the rhythm of the first two measures from the Concertino. Two measures after
rehearsal  in the Concertino, the melody contains a rhythm similar to that of
Example 9b, shown in Example 10b.
Festival Overture also shows a rhythm that is similar, but not
Shostakovich: the music of The New Babylon was the opening page in the biography
of Soviet film music.19 About The New Babylon, Egorova writes, First, according
to the film makers [Kozintsev and Trauberg] idea, music should not just illustrate of
events, only Hamlet, King Lear, The Unforgettable Year 1919, and two animated
shorts are given any mention by Shostakovich.13 It should be noted here that
Testimony is not reliable because of its questionable authenticity. Testimony is the
practical experience with cinema, particularly with improvising music to suit the
mood or tone of the on-screen action. These experiences would prove invaluable to
his later scoring efforts. In Egorovas words, All of this helped him acquire
Shostakovich used his improvisations during all of his cinema jobs as a way to
test out new ideas. One such experiment did not go very well. Laurel Fay writes:
One evening, while illustrating the evocatively titled Swamp and
Water Birds of Sweden, he was
The history of Shakespeare films spans from the earliest days of cinema to the
present day. Within this film genre, Kozintsevs two Shakespeare films hold an
important place. Although several different Hamlet films have been made,
Chapter Three Shostakovich Film Music Background and
Early Experiences With the Cinema
Shostakovich was introduced to the musical aspects of the cinema early in his
compositional career. He was not a wealthy individual, and had to accept
stoic endurance and the nature of reality as the trappings of civilization are stripped
Kozintsev, once again, used Pasternaks translation of the play, but this time,
used no additional text. The only words spoken in the film come directly from
and of his own identity. 113 At the conclusion of the film, the peasants rebuild the
kingdom. There is no dialogue, only sound effects, music, and various shots showing
the expressions of Edgar and others. The End Titles appear on screen before the
new score, and his harmonic language had changed so much in that time period that
his play music was not necessarily representative of his style. Shostakovich may
have outgrown his earlier music for the play, and did not need to recycle it into the
shown floating face up in the lake, it is sadness that overwhelms the audience, not her
spiritual and physical release.
Kozintsev viewed this film as elevating the human spirit rather than
diminishing it. 105 He wanted to show how Hamlet, a thinking man,
Kurosawa never made pure Shakespeare adaptations, but adapted the
situations and major plot lines from the plays and reinterpreted them through his own
experiences and interests. Rothwell writes, Kurosawas tour de force has been to
use Shakespeares Anglop
thirteen essays, respectively. However, none of these twenty-four essays speak
directly to the film music of Shostakovich. The third book attempts to prove that
Testimony is fact, not fiction, and fails to introduce film music entirely. In
Hamlet and King Lear. The music for The Gadfly is not given as much discussion as
these films for two reasons. First, the music in the film was not of the same
importance to the history of Soviet cinema as the aforementioned films, and second,
the music i
historian for the DSCH Journal in England. In his summary, Riley echoes the lack of
work done with Shostakovichs film music when he writes, Past studies of
Shostakovich have relegated his film work to passing mentions and brief footnotes;
many times there
This motive serves a dual function in the film; it represents the character of the
Gadfly, but it also represents Italys hatred for the occupying Austrians, so the motive
is actually introduced before the character of the Gadfly in the film.
There are multiple examples of this within the film score, but two instances
stand out. The first is the cue entitled Youth, cue number 3. The first phrase of the
melody, played by the solo violin, is shown in Example 5.
The only chromatic pitch is F-shar
In all four movements, the voicing is the same: the first violin moves from ^ to ^, the
second violin remains on ^, the viola moves from ^ to ^, and the cello, which has the
bass motion, moves from ^ to ^, through chromatic neighbor tones. This
increasingly brutal repetition of a martial-like theme, which is heard no fewer than
twelve times.33 Roy Blokker calls this theme, one of the most notorious and
slandered passages in twentieth-century musica theme which is to remain for no
fewer than 280
In the first half of the example, the chromatic notes are used as neighbor tones.
However, once the B-flat is introduced, the music can be briefly analyzed in E-flat
major until the B-natural returns at the conclusion of the phrase. Even in the E-flat
techno), utilizing both popular song and electronic score, but in the real world, the
non-diegetic music is usually scored orchestrally. The dichotomy of the two
worlds is shown by the different styles of music assigned to each.
During this period in Shos
downward motion at the beginning of the phrase and then return to the starting pitch;
both melodies appear to be rolling up and down the staff.
In the Sixth Quartet, op. 101, the melodies of the outer movements are clearly
defined in the key of G major, a
The First Echelon), two are song cycles (Five Romances on Verses of Yevgeni
Dolmatovsky, Spanish Songs), and the other four pieces are mentioned above. The
music and topics of the song cycles also reflect the lighter mood during this period in
Tchaikovsky obviously built on the foundation created by Glinka. From these
sources, the Tchaikovsky tradition influenced Shostakovich when he composed the
music for the film. Having a predecessor and fellow countryman who was deeply
ingrained in the styl
Tchaikovskys orchestration, passages of rapid sixteenth and eighth notes, and a
clarity of harmonic function, but somewhat classical, not romantic, in style.
Ottaways assessment of the Tchaikovsky influence is correct. MacDonald is also
aware of the Tchai
voices that called for the liberalization of art and artists. Vladimir Pomerantsev, in
the magazine New World, suggested that truth should be measured by ordinary,
rather than ideal standards.26 Through the public outcries for the relaxation of
supplied incidental music for the Lear production, and also wrote music for the first
stage adaptation of Kozintsevs Hamlet in 1932; his film scores were not based on the
incidental stage music. 100 In addition to his knowledge of the plays, Kozintsev had
between Othello and Iago, good and evil; for Yutkevich, there was no middle ground.
The film won the Best Direction award at the 1956 Cannes Film Festival, the
committee clearly defining direction in a visual rather than a dramatic sense. 97 The
Mapping Community Access at Art Museum
Students are mostly either coming from or going to class in this location.
There is a good moderate flow of traffic including cars and buses. Cars are not
backed up unless stopped at the red
FYOS The Supernatural Orchestra
3 December 2013
Rimsky-Korsakovs Christmas Eve and the Supernatural
Nikolai Rimsky-Korsakov was a Russian composer that lived from 1844-1908. In
the later years of his composing career, he wrote more tha
FYOS 1001: Alternative Energy and Sustainability
UGA Central Steam Plant Visit
Date Attended: 8/31/16
Date Event report submitted: 10/19/16
How the event contributed to your learning:?
1) On heating days, I use more energy, because it takes more energy to heat my house than
to cool it.
2) I use natural gas and electric energy in my house.
3) Natural Gas uses the most energy in my house.
4) When the temperature was the highest, the energ