Fall Dance Concert Review Art Essay

Fall Dance Concert Review Art Essay The performance that was observed was not lively as evidenced by the various features. The performance did not make most of the people in the audience to scream. Even the crowd was not cheerful as the performance went on and it showed that the crowd was not moved by the performance. However the dancers looked organized from the way they were entering the stage. I expected a more lively performance that could ignite the audience from the beginning to the end. Push /pull This piece had both men and women with different costumes that also differentiated them. The dance had a total of five dancers and they were dancing to some sort of soul music beats. The music lacked vocals. The stage was brightly lit such that the movement of each dancer could be noticed easily. The color of the costumes could easily be differentiated. The dancers had good costumes with the men having blue trousers and black tops. This made a common costume for the two gentlemen. The ladies costumes were not similar as in the case of the men. They wore shorts of different colors one with white and the other two with black .The ladies top costumes were sleeveless and off different colors for instance yellow light blue and violet. The theme that ran throughout the dance was acrobatic in outlook or some dance competition. From the type of song that was chosen to the costumes and the movements, the dancers express some sort of acrobatic presentation that can entertain the audience. This is a typical dance for music and drama festival events where the dancers are competing against other participants. This has been articulated by the nature of their costumes and the coordinated moves that were being made by the male and female dancers. Such a dance can be compared to the TV show dances that bring out talents in dancing. Movement such as the downward spin has become very common amongst the young dancers. The costume is also typical of the mode of dressing that has characterized TV competition dances. The movements of the dances were unique and uniformed. Both the men and women were making similar movements with their bodies. The up movements with legs apart was very common followed by the downward spins that were well executed by both men and women dancers. From my evaluation, the dance was well executed and the dancers had mastered their movements. They were all going with the same rhythm during the dance. The costumes of the ladies however could have been matched in a better way. As evidenced in the dance, their movements are an illustration of common choreographic movements that have become common in competitions today. Incline The dance had a total of ten dancers who participated in pairs of two. The stage was not lit well and it was difficult to see the faces of the dancers but their movements could be seen. The costumes of the dance were characterized with official wear consisting of shirts and long trousers for the male dancers. The color was dominated by black and white. There was no uniform color in the costumes of the dancers. This was of a formal dance with invited guest. There were different shades of color both in the male and female costume. The lady dancers were dressed in red and white dresses with a wide conical base. The dancers were responding to the classical music that was being enjoyed by most of them. The dance was rather slow and smooth with the male dances holding the female dancers and turning them round. The theme that dominates the entire dance is that of partying or some sort of celebration. This has been depicted by the nature of their costumes. The dancers seemed to be in a party ing mood. For instance this is typical of marriage celebration dances with partners holding each other and turning around to the slow and smooth music from the background. The movements that were being made by the dancers were not coordinated as in the case of competition dancers. Particularly, the male dancers seemed to be relaxed and did not make much movement without the lady dancers. At some instances the male dancer was observed holding the female ones suspended in the air. This is a very common style of dancing for party dances and has featured in the dance. Such a style has been observed quite often in the TV and in movies. Mostly in the soap operas, the dancing style is common during party and celebration scenes. In my evaluation I can point out that the dance was well executed. The movements of the dancers seemed to be right although the male dancers were almost appearing stationary. Most of the movements are done by the lady dancers. The costume was ok considering that the dance might not be for competition but rather for religious or other celebration. Even though the dancers were not consistently in the rhythm of the classical music, they have depicted good movements such as the rotations that make the dance livelier. The dance was simple and can even be perfumed by the older people. However what can be looked into in the costumes in the color choice that seemed not to be reflecting consistency especially with one dancer in red and others in white and black costumes. Overall I did not enjoy the dance to the fullest, though it was a bit entertaining with some of the unique movements depicted. The music played was not my favorite hence it determined my attitude towards the dance. This is definitely not what I expected in the concert because I did not witness the dancers swing to my favorite tunes. To make it worse, in the first dance, there were just beats only and no vocals. The concert is a reflection of what has been covered in the lectures specifically on the part of costumes, music and the theme. From the lectures it has been possible to make an interpretation about the themes that are portrayed by the two dances in the concert.

