George Frideric Handel was born in Halle‚ Germany on February 23‚ 1685. He was born about a month before J.S. Bach. He was the son of a barber-surgeon who wanted him to study law‚ but he allowed him to study music. His family was not musically inclined‚ but Handel was attracted to music and opera at a young age. He became a student of Zachow‚ the principal organist in Halle. When he was seventeen‚ he was appointed organist of the Calvinist Cathedral‚ but a year later he left for Hamburg. At age eighteen
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Jacob Zeller Professor Davidson History of Music 114:01 15 November 2012 Bach v. Handel When thinking of composers‚ whose works changed the world of music forever‚ many names may come to mind. Among those on that list‚ both Johann Sebastian Bach and George Frideric Handel are figures whose effect on music has been felt worldwide. Born in the same year‚ these composers have much in common and many differences that illustrate their importance to their era and music as we see it today. Their individualism
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MESSIAH IN PSALM 22 Many psalms contain references that are considered to be messianic‚ but none more than Psalm 22. Modern readers may read this passage and consider it as prophecy pertaining to Jesus. This is a logical conclusion considering that it is referenced in the New Testament more than any other Old Testament passage and contains imagery incredibly similar to what is found at Jesus’ crucifixion. The purpose of this paper is not to prove that Psalm 22 is prophetic and thus‚ predictive
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The voice of the Chorus in Otello Even though he wanted to have an opera with no chorus‚ later on‚ Verdi himself considered this idea ‘crazy’. We would have not missed much of the plot without a chorus‚ but we would have definitely missed much of the artistic colour. There are four main Chorus parts in Otello‚ but there are also a few incidental entries. When writing the opera‚ Verdi had in mind the singers from La Scala‚ in Milan. The Chorus numbered 104 voices – 64 men and 40 women‚ to which
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THE CHORUS In choosing the classical form of tragedy for his Samson Agonistes‚ Milton decided to work on a distinctively unpopular medium. For‚ classically modelled tragedy had never been popular in England. Even Ben Jonson‚ excused himself for not obeying the Aristotelian rules and not having a proper chorus in his Sejanus. But with his contempt for mere popularity‚ Milton did not feel obliged to modify the form of classical tragedy to suit the purpose of what Jonson called “popular delight”. J
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The chorus‚ in tragic plays of ancient Greece‚ is assumed to have developed out of Greek hymns and drama. It presented experience and also abstract information to help the audience pursue the performance‚ commented on main themes‚ and demonstrate how a model audience might respond to the tragedy as it was presented. Greek choirs also stood for the common public of any specific story. Most of the time they communicated in song form‚ but every now and then the messages were spoken. The chorus also
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OF THE CHORUS IN T.S.ELIOT’S "MURDER IN THE CATHEDRAL" ANKITA MANUJA Research Scholar‚ Department of English and Cultural Studies‚ Panjab University‚ Chandigarh‚ India ABSTRACT In this paper‚ I analyze the role of chorus in TS Eliot’s verse drama Murder in the Cathedral(1935). The chorus‚ which acts as a mouthpiece of Eliot‚ creates a distancing effect ‚ gives the spectators a lens through which they can find a reflection of themselves as a stranger ‚ a watcher and as a critic. The chorus which had
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individuals. The chorus consists of a group of Theban elders‚ and they serve as the voice of the people. These men are considered the wisest in all of Thebes. “Their attitude to what is going on is always shaped by their responsibilities and special interest of their position” (Kirkwood 3). The chorus is not attached to any one character specifically; it reacts to its own thoughts and emotions (3). The chorus is often used to create breaks in the scenes of plays‚ but in Antigone‚ the chorus serves a greater
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Role of the Chorus The Chorus is a group of actors that speak‚ sing‚ and dance together. The Chorus is part of a ritual theme in Greek tragedy plays. In each play the Chorus many functions‚ and sometimes can have similar roles as other choruses in other plays. Specifically in the Bacchae‚ a play by Euripides and in Oedipus the King by Sophocles‚ the Chorus were an important part of the play and had different functions. In the Bacchae‚ the Chorus’ was more reserved an not so involved but their main
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impact that a certain structure of a tale can have. In Euripides’ Medea‚ the inclusion of the chorus in the structure of the play serves as an essential instrument designed for a vast array of uses. The chorus foreshadows imminent events‚ reveals cultural and contextual information‚ enlightens characters on foregoing events and provides commentary on Medea’s actions. The interaction amongst the chorus and the play’s primary characters reveals pivotal contextual information pertaining to the play’s
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