Relative direction

Martha Graham’s “Lamentation,” like many of her other works, is a direct expression of emotion; an expression of emotion through body movements. Graham was known as the “Mother of Modern Dance” and for her technique “contraction and release.” She also focused on the stability and strength of the body and keeping its control. This technique was in efforts to develop and maintain flexibility in the spine and hips, specifically in a seated position. “Lamentation” was created in response to the grief, sorrow and anger during the Great Depression. This piece was simplistic but spoke so much through the use of her body and facial expressions. The video features an interview Graham had in 1976, following the “Lamentation” performed by Peggy Lyman. From the beginning of this piece at 1:30 to 1:48, there’s a sense of confusion or the feeling of being lost. This piece was meant to share feelings and emotions and the dance start with the expression of denial or being unable to accept what’s happening in her surrounding. Although, the legs stayed still in its rectangular form as she was sitting on the bench, her upper body was the main focus. Her elbows were in a triangular form and resting on her knees. While her torso was still, the only part of her body moving was her head; shaking from left to right. The audience will see a little progressive body movement beginning at 2:06 and repeated similar movements up to 2:27. There’s an expression of being shaken and unstable. Her once…

They cast therefore, and now they were not able to draw it for the multitude of fishes.” (John 21:6) What I had envisioned was right there in front of me, I could see it with my own eyes. I could hear the screaming and just like taking a snapshot, I photographed in my soul all the people’s happy faces that were participating in that momentary joy. I was surprised and plunged into a profound sense of humility in receiving such a gift. I stood on the side and watched the people’s happiness that…

Atwood Narrative As the leaves bristle and the thin sheets of wind intrude through the slender opening of the window of the bus, sat a grey backpack with a variety of stickers scattered onto the fabric in diverse figures and colors, each giving the dull backpack a sense of flare. Besides the backpack displayed a boy sitting on a cold, leather seat, crossing his arms, a picture of his grandfather-who served in Camp Grant, now called Atwood- clenched tightly against his chest. “Now reaching…

She intuitively uses her inside edge to push off in a diagonal, outwards direction to increase her speed. Her stride lengths are decent but could be improved by simply keeping her skates parallel to the ice and gliding longer after each push. If Daria follows through with her leg motion and continues to fully extend each leg, she can increase her overall stride length thus conserving her energy. Daria would benefit by lowering her center of gravity and bending her knees so that she can no…

Both Ghost Sonata and The Beggar have similar approaches when it comes to stage directions; their philosophy is more is more. We are first introduced to Ghost Sonata with a page and a half long stage direction that rivals Shaw. In it there is an incredible amount of detail. It describes what each character is doing onstage at all moments of the scene; it also gives as much information as possible regarding the atmosphere. “A steamship’s bell ring, and now and then silence is pierced by low…

covered in blood, what the hell do you think,’ inwardly sneering at the pet name. Taking a breath, she responded, “Well I’m upright and still breathin’,” in a slightly cheerful voice that did not at all match her sarcastic thoughts. “What the hell happened?” Shane asked, now taking steps towards her. Dixie took a step back, shrinking away from Shane as he approached. She shifted her weight to her left foot turned slightly so that her right side was out of everyone’s line of sight and snaked…

best or right answer, and likes working with the tried and true, and getting the most out of what already exists. As an analytic, having the right answer, structure and routine, security, and logic motivates me. When in conflict, the analytic is usually objective, logical and tends to be cool and distant. Out of the other three leadership styles, I thought that my secondary leadership style was supportive. I have always seen myself as a supportive and responsive person, so I had no doubt that I…

The recapitulation is begins at bar 156. Measure 156 to 170 is presents the same things from P in exposition. But at bar 168, the chord changed. The original one is G (V in c minor). But there, it goes to Ab, which is the V in Db. The bar 169 is the tonic in Db and the 170 goes to Bb, which is the V in Eb major. Than, measure 171 to 173 arise a new phrase in Eb major. At the end of the bar 173, it goes to the V of C major, because after that, it’s the transition part, which is start at I in C…

American Overture for Band is a level six, wind band, piece that has been played and enjoyed by advanced high school and university bands. The scoring is dense and somewhat atypical, however. Jenkins includes a sting bass, a cello, three baritone parts, three flute parts, and four clarinet and trombone parts. Jenkins includes the string bass part because is important to the texture of the piece. The tuba cues, like all the cues in the piece, are “safety doublings” and “should be played only…

IV. Second Movement The second movement is in a compound ternary form. It is in simple quadruple time in E major with the tempo of Adagio. It is nocturne-like (Zi, 2001, p. 94) and it’s meant to give the audience a peaceful feeling. Introduction: The opening of the second movement has used muted strings, woodwind, clarinet and bassoon. These instruments slowly modulate from the previous C minor to E major using chromatic notes. Fig.16 Exposition (A): In preparation for the first theme to…