced that she was chosen to be a part of the National Youth Orchestra, in New York this summer and touring to Moscow and London with the group. Lastly, they went over the sponsors and then introduced the symphony. 5. Which genres of music were performed? i.e.: symphony, concerto etc.: The Albuquerque Youth Symphony performed an Overture to â€Å"William Tell† by Gioachino Rossini (1792-1868), Triumphal March from â€Å"Aida† by Guiseppe Verdi (1813-1901), Prelude and Liebestod from â€Å"Tristan and Isolde† by Richard Wagner (1813-1883) as well as the Concerto for Violoncello and orchestra in E minor by Edward Elgar (1857-1934). 6. Were any of the works programmatic (music with literary or pictorial? Associations)? Yes No: Yes. If yes, which compositions were programmatic? : Overture to â€Å"William Tell† by Gioachino Rossini a beautifully written piece of music especially of considerable size and complexity. As well as, the Concerto for Violoncello and orchestra in E minor by Edward Elgar, which was filled with raw emotion. 7. Choose two complete works from the program and fill in the blanks: Composition #1: Name of Composer: Gioachino Rossini (1792-1868) Composition Title: Overture to â€Å"William Tell† Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Historical Era of Work: Rossinis’ Overture to â€Å"William Tell† is a mixture of baroque from (1600-1750) classical from (1750-1820) and romantic from (1820-1900). Choose from: Medieval pre-1450, Renaissance – 1450-1600, Baroque 1600-1750, Classical 1750 – 1820, Romantic 1820 – 1900, 20th Century 1901 – 2000, 21st Century 2001 Present Name any solo voice or featured instruments: None Composition #2: Name of Composer: Edward Elgar (1857-1934). Composition Title: Concerto for Violoncello and orchestra in E minor. Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Allegro Historical Era of Work (see description above): Romantic from 1820-1900 and 20th Century from 1901-2000. Name any featured (solo) instruments or vocalists: Kala Mathes solo Cellist. In the space below legibly write a brief narrative summarizing the two pieces listed above. If you prefer, you may attach a typed summary to this page. Choose among these items to discuss: Describe mode, meter, tempo, dynamics, texture. Was the music more consonant or dissonant? Did it have frequent accents, syncopation or modulation? Did the melodies move more in conjunct or disjunct motion? Was there a voice or instrument timbre that affected you emotionally? Rossini’s overture starts with a dawdling introduction and spry melodies invariably leads to an immense crescendo passage, in which Rossini replicates a motif several times, adding instruments and volume with each repetition. Then out of the stillness, a single cello rises sorrowfully from a low E along an arpeggiated cord through an E-minor chord to a high B, 2 ½ octaves higher, while the other cellos lend their harmony in E-minor. Slowly the first cello leads us toward a brighter atmosphere of E-major. Then adds a few pizzicato beats to lend influence and a fragile yet graceful rhythmic emphasis. While adding an overlap of a new, whirling motif by the violas and second violins, as they ask the question and it is answered with three detached chords from the piccolo, flute and oboes. As the tempo hastens the storm begins. I can hear and see the fickleness of falling rain in my mind and through syncopating the raindrops, it drops off the driving beat of the pizzicato double basses. I can feel the harmony as it darkens, mystifying, drawing me back to the ever so moody E-minor. With a monumental arrival of gestures from the violins and woodwinds, the storm unleashes its wrath over rolling the timpani’s, pounding bass drum and a fortissimo piece from the brass chords. Then the descending motif asks in a desolate torrent, that is answered by an equally and majestically ascending motif of the double basses, bassoons and trombones. The climax of cymbals cascading among the whirlwind motif of the flute, piccolo and violins leads into a beautiful breath taking G-major. This then overlaps with the trumpets blaring in E-major with the joining of horns and drums that hold on to a resonant B-major chord that resounded into a galloping anapestic rhythm. This unleashes the contrasting middle section in C-sharp minor that is dominated by a presto line for the strings and woodwinds. Then we find ourselves back to a galloping anapestic measure in E-major that again builds the excitement into the release of the finale. When the hair on my arms were raised, eyes were tear filled, knowing the story behind the music, the life of two brothers who never knew each other, met only once. As one bows down to the other in realization that the other is worthy of praise, honor and recognition, then honors him with an inspiring piece that succeeds to top the ending in triumph. Edward Elgars’ Concerto for Violoncello and orchestra in E minor was alive as it unfolded as an enthusiastically structured, requiem-like a constant outpouring of deep undiluted emotions. The opening of this piece begins with a characteristic of decently and nobly designing the score, is a flourish for the soloist Kala Mathes, and recurs throughout the concerto. The unmistakable main melody-at once was reflective, inspirational, beautiful, and transcendent emerged almost immediately with the violas, before Kala began to play the Cello. Throughout the piece of the movement the theme winds its way through various keys, A, C, G and E minor, while the secondary thematic notes emerge from the clarinets. Then Kalas’ opening flourished as it transformed into a pizzicato passage that appeared in staccato semiquavers. Then in the key of b flat, the Adagio seemed to make time stand still as the beautiful melodious musical lines sang its music of undeniable heartbreak. The symphony at this point was reduced to strings, clarinets, bassoons, and horns as Kala weaved in and out of the symphony fabric in an ever so eloquent song without words, this is where I had goose bumps all over, tears rolling down my face, the power and emotions were overwhelming, for even Lindsey was even crying. The finale nestled back into E minor and had a rondo-like feel to its main theme that echoed the opening. However, nothing could hide the fact that the core of the concerto as a whole is a disposition of acceptance, forbearance and finality. The Albuquerque Youth Symphony played with such passion; it was as if each person and their instrument were one moving in perfect harmony, rhyme, rhythm, body, mind, and spirit. One fluid entity or deity that entranced anyone within ear shot. It was beauty and serenity that was tremendously unbelievable.

