Essay on Femininity and Feminism and the Histories of Art

Essay on Femininity and Feminism and the Histories of Art Essay on Femininity and Feminism and the Histories of Art Essay on Femininity and Feminism and the Histories of ArtGriselda Pollock in her work â€Å"In Vision and Difference: Femininity and Feminism and the Histories of Art† gives us some arguments which extend beyond issues about impressionist painting and parity of artists who are women. She outlines the spaces of femininity in works of artists compering female artists and the artists, who are men.The author indicates that a big amount of outstanding modern art works are considered and viewed extremely in the scope of sexuality and commercial exchange of it. In those works of art women are often pictured as subjects, which have a purpose to please men’s eye. We often see a bar with a female bartender or naked women in paintings (Olympia (1863) and A Bar at the Folies-Bergere (1881-82) by EdouardManet).Have you ever seen a modern painting with a naked man on it? Such painting will look ridiculous. A huge amount of modern arts are simply made just for men, for their pleasure, and women are selling their bodies to the artists. There had been social and subjective difference between women and men for several centuries. Such asymmetry has a historical background.The author mentions some female artists and their art works in order to compare them with paintings painted by male artists. Berthe Morisot and Mary Cassatt for instant were representatives of Impressionist exhibiting society. Griselda Pollockanalyses the differences between art works of these two female artists and male artists using space criteria. She analyses the location where women are depicted. In the case of female artists, private areas and domestic territory are included. On the contrary of male paintings, female artists depict women in the public domain scenes, for instance, of promenading, driving in the park, being at the theater, boating (At the terrace (1874), The harbor at Lorient (1869) by Berthe Morisot). Women are represented carrying their children, not being some naked courtesa ns or some bartenders. Women’s looks are not sexualized in the paintings of female artists.The author is also pointing out the spatial argument. The spatial order within the painting made by women is different from the spatial order on the man’s painting. When we are talking about female’s works of art, it is reasonable to mention the following arguments. The disposition of different subjects and the point, from which the painting has been made, make the viewer involved and taken into position of depicted person. Sometimes the viewer’s gaze is obstructed from the foreground by the depicted figure. Therefore, the viewer feels some dislocation between the woman depicted and the rest of the world. There are boundaries between two spatial systems. The differences lie in the wayperson can relate to the painting and objects depicted in it. For example,The garden of the princess (1864) by EdouardManet gives the viewer only ability of observing the scene, not bei ng present in the painting. It makes the viewer independent and absent. But the point of view of women’s painting put the person somewhere in the middle. The viewer is not absolutely absent, but also not to personally involved. The painting simply demonstrates historical moment.The women may be depicted in exactly the opposite way depending on the location and clothing. The respectable woman is well dressed and accompanied by her husband in a park. The girl of easy virtue is showing some parts of her body and her dress is not so modest.There was quite distinctive separation of women’s and men’s public territory in bourgeois society. Women were not supposed to visit public places alone. They were considered to be home keepers. If woman showed up alone in public places, she had risked to be judged by society. She could be disgraced and defamed. Female artists like Berthe Morisot and Mary Cassatt showed us that discomfort and vulnerability of lonely women in public places. Women depicted by Mary Cassatt in The Loge (1882) show the reality and true feelings of such women. One of them seems suppressed and the other one is covering her face. That is the evidence that they feel uncomfortable. The yeas of the public were fixed on these ladies. Male artist Auguste Renoir in The loge (1874) shows the same location but from a different point of view. The woman in his picture draws attention of a viewer to herself. She is depicted presumably for a male spectator. We see a picture of a woman. She is the only object of this painting.It is Griselda Pollocks opinion that that line between public and private life of a woman is not just a division of her world, it is also the frontier of the spaces of femininity. While men could move freely in public world, women were restricted. Women could not observe the world because of such restriction of visiting public places alone. On the contrary of man, woman had no freedom of looking and acknowledging. She was th e object of men’s gaze by herself. It was a man who had a whole freedom.The ways the women are depicted in private areas are also different. Female artist, Marry Cassat, for example, shows the maids simple washing. The maid is half naked. But not sexualized. She is not pictured as fallen woman. The artist depicted maid in the way, that she is not the subject of voyeuristic gaze. The viewer sees a simple act of private life. Griselda Pollock analyses Degas’s painting. The male artist shows the same act of private life in absolutely opposite way. The woman in his painting is definitely a subject to sexual commodification. It is also reasonable to mention about class division between women. The author suggests that bourgeoise and proletarian are depicted in different locations. It is a woman from the proletariat painted as a maid washing herself.In conclusion Griselda Pollock is talking about the spaces of femininity nowadays. It still regulates women lives. Author indica tes that modernity is still out there. It is still with us. Women are even more vulnerable to assault. Women are not able to move safely.   They are still objects to annoying looks by men and even victim to sexual crimes. That is why it is so important to analyze modernist art works in the scope of femininity.   It is important to discern sexualized structures and discover past resistance with the help of works of art. That could serve a factor to discovering new spaces of femininity.Now I would like to test arguments given in paper work by Griselda Pollock, which were summarized above, using the assigned work of art. A Box at the Italian Theatre was painted by Eva Gonzalà ¨s in 1874. It is currently located in the permanent collection of the Musà ©e d’Orsay in Paris. A Box at the Italian Theatre may truly be considered as a representative of impressionism in female version.At first, let’s analyze the space criteria. We see a woman in the public place. It is a de cent place, which is a theater. Eva Gonzalà ¨s depicts the character of the painting sitting in the box, so we can assume that she seeks for some privacy. Woman perhaps wants to feel herself a little bit more comfortable that is why she chooses some enclosed space. The character prefers to avoid some annoying looks of men and condemnation. This woman is allegedly alone in the theater. But that fact that she has her seat in a box gives us these associations with wealth and status. She can afford this privileged seat. The analysis of the location and the dress of the lady depicted bring us to the conclusion that this woman is a representative of the bourgeoisie.If we are talking about the women’s vulnerability in public places, we will see how precisely Eva Gonzalà ¨sconveys this problematic. The seat next to the lady is empty. We can assume that she came alone. But the woman obviously doesn’t have the possibility of observing the performance. As we can see she is cons tantly under the gaze of some man. That man seems interested in the lady, but she has her eye glued to the scene. The woman is restricted again. She has denied in freedom of looking and observing peacefully without any interferences.At the same time the posture and the way the woman sits gives us the feeling that she feels quite comfortable and that gaze of a man doesn’t disturb her.The analyzed painting supports statements of Griselda Pollock mentioned in her work â€Å"In Vision and Difference: Femininity and Feminism and the Histories of Art†. It shows the way female artists depicted women with all their vulnerable nature. It depicts the spaces of femininity.

