![]() (I) The first line of the paragraph - Reviving the practice of using elements of popular music in classical composition. A long-standing tendency to incorporate elements from two apparently disparate musical styles An attempt to elevate rock music to an artistic status more closely approximating that of classical music A return to the use of popular music in classical compositions The passage suggests that Glass’s work displays which of the following qualities? ![]() The passage has nothing to do with listeners or their perception of any kind of music.Ģ. If the symphonies' sound is distinctively his, then the music cannot be called derivative.Įven if this is not easy to catch, eliminating the other choices in not very hard as they talk about listeners in one way or the other whereas the passage doesn't at all touch upon the topic. Read the second line "Glass based two symphonies on music by rock musicians David Bowie and Brian Eno, but the symphonies’ sound is distinctively his." Derivative in quality would mean whether his music was derived from something. Whether it has caused certain of Glass’s works to be derivative in qualityĮ is a clear winner if you understand what the option actually says. Whether it has had a detrimental effect on Glass’s reputation as a composer of classical musicĮ. Whether it has contributed to a revival of interest among other composers in using popular elements in their compositionsĭ. How it has affected the commercial success of Glass’s musicĬ. How it is regarded by listeners who prefer rock to the classicsī. The passage addresses which of the following issues related to Glass’s use of popular elements in his classical compositions?Ī. This blog was originally published in March 2020.1. The thundering strains of Richard Strauss’s Also sprach Zarathustra is the music most often associated with the film, but Kubrick also makes masterful use of Johann Strauss, Jr.’s Blue Danube Waltz, along with music of György Ligeti and Aram Khachaturian.– Katy Judd Stanley Kubrick’s mesmerizing sci-fi epic is arguably the ultimate marriage of film and classical music, prolonged nonverbal stretches allowing the music to seamlessly meld with the striking visual style. Richard Strauss, Also Sprach Zarathustra 2 accompanies Alien’s final dialogue and end credits, drawing the sci-fi thriller to a cathartic and emotional close. Lush, heartfelt music from Howard Hanson’s Symphony No. 9 might not seem like a natural fit for an action blockbuster, but the symphony’s exuberant, raucously joyous finale is the perfect complement to the high-octane roller coaster ride that is Die Hard. The piece also famously underscored the atrocities of war in Oliver Stone’s Platoon. Haunting and poignant, Samuel Barber’s instantly recognizable Adagio For Strings has helped the world through tragic times: it accompanied the public announcements of FDR and JFK’s deaths, and was played at the funerals of Albert Einstein and Princess Grace, to name a few. The Coen Brothers’ quirky crime comedy has plenty of Dylan, Eagles, and Creedence, but excerpts from Mozart’s Requiem, Mussorgsky’s Pictures at an Exhibition, and Korngold’s Die tote Stadt really tie the film together. Led by former Houston Symphony Music Director Leopold Stokowski, Fantasia features favorites like The Nutcracker Suite, Night on Bald Mountain, and, of course, The Sorcerer’s Apprentice. The wonder and imagination of Walt Disney meets some of the most beloved classical masterpieces ever composed in this timeless extravaganza of sight and sound. The passionate and heart-wrenching Intermezzo from Pietro Mascagni’s opera, Cavalleria rusticana, memorably sets the stage in the opening credits of Raging Bull. 7 provides the perfect backdrop to the climactic moment of The King’s Speech, the music’s ever-growing volume and intensity paralleling King George’s VI bourgeoning self-assurance. The second movement of Beethoven’s Symphony No. The Shining’s opening theme, composed for the film by Wendy Carlos and Rachel Elkind, was based on the medieval hymn Dies Irae (“Day of Wrath”) and inspired by Berlioz’s iconic use of the theme in Symphonie fantastique. In Stanley Kubrick’s chilling psychological-horror classic, Jack Torrance’s descent into insanity is underscored by some of the most terrifyingly imaginative works of the 20 th century, including Bartók’s ghostly Music for Strings, Percussion, and Celesta and music of Polish composer Krzysztof Penderecki. The film is packed with Mozart masterpieces, including excerpts from The Marriage of Figaro, Don Giovanni, and, most famously, Mozart’s Requiem.īartók, Music for Strings, Percussion, and Celesta Winner of 8 Academy Awards, Amadeus interweaves the life of Wolfgang Amadeus Mozart with that of Antonio Salieri for a gripping meditation on the nature of genius-in all its mysterious, awe-inspiring, unpredictable glory. We're kicking off Classical Music Month with 10 movies that feature classical favorites!
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