Intolerance from The Crucible Essay

Ayn Rand once said â€Å"A single lie destroys a whole reputation of integrity. It means that a lie sadly has enough power to cause corruption in a society. It also suggests that a lie perhaps be strong enough to destroy even a high ranking person from a society. If you tolerate lies dominating people around you, you’ll eventually be a victim of them. Two literature works that explain this quote are Author Miller’s play, The Crucible, which takes place in a Puritan town named Salem in the state of Massachusetts during the year of 1692. The Crucible shows how intolerance corrupts the town. And Maurice Ogden’s Poem, â€Å"The Hangman,† which takes place in an unnamed town. â€Å"The Hangman† shows how the ignorance of the townsfolk gives a pathway to the Hangman which enabled to execute every single one of the townsfolk on his gallows-tree. Meanwhile intolerance also takes place in â€Å"The Hangman† which makes the Hangman has no mercy for people who questioning him. Both literatures works The Crucible and â€Å"The Hangman† have Intolerance as one of the main themes in common. Intolerance takes place in â€Å"The Hangman†. The Hangman gives the townsfolk a severe test, which is the hang trial and see how the townsfolk will address it. The Hangman nervously arrives in the reader’s unnamed town, and built his frame. The town folks are wondering who the criminal is and what the crimes are. On the very first day he hanged a man who came from another land. The townsfolk who gathered in the courthouse square, leaves without saying anything because they don’t care for the foreigner. The townsfolk believed that the frame would be gone by the next day, but it didn’t because they neglected the first hanging. Now the Hangman doesn’t even bother to do so, because the townsfolk showed him they don’t really care. For the reason of that, the townsfolk become such easy targets for the hangman, because of his intolerant attitude. And we wondered, whenever we had the time, Who the criminal, what the crime That the Hangman judged with the yellow twist of knotted hemp in his busy fist. And he stepped down, and laid his hand on a man who came from another land. And we breathed again, for another’s grief At the Hangman’s hand was our relief Maurice Ogden Later on The Hangman executed an infidel Jew, then a dark skin one, both lived in the town. The Hangman’s intolerant personality combined with the townsfolk ignorance lead the hangman to executing the townsfolk in a large amount, which happens clearly because of ignorance. Those who wander why were hanged. This causes the town’s residents to become fearful. Then more and more were hanging. Finally even the speaker of the poem was hanged because of his ignorant personality. This means anyone who neglect either a party or someone dominate them will eventually suffer of it. The presence of intolerance in â€Å"The Hangman† is something that the town’s resident should be motivated to take away from the Hangman, unfortunately they was unable to do that cause of their fears and the Hangman’s intolerant test. â€Å"Dead!† I answered, and amiably â€Å"Murdered,† the Hangman corrected me. â€Å"First the alien then the Jew. I did no more than you let me do.† Beneath the beam that blocked the sky none before stood so alone as I. The Hangman then strapped me†¦with no voice there to cry â€Å"Stay!† for me in the empty square. Maurice Ogden Intolerance takes place in The Crucible It all began with a Negro slave named Tituba, combined with a group of daft girls goes dancing in the forest. In a Puritan town, anything that’s look unfamiliar to the Bible consider as something against it. While dancing in the forest, the girls ironically caught, by the town’s minister, Reverend Parris. On the following morning both Parris’s and the Putnam’s daughter were unable to wake up. The Villagers gathers at the minister’s house and quickly witchcraft rumor invade the town. Abigail what was a part of the girls dancing and who is Parris’s niece, warns the others girls to not to admit what they were doing in the forest. She even menace them she could kill them if they do so. Parris is paranoid; he believes that his congregation should not lift a finger without his permission when church is in motion. He thinks of nothing to do but to put his slave under pressure, because he think that Totuba might do witchcraft on his daughter, Tituba says to Parris â€Å"My Betty be hearty soon.† (Miller 8) This quotation shows that Intolerance has taken place in The Crucible Because Parris is don’t want his daughter to die, questioning and punishing Tituba is a good way to be aware of what actually happened in the forest. Another way in which intolerance has taken place in The Crucible is when Tituba fearfully accuses several town folks of reading the devil book. Abigail joins her revealing that she has seen many women with the devil. Betty and the other girls joining them as well, and they start pointing their finger on people. Abigail says â€Å"I want to open myself. I want the light of God, I want the sweet love of Jesus! I kiss his hand. I saw Good with the Devil! I saw Goody Osborn with the devil! I saw Bishop with the Devil.† (Miller 48) This quotation tells that she is showing the villagers that she want to be a better Puritan, she want to show the authorities that she is not a witch indeed she is. All of her accusers were hanged by the end of the story, Except Sarah Good who confessed right away. The fact that they hanged the accusers shows zero tolerance for witchcraft, they hanged the accusers because a puritan society does not tolerate witchcraft and that morality is obviously tradi tional. Another way in which intolerance has taking place in The Crucible is when Abigail who had an affair with John Proctor profits the witch trial occasion to accuse John’s wife of witchcraft so she could win it all. When Elizabeth name had been called in court john reveal that He had an affair with Abigail to test John’s claim judge Danforth approached Elizabeth and ask her if Proctor had been unfaithful to her, she lies to Proctor’s honor and judge Danforth denounces Proctor as a liar. Abigail herself forced Proctor’s servant to accuse him of being a witch, and she who is already afraid of her does so. Proctor says to Mary Warren â€Å"Do that which is good and, no harm shall come to thee.†(Miller 95) This quotation shows how Proctor is praying his servant to tell the truth; although she has great conscious she doesn’t do so because she is afraid that Abigail can attack her in her sleep. Proctor is rages not only against the court but also her, and now proctor is arrested. This suggest intolerance because, if intolerance wasn’t present they would have listen to Proctor’s argument too which have great integrity in the town, but because of intolerance they’ll hang him as any other accusers if he do not confess of witchcraft. In brief, both the poem, and the play speaks of intolerance, although â€Å"The Hangman† is mostly based on ignorance. It’s clearly has shown by the beginning of the poem that the townsfolk shows that they would not tolerate the Hangman to kill anybody in the town, but furthermore they ignore the Hangman, which they shouldn’t do because the greatest ignorance is to reject something you don’t know. They play, The Crucible shows that Salem won’t corrupt if there was tolerance, unfortunately it does, and later on the Judges discovered that they weren’t doing the correct thing but it was way too late due to the number on people died.

Attention deficit hyperactivity disorder is an anxiety...

