King Lear Persuasive Essay Example For Students

King Lear Persuasive Essay King Lear is widely regarded as Shakespeares crowning artistic achievement. The scenes in which a mad Lear rages naked on a stormy heath against his deceitful daughters and nature itself are considered by many scholars to be the finest example of tragic lyricism in the English language. Shakespeare took his main plot line of an aged monarch abused by his children from a folk tale that appeared first in written form in the 12th century and was based on spoken stories that originated much further into the Middle Ages. In several written versions of Lear, the king does not go mad, his good daughter does not die, and the tale has a happy ending. This is not the case with Shakespeares Lear, a tragedy of such consuming force that audiences and readers are left to wonder whether there is any meaning to the physical and moral carnage with which King Lear concludes. Like the noble Kent, seeing a mad, pathetic Lear with the murdered Cordelia in his arms, the profound brutality of the tale compels us to wonder, Is this the promised end? (V.iii.264). That very question stands at the divide between traditional critics of King Lear who find a heroic pattern in the story and modern readers who see no redeeming or purgative dimension to the play at all, the message being the bare futility of the human condition with Lear as Everyman. As in Macbeth terror reaches its utmost height, in King Lear the sense of compassion is exhausted. The principal characters here are not those who act, but those who suffer. We have not in this, as in most tragedies, the picture of a calamity in which the sudden blows of fate seem still to honor the head wh ich they strike, and where the loss is always accompanied by some flattering consolation in the memory of the former possession; but a fall from the highest elevation into the deepest abyss of misery, where humanity is stripped of all external and internal advantages, and given up a prey to naked helplessness. The threefold dignity of a king, an old man, and a father, is dishonored by the cruel ingratitude of his unnatural daughters; the old king, who out of a foolish tenderness has given away everything, is driven out into the world a homeless beggar; the childish imbecility to which he was fast advancing changes into the wildest insanity, and when he is rescued from the destitution to which he was abandoned, it is too late. The kind consolations of filial care and attention and of true friendship are now lost on him; his bodily and mental powers are destroyed beyond hope of recovery, and all that now remains to him of life is the capability of loving and suffering beyond measure. What a picture we have in the meeting of Lear and Edgar in a tempestuous night and in a wretched hovel! The youthful Edgar has, by the wicked arts of his brother, and through his fathers blindness, fallen, as did Lear, from the rank to which his birth entitled him; and, as the only means of escaping further pers ecution, is reduced to the disguise of a beggar tormented by evil spirits. The kings fool, notwithstanding the voluntary degradation which is implied in his condition, is, after Kent, Lears most faithful associate, the wisest counsellor. This good-hearted fool clothes reason with the livery of his motley garb; the high-born beggar acts the part of insanity; and both, were they even in reality what they seem, would still be enviable in comparison with the king, who feels that the violence of his grief threatens to overpower his reason. The meeting of Edgar with the blinded Gloucester is equally pathetic; nothing could be more affecting than to see the ejected son become the fathers guide, and the good angel, who, under the disguise of insanity, saves him by an ingenius and pious fraud from the horror and despair of self-murder. .u16267d7014195443ff46b05b4fb620c8 , .u16267d7014195443ff46b05b4fb620c8 .postImageUrl , .u16267d7014195443ff46b05b4fb620c8 .centered-text-area { min-height: 80px; position: relative; } .u16267d7014195443ff46b05b4fb620c8 , .u16267d7014195443ff46b05b4fb620c8:hover , .u16267d7014195443ff46b05b4fb620c8:visited , .u16267d7014195443ff46b05b4fb620c8:active { border:0!important; } .u16267d7014195443ff46b05b4fb620c8 .clearfix:after { content: ""; display: table; clear: both; } .u16267d7014195443ff46b05b4fb620c8 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u16267d7014195443ff46b05b4fb620c8:active , .u16267d7014195443ff46b05b4fb620c8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u16267d7014195443ff46b05b4fb620c8 .centered-text-area { width: 100%; position: relative ; } .u16267d7014195443ff46b05b4fb620c8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u16267d7014195443ff46b05b4fb620c8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u16267d7014195443ff46b05b4fb620c8 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u16267d7014195443ff46b05b4fb620c8:hover .ctaButton { background-color: #34495E!important; } .u16267d7014195443ff46b05b4fb620c8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u16267d7014195443ff46b05b4fb620c8 .u16267d7014195443ff46b05b4fb620c8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u16267d7014195443ff46b05b4fb620c8:after { content: ""; display: block; clear: both; } READ: Legislation and Prostitution: Do They Coincide? Ex EssayThe story of Lear and his daughers was left by Shakespeare as he found it in a fabulous tradition, with all the features characteristic of the simplicity of old times. But in that tradition there is not the slightest trace of the story of Gloucester and his sons, which was derived by Shakespeare from another source. The incorporation of the two stories has been censured as destructive of the unity of action. But whatever contributes to the intrigue of the denoument must always possess unity. And with what ingenuity and skill are the two main parts of the composition dovetailed into one another! The pity felt by Glouce ster for the fate of Lear becomes the means whereby his son Edmund effects his complete destruction, and affords the outcast Edgar an opportunity of being the savior of his father. On the other hand, Edmund is active in the cause of Regan and Goneril, and the criminal passion which they both entertain for