Sharpie Brand Report Essay -- Business Analysis

Sharpie has been putting its mark on society as well as a variety of other surfaces since its inception in 1964. Today, Sharpie is the most popular choice of permanent marker in the world, available in over 20 countries. In the recent digital age, Sharpie was predicted to struggle as physical printing methods fell out of favor in exchange for keyboards and touch screens. However, parent company Newell Rubbermaid has taken some creative and unique marketing approaches to keep the Sharpie brand as a household name. New advertising methods, as well as embracing social media outlets such as Facebook have led to Sharpie becoming more popular than ever. Sharpie’s media purchases over the last decade have been very interaction oriented. Since 2009 Sharpie has shifted a large amount of their advertising attention to social media outlets, as well as many other non-media connectors. Sharpie has been getting up close and in touch with its consumers for most of the last decade, using professional athletes from various sports to promote their brand. While working with Paragon Marketing Group Sharpie sponsored the Sharpie 500 from 2001 to 2009. The Sharpie 500 was one of the most popular races on the NASCAR circuit. Sharpie was also the main sponsor of Kurt Busch and his No. 97 Ford from 2001 to 2006. Busch had a highly successful career whilst driving for Sharpie, even winning the first ever NASCAR Nextel Cup Championship in 2004. The exposure paid off according to Paragon, as Sharpie’s sales increased a minimum of 15% per annum. Sharpie also tried their hand on the links with the Sharpie Mini Tour. Working with the Professional Golfers Association, Sharpie held a nationwide, four event putting competition giving one fan a chance to play ... ...e 25 June 2009. Web. . Neff, Jack. "Think Ink Is Dead? Sharpie's Success Is Writing on the Wall: New Video Ads, Strong Facebook Presence Prove the Pen Is Still Mighty in the Digital Age." AdvertisingAge. ProQuest Research Library. Web. 17 Apr. 2012. Paragon Marketing Group "Sharpie 500." Paragon Marketing Group, LLC. 27 Aug. 2005. Web. 04 May 2012. . Sharpie Press Release. "Sharpie ® Mini Tour Swings Into Chicagoland For Cialis ® Western Open." www.sharpie.com. Newell Rubbermaid, 29 June 2005. Web. 04 May 2012. . "Sharpie :: Stained Brand Invention." Tris3ct. Web. 04 May 2012. .