Attention deficit hyperactivity disorder is an anxiety disorder that affects the behavior of many people. ADHD symptoms such as impulsiveness and inattentiveness may begin in childhood and continue into adulthood. Almost 60% of children who are diagnosed with ADHD remain with this symptom through adulthood. Interpreted into simpler terms, about eight million adults in the U.S. have this life-affecting indication throughout their lives (http://www.webmd.com/add-adhd/guide/adhd-adults). In order for someone to be considered ADHD, abnormal behaviors including lack of focus must last for at least six months in two environments or more. Attention deficit hyperactivity disorder is not just another condition that can be looked down upon, but†¦show more content†¦By year eight socioeconomic status and family structure were the only predictive variables for ADHD treatment. A separate study highlighted the influence that nonclinical factors such as family size may have in mediating th e use of pharmacologic therapies for children with ADHD. The most common stimulant medications are methylphenidate (Ritalin), dextroamphetamine (Dexedrine), and mixed amphetamine salts (Adderall). Atomoxetine (Strattera), guanfacine (Intuniv) and clonidine (Kapvay) are non-stimulant drugs approved for the treatment of ADHD. Other medications which may be prescribed off-label include certain antidepressants such as tricyclic antidepressants (Attention Deficit Hyperactivity Disorder). ADHD is best managed not just through medications but also with social interactions. ADHD is a symptom that can affect every one of all ages and genders, even people without this disorder. Although it may affect the person with ADHD much more severely than others, the people around him or her can be negatively affected as well. People with ADHD may be hated and ignored because of their disorder. In our world today, if one has a certain disorder, they will most likely be rejected from the rest of the crow d. This can lead to further troubles such as depression. ADHD is something that can annoy people in the surrounding environment. The negative correlations and effects ADHD brings along affects many people in multiple ways. Attention deficit hyperactivity disorder (ADHD)Show MoreRelatedAdhd And Comprehension Strategies For Students With Adhd5462 Words   |  22 Pages ADHD and Comprehension JVT2 Task 2 Jennifer Blake July 19, 2015 A Written Project Presented to the Faculty of the Teachers College of Western Governors University â€Æ' Abstract There is a need to provide effective comprehension support for students labeled with ADHD. ADHD students struggle with comprehension and there is limited research on comprehension strategies for these student. 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Essential Skills Of An Opera Singer - Free Essay Example

Sample details Pages: 18 Words: 5418 Downloads: 6 Date added: 2017/06/26 Category Statistics Essay Did you like this example? In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice (singing technique), musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: Don’t waste time! Our writers will create an original "Essential Skills Of An Opera Singer" essay for you Create order How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance? Evolving from the main research question, the following sub questions were formulated: What is a à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? within classical voice training methods? How can musicality contribute to an opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeÃÆ' «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesÃÆ' ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of à ¢Ã¢â€š ¬Ã…“A Good Voiceà ¢Ã¢â€š ¬?, à ¢Ã¢â€š ¬Ã…“Musicianshipà ¢Ã¢â€š ¬? and à ¢Ã¢â€š ¬Ã…“Acting Abilityà ¢Ã¢â€š ¬? in terms applicable to the Singer-Actorà ¢Ã¢â€š ¬Ã¢â€ž ¢s optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinià ¢Ã¢â€š ¬Ã¢â€ž ¢s Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? can be defined as the ability of the opera singer to project the voice in a way that ità ¢Ã¢â€š ¬Ã¢â€ž ¢s heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a à ¢Ã¢â€š ¬Ã…“classicalà ¢Ã¢â€š ¬? technique, a manner of singing that projects the voice over a large orchestra in a large theatreà ¢Ã¢â€š ¬?. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The à ¢Ã¢â€š ¬Ã…“self-amplified singing voiceà ¢Ã¢â€š ¬? as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word à ¢Ã¢â€š ¬Ã…“vibrationà ¢Ã¢â€š ¬? of the voice refers to à ¢Ã¢â€š ¬Ã…“The function of the vibrator is to set the column of still air in the throat and also that in the windpipe à ¢Ã¢â€š ¬Ã¢â‚¬Å" in vibrationà ¢Ã¢â€š ¬?. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function à ¢Ã¢â€š ¬Ã¢â‚¬Å" Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word à ¢Ã¢â€š ¬Ã…“resonanceà ¢Ã¢â€š ¬? can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voice. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) à ¢Ã¢â€š ¬Ã…“In popular usage, art or à ¢Ã¢â€š ¬Ã‹Å"seriousà ¢Ã¢â€š ¬Ã¢â€ž ¢ music as opposed à ¢Ã¢â€š ¬Ã‹Å"popularà ¢Ã¢â€š ¬Ã¢â€ž ¢ musicà ¢Ã¢â€š ¬? The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term à ¢Ã¢â€š ¬Ã…“voice boxà ¢Ã¢â€š ¬? of à ¢Ã¢â€š ¬Ã…“human sound boxà ¢Ã¢â€š ¬? as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singersà ¢Ã¢â€š ¬Ã¢â€ž ¢ studiesà ¢Ã¢â€š ¬? (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs donà ¢Ã¢â€š ¬Ã¢â€ž ¢t include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). SÃÆ' ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who donà ¢Ã¢â€š ¬Ã¢â€ž ¢t often claim to have discovered some long-lost piece of wisdom. This à ¢Ã¢â€š ¬Ã…“wisdomà ¢Ã¢â€š ¬? is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performerà ¢Ã¢â€š ¬Ã¢â€ž ¢s range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã…“ à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic.à ¢Ã¢â€š ¬? The fundamental tone of the human voice is the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? sound. According to Christy this sound should be considered the basic reference to vowel placing because the à ¢Ã¢â€š ¬Ã…“uhà ¢Ã¢â€š ¬? sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the à ¢Ã¢â€š ¬Ã…“uhà ¢Ã¢â€š ¬? sound as the à ¢Ã¢â€š ¬Ã…“primal soundà ¢Ã¢â€š ¬?: à ¢Ã¢â€š ¬Ã…“Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s first word, à ¢Ã¢â€š ¬Ã…“mamaà ¢Ã¢â€š ¬? [mÉâ„ ¢mÉâ„ ¢]. à ¢Ã¢â€š ¬Ã…“Mamaà ¢Ã¢â€š ¬? is the first word spoken by babies throughout the whole world. In Korea the word is à ¢Ã¢â€š ¬Ã…“amaà ¢Ã¢â€š ¬?, with the vowel preceding the consonant.