him induces them to execute justice on each other and on themselves. The laws of the drama have therefore been sufficiently complied with, and it is the very combination which constitutes the beauty of the work. The two cases resemble each other in the main; an infatuated father is blind toward his well-disposed child, and the unnatural children, whom he prefers, requite him by the ruin of his happiness. But all the circumstances are so different that the stories, while they each make a correspondent impression on the heart, for a complete contrast for the imagination. Were Lear alone to suffer from his daughters, the impression would be limited to the powerful compassion felt by us for his private misfortune. But two such unheard-of examples taking place at the same time have the appearance of a great commotion in the moral world; the picture becomes gigantic and fills us with such alarm as we should entertain at the idea that the heavenly bodies might one day fall from their orbits. To save in some degree the honor of human nature, Shakespeare never wishes his spectators to forget that the story takes place in a dreary and barbarous age; he lays particular stress on the circumstance that t he Britons of that day were still heathens, although he has not made all the remaining circumstances to coincide learnedly with the time which he has chosen. From this point of view we must judge of many coarsenesses in expression and manners; for instance, the immodest manner in which Gloucester acknowledged his bastard, Kents quarrel with the steward, and more especially the cruelty personally inflicted on Gloucester by the duke of Cornwall. Even the virtue of the honest Kent bears the stamp of an iron age, in which the good and the bad display the same uncontrollable energy. Great qualities have not been superfluously assigned to the king; the poet could command our sympathy for his situation, without concealing what he had done to bring himself into it. Lear is choleric, overbearing and almost childish from age, when he drives out his youngest daughter because she will not join in the hypocritical exaggerations of her sisters. But he has a warm and affectionate heart, which is susceptible of the most fervent gratitude; and even rays of a high and kingly disposition burst forth from the eclipse of his understanding. Cordelia, with her heavenly beauty of soul, reminds us of Antigone. In the entire play little more than a hundred lines are assigned to her; yet, throughout the five acts, we can never forget her, and at the close she lingers in our recollection as if we had seen some being more beautiful and purer than a thing of earth. .u348ff8f48e7a5b802905a36a81467bf3 , .u348ff8f48e7a5b802905a36a81467bf3 .postImageUrl , .u348ff8f48e7a5b802905a36a81467bf3 .centered-text-area { min-height: 80px; position: relative; } .u348ff8f48e7a5b802905a36a81467bf3 , .u348ff8f48e7a5b802905a36a81467bf3:hover , .u348ff8f48e7a5b802905a36a81467bf3:visited , .u348ff8f48e7a5b802905a36a81467bf3:active { border:0!important; } .u348ff8f48e7a5b802905a36a81467bf3 .clearfix:after { content: ""; display: table; clear: both; } .u348ff8f48e7a5b802905a36a81467bf3 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u348ff8f48e7a5b802905a36a81467bf3:active , .u348ff8f48e7a5b802905a36a81467bf3:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u348ff8f48e7a5b802905a36a81467bf3 .centered-text-area { width: 100%; position: relative ; } .u348ff8f48e7a5b802905a36a81467bf3 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u348ff8f48e7a5b802905a36a81467bf3 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u348ff8f48e7a5b802905a36a81467bf3 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u348ff8f48e7a5b802905a36a81467bf3:hover .ctaButton { background-color: #34495E!important; } .u348ff8f48e7a5b802905a36a81467bf3 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u348ff8f48e7a5b802905a36a81467bf3 .u348ff8f48e7a5b802905a36a81467bf3-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u348ff8f48e7a5b802905a36a81467bf3:after { content: ""; display: block; clear: both; } READ: Prostitution: Should It Be Legal? EssayAfter surviving so many sufferings, Lear can only die, and what more truly tragic end for him than to die from grief for the death of Cordelia? According to Shakespeares plan, the guilty, it is true, are all punished, for wickedness destroys itself; but the virtues that would bring help and succor are either too late or are overmatched by the cunning activity of malice. The legend of Lear had unquestionably been dramatized before Shakespeare produced his tragedy. The true Chronicle History of King Leir and his three Daughters, Gonorill, Ragan and Cordelia, as it hath been divers and sundry times lately acted, was printed, probably for the first time, in 1605; but there can be no doubt that it belongs to a period some ten or perhaps twenty years earlier. In 1594 an entry was made at Stationers hall, of The moste famous Chronicle Hystorie of Leire King of England, and his Three Daughters. Shakespeares story of Lear is taken from Holinsheds account of the legend, one dated back to the time when Joas reigned over Judah, or, according to Geoffrey of Monmouths, to the days of Isaiah and Hosea. A garbled version of the play as written by the poet was prepared by one Nahum Tate, who, not understanding the art of Shakespeare and having no dramatic art himself, thought to adopt the original to the popular taste. For over a century this abortion helf possessio n of the stage, until Macready restored to us the work of the great master, since cleansed from its remaining impurities by able commentators. In tragical pathos, in dramatic force, in grandeur of sentiment and diction, Lear has no superior in all the wide range of the worlds drama. The language often rises to or exceeds, of possible, the sublimity of Aeschylus, and the tragedy has the further advantage of dealing with human beings, human passions, and human frailties, and not with the affairs of gods and demigods. The modern play-goer does not greatly concern himself with the deeds and thoughts of the powers supernal, and if he can see human beings set forth on the stage, with their virtues and infirmities, would willingly leave the gods to manage their own affairs.