The Meaning of Form Follows Function

The Meaning of 'Form Follows Function' Form follows function is an architectural phrase often heard, not well understood, and hotly discussed by students and designers for over a century. Who gave us the most famous phrase in architecture, and how did Frank Lloyd Wright expand its meaning? Key Takeaways The phrase form follows function was coined by architect Louis H. Sullivan in his 1896 essay The Tall Office Building Artistically Considered.The statement refers to the idea that a skyscrapers exterior design should reflect the different interior functions.The Wainwright Building in St. Louis, Missouri, and the Prudential Building in Buffalo, New York, are two examples of skyscrapers whose form follows their functions. Architect Louis Sullivan Born in Boston, Massachusetts, Louis Sullivan (1856-1924) helped pioneer the American skyscraper mainly in the Midwest, creating a Sullivanesque style that changed the face of architecture. Sullivan, one of the great figures in American architecture, influenced the language of the style of architecture that characterized what became known as the Chicago School. Often called Americas first truly modern architect, Sullivan argued that a tall buildings exterior design (form) should reflect the activities (functions) that take place inside its walls, represented by mechanical equipment, retail stores, and offices. His  1891 Wainwright Building in St. Louis, Missouri, is an iconic showcase for Sullivans philosophy and design principles. Observe the terra cotta facade of this early steel frame tall building: The lower floors require a different natural lighting window configuration than the central seven floors of interior office space and the top attic area. The Wainwrights three-part architectural form is similar to partners Adler and Sullivans taller 1896 Prudential Guaranty Building in Buffalo, New York, a similar form because these structures had similar functions. Prudential Guaranty in Buffalo, New York. Dacoslett/Wikimedia Commons/CC BY-SA 3.0 The Rise of Skyscrapers The skyscraper was new in the 1890s. More dependable steel being made by the Bessemer process could be used for posts and beams. The strength of a steel framework allowed buildings to be taller without needing thick walls and flying buttresses. This framework was revolutionary, and Chicago School architects knew the world had changed. The U.S. after the Civil War had changed from rural to urban-centered, and steel became the building blocks of a new America. Tall buildings major use- office work, a byproduct of the Industrial Revolution- was a new function in need of a new urban architecture. Sullivan understood both the magnitude of this historical change in architecture and the possibility that beauty may be left behind in the rush to be the tallest and the newest. The design of the tall office building takes its place with all other architectural types made when architecture, as has happened once in many years, was a living art. Sullivan wanted to build beautiful buildings, like Greek temples and Gothic cathedrals. He set out to define principles of design in his 1896 essay, The Tall Office Building Artistically Considered, published the same year as the Prudential Guaranty Building rose tall in Buffalo. Sullivans legacy- besides instilling ideas in his young apprentice, Frank Lloyd Wright (1867-1959)- was to document a design philosophy for multi-use buildings. Sullivan put his beliefs into words, ideas that continue to be discussed and debated today. Prudential Building, 1896, Buffalo, New York. Dacoslett/Wikimedia Commons/CC BY-SA 3.0 Form All things in nature have a shape, Sullivan said, that is to say, a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from each other. That these shapes express the inner life of the thing is a law of nature, which should be followed in any organic architecture. Sullivan suggests that the exterior shell of the skyscraper should change in appearance to reflect interior functions. If this new organic architectural form was to be part of natural beauty, the buildings facade should change as each interior function changes. Function Common interior areas by function included mechanical utility rooms below grade, commercial areas in the lower floors, mid-story