à ¢Ã¢â€š ¬? (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? sound in a short repetitive sequence (as if laughing), or a long relaxed sustained à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? (like a sigh). He also suggests sliding the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voiceà ¢Ã¢â€š ¬Ã¢â€ž ¢s natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that à ¢Ã¢â€š ¬Ã…“they are pureà ¢Ã¢â€š ¬?. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these à ¢Ã¢â€š ¬Ã…“pureà ¢Ã¢â€š ¬? vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing à ¢Ã¢â€š ¬Ã…“sayà ¢Ã¢â€š ¬?, it becomes à ¢Ã¢â€š ¬Ã…“sayeeà ¢Ã¢â€š ¬? or à ¢Ã¢â€š ¬Ã…“kindà ¢Ã¢â€š ¬? becomes à ¢Ã¢â€š ¬Ã…“kieendà ¢Ã¢â€š ¬?. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the à ¢Ã¢â€š ¬Ã…“self-amplifiedà ¢Ã¢â€š ¬? singing voice. This is a voice produced with a à ¢Ã¢â€š ¬Ã…“classicalà ¢Ã¢â€š ¬? technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singersà ¢Ã¢â€š ¬Ã¢â€ž ¢ studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) à ¢Ã¢â€š ¬Ã…“Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) à ¢Ã¢â€š ¬Ã…“Musicianship is the science of music and interpretation à ¢Ã¢â€š ¬?. A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music à ¢Ã¢â€š ¬Ã¢â‚¬Å" all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composerà ¢Ã¢â€š ¬Ã¢â€ž ¢s interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, à ¢Ã¢â€š ¬Ã…“when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are.à ¢Ã¢â€š ¬? Thus, the keys mus t be studied by the singer in order to express and keep the interpretation on track. The two requirements for interpretation include the fidelity to the composerà ¢Ã¢â€š ¬Ã¢â€ž ¢s intent and that it must contain an essentially creative element of the interpreterà ¢Ã¢â€š ¬Ã¢â€ž ¢s own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way à ¢Ã¢â€š ¬Ã¢â‚¬Å" it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a personà ¢Ã¢â€š ¬Ã¢â€ž ¢s own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the à ¢Ã¢â€š ¬Ã…“acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career.à ¢Ã¢â€š ¬? Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that à ¢Ã¢â€š ¬Ã…“acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actorà ¢Ã¢â€š ¬? Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actorà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. à ¢Ã¢â€š ¬Ã…“When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortionsà ¢Ã¢â€š ¬? (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that à ¢Ã¢â€š ¬Ã…“the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishmentà ¢Ã¢â€š ¬? (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; à ¢Ã¢â€š ¬Ã…“but of their skill in acting there is hardly any mention to be found anywhereà ¢Ã¢â€š ¬? (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with à ¢Ã¢â€š ¬Ã…“ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actorà ¢Ã¢â€š ¬? (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and à ¢Ã¢â€š ¬Ã…“the surprising persistence of melodramatic effects and gestural overstatementà ¢Ã¢â€š ¬? (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition à ¢Ã¢â€š ¬Ã¢â‚¬Å" of gestural overstatement à ¢Ã¢â€š ¬Ã¢â‚¬Å" may be (erroneously) assumed to be the only à ¢Ã¢â€š ¬Ã…“actingà ¢Ã¢â€š ¬? required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, à ¢Ã¢â€š ¬Ã…“the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosenedà ¢Ã¢â€š ¬? (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDà ¢Ã¢â€š ¬Ã¢â€ž ¢s, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechtà ¢Ã¢â€š ¬Ã¢â€ž ¢s epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the à ¢Ã¢â€š ¬Ã…“additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitudeà ¢Ã¢â€š ¬? (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a Character Costumes Lighting Makeup Decor Lastly (though this last consideration is more often implied than stated), it demands an almost religious devotion on the part of an actor, based onà ¢Ã¢â€š ¬Ã‚ ¦ the power of truth in acting (Bandelj, 2003:393). Possible contributions of the study To illustrate that the acting training of an prospective opera singer is equally important as the voice training. The results of the study may also have an effect on the training of music students, specialising in singing at the North West University. The study may lead to the design and production of.. (brei uit) Owing to the lack of sufficient literature available on the topic this study may also lead to an increase in literature on the skills and requirements for the training of prospective opera singers Possible challenges The following possible challenges are predicted: The scientific field of research with regard to the topics of skills required for opera singers is very limited and the researcher has to rely on old sources of information. NWU vir goeie voice training, maar weens die feit dat hier nie à ¢Ã¢â€š ¬Ã‹Å"n dramadepartemente is nie, word hierdie belangrike aspek nie aangespreek nie. Min tyd vir praktiese toepassing in krusus omdat jy gedruk word om in onderwys te gaan. Nog uitbrei! Areas for Future Academic Focus and Research Is it that singing is simply another musical instrument in an orchestra dedicated to Opera; that is, similar to the lead violin but performing on stage? Perhaps this limited view has been influenced by music and opera schools through the preceding 200 years. If opera were not presented to an audience as theatre, would the issues of acting be seen only in the light of the performersà ¢Ã¢â€š ¬Ã¢â€ž ¢ technical skill? Is the music or voice the vehicle for the drama of the opera? The acting strategies used in opera acting can contemporary acting i.e. Stanislavsky and other Schools of acting, be used to build a model for opera acting? To discuss in depth how to train a Good voice and what the classical technique in different schools of teaching, i.e. German School and Italian Bel Canto School entails and to do a comparison. Concluding comments CHAPTER 5: Conclusion à ¢Ã¢â€š ¬Ã…“Opera singing is a multi-dimensional art form consisting of singing, acting, speaking and dancing. Before you start your studies, you have to be very aware that each of these facets of stage art is equally important. It is never enough to learn singing technique and hope that the rest will develop by itself. Knobel Steinert (2005: p21)à ¢Ã¢â€š ¬? à ¢Ã¢â€š ¬Ã…“From the first year onward, work on interpretation. A good singing technique is only the foundation for the profession. A successful opera singer must be a singing actor or actress. To be boring on stage is a deadly sin. Knobel Steinert (2005: p27)à ¢Ã¢â€š ¬?