Salem Witch Trials free essay sample

Erin Sullivan Dating back to 1692 when the Salem Witch Trials were occurring, it was a time of despair, concern,and many accusations. The events that took place in Salem in 1692 are a part of a greater pattern throughout our history to persecute innocent people, especially women, as witches. Salem was broken into two parts, Salem Town and Salem Village which set it aside by economy, class and character. Salem Village was known as the have nots, mostly consisting of poor farmers who made a living cultivating crops where as Salem Town was the haves, a wealthy town in which was the center of trade. Salem Village tried to gain its own independence from Salem Town for quite some time but finally succeeded gaining its own church and minister in 1674. The merchants who lived in Salem Village near Ipswich Road prospered but the farmers felt that wealth of Salem Town threatened Puritan values. They thought that the right person must of came along and that it had to be a new person in town and somebody who had the power of getting other people to help in witchcraft. The only logical person who they could think of that fit this description was Martha Corey. (First Salem witch hanging) The Trial of Martha Corey was on Friday March 11, 1692 it was a day of fasting and prayer in Salem. The accusation shocked those who heard it because Martha Corey (Good wife Corey) was a new but upstanding member of the community. Immediately a somebody was sent to the Corey farm to question Martha hoping to clear her name. Martha Coreys sarcastic response to her being accused caused her immediate arrest. In the courtroom Maratha’s accusers writhed in agony as they were forced by an unseen power to mimic the witchs every movement. When Martha shifted her feet they did too,when Martha bit her lip they were compelled to. On, Monday, the 21st of March,the magistrates of Salem appointed to come to examination of Good wife Corey. And about twelve of the clock they went into the meeting house,which was thronged with spectators. Mr. Noyes began with a very pertinent and pathetic prayer, and Good wife Corey being called to answer to what was alleged against her, she desired to go to prayer, which was much wondered at, in the presence of so many hundred people. The magistrates told her they would not admit it; they came not there to hear her pray, but to examine her in what was alleged against her. The worshipful Mr. Hawthorne asked her why she afflicted those children. She said she did not afflict them. He asked her, Who did then? She said, I do not know; how should I know? † (Lawson) Martha was portraying that she had no clue as to what was going on and that she was being accused of something that she did not do. But if Martha truly was innocent then why would she not pray and why would she not fight and show more passion that she was not a witch. Some of the people in the town started to come forward and telling things about Martha, because they believed she was a witch crop failures or infant deaths -local villagers were quick to accuse each other of witchcraft (Milton). They would say that she has a book of spells and that she tried to convince young girls into doing magic with her, the younger the girls were the easier it would be to harvest their magic. Others would say that she had a little yellow bird that she would put in her hand and kill then she would bring it back to life to show how much power she actually had. Nobody actually had proof that Martha was a witch and that she was in fact practising witch craft. (Salem witch trials) From the late 15th century to the late 18th century a wave of persecution washed across parts of Europe. Tens of thousands of people were executed for witchcraft. But what happened? Belief in magic was almost universal in the past. Almost all cultures believed that you could use supernatural means to help hunting or to make your crops grow better or to make humans or animals more fertile (Lambert). But you could not use magic to heal humans and animals (Lambert). For most people who lived before the 18th century magic was an ordinary part of everyday life. To them the world was a mysterious and frightening place. They did not know what caused diseases and sickness so they would sometimes assume it was something supernatural. The people of the 16th century would use what they thought magic in their everyday lives to try to make things better for themselves , but when people started thinking that humans were using magic on other living things that’s when magic started being considered evil and a bad thing (Lambert). People who believed in magic the thought that your enemies could use magic to harm you was terrifying. Most people in the 16th century believed that God had an enemy called the Devil, who was very powerful. They believed that witches made a pact or agreement with the Devil and agreed to worship and serve him. When people were being accused of witch craft they were not given a fair trial. They did not use evidence they did not give you a voice,if somebody said you were a witch then you must be a witch (Lambert). The history of witch craft is so great that nobody is really sure what actually happened. There are many theories as to what actually happened , some say that witches started coming to earth and taking over human bodies when the devouring night started. On the night of the devouring or otherwise called sorry night, otherwise know as Halloween, is when witches come down from their world and inhabit the people who are scared(Holt). They take over the scared humans because they are alone and have no way of defending themselves , their minds are essentially open and easy to take over(Holt). They take over their bodies and then the witches have a vessel which they can perform their magic from. The witches who take over the human body make it so the human that was already in the body feel like they are asleep. The witch will inhabit your thoughts and your past and they will act like the person they took over as much as they could(Holt). A witch would sometimes slip up and their magic would start to show or they would be caught,in some cases they would get caught without even realizing it. The longer a witch is in a body the harder it would be for their magic if it was evil to start showing. When a witch would get caught performing magic back in the 16th century they had no way to escape the human because the only day they can enter or leave body is on October thirty first or if the human is illed. When human was hung the witch could stay around and inhabit another body but when the body was burned the witch died with it. It took a long time for people to realize what was happening. It was one of the most logical reasons to how witches could come about. (Holt) In some cases female witches were treated a lot worse than male witches were. Female witches were usually beaten and their houses wo uld be raided then burned down they then would be hung or burned and sometimes even both depending on how strong they thought the witch was (Lyons). In rare cases men witches were kept alive because priests would try to save them and get extract their magic so they could use it for their own purposes(Lyons). Once the priests were done with the male witches if they still believed they were witches they would be killed and their belongings would be burned(Lyons). Because of the Salem witch trials , thousands globally lost friends and family members over the suspicion of being witches and doing harm. People would be killed if they were a good witch or a bad witch,innocent or guilty, proof or no proof. If somebody was thought to be a witch then you were going to be killed. A group of people the descendants of people who were killed in the trials , otherwise known as the Salem five started a petition for their ancestors names to be cleared and know that they were not witches and that they were killed when they were innocent (American Heritage). It was a long fight for there names to be cleared but in the end they eventually got their names cleared and they got their names in the paper and their names on the list of people who were believed to be innocent during the trials but they were killed without real proof. American Heritage) When the witch trials were going on witches were thought to have looked like ordinary people who have the power to kill people, make potions, and control people . Witches were thought to be evil and only capable of doing harm, yet they would walk among humans and act like humans in most cases. The witches in the 16th century were though to look like normal everyday humans ,so they they would not have to hide(Salem Witch museum). Now in the 20th century witches are thought to have long stringy uncombed black hair and facial warts with a green face ,and a big nose. They are thought to wear all black and long stocking ,they ride around on broom sticks and have loud cackling laughs. The transition from what people thought use to be witches and what people now think a witch would look like is so different from what they use to be like. The change in what witches look like started when all witches started to be thought of as evil and corrupting. The change happened when parents would tell their children about evil creatures that would take them in the night and make them do things that they would not want to do . People changed the look of witches so that their stories would scare young children. Years of stories being passed down generation after generation people started to forget that witches actually look like normal humans and that they blend in with everyday society. (Salem witch museum) The repercussions of the Salem witch trials effected thousands of innocent people. People were murdered without given a fair trial , many family lines were massacred , and now most people think that all witches are evil and that all the stories about witches are true. Thousands of innocent people , including women and children , were slaughtered globally during the Salem witch trials(Salem witch trials). Many family lines were cut out and killed altogether during the trials. When witch craft was happening in some cases whole families were convicted and then slaughtered , they were not