The Romantic Era Of Opera Music Essay

The Romantic Era Of Opera Music Essay The Romantic Era was a period in music in which there was much change during the 1850s to the 1920s in the theory and compositional practice of music. The composers wrote their pieces with more artistic freedom, experimentation, and creativity than the artists of the classical era and this caused the melody to become the more dominant feature in the songs composed. Some popular composers that originated out of this era are: Robert Schumann, Franz Schubert, Frà ©dà ©ric Chopin, and Richard Wagner. For inspiration, many Romantic composers turned to visual arts, poetry, drama and literature, and to nature itself. These influences led composers to express emotion in their music. These changes in the sound of the music came in the form of the increased use of dissonance and the extended use of chromatics. Although Romantic era music contained classical era roots, the instruments used in the Romantic era were changing and brass and woodwind instruments were being improved in the quality of sound, as well as in how they were played. Some Romantic era composers used their compositions to express nationalism by the way of incorporating elements unique to their native cultures, such as folk songs, dances, and legendary histories. Mikhail Glinka is an example of a composer who wrote operas specifically on Russian subjects. Many great operas derived from the Romantic era including Gaetano Donizettis Lucia di Lammermoor, as well as Gioachino Rossinis The Barber of Seville. Opera was very dominant in Italy where the operas differed from the operas of the classical era because the form of the pieces were being changed by having the tenors given the heroic lead in operas and by giving the chorus a more important lead than before. Gioachino Rossini was the first composer to initiate an opera in the Romantic era, which started in the early 19th century. His first piece, La Cambiale di Matrimonio, included scenes where the characters expressed emotion through the lyrics of their songs. This was a comedic opera that was the first of its kind which was written in 1810. Many great composers followed Rossini including Vincenzo Bellini, Gaetano Donizetti, and Giuseppe Verdi. These composers continued to change the way operas were being written as well as preformed. These changes were evident in Verdis first success ful opera, Nabucco, which the general public found interesting because of its great choruses. Verdi also continued to express nationalism in his operas, Va, pensiero, which was interpreted as giving meaning to the struggle for Italian independence and Verdi was expressing his hope to unify Italy. By the end of the Romantic era, opera had become a combination of many art forms including the theatre, dance and orchestra oriented music. Although opera was predominant in Italy, many other European composers were contributing to the changes in the music of their generation, including German composer Richard Wagner. Richard Wagner was born on May 22, 1813 in Leipzig, Germany where he had a difficult childhood. Wagners father died of typhus six months after Richards birth which led his mother Johanna Rosine Wagner, to begin living with the actor and playwright Ludwig Geyer, who had been a friend of Richards father up until his death. Richards mother then proceeded to marry Ludwig Geyer and they moved the family to Dresden. It is here where Wagner started his musical learning. Richard first took interest in his step fathers love for the theatre and performance arts and he played an angel in a play at a local theatre. When he was seven, Wagner was enrolled at Pastor Wetzels school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. A year later his stepfather died which led the ei ght year old Wagner to attend the Kreuz Grammar School in Dresden. Although Richard was largely a self taught musician he persuaded his family to allow him to take music lessons. From 1828-1831 Wagner completed his first lessons in composition with Christian Gottlieb Mà ¼ller and by the time he was fifteen he had already written his first play. Wagners focus on drama is one of the reasons his operas really shined as being different than operas of the classical era. He enrolled at the University of Leipzig in 1831 where Wagner further took composition lessons from Christian Theodor Weinlig who refused to let Richard pay for the lessons he was giving him. Weinlig was so impressed with Wagners talents that he arranged for one of Wagners piano works to be published. Wagner continued his studies in music and he completed his first opera when he was twenty years old called Die Feen. This opera would not be produced until half a century later when it was premiered in Munich shortly after his death in 1883. Around the time he wrote his first opera, Wagner married the actress Minna Planer, who he moved to Riga with where he became the music director of the local opera house. His relationship with his wife was a troubled one in that she left him once for another man, but came back to him before they moved to Paris due to fleeing from tremendous debt. In 1862 he returned to Germany, where he moved in with Ludwig II. After the success of his opera, Tristan und Isolde, he decided to do more traveling around Europe where he created such classics as Siegfried and Gà ¶tterdà ¤mmerung. Towards the end of his life Wagner decided to settle in Italy where wrote his final opera, Parsifal. Parsifal was first preformed at the Bayreuth festival which occurred at the opera house in which Wagner himself funded. After the second Bayreuth festival the Wagners decided to take a trip to Venice in the winter of 1883. It is here where Richard Wagner passed away due to a heart attack. In his long musical career Wagner created thirteen operas including the most notable Rienzi, Der fliegende Hollà ¤nde, Tristan und Isolde, and Der Ring des Nibelungen. It was clear that Wagner was changing the way operas were being preformed, and he continued to push the music further into the Romantic era by viewing operas as total art works.