Emily Bronte s Wuthering Heights - 1814 Words

Title: Wuthering Heights Author: Emily Brontà « Date of Publication: 1847 Genre: Gothic Romance / Fiction Biographical information about the author Emily Jane Brontà « (born 30 July, 1818 | Died December, 19, 1848) was born in Thorton. She was one of six Bronte children; she kept to herself usually and was unusually quiet. In 1835 she briefly attend Miss Wooler’s school at Roe Head. Around 1837 Emily taught at Law Hill School. In 1842 she and Charlotte studied in Brussels. Historical information about period of publication â€Å"February 22, 1847: U.S. troops commanded by General Zachary Taylor defeated a Mexican Army at the Battle of Buena Vista in the Mexican War.† â€Å"March 29, 1847: U.S. troops commanded by General Winfield Scott captured†¦show more content†¦The story is about a man named Heathcliff; it follows his life all the way to his death. Brontà « talks about his life in his adopted family where he flourished in it, then he end up going down the social class as he ends up as a servant. He decides to run away after overhearing the love of his life saying that she with never marry him and that she will marry another guy. Then he comes back in the later years, wealthy and educated, to start plotting revenge on the two families that he believed ruined his life. Describe the author’s style (tone, diction, narrative voice, sentence, paragraph, chapter structure) Brontà « has a dramatic tone as well as a lyrical style on every page throughout the novel. She writes all words with expression over nature. Brontà «Ã¢â‚¬â„¢s style changes from each point of view (Nelly and Lockwood). Examples that demonstrate style â€Å"I lingered round them, under the benign sky; watched the moths fluttering among the heath and hare-bells; listened to the soft wind breathing through the grass; and wondered how anyone could ever imagine unquiet slumbers, for the sleepers in that quiet earth (412).† â€Å"It was a

Night Creature Hunter’s Moon Chapter 3 Free Essays

string(143) " over hill and dale – the information is forwarded to Edward and he sends a Juger-Sucher to determine what needs to be done, then do it\." I winced and glanced around the clearing. † Shh,† I snapped. Her eyebrows lifted. We will write a custom essay sample on Night Creature: Hunter’s Moon Chapter 3 or any similar topic only for you Order Now â€Å"Who do you think’s going to hear me? The raccoons?† â€Å"There was a man – † I frowned. â€Å"Didn’t you see him?† â€Å"No. You were talking to yourself when I got here.† â€Å"I was not. There was a man.† I waved my hand. â€Å"He was wearing pants.† â€Å"Always a good choice.† â€Å"But nothing else.† â€Å"Even better. The last time I met a naked man in the forest it was the start of something big.† â€Å"He wasn’t naked. Completely.† The woman shrugged. â€Å"Too bad. Where’d he go?† â€Å"I don’t know.† â€Å"You’re sure there was a man?† Was I? Yes. Definitely. I hadn’t lost my mind since†¦ I’d found it the last time. â€Å"He said his name was Damien Fitzgerald. Don’t you know him?† â€Å"Can’t say that I do. But then Mandenauer and I just got here last week. From what you’re telling me, he sounds like a prime candidate for the fanged and furry club.† Finally I heard what she’d said, what she’d been saying. She knew about the Juger-Suchers, the werewolves, Edward. The guy I was supposed to train had just turned into a girl. â€Å"You’re†¦Ã¢â‚¬  â€Å"Jessie McQuade. And you must be Leigh, my trainer.† I scowled. We’d see about that. I could think of few things I’d like to do less than teach this spectacularly competent woman all my tricks. â€Å"You are Leigh,† she said. I grunted. She took that as a yes. â€Å"Mandenauer is waiting at my place. Follow me.† Without so much as a by-your-leave, she kicked apart the remnants of the fire and stomped on the cinders. Then she marched back in the direction I’d come. My gaze scanned the clearing, but there was no sign of the half-naked man. I even hurried to the place I’d last seen him and crouched in the leaves to examine the ground for a footprint. But the earth was hard and he’d been wearing†¦ hardly anything. A wolf howled near enough to make me jump, far enough away so that I followed Jessie at a walk instead of a run. I wasn’t going to let her, or them, know just how spooked I was. Had there been a man named Damien? Probably. Was he merely a man? Or had he been more? I might never know that for sure. Jessie’s place was an apartment located in a small complex adjacent to the sheriff’s office. I parked beside the squad car and followed her up the flight of stairs to the second floor. â€Å"Are you really a cop?† I asked. â€Å"Or is this just pretend?† â€Å"I’m a cop.† She didn’t elaborate and irritation flared again. Jessie got to do her chosen job while she saved the world. I got to pretend I was a warden and earn the scorn of every community. But I couldn’t exactly be a werewolf hunter and a kindergarten teacher. The very thought was ludicrous. The door sprang open before she could touch it, and a tall, emaciated silhouette spread across the hall floor. â€Å"Edward,† I murmured. Jessie cast me a quick, surprised glance, and I realized I’d said his name aloud in a delighted voice that didn’t belong to me. I couldn’t afford attachments, not even to him, so I straightened my shoulders, cleared my throat, and stuck out my hand. â€Å"Good to see you, sir.† â€Å"Jeez, why don’t you click your heels and salute,† Jessie muttered, pushing past him. Edward Mandenauer was as unlikely a leader of an elite monster-hunting unit as could be imagined. Cadaverous thin, he owned every one of his eighty-plus years. But he could still pull the trigger, and he’d killed more monsters than anyone, even me. I admired him. More than I would ever say. â€Å"Why did you not come directly to me, Leigh?† Edward stepped back so I could enter the apartment. â€Å"I’m here.† â€Å"You took a detour.† â€Å"How did you know?† I scowled. â€Å"How did she find me?† â€Å"Your car was abandoned in town. Jessie ran the license plate, then tracked you into the woods.† My interest was piqued. Tracking had never been my strong suit. I wasn’t patient enough. Jessie had to be very good to have found me as quickly as she had in the thickness of a forest that must be as strange to her as it was to me. â€Å"From the look of the bonfire,† Jessie tattled, â€Å"she’s already started blasting away.