given fair trials because there was no real proof that they were actually witches. After the witch trials were finished all over the world everybody started assuming that all witches were evil and that magic good or bad should not be allowed. Many folklore tales were made up and legends were started to be told all over the globe about evil witch craft ,and how witches take over your body and kill your soul . Some people would say that when witch craft was used for killing humans and animals and manipulating them that is when you would lose your soul. Because of The Salem witch trials thousands of innocent people were killed with little proof , real witches were not killed ,and people were taken over during the devouring. Since the witch trials happened globally many stories and legends were started and there is no real proof as to what happened. Some families tried to get their ancestors names cleared but not everybody who was faultily killed got their names cleared. The repercussions of the trials are still felt today globally. Work Cited (Holt Simon,The Devouring, September 1 , 2008) January Lyons , Diane Witchcraft, gender, power and intimate relations in Mura compounds in Dela, northern Cameroon. EBSCO HOST. May 2 ,2013. Salem witch Museum. http://www. salemwitchmuseum. om/. May 2,2013 Lambert , Tim. The Salem witch trials . Localhistories. com April 26,2013 http://www. localhistories. org/salem. html The Salem Witch Trials, 1692, EyeWitness to History, www. eyewitnesstohistory. com (2000). April 30th , 2013 Salem witch trials. Welcome to Salem Massachusetts. April 24th 2013 http://www. salemweb. com/guide/witches. shtml Blumburg, Jess. A Brief History of the Salem Witch Trials. Smithsonian. com Published October 27th,2007 May 1st 2013 http://www. smithsonianmag. com/history-archaeology/brief-salem. html April 30th 2013 Lawson , Deodat. The Salem Witch Trials,1692. Eyewitness to History. Published in 2000. http://www. eyewitnesstohistory. com/salem. htm April 29th 2013 Milton, Gilies. SALEM WITCH TRIAL: THE CASE OF GILES AND MARTHA COREY published December 12 2012. Surviving-History. blogspot. ca April 30th , 2013 First Salem Witch hanging. Www. history. comhttp[-gt;1]://www. history. com/this-day-in-history/first-salem-witch-hanging April 30th , 2013 [-gt;0] http://ec. tynt. com/b/rw? id=cd5NqsI_0r3Qffab7jrHtBu=SmithsonianMag [-gt;1] http://Www. history. comhttp/

Essay Sample Leave of Absence Letter - Everything You Need to Know

Essay Sample Leave of Absence Letter - Everything You Need to KnowThe concept of the essay sample leave of absence letter is fairly simple, although a little intimidating to students. And it works for all sorts of situations. Many students are trying to navigate through the exact same rules and guidelines when they are asked to leave their studies early.Students need to remember that this is not something they are going to be able to leave on their own and get away with, as some people might assume. Any student who is trying to get an essay sample leave of absence letter needs to be aware of the ways in which it can be done and then pursue it accordingly.It may seem more difficult for students to do so than other forms of leaving their course early. It is true, but that should not dissuade them from wanting to do it. It really is a simple process that can be handled with ease by most students. It is sometimes described as being a must have, for several reasons.Firstly, it gives them an extra and much needed break in their course, which is really important. It allows them to rest and relax, and can help them begin to mentally shift into another phase of their academic life. After all, why do students need to be concentrating on their exams?Secondly, it gives students an opportunity to improve their performance in their classes. They will be expected to have a higher grade than they did when they were in class and leaving early can allow them to improve on that. It can also help them learn more about their chosen academic subject and thus make them more knowledgeable and better able to apply what they have learned.The essay sample leave of absence letter also helps students who have a situation where they need to take a leave of absence to get care for themselves or to take care of a sick relative. It can also allow them to move to another part of the country for a new job. After all, there are often jobs available in rural areas, but not many. They can often ben efit from a change of location.No matter how it is worded, this type of informal letter will always have a clear and concise argument. It will point out exactly why the student has decided to leave and how this is in the best interest of the school. This will show that the student can handle writing it, rather than questioning why they are being asked to do so.Students who are attending university for the first time often find this quite a difficult process to do. The basics of it are easy to grasp and follow, but after that, it becomes quite complex. And to make things even more confusing, students often ask questions about it, which puts them in a rather difficult position.