Chivalry among men in the novel The Three Musketeers by Alexandre Dumas

The element of chivalry overshadows everything else in Alexandre Dumas's historical romance, The Three Musketeers. The work was set against the background of King Louis VIII's France. It was a time of intrigue, treachery and machinations in high places, an atmosphere in which you could hardly distinguish friend from foe. It was at this juncture that D'Artagnan, the principal character arrives in Paris.When he sets out to seek his fortune in the famed city, as any young man did in those times and still does to some extent, he was armed with only the three things that were given to him by his aging father:They were, a horse as aging as his progenitor, fifteen crowns and a letter of introduction to Monsieur de Treville, captain of the musketeers, the personal guards of the French king. And there follows a story so packed with events that it leaves the readers spellbound.To many, the idea of chivalry seem frivolous, naà ¯ve and very much in vain. It is like taking romanticism to an illo gical conclusion. You have only got to read Don Quixote to remind yourself of this fact. But one comes to the conclusion that there is a flip side to it after all, after reading the swashbuckling heroics of the protagonist and his bosom pals.Although some of their exploits seem somewhat comic and incredulous, the way they were committed endears them to our hearts with the sheer buoyancy, exuberance and spontaneity of those acts. It takes one right back to childhood, when one indulged in the fantasies peculiar to the period, thereby filling us with nostalgia and even dà ©jà   vu.Here, the protagonist also â€Å"Seeks great stature of character by holding to the virtues and duties of a knight, realizing that though the ideals cannot be reached, the quality of striving towards them ennobles the spirit, growing the character from dust towards the heavens.Nobility also has the tendency to influence others, offering a compelling example of what can be done in the service of rightness.à ¢â‚¬  (Price, Brian R. 1997).So the aforementioned negative qualities of chivalry do not in any way detract from the story in the least as we find the protagonist move forward in his onward momentum, in the most chivalrous manner, â€Å"packed with events and exciting dramatic encounters.† (Dumas, Alexandre).For this, indeed, is a story packed with events with the spirit of chivalry leading it ever forward. And watching D’Artagnan move from adventure to mayhem, one is filled with an overwhelming sense of admiration for the perpetrator of all those hair-raising episodes.And before long one is convinced of the fact that the idea of chivalry is not so frivolous and foolish after all, as seemed at first. Although at times it sounds childishly romantic, it has its high points of idealism, even if it is romantic in nature and so not everybody’s cup of tea.For D’Artagnan does follow the kind of chivalry in its original connotations. At every step, he is ‘ guided by the ideals of chivalry, a moral code that has its origins in medieval knighthood.’ (Dumas, Alexandre).And we sit glued to our seats as if are watching an action packed movie. He exhibits almost all the qualities considered necessary by a typical chivalrous person. First and foremost he is guided by the quality of prowess.In every action ‘he seeks excellence in all endeavors he goes through, martial or otherwise. Like a true knight he does not use his strength for personal glory but uses to serve the cause of justice.' (Price, Brian R. 1997).He is also fiercely loyal to the cause and the people whom he seeks to serve. In the novel, he is loyal to his friends, his country and his amour Madame Bonacieux. And like a true knight he fights the forces of evil with all his strength. Thus he battles the villain Cardinal Richelieu and his guards. Yet he has the time to answer the calls of love from the beautiful and enigmatic Madame Bonacieux.His cronies were Athos, Por thos and Aramis. They were with him in all his adventures and escapades throughout the narrative. Strangely enough, they became friends by fighting duels with D’Artagnan on the one hand and the others one after another, on the other.These encounters came to an end when they were confronted by the arch villain Cardinal Richelieu’s guards who, at that juncture and then onwards, became their common enemy. And their common exploits under the leadership of D’Artagnan also became tinted with the codes of chivalry then prevalent throughout the length and breadth of Europe.Another chivalric code of conduct is to fight for justice ‘unencumbered by bias or personal interest.’ ((Price, Brian R. 1997). Accordingly, the four friends wielded the sword in cause of justice while at the same time practicing the fine qualities of mercy and humanity. They fought against the evil Cardinal whose machinations had filled the French court with intrigue, treachery and viole nce.The chivalric code of defense, demands that D’Artagnan and company also should defend their liege lord, in this case the king of France. But here there is a deviation and object the D’Artagnan’s fealty falls on the queen instead of the king by a quirk of circumstance. ‘The Musketeers join forces to protect the honor of the Queen, to help her conceal her affair with Buckingham, and to help her to arrange meetings with him.This may seem like a relatively trivial matter to most modern readers when compared to the urgencies of the political situation of the time, but according to the code of chivalry and honor that the Musketeers believe in, fostering true love is of the highest importance.’In this work the hero achieves his goals through pride honor and determination. A true gallant always defends his honor whatever be the cost of doing so. For this he is ready to die if necessary.

Criminal Psychology, And Forensic Psychology - 1490 Words

Abstract As there are many different areas to study in the field of psychology, however, this assignment focuses only on criminal psychology. The research provided is a description of what is required to become a criminal psychologist; the information includes an in-depth look into â€Å"what a criminal psychologist is†. Types of educational and training background are required, such as what degrees are needed. The use of different assessment and intervention methods and what types of cases a criminal psychologist handles. Their work environment and how there is a broad range of locations for employment opportunities. Also, the types of professional issues are related to being a criminal psychologist. Profession of Interest Paper: Criminal Psychology The profession I chose as my interest is Criminal Psychology, which has also been called, Law Psychology, and Forensic Psychology. The reason I have chosen this specific field is because I have always found it to be fascinating, but also because of certain events that have taken place in my life from an early age. I know this career path is not an easy one, and a lot of the details have been glorified in TV shows, but the general idea of combing my knowledge in Psychology and Criminal Justice opens many doors in my future. My research will provide information into what it takes to become a criminal psychologist. My findings will include their job description and training requirements that are needed. InformationShow MoreRelatedCriminal Profiling, Criminal, And Forensic Psychology1226 Words   |  5 PagesCriminal profiling is another subject of criminal and forensic psychology, which is probably one of the oldest studies of forensic science. 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