† â€Å"That’s my job,† I snapped. â€Å"This is my town.† â€Å"Girls, girls,† Mandenauer admonished. â€Å"Don’t call me a girl,† Jessie and I said at the same time. We glanced at each other, scowled, and turned away. Mandenauer sighed. â€Å"You need to work together. There is something odd happening in Crow Valley.† That got my attention. â€Å"Odder than werewolves?† â€Å"To be sure. Did you make note of the name of this fair city?† Crow Valley. I hadn’t thought about it. Stupid me. For reasons unknown to science, wolves allow crows to scavenge from their kills. Some naturalists believe that the birds fly ahead, locate suitable prey, then circle back and lead the wolves to it. In gratitude, or perhaps as payment for services rendered, the wolves don’t chase the crows off the corpses. Whether this is true or not is anyone’s guess. But the fact remains, where there are a lot of one, there are a lot of the other. Wolves feel at home around crows. Werewolves appear to as well. â€Å"The wolves in this area have always been abundant, but they increased in number recently.† â€Å"And you know this how?† He just gave me one of his stares. Edward knew everything. â€Å"When the sheriff in this town left – â€Å" â€Å"Left or was eaten?† â€Å"Not eaten. Not this time. The odd occurrences with the wolves disturbed him. He called the authorities with his tall tales, and I was notified. I convinced him to take a leave of absence, then gave Jessie his job.† You think there are a lot of conspiracies in the government? You don’t even know about the ones Edward is involved with. Any odd report – unexplained events, wolves run amok, monstrosities wandering over hill and dale – the information is forwarded to Edward and he sends a Juger-Sucher to determine what needs to be done, then do it. You read "Night Creature: Hunter’s Moon Chapter 3" in category "Essay examples" â€Å"What about Jessie’s other job?† I asked. â€Å"We had accomplished all we could in Miniwa. The wolves ran from there. We waited, but they did not return.† â€Å"What’s going on here?† He glanced at Jessie. â€Å"Tell her what we know.† Jessie hesitated, but in the end she shrugged and flopped onto the couch, gesturing me into a chair nearby. The apartment was sparsely but adequately furnished, as if she’d only brought the essentials. No pictures on the walls, no knickknacks on the tables, though Jessie hardly seemed the knickknack type. Instead, every spare surface was covered with books, papers, notebooks. She didn’t seem the studious type, either, but then what did I know? â€Å"Werewolves are being killed in Crow Valley,† she began. â€Å"Good for you.† You may wonder how we know the difference between a dead wolf and a dead werewolf. I’ll let you in on a little secret. If you shoot them with silver, they explode. Live or dead, doesn’t matter. I kind of like putting a bullet into the dead ones. Call me sick. Everyone else does. â€Å"They were being killed before we got here,† Jessie continued. â€Å"From what I can tell, it started a little over three weeks ago.† I sat up straighter in my chair. A little over three weeks ago would have been the last full moon. That couldn’t be good. I glanced at Edward. â€Å"You’ve got no one working in Crow Valley?† â€Å"No.† â€Å"Rogue agent?† â€Å"Doubtful.† â€Å"Why?† â€Å"Because the werewolves are not being killed with silver.† â€Å"Then how can they be dead?† â€Å"There is only one other way to kill a werewolf,† Edward said. â€Å"How come I never heard of it?† â€Å"Because it rarely happens.† â€Å"And why is that?† â€Å"The only other way to kill a werewolf, besides the silver, is for a werewolf to kill one of its own.† â€Å"They never kill their own kind. It’s against the werewolf rules of conduct.† â€Å"Apparently we have come across one who can’t read.† Humor again. What was wrong with the man? â€Å"Wolves and werewolves may appear the same,† Jessie said, â€Å"but they’re not.† â€Å"No shit,† I muttered. I was already sick of Miss Know-It-All-Come-Lately. She ignored me. Point for her. â€Å"Though it’s rare, wolves will kill another wolf, but werewolves won’t. They’ll fight, drive one another from their territory, but they won’t kill. I’d say it was a remnant of their humanity shining through, but we all know that most humans aren’t very humane.† How true. â€Å"So what’s going on?† I asked. â€Å"That’s what we’re trying to find out.† â€Å"Why?† She blinked. â€Å"I’m sorry.† â€Å"What difference does it make who kills them as long as they’re dead?† Jessie glanced at Edward and he took over. â€Å"It does not matter who kills them. What matters is that there is a werewolf out there behaving unlike a werewolf. I do not like it.† â€Å"Because†¦ ?† â€Å"The last time one of them behaved oddly, we met the wolf god.† â€Å"You think someone’s trying to raise another wolf god?† He shook his head. â€Å"A wolf god can only be brought forth under the blue moon. That time is past.† â€Å"Then what?† â€Å"I do not know. But I have a very bad feeling.† I’d been around Edward long enough to understand that when he had a very bad feeling, the shit was usually going to hit the fan real soon. â€Å"What’s the plan?† I asked. â€Å"You teach Jessie all that she needs to know.† â€Å"Why?† I demanded. â€Å"You’ve always taught the new guys.† â€Å"I am not as young as I used to be.† â€Å"Yeah, join the club.† His lips twitched, almost as if he might laugh. Wonders never ceased these days. â€Å"I have enlisted the help of an expert to search the pages of history. Perhaps we will find a mention of what they are up to this time before it is too late. Until then, I must go back to headquarters. Elise needs my help.† Elise was Dr. Hanover, head research scientist at the Jdger-Sucher Compound in Montana and Edward’s right hand. There was something else between them, too, though I’d never quite figured out what that something was. He was old enough to be her grandfather. â€Å"You’re not going to leave me alone with her!† I demanded. â€Å"There are at least four hundred people in this town. You will not be alone.† â€Å"You know what?† Jessie stood and put her hands on her hips. â€Å"I don’t need her help. I did Justine in Miniwa without any training at all.