Are Electro-Acoustics and the Vernacular the Largets Developments in 20th Century Music Essay Example

Are Electro-Acoustics and the Vernacular the Largets Developments in 20th Century Music? Essay EAMMON MSETFI Contextual studies (MU314) Convenor: Tim Howle Essay 1 Denis Smalley has suggested that the two most important musical developments in the 20th Century are the domains of the electro-acoustic and the vernacular. To what extent is his assumption correct? This piece will demonstrate an understanding of the developments in 20th century music, with a detailed view on the path and expansion of electro-acoustic technology and of the vernacular. This will also be highlighting the theoretical ideas that made these large developments possible and the technological innovations that created the foundations for both these areas. Total serialism After composers, Wagner and Brahms, who stretched the boundaries of tonality to breaking point (Wagner notably in, Tristan Isolde, 1857), composers wanted to experiment with new ideas. Schoenberg was the first composer to approach composition with a completely new approach, not with typical tonality but with a ‘serial method’; this was later known as ‘12 tone’ music (all 12 tones of the chromatic scale are arranged in a fixed sequence know as a ‘tone row’, all 12 tones must be used in order for the piece to progress). Webern was soon to follow Schoenberg and became a pupil of his; he soon adopted his 12-tone method and found his own individuality within the domain. For Webern this meant a focused contrapuntal style in which every element formed complex connections, with every tone having an equal importance. Although Schoenberg consciously created the method, his connection with the tonal world was never cut. On the contrary, Webern gazed openly into the future. Early Webern pieces (prior 12-tone) it is clearly apparent the influence of Schoenberg, notably Op10 (1911-1913), where he xploited his mentors use of klangfarbenmelodie (tone-colour melody), which involved splitting a melody between multiple instruments, rather than allocating it to just one instrument, as a result, adding colour (timbre) and texture to the melodic line; the use of this method can also be seen in, Five piece string quartet (1909), The four pieces for violin piano (1910) and The six bagatelles for string quartet (1911-191 3). Schoenberg created ‘12 tone’ to control pitch, Webern extended the method to determine, dynamics, tone colour and rhythm; this was later entitled ‘total serialism’. We will write a custom essay sample on Are Electro-Acoustics and the Vernacular the Largets Developments in 20th Century Music? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Are Electro-Acoustics and the Vernacular the Largets Developments in 20th Century Music? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Are Electro-Acoustics and the Vernacular the Largets Developments in 20th Century Music? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer As an alternative of using notes to generate a melody, he used them to create a colour. Webern’s melodic lines are atomized into two or three note fragments which are presented in frequently changing tone colour and register, this idea is used in modern vernacular music, many modern jazz musicians use his ideas on tone colouration as well as many electronic composers to this day. The mathematical similarities in Webern’s ‘total serialism’ helped the progression of electronic music and synthesized music. Many of Webern’s followers tried to extend the idea of ‘tone colour’ and the 12-tone technique to electronic music, notably Stockhausen who was greatly influenced by Webern’s serial technique. How Stockhausen’s influenced an electronic generation. Stockhausen began studying under Messaian with the influence of serialism, early pieces the influence can be seen from both, his mentor and Webern, notably in Kreuzspiel (1951), and Spiel (1952); the opening of Klavierstucke (1952) also began with firm serial principles. Stockhausen’s progression into electronic music began with his examination of acoustical sound, always committed to reconstructing sound synthetically by means of electro-acoustic equipment. Schaeffer allowed Stockhausen to work within the music concrete group in Paris, where he mainly recorded acoustical sounds then analysed them. After this analysis he discovered the relations of vibrations within sound, this innovation lead him to the idea of synthesized sound. After working with Schaefer his idea was not to emulate acoustic sound, but to realize the new potential of synthetic production, as a result, a completely new array of timbres can be constructed; this was not conceivable with traditional acoustic instruments. Herbert Eimert stated in his classification of notes, â€Å"the pure tone (sine-wave tone), free of overtones, which never appears in traditional music (or nature). It issues from the electronic production of sound. The sinusoidal tone system must therefore simply be a system of virtual relationship, from which a composer can create structures in the form of series, relationships, rows and other forms of organization† (P. 122 Karl H. Worner, 1973). Stockhausen’s first electronic compositions, Studie 1 (1953) being the first piece to be composed primarily with sinusoidal waves, utilizing an sine-wave generator he was able to construct complex timbres in mathematical series (the influence of integral serialism can be seen most here). This early experiment of what we now know as, additive synthesis was extremely influential to electronic and synthesized music. Studie 2 (1954) was very similar but the spectra of pure tones were radiated into a resonance chamber and re-recorded. The original sine waves were distorted to generate a similarity to noise occurrences. The piece Gesang der junglinge (1955) was the first piece to combine