offices, and a top attic area generally used for storage and ventilation. Sullivans description of office space may have been organic and natural at first, but decades later many people mocked and ultimately rejected what they thought was Sullivans dehumanization, which he also expressed in The Tall Office Building Artistically Considered: an indefinite number of stories of offices piled tier upon tier, one tier just like another tier, one office just like all the other offices, an office being similar to a cell in a honey-comb, merely a compartment, nothing more The birth of the office was a profound event in American history, a milestone that affects us even today. Its not surprising, then, that Sullivans 1896 phrase form follows function has echoed through the ages, sometimes as an explanation, often as a solution, but always as a design idea expounded by one architect in the 19th century. Form and Function Are One Sullivan was a mentor to Wright, his young draftsman, who never forgot Sullivans lessons. As he did with Sullivans designs, Wright took the words of his lieber meister (dear master) and made them his own: Form and function are one. He came to believe that people were misusing Sullivans idea, reducing it to a dogmatic slogan and an excuse for foolish stylistic constructions. Sullivan used the phrase as a starting point, according to Wright. Beginning from within outward, the concept that Sullivans function within should describe the outward appearance, Wright asks, The ground already has form. Why not begin to give at once by accepting that? Why not give by accepting the gifts of nature? So what are the factors to consider in designing the exterior? Wrights answer is dogma for organic architecture; the climate, soil, building materials, type of labor used (machine-made or hand-crafted), the living human spirit that makes a building architecture. Wright never rejects Sullivans idea; he suggests that Sullivan didnt go far enough intellectually and spiritually. Less is only more where more is no good, Wright wrote. Form follows function is mere dogma until you realize the higher truth that form and function are one. Sources Gutheim, Frederick, editor. Frank Lloyd Wright on Architecture: Selected Writings (1894-1940). Grossets Universal Library, 1941.Sullivan, Louis H. The Tall Office Building Artistically Considered. Lippincotts Magazine, March 1896.Wright, Frank Lloyd. The Future of Architecture. New American Library, Horizon Press, 1953.

Slavery by Another Name Essay Example | Topics and Well Written Essays - 500 words

Slavery by Another Name - Essay Example He uses real letters, and photos to pass the message to viewers of the film. It is evident that the film bases its topics on scholarly heritage, long-term experiences, and contributions of African. The documentary highlights that slavery was effectively considered only after the World War 2. The documentary also depicts themes such as forced labor that can be used by tutors’ in teaching students in the class. Slavery by Another Name is better since forced labor is a common topic practiced in the contemporary society; hence, still significant as subject to teach students (DeFore, 2012). The film is better than others to be added in the course since it has a unique and exceptional topic that analyses the historical events in America. It talks about new findings in American history since an individual has to involve in a thorough research to generate the topic. It is a summary and critique of the events that occurred amid the emancipation period and the end of the World War 2; therefore, making the documentary an outstanding one. Students learn that constitutions are not perfect, and some have mistakes since they are written by a human being. For example, the 13th Amendment of the constitution did not fully eliminate slavery; it had a clause that read ‘except as a punishment for a crime’ that gave room for the whites to arrest the blacks for petty mistakes made. Africans who escaped being arrested faced the wrath of paying debts (DeFore, 2012). Learners learn that racism is a negative factor in society and should not be practiced. Students learn that racism was the core reason for slavery. This knowledge will make them avoid practicing bigotry and advocate against it in the community.