† â€Å"Yeah, I heard about that,† I sneered. â€Å"Thanks to you, the werewolf population has doubled in this area and there are fresh new recruits running all over Canada. I just spent the last three months thinning them out.† Jessie’s fingers clenched into fists, and she took one step toward me before the apartment door opened. I had only an instant to register that a man was running through the room; then he grabbed Jessie around the waist and lifted her off her feet. I started forward, but Mandenauer’s hand on my arm stopped me. Good thing, too, because the guy locked lips with Jessie and the two of them shared the deepest, hottest, wettest kiss I’d ever witnessed outside of a pornographic movie. I knew I should look away, but I couldn’t tear my eyes from the sight. In my line of work, I didn’t get a chance to see much affection. I didn’t get a chance to see anything but death, and that was the way I wanted it. So why was I watching Jessie and whoever with misty, longing eyes? Because I’d caught my first sight of a half-naked male in several years. My libido was acting up. My skin felt prickly, my stomach wobbly. I couldn’t get Damien Fitzgerald out of my head, and that just wasn’t like me. The man stared into Jessie’s face and very gently touched her cheek with his knuckle. She smiled and covered his hand with hers. It was as if Edward and I, maybe the whole world, didn’t exist. True love. Hell. â€Å"She’s going to get us killed,† I muttered. How to cite Night Creature: Hunter’s Moon Chapter 3, Essay examples

On the Road with Huck Finn free essay sample

Both Jack Kerouac On the Road and Mark Twains The Adventures of Huckleberry Finn tell stories of the search for freedom and adventure while traveling. The mall characters of both books long for the experience of traveling the American countryside. Although the circumstances that lead Sal Paradise and Houck Finn on their Journeys are different, they have similar ideas of what awaits them on the unknown road ahead. However, as Sal and Houck both learn, dreams do not always correspond with reality. This lesson is learned throughout their time spent trying to reach and realize their dreams. Along their Journeys to reach their respective dreams, both characters spend time with minorities. Sal spends time living among Mexican laborers and explores the African American jazz scene, and Houck spends time with Jim, a runaway slave. The two hold very different views of Mexican and African American life and both grow from their experiences in different ways. Sal Paradises and Houck Fins dreams about the excitement of traveling America and their differing ideas of minority life are eventually confronted by the realities of traveling and the lives of minorities.On the Road focuses primarily on the exciting art of Gals life his life on the road. Gals life at home in New York Is portrayed as much less Interesting than his time spent traveling across the country. Critics speculate that Kerouac and the beat generation believed that living at home, being cared for by ones aunt, working on a novel, even achieving commercial success is not exciting. .. (French par 15). Gals New York life is barely mentioned and only shows his boredom and longing to escape. In the beginning of the novel, Sal states that prior to meeting Dean he lived with the feeling that everything was dead (Kerouac 1).Sal ad dreamed of going west to see America but none of his plans came to fruition until Dean. Dean is described as a youth tremendously excited with Life. .. He wanted so much to live and get involved with people (4). His excitement for life and travel is contagious and quickly helps Sal get away from his sheltered life. Sal and Dean envision America as an unending horizon of infinite possibilities, full of adventure. Upon leaving New York for the first time, Sal says, l was halfway across America, at the dividing line between the East of my youth and the West of my future.. . (15). He looks forward to what the west holds In store for him. Pondering what they will do upon arriving at their unknown destination Dean says, We know America, were at home; I can go anywhere in America and get what I want because its the same in every corner, I know the people, I know what they do (121). Dean and Sal believe that they do not need to worry about what they will do or how they will get by, but that they will be greeted by endless opportunities, fun, and adventures. The opportunities that they dream of are a result of their belief In America and the open road.One critic, Mark Richardson comments, All truly valuable things, this novel suggests, mom about only through the creative and possibly deceitful agency of belief-? through yea-saying, not through skepticism and denial (Richardson 222). However, Dean and Gals belief in the opportunities of America often leads them into situations that end poorly and ultimately cause Sal to return home. Each of the four parts of the novel that take place on the road begin with Sal escape. He initially takes to the road cautiously but gains confidence and energy for the new life which he is pursuing.On each adventure, the action builds and reaches a high point until an event occurs that causes his plans to fall apart or call him back o New York. While living among migrant workers Sal states, l was through with my chores in the cotton field. I could feel the pull of my own life calling me back (Kerouac 98). Sal always returns back home, dejected and depressed. As he says at the end of his first Journey, Here I was at the end of America no more land and now there was nowhere to go but back (77). The realities of running out of money, adventures gone awry, and desertion shatter Gals dreams of the life he could have in the west.His dreams are left unfulfilled as he realizes the impulsiveness and irresponsibility of his actions. However, he never fully abandons his belief in the magic and myth of America, as shown by his return to the road three times after the initial trip. Richardson believes that despite the realities that Sal is eventually faced with, On the Road is a book that simply refuses to be Jaded, no matter how canny, ironic, and self-aware it becomes (Richardson 219). Similar