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Post by jasmin2sable on Mar 17, 2020 5:52:25 GMT
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Post by jasmin2sable on Mar 17, 2020 23:47:19 GMT
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Post by jasmin2sable on Mar 17, 2020 23:53:31 GMT
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Post by jasmin2sable on Mar 17, 2020 23:57:20 GMT
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Post by jasmin2sable on Mar 17, 2020 23:59:59 GMT
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Post by jasmin2sable on Mar 18, 2020 22:49:33 GMT
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Post by jasmin2sable on Mar 20, 2020 0:17:49 GMT
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Post by jasmin2sable on Mar 20, 2020 4:30:30 GMT
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Post by jasmin2sable on Mar 20, 2020 5:18:31 GMT
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Post by jasmin2sable on Mar 21, 2020 4:28:40 GMT
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Post by jasmin2sable on Mar 22, 2020 2:39:12 GMT
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Post by jasmin2sable on Mar 22, 2020 20:15:11 GMT
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Post by jasmin2sable on Mar 23, 2020 4:50:58 GMT
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Post by jasmin2sable on Apr 1, 2020 1:32:44 GMT
Consider once again act 2, scene 1 of Tristan und Isolde, whose music is punctuated not only by recurring leitmotivs ... quickening tempo of a cabaletta (example 1.3a), while her final words to her maid begin with something very much like the Ring's so-called “Flight” motive sounding in the orchestra (example 1.3b). ... itself” overlooks the fact that every organism requires an environment to survive and that the environment of an artwork includes not only other works but also observers.
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Post by jasmin2sable on Apr 5, 2020 0:35:34 GMT
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