Академический Документы
Профессиональный Документы
Культура Документы
correctly can also do that. What we 'can' say is that music enables
a
words, no matter how emotive the words are. The level to which
words can
As Myers would probably rightly put it, despite the nature of the
words, i.e.
does further justice to this latter idea by claiming that the listener
could not
only mystery, but the idea that the music celebrates what they are
about-
feel'. We see, for instance, how the narrator feels about the identity
of Don
José: "I was very glad to know what a brigand was really like"
(ibid, p.20).
narrator says "Her eyes were set obliquely in her head, but they
were
evidently aroused, but believes "he didn't like her looks" (ibid,
p.29). There is
(as Wagner would say, ibid, p.42) that goes with listening to music.
Rather, it
when several people read the same book. There are effectively,
then, two
their mind' through words and music, the latter, albeit, via a
different process
narrator, who is not in battle with her, but sees her simply as a
"pretty
who trespass upon convention" (same URL, pg_ 2). If this were the
case, we
may also wonder what McClary would say about Escamillo's 'Votre
toast'-
evocative of all things male, and, as Albright may put it, perhaps
Escamillo is
the contrasts between the 'flower song' and 'Votre toast'. The
fluidity of the
former, with its soft dynamics, high woodwind and sustained string
chords
Online,
http://www.oxfordmusiconline.com.libezproxy.open.ac.uk/subscriber/articl
e/grove/mu
states that Mérimée was very "fond" of such situations, yet his
writing is
possible to 'handle her'- she is, after all, human and no real deity-
a truth
Carmen is powerful, yet the fact remains that the music by itself
would not
love is concerned at least) she never will "obey any law" (AA317,
2007,
drink and dance at Lillas Pastia's tavern. The point is, rather, that
the music
'lies behind' her words. We hear what she is singing about, yet we
also
sense her mood, which is hinted at from the music alone- the
music
character speaks to us only through the eyes of Don José and the
narrator,
bandit in Andalusia" (Texts, pages 29 and 22). This would also back
up
and are unprepared for the true threats that face them, as if they
have "let it
slip" (Reader, p.128). In a nutshell, Carmen and the gypsies are not
of the devil" (Texts, p.25) alongside the fact that she would rather
die than
animal than human: "he was the ugliest brute that was ever nursed
in
particular, she refers to "Don José, Mérimée's narrator and we, the
audience"
apportion blame for the tragedy (i.e. whether we call José 'weak',
Carmen
perhaps the narrator is a José that 'could have been'- hence the
blatant
of the day, she does battle with one person- Don José, and he
loses.
Carmen does not really set out to destroy him; rather, she is
simply a force
of nature, a trait of which she is fully aware and does not wish to
change, if
more human than the other men with whom Carmen is involved, in
both
the music of the other gypsies (nor is she really intended to 'blend
in' with
lines beginning "Ah! permettez!" (Libretti, p.48) and slows the music
down at
here. The very title, 'La Fumee', for instance, aptly precedes
Carmen's
sentiments; indeed smoke 'drifts' and does not 'obey any law'. The
smoke of
the 'Habanera' does rather seem to inhabit the opposite end of the
aesthetic
and the ultimate lesson we learn from both opera and novella is
that this
smoke of the previous scene. Like the smoke, it is there for quick
sensation,
and answer' technique between voice and flute. The themes of love
and
know about their destiny is clearly a less serious affair than José's
desire to
music, naturally fall short, yet music can use its own aesthetics to
adequately
Fumeé. In, for instance, the Habanera, music uses its aesthetics not
to
well with our passions in that they reveal the very 'essence' of a
person's
ideas.
References: