Conductors, to instrumental players are individuals who bond the orchestra together by his or her power of keeping the orchestra harmonized under the rhythms, sound capacity, and speed that is proposed to them. Once the orchestra has benefited from the conductor’s authority, the ability of players is advanced in preparation for the productions of remarkable melodies on performance night. On stage, however, conductors are merely live statues to the audience. Rather than awarding the conductor for his or her guidance and involvement in the orchestra that resulted in the phenomenal concert, audience view conductors as well dressed individuals who make small gestures that only connects to the music, and not the players. Furthermore, to Stravinsky
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He points out that conductors “may be less well equipped for his work than his players,” thus their conducting crushes the original melodies composed. Despite of their passion, Stravinsky is convinced that a conductor alters a piece of music for their personal gain and illustration of their own significance, hence, this builds his agitation towards conductors. In addition, this simile also addresses that the appearance of conductors are actually more important than his style of conducting. Like a politician’s presence in front of his audience, in order to qualify for the desirable position, he or she must be well dressed, and fit the atmosphere of his or her stage. Since conductors may not play every instrument in the orchestra, his “musical qualities [become] secondary importance.” This statement suggests that conductors are never truly qualified for the position of guiding the full orchestra, like Politian in America, individuals are typically conservatives or liberals, and therefore, they do not have all the qualities that make them the best representative for a single …show more content…
Among his arguments, he incorporates alliterations to produce the high quality language of his essay. Stravinsky mentions that “conductor[s] [are] encouraged to impose a purely egotistical, false, and arbitrary authority…” The diction usage in this statement further conveys his negative view upon conductors. He continues to declare that conductors are unnecessary, since their sole purpose is to alter the product of the composers. Therefore, his or her “ego” is built from the ability to alternate music. In addition, Stravinsky adds that audience’s appreciation displayed towards conductors without the understanding of their purpose, is seen as “a disease [that] grows like a tropical weed under the sun of a pandering public,” to him. In both of these statements, the denotative, yet sophisticated dictions such as “arbitrary authority” and “pandering public” is alliterated to hook the audience into another reason for his negative view of conductors. Through both of these statements he concludes that conductor’s support received from the audiences is what gives him or her the “arbitrary authority” and “ego” to operate the orchestra with modified music. Thus, angers composers like Stravinsky himself, because conductors, through the eyes of composers are a “tropical weed” that interrupts the “pandering public” of people who truly understands the
He points out that conductors “may be less well equipped for his work than his players,” thus their conducting crushes the original melodies composed. Despite of their passion, Stravinsky is convinced that a conductor alters a piece of music for their personal gain and illustration of their own significance, hence, this builds his agitation towards conductors. In addition, this simile also addresses that the appearance of conductors are actually more important than his style of conducting. Like a politician’s presence in front of his audience, in order to qualify for the desirable position, he or she must be well dressed, and fit the atmosphere of his or her stage. Since conductors may not play every instrument in the orchestra, his “musical qualities [become] secondary importance.” This statement suggests that conductors are never truly qualified for the position of guiding the full orchestra, like Politian in America, individuals are typically conservatives or liberals, and therefore, they do not have all the qualities that make them the best representative for a single …show more content…
Among his arguments, he incorporates alliterations to produce the high quality language of his essay. Stravinsky mentions that “conductor[s] [are] encouraged to impose a purely egotistical, false, and arbitrary authority…” The diction usage in this statement further conveys his negative view upon conductors. He continues to declare that conductors are unnecessary, since their sole purpose is to alter the product of the composers. Therefore, his or her “ego” is built from the ability to alternate music. In addition, Stravinsky adds that audience’s appreciation displayed towards conductors without the understanding of their purpose, is seen as “a disease [that] grows like a tropical weed under the sun of a pandering public,” to him. In both of these statements, the denotative, yet sophisticated dictions such as “arbitrary authority” and “pandering public” is alliterated to hook the audience into another reason for his negative view of conductors. Through both of these statements he concludes that conductor’s support received from the audiences is what gives him or her the “arbitrary authority” and “ego” to operate the orchestra with modified music. Thus, angers composers like Stravinsky himself, because conductors, through the eyes of composers are a “tropical weed” that interrupts the “pandering public” of people who truly understands the