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Scholars such as Richard Dellamora have even argued that The Renaissance’s famous female characters are “phallic women,” or masculinized self-portraits of the artists (see 136-46). Normative Victorian femininity is difficult to locate within these essays.
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Essay Sample On The Topic Of Harlem Renaissance
The evolution of Renaissance polyphony expanded tonal harmony through the use of multiple voices and their interval relationships, stablished aural and music technicality conventions, and provided the groundwork for all tonality based western music. The foundation of Renaissance polyphony can be found in the organum of the eleventh century and more specifically in the ars nova which came to prominence in the fourteenth century. Organum briefly appeared in the tenth century but was dismissed by the Catholic Church and did not become popular until the eleventh century.Organum was the first notable use of harmony in the western world and was the first genre to more than one voice part (in this case, two). Composers took melodies from Gregorian chant and extended them harmonically with parallel fifths and especially parallel fourths. The intervals of the perfect fourth, fifth, and octave were considered the only concords during this period and use of other intervals was considered cacophonous. Later organum used stepwise motion within the mode of the composition to reach the concord interval as well as to move in oblique motion to end in a unison.Organum from the Notre Dame school based out of Paris in the thirteenth century even created the first contrary motion, with one voice moving from nison upward a step and the other downward by a minor third to form a perfect fourth interval (Ferguson, 46-47). From late organum the ideas of Ars Nova were established, becoming standardized and prevalent through the writings of composers and music theorists Marchetto of Padua and Phillip de Vitry.Vitry coined the term Ars Nova, which means “new art”, in a music theory essay
Renaissance Polyphony Essay Examples - New York essay
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Pater’s essays take up a two-sided idea of the Renaissance, both normative and subversive, celebrating canonical artist-heroes even while depicting them engaged in behavior that would have scandalized Victorian society. (For example, many of the male artists he studies, such as Michelangelo and Leonardo da Vinci, are romantically involved with other men.) His recurring strategy is to engage with a well-known author or artist in a way that seems to agree with conventional wisdom, pretending to fit in with accepted judgments while at the same time proposing his own audacious opinions. Most famously, he quotes Matthew Arnold approvingly in his preface to The Renaissance, only to overturn Arnold’s idea in the following clause:
Harlem Renaissance Essay Introduction
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