music concrete with electronic music. Stockhausen practised in this what we now would consider, subtractive synthesis. With the use of noise generators a full frequency spectrum can be achieved, for example white noise. The frequency bands can be filtered to produce a single band of frequency or even a single note, if precisely done. Stockhausen demanded that â€Å"electronic music should really be electronic music; its character is not to be found in imitating what already exists, but in lending itself to the discovery of completely new processes and facilitating their technical realization, so that with them can be achieved a synthesis of utterly new and unknown timbres† (P. 30 Karl H. Worner 1973). Stockhausen was a critic of popular music and its dependence on repetition, which he thought, was very predictably, although his work became very influential for popular musicians. His technique was most influential on popular musicians; he was amongst the first to implicate sampling and synthesized sound to compositions, the influence can be seen in Pop, rock and jazz in the 1960s notably on the Beatles Sgt Peppers (1967) album where an extensive use of magnetic tape sampling and tape delays were used. Many popular musicians have credited Stockhausen, his use of sampling and synthesized sound inspired a generation of popular music, where his techniques have developed. How Post-war recording technologies gave birth to electro-acoustic technology and popular music During the war, a mass demand for technology was created, Eric Hobsbawm describes this period as a â€Å"technological earthquake† (P. 41 Timothy D. Taylor, 2001); this necessity for communications technology was vital for the war effort. Throughout this period the Germans created Magnetic tape to send coded messages, as well as to record radio broadcasts (this was later used extensively in early electro-acoustic compositions). After the Americans seized the magnetic tape technology, it was developed with higher fidelity to be used in film and radio. Reproduction technologies had an impact on the evolution of electro-acoustic equipment. Schaeffer’s piece Etude aux Chemins (1948) was one of the first electronic compositions of the 20th century, which became very influential to modern day sampling. Corporations responsible for the creation of musical instruments in early 20th century had â€Å"no vocation for economic suicide† (p. 7 Simon Emmerson, 1986), this led to them only adjusting existing instruments, therefore it was not viable for the creation of new inventions; it was not in their best interests. â€Å"Our civilization sees itself too smugly in the mirror of history; it is no longer creating the needs which would make renewal an economic necessity† (P. 7 Simon Emmerson, 1986). h The first half of the 20 century saw considerable progression within the domains of sound reproduction tools and the sizeable escalation of the recording industries; this developed electronic technology and in turn, developed new styles of vernacular music. This technological innovation laid the foundations for new vernacular music such genres as rock, hip-hop, etc. Due to this development, where the existence relied on electronics to produce the sound, musicians started to embra ce technology. This combination of science and music started to form a complex connection. Prior to first commercially available synthesizer, created by Robert moog, much electronic works were very much based in academia and research facilities (due to sheer size and cost), this soon lead to a shift in musical culture. The synthesizer produced sound by â€Å"vibrating objects that are positioned close to one or more electrical coils, in between a light source and a photoelectric cell or in direct contact with a piezoelectric crystal† (P. 47 Hans-Joachim Braun, 2002); this creation gave composers endless opportunities from complex timbres to the imitation of acoustical instruments. It spread from being a specialist’s use to common use in many new style of music (as can be soon today with the thousands of bedroom studies, etc. ), this was due to the drop in price of the transistor in the 1960s. This revolutionized music, many popular musicians soon adopted the creation of the synthesizer, there generally wasn’t a ‘pop’ composition that didn’t contain some sort of electronic synthesizer in the 1980s; the Moog’s use can be seen in the production of Diana Ross and the rolling stones. It is my personal feeling that recording technology was one of the largest developments of the 20th century; it provided the foundation for electro-acoustic technology, this new found knowledge also allowed the spread of diverse cultures to different places in the world and created new vernacular music. The development of popular music Some popular music was designed to appeal to a mass market, and a number of them were supposed to be very catchy and memorable. With the advent of recording technologies and radio of early 20th century, music could be shared with the masses, and all economic backgrounds. In 1948 the first mass produced electric guitar was released. With the advent of the electric guitar came the creation rock and roll, (which heavily relied upon an electrical source) a mixture of rhythm and blues this new music hit the market, appealing to a mass audience; â€Å"To produce sound, an electric guitar senses the vibrations of the strings electronically and routes an electronic signal to an amplifier and speaker. The sensing occurs in a magnetic pickup mounted under the strings on the guitars body† (P1 Marshall Brain ). This new development gave musicians more flexibility to affect the timbre of the instrument, with such electro-acoustic modules such as fuzz wah pedals and reverb. This change allowed musicians to have more control over their sound and how it was modulated, and consequently revolutionized music. The development of electronic equipment had great effect on music, the invention of these instruments developed a new popular market; it created a non-classical vernacular music which was aimed not at just a select demographic but a widespread audience. 