Developing the Marketing Plan Case: Gillette Indonesia Essay

I. BACKGROUND In October 1995, Chester Allan, Gillette’s country manager in Indonesia, was developing his unit’s 1996 marketing plan. Once completed, it would be forwarded to Rigoberto Effio, business director in Gillete’s Asia-Pacific group based in Singapore. Each year Effio received and approved marketing plans for the 12 countries in his region, which reached from Australia to China. Once approved by Ian Jackson, Asia-Pacific group vice president, the overall marketing plan-for the region would be reviewed subsequently, along with other regional plans, by Robert King, executive vice president of Gillette’s International Group. Allan’s plan projected a 19% increase in blade sales in Indonesia in 1996 from 115 million to 136 million. This seemed reasonable given a 17% increase in 1995 over the previous year. With a population of almost 200 million, Indonesia represented an important country in the portfolio of markets for which Effio and Jackson were responsible. Effio wondered whether investment spending in marketing beyond the 1995 level of 12% of sales might further accelerate market development. Given the growth rates of Gillette’s business in other Asia-Pacific countries, Effio believed that a 25% to 30% increase in blade sales could be achieved in Indonesia in 1996. II. STATEMENT OF THE PROBLEM How rapidly the Indonesian market for blades and razors could or would expand. Should the Indonesian market be allowed to just move along at its own pace? If so, what would that pace be? III. OBJECTIVE Gillette’s mission was to achieve worldwide leadership in its core product categories by developing marketing plan. SWOT ANALYSIS STRENGTH| WEAKNESSES| * The company emphasized geographic expansion along with research and development, advertising, and capital spending as drivers of growth. * Upgrade the market to higher value products and shaving systems.| * The poorer rural shavers cannot afford Gillette products and buy low-price, low-quality brands such as Tiger and Tatra. * Problems with customs clearances could impact the entire manufacturing cycle. * Shaving was still underdeveloped in Indonesia, but the incidence of shaving was increasing. OPPORTUNITIES| THREATS| * New-product activity and entry into and development of new markets were considered essential. * Research showed that higher-income, urban consumers were increasingly shopping in supermarkets. Most sales of Gillette’s higher priced shaving products were through these outlets.| * The production team carefully planned the timing of materials inputs. Because of distribution and transportation inefficiencies, the need for buffer inventories was substantial. * with rising incomes and improved Gillette distribution and display, consumers are moving to Gillette.| IV. ALTERNATIVE COURSES OF ACTION 1. There was increasing awareness of Western grooming practices, especially in urban areas, as a result of exposure to foreign media and the increasing presence of multinational companies and their overseas personnel. 2. The liberalization of foreign investment policy had increased private sector involvement in the economy; the central government focused on developing infrastructure in the poorer regions and on human resources. V. RECOMMENDATIONS 3. Improving education system ensured that foreign companies would be attracted to the major urban areas, fueling further growth. 4. Gillette headquarters developed television advertisements for use worldwide, with the intent that local voiceovers and local package shots would be superimposed.