Personality Development Essay Example | Topics and Well Written Essays - 500 words

Personality Development - Essay Example In hoarding we see people who see the entire world as a possession that they must acquire, while the marketing orientation includes those who mold themselves to what they feel society’s image of them is, they dislike anything old and crave anything new. These are closely related to Horney’s moving against people orientation, where we see the need for power, control, and recognition They also are similar to Horney’s moving away from people orientation, which includes the need of autonomy, the need for perfection, the need of self sufficiency, and the need to feel better than others. Like all of Horney’s orientations, moving toward people is also fraught with needs: the need to be loved, the need to gain the approval of others, and the need to please others. Fromm’s last orientation, necrophilous, deals mainly with death and destruction, something that Horney does not touch on. Fromm’s one orientation that is positive is the productive one, whe re people continually learn to relate to the world and others in it, and learn to truly love, and have no fear of acceptance.

Agricultural Policy of Bangladesh Essay Example for Free

Agricultural Policy of Bangladesh Essay Agriculture is the dominant economic activity in Bangladesh and regarded as the lifeline of the Bangladesh economy. Its role is vital in enhancing productivity, profitability and employment in the rural areas for improving the wellbeing of the poor. As the largest private enterprise, agriculture (crops, livestock, fisheries and forestry) contributes about 21% of the GDP, sustains the livelihood of about 52% of the labour force, and remains a major supplier of raw materials for agro-based industries. Agriculture plays an important role in the overall economic development of Bangladesh. Agriculture is also a social sector concerned with issues like food and nutritional security, income generation and poverty reduction. Besides, it is the biggest source of market for a variety of consumer goods, including consumer durables particularly in the rural area. Hence, improvement in agricultural sector performance and acceleration in its growth are critical to reducing rural poverty. 1. 2 Agricuture sector encompasses crops, fisheries, livestock, and forestry sub-sectors. Separate policies on livestock, fisheries and forestry have been formulated by the respective ministries. In this perspective, Ministry of Agriculture has drafted this policy document in order to undertake and guide development activities in the crops sub-sector. As expected, policies aimed at crop production in the areas of reaserch, extension, seeds, fertilisers, minor irrigation, marketing, gender and HRD have prominence in this document. Since crop sector plays a major role in Bangladesh agriculture and gets the utmost importance in various agriculture related programmes of the government, this policy document for the development of crop sector is, therefore, entitled as the National Agriculture Policy. It is estimated that the agricultural land is declining by 1% per year and the land quality is deteriorating owing to degradation of soil fertility (e. g. nutrient imbalance), soil erosion and soil salinity. In addition, water resources are also shrinking. In order to produce more food for an increasing population, and raw materials for agro-industries, there is a need for increasing agricultural growth through higher productivity, including increased yield, agricultural intensification and diversification, and value addition. The overarching goal of the Government of Bangladesh (GoB) matches with Millennium Development Goals (MDG) of achieving 50% reduction in the proportion of population living below the poverty by 2015. In addition to maintaining a sound macro-economic framework, the Poverty Reduction Strategy Paper (PRSP), entitled Unlocking the Potential National Strategy for Accelerated Poverty Reduction (GoB, 2005), highlights the need for higher growth in rural areas, development of agriculture and rural non-farm economic activities as one of the four priority areas to accelerating pro-poor economic growth. In order to achieve the GDP growth rate of 7% per year, agriculture must grow by at least 4-4. 5% per year (PRSP, 2005). This is presumably possible through an increase in agricultural productivity (for crops, horticulture, livestock, fisheries and forestry) based on modern agricultural technology and a supply chain linking farmers with consumers in the domestic as well as overseas markets. Small farms dominate the agrarian structure of Bangladesh. Therefore, performance of the sector greatly affects economic progress and people s livelihood. To reduce rural poverty 2 and improve rural livelihoods, it is necessary to recognize and to develop existing agricultural production system into a more dynamic and viable commercial sector. Agriculture has the potential to reduce food deficit as well as shortage of industrial raw materials, and also to generate employment opportunities with reasonable income, which will in turn help improve the standard of living of the rural people. The growth potential of most of the crops and other agricultural commodities are substantially higher than present level of production. 1. 7 Sustainable intensification and diversification of agriculture through technological change requires an efficient and productive agricultural technology system comprising agricultural research and extension. This needs to be supported by appropriate value addition and market linkages. Enhancing productivity, resource use efficiency, using cutting age science, experimental facilities and above all productivity and maintaining a reservoir of first-rate human resources to sustain knowledge-intensive agriculture has become critically important. The Bangladesh agriculture demands considerable scientific and technological input. Today s complex national and economic environment requires increase in the effectiveness of the public expenditure in research and extension system. Major challenges for the Bangladesh agriculture are to raising productivity and profitability, reducing instability, increasing resource-use efficiency, ensuring equity, improving quality; and meeting demands for diversification commercialization of agriculture. 1. 9 The existing National Agricultural Policy was adopted in April, 1999. With the passage of time some issues and concerns have emerged in agriculture, in some cases with new dimension. For instance, dwindling agricultural resources, declining biodiversity, climate change, increasing frequency intensity of natural disasters, increasing input prices, soaring food prices etc. require transformation of agriculture in such a way that would address challenges to meet demands. This necessitates the revision and updating the earlier document to make it relevant to the present agro-economic context. Strengths, Weaknesses, Opportunities and Threats (SWOT) of Agriculture Sector For developing of a pragmatic and effective and efficient national agricultural policy, it is a pre-requisite to gauge the Strengths, Weaknesses, Opportunities and Threats that are associated with the issues of policy interventions.