950s saw the creation of the first ever ‘pop’ music charts; this saw Elvis become one of the first popular global sensations. The 1960s saw the Beatles became global, heavily influenced by such electro-acoustic composers as Stockhausen, set a popular music standard of writing their own lyrics and songs. Before the Beatles many pop artists were manufactured as a face instead of raw talent, (this is now becoming more apparent in 21s t century music). The creation of transistor radios helped expand popular music, an individual now could listen to the radio and their favourite songs anywhere. With the arrival of samplers a new style of popular music was created, hip-hop was the first genre to be made with the skill of sampling, using prior popular music styles such as jazz and funk as influence, this technique was created by Stockhausen and Schaefer but with the advent of the sampler, was developed to be used in the common home. The advent of Music channels such as MTV had great influence on the promotion of popular music, giving the artist great visual appeal to the demographic. Popular music takes many influences from several genres, jazz, gospel, classical etc. ut the technological growth excelled the development of what we now as mainstream music. Conclusion To conclude, Webern’s method of total serialism had great impact on the development of electro-acoustic equipment; his ideas of tone coloration were used in the development of electronic and synthesized music, which in turn developed new vernacular music. Stockhausen with the inspiration of total serialism, influenced a whole new generation of electronic music, his use of synthesized sounds and early forms of additive and subtractive synthesis shaped the electronic music era. All of the technological and theoretical innovations in the 20th century music helped develop electro-acoustics and vernacular, without these advances the development of the two would not have existed. It is my thought that both these are the two largest developments in 20th century music but credit should also be given to the areas, which made these changes possible. Bibliography Arnold Whittall (2003). Exploring Twentieth-Century Music. New York: Cambridge University press. 21-26. Ben Kettlewell (2001). Electronic Music Pioneers. Vallejo: Course Technology Inc. 54-57, 77-93. Ethan Haimo (2009). Schoenberg’s Transformation of Musical Language. New York: Cambridge University Press. 1-8. Hans-Joachim Braun (2002). Music and Technology in the Twentieth Century. 2nd ed. United States of America: The Johns Hopkins University Press. 47-55. Joan Peyser (1993). Twentieth Century Music The sense behind the sound. New York: Pro Am Music Resources. 21-34, 63-71. Karl H. Worner (1973). Stockhausen life and work. London: Faber and Faber Limited. 118-154. Paul Griffiths (1981). Modern Music The avant garde since 1945. London: J. M. Dent Sons Ltd. 13-31, 34-51. 6 Simon Emmerson (2000). Music Electronic Media and culture. Hampshire: Ashgate Publishing limited. 36-50, 70-80. Simon Emmerson (1986). The Language of Electroacoustic music. London: The Macmillan Press LTD. 1-30, 61-70. Timothy D. Taylor (2010). Strange Sounds. New York: Routledge. 1-78. David Paul. (1997). Karlheinz Stockhausen. Available: http://www. stockhausen. org/stockhausen%20_by_david_paul. html. Last accessed 1st Nov 2012. Gregory McNamee. 2008). 1948 and the Birth of Rock and Roll Music. Available: http://www. britannica. com/blogs/2008/01/1948-and-the-birth-of-rock-and-rollmusic/. Last accessed 1st Dec 2012. Greg R. (2007). Pop Music Origins/Development?. Available: http://answers. yahoo. com/question/index? qid=20080703134820AA4fsJU. Last accessed 4th Dec 2012. Jeff Harder. (/). How synthesizers work. Available: http://electronics. howstuffworks. com/gadgets/audio-music/synthesizer. htm . Last accessed 4th Dec 2012. Mike Krzyzaniak. (/). Stockhausens Studies I and II. Available: http://michaelkrzyzaniak. com/Research/Stockhausen_Studie_II/. Last accessed 4th Dec 2012. Marshall Brain. (/). How Electric Guitars Work. Available: http://entertainment. howstuffworks. com/electric-guitar1. htm. Last accessed 4th Dec 2012. Michael Manion. (/). FROM TAPE LOOPS TO MIDI: KARLHEINZ STOCKHAUSEN’S FORTY YEARS OF ELECTRONIC MUSIC. Available: http://www. stockhausen. org/tape_loops. html. Last accessed 4th Dec 2012. Shine music school. (/). The History of Pop Music. Available: http://www. shinemusic. com. u/musicresources/history-of-pop-music. aspx. Last accessed 1st Dec 2012. Synthhead. (2010). Karlheinz Stockhausen’s Electronic Music Tips (For Aphex Twin, Plastikman Others). Available: http://www. synthtopia. com/content/2010/10/15/karlheinz-stockhausenselectronic-music-tips-for-aphex-twin-plastikman-others/. Last accessed 15th Nov 2012. 7 Denis Smalley has suggested that the two most important musical developments in the 20th Century are the do mains of the electro-acoustic and the vernacular. To what extent is his assumption correct? Tom Gersic. (/). Early Electronic Music. Available: http://www. gersic. com/writing. php? id=3. Last accessed 1st Nov 2012. Tim Whitelaw. (2003). Karlheinz Stockhausen Electronic music pioneer. Available: http://www. soundonsound. com/sos/mar08/articles/stockhausen. htm. Last accessed 4th Dec 2012. Wikipedia. (5th Dec 2012). Moog synthesizer. Available: http://en. wikipedia. org/wiki/Moog_synthesizer. 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Without Limits essays

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Humic Acid removal and fouling using tubular ceramic micro filtration Essay

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