Cases for Analysis ~ Aquarius Advertising Agency - 690 Words

CASES FOR ANALYSIS ~ AQUARIUS ADVERTISING AGENCY 1. Analyze Aquarius with respect to the five contextual variables. How would you describe the environment, goals, culture, size, and technology for Aquarius? ANSWER: Aquarius is a middle-sized firm operating in a relatively unstable environment, particularly because in the industry it was common to lose or gain clients quickly because of consumer behavior changes or product innovation, sometimes with no advance warning. The technology is predominantly nonroutine because of the emphasis on creativity and art. The structure is functional with full-time integrators who provide horizontal linkage. The goals of the firm are to be creative and to satisfy customers. 2. Design a new organization†¦show more content†¦Why or why not? ANSWER: To determine whether a matrix structure is feasible now, or will be feasible in the future, students should examine the requirements for a matrix. Is there a dual domain competitive issue? Perhaps, in this case. Service and creativity require tech nical competence within each function, and yet at the same time, effective coordination across functions. Is the environment uncertain? Overall, there is potential for rapid environmental change. The environment of an advertising agency is not as uncertain, and does not have as great a potential for instability as the environment of computer chip manufacturers, but nevertheless the environment is relatively uncertain. Customers change agencies frequently, and employees drift from agency to agency. New developments and techniques occur in the industrys technology. Is there a need to share resources across project or product lines? Yes, one of the problems of moving to a hybrid structure with account executives serving as the focus of line authority is the tremendous duplication of functional resources. 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Chinese Emperors - Shang Dynasty

The Shang Dynasty is the first Chinese imperial dynasty for which we have actual documentary evidence. Since the Shang is so very ancient, the sources are unclear. We dont even know for sure when the Shang Dynasty began its rule over the Yellow River Valley of China.  Some historians believe that it was around the year 1700 BCE, while others place it later, c. 1558 BCE. In any case, the Shang Dynasty succeeded the Xia Dynasty, which was a legendary ruling family from approximately 2070 BCE to about 1600 BCE. We have no surviving written records for the Xia, although they probably did have a writing system. Archaeological evidence from the Erlitou sites does give support to the idea that a complex culture had already arisen in northern China at this time. Fortunately for us, the Shang have left some slightly clearer records than their Xia predecessors did. The traditional sources for the Shang era include the Bamboo Annals and the Records of the Grand Historian by Sima Qian. These records were written much, much later than the Shang period, however; Sima Qian wasnt even born until around 145 to 135 BCE.  As a result, modern historians were quite skeptical even about the existence of the Shang Dynasty until archaeology miraculously provided some proof. In the early 20th century, archaeologists found an early form of Chinese writing that was inscribed (or in rare cases painted) onto turtle shells or large, flat animal bones like the shoulder blades of oxen. These bones were then put into a fire, and the cracks that developed from the heat would help a magical diviner to predict the future or tell their customer whether their prayers would be answered.   Called oracle bones, these magical divination tools provided us proof that the Shang Dynasty really did exist.  Some of the seekers who asked questions of the gods via the oracle bones were the emperors themselves or officials from the court  so we even got confirmation of some of their names, along with rough dates when they were active. In many cases, the evidence from the Shang Dynasty oracle bones matched quite closely with the recorded tradition about that time from the Bamboo Annals and the Records of the Grand Historian. Still, it should not surprise anyone that there are still gaps and discrepancies in the imperial list below.  After all, the Shang Dynasty ruled China a very, very long time ago. China’s Shang Dynasty Cheng Tang, 1675 to 1646 BCEWai Bing, 1646 to 1644 BCEZhong Ren, 1644 to 1640 BCETai Jia, 1535 to 1523 BCEWo Ding, 1523 to 1504 BCETai Geng, 1504 to 1479 BCEXiao Jia, 1479 to 1462 BCEYong Ji, 1462 to 1450 BCETai Wu, 1450 to 1375 BCEZhong Ding, 1375 to 1364 BCEWai Ren, 1364 to 1349 BCEHe Dan Jia, 1349 to 1340 BCEZu Yi, 1340 to 1321 BCEZu Xin, 1321 to 1305 BCEWo Jia, 1305 to 1280 BCEZu Ding, 1368 to 1336 BCENan Geng, 1336 to 1307 BCEYang Jia, 1307 to 1290 BCEPan Geng, 1290 to 1262 BCEXiao Xin, 1262 to 1259 BCEXiao Yi, 1259 to 1250 BCEWu Ding, 1250 to 1192 BCEZu Geng, 1192 to 1165 BCEZu Jia, 1165 to 1138 BCELin Xin, 1138 to 1134 BCEKang Ding, dates of reign unclearWu Yi, 1147 to 1112 BCEWen Ding, 1112 to 1102 BCEDi Yi, 1101 to 1076 BCEDi Xin, 1075 to 1046 BCE