Nicolaus Copernicus :: Essays Papers

Nicolaus Copernicus The sixteenth and seventeenth centuries were known as the Scientific Revolution. During these centuries, science was starting to answer many questions about the earth. Scientists all around the world were making their assumptions on how the universe worked. Nicolaus Copernicus was a Polish astronomer that also had a theory. The Copernican Theory changed many views and had a great effect on society. Copernicus lived his life in Poland. When he was nineteen, he decided to study at the University of Cracow. At the university he was required to study grammar, rhetoric and logic, arithmetic, geometry, music and astrology or astronomy. Edward Rosen is the author of, Copernicus and the Scientific Revolution. He says, "The subjects offered during his years there are known form university records that are still preserved. The names of the professors who taught those courses are also known. But the students’ records are missing."1 The grades that he received in college are unknown. However, it is known that he did not stay long enough to earn a bachelor’s degree.2 After Copernicus left school he returned home to his uncle, Lucas Waczendrode, who was the bishop of Ermeland.3 His uncle suggested that he enter the canonry n Frauenburg. The canonry is a group of clergymen that belong to a cathedral or other church. Entering the canonry would give Copernicus a stable and secure income for the rest of his life. While he waited for an opening, his uncle sent him for training at the University of Bologna.4 While there he studied mathematics and Greek language for three and half years. He also became more familiar with astronomy. In 1501 Copernicus returned to Frauenburg where he became apart of the canonry. He left quickly and started to study in Italy at the University of Padua. There he studied law and medicine.5 After a lifetime of studying, he is said to have mastered the concepts of math, medicine, theology and astronomy.6 As Copernicus began to study astronomy more, he came to strongly disagree with the Ptolemaic system of astronomy. This system was based on the idea that the earth was fixed in the center and all the other heavenly bodies moved around it. Astronomers believed that the earth was in the center because it was heavy. Copernicus saw many problems associated with this system of astronomy. For example, sometimes the planets appeared to be going in the opposite direction and the brightness of the planets would tend to change as well.

Music Appreciation Essay

The concert was at the Thayer Hall, a beautiful state of the art facility that is home for the school’s concerts, recitals, and other events. It holds up to 200 people, theater row seating, and the stage is set up fairly close to the first row seats which gives the performance a more personable feel to the audience. The wooden floor stage had a beautiful grand Steinway and Sons Piano set off to the side, that was moved later in the middle for the performance of Clarinet Sonata in E-flat Major, Op. 167. The first piece on the program was Ricochet, composed by Kerry Turner. It was one of Turner’s chamber music ensemble, performed by a brass quintet; two trumpets, horn, trombone, and tuba. The composition was energetic, skillfully played by the quintet in a manner that depicts life journey fast paced to get to the desired place and upon reaching it there is a slowing down pace of life either in peace or dismay. The second piece was Clarinet Sonata in E-flat Major, Op. 167 by Camille Saint-Saens. This piece was performed with two instruments namely clarinet and piano. It had a slow movement, opening with tender, melodies that seemed effortless, up and down tempo, whispering softly. This was a short piece compared to other pieces in the program. It had a romantic voice and more consonance, harmonious, and cantabile movement. Camille Saint-Saens was born in Paris on October 9, 1835. His father died when he was a baby, after only having been married to his mother, Clemence a year and a day. His great aunt, Charlotte Mason, who was a learned person, also became a widow. The two ladies reared and provided for Camille Saint-Saens. He received his introduction to keyboarding from his great aunt