to the dreams and realities faced in On the Road are those that Houck faces in The Adventures of Huckleberry Finn.Houck feels confined by Widow Douglass who tries to civilize him. He wants to experience the freedom which he felt while having adventures with Tom Sawyer. Houck eventually gains this desired freedom after he is forced to live with his father. Rather than living with an abusive father, Houck fakes his own death and escapes from Pap and civilization. Houck takes a canoe to an island where he runs into Jim, a runaway slave, who becomes his companion on the Journey. Unlike Sal in On the Road, Husks escape was not from boredom, but from the figurative imprisonment he faced from his father and society.As critic Alan Transcendent comments, The only release is escape, flight, and effacement of the identity through which both town and Pap oppress him; he can resume autonomy only by assuming death for his name (Transcendent par 3). After Houck fakes his own death he is able to pursue his dreams of freedom, travel and adventure; however, like Sal, he is faced with the reality of his dreams. The reality and difficulties he faces are the product of his companionship with Jim. Houck does not feel called to go back home for any reason other than to save Jim, who was sold back into slavery.Whereas Sal always returns home after his adventures, at the end of Twains novel Houck says, l reckon I got to light out for the territory ahead of the rest, because Aunt Sally shes going to adopt me and civilize me, and I cant stand it (Twain 281). The contrasting motivation for traveling is Just one of the many differences between On the Road and The Adventures of Huckleberry Finn. Another difference between these two works is the main characters view of minorities. Throughout his Journeys, Sal creates a romanticizes view of the Mexican and African American people that he meets.When he meets and falls in love with Terry, a Mexican woman who works in a cotton field in southern California, he also falls in love with his idea of the life of migrant workers. Sal picks cotton for a short time as a way to earn money and says, l was a man of the earth, precisely as I had dreamed I would be (Kerouac 97). Sal is too distracted fulfilling his dream of America to realize the oppression and harshness of conditions that Terry, her family, and other but Gals experience with Terry and her family is their only reality.Sal also comments about an old black couple that picked cotton with the same God-blessed patience their grandfathers had practiced in ante-bellum Alabama (96). Sal is insensitive to the hard work and difficult past that these laborers have to overcome. As critic Douglas Malcolm states, He celebrates manual labor while seemingly utterly unaware of slavery (Malcolm 98). When Sal sees but does not seem to recognize the reality of minority life in this time. During their travels Sal and Dean also experience the Jazz music and culture of African Americans. Sal identifies his own adventures and those of his friends with jazz music.On one of Gals first bus trips he states, And as I sat there listening to that sound of the night which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in he same vast backyard doing something so frantic and rushing about (Kerouac 12). The beat, pace, and rhythm of Jazz become something that Sal could associate himself with. Douglas Malcolm comments that for Sal and his friends, Jazz and Jazz musicians provided an insiders world of hidden knowledge that distinguished them from straight society (Malcolm 99). Sal enjoys being able to identify himself with and have experiences that he believes are similar to those of African Americans. While traveling through Mill City Sal comments, It was, so they say, the only community in America where whites and Negroes lived together voluntarily; and that was so, and so wild and Joyous a place Ive never seen since (Kerouac 61). Being that this novel was written before the Civil Rights movement, the reader is inclined to question Gals observations.The area was most likely segregated and it is doubtful that there were completely peaceful and Joyous relations throughout the entire community. Gals statement is an example of a white mans ideas of a society where African Americans are fine with being oppressed by a white majority. Sal never comes to a full understanding of peoples struggles that underlie his romanticizes portrayal of minority life. While Sal romanticizes the lives of African Americans, Houck Finn comes closer to their experiences by forming a bond with runaway slave, Jim. Houck risks everything to travel with Jim and to keep him from being sold back into slavery. Houck shows his dedication to his friend when he is about to send a letter telling Jims owner of his whereabouts. Instead of sending the letter Houck says, All right then, Ill go to hell, tears up the letter, and determines to find and free Jim (Twain 206). Throughout the kook, Husks understanding of Jims life and the lives of other slaves grows but never fully develops. Houck sees Jims desperation for freedom, but rather than free Jim immediately, he and Tom Sawyer decide to play games.While traveling together, Jim and Houck were companions, but upon arrival at home it seems that Houck has learned nothing. Jim is eventually freed, but Houck seems disappointed that his schemes and plans to free Jim were worthless because he was already set free (278). As Transcendent comments, The implications of a deepening human relation between Houck and Jim fail to materialize in the book (Transcendent par 23). Both Houck and Sal Paradise have opportunities to gain an understanding of the plight of minorities, but both characters fail to seize such opportunities. Ill bring them. Sal travels to escape his boring life in New York, hoping to find adventure and meaning in life on the road. Houck Journeys down the river to escape the constraints of society and an abusive father. Both characters eyes are opened to the harsh realities of their dreams of America, yet continue to long for the freedom they feel in traveling. They do have some experiences, such as those with Mexicans ND African Americans, which bring them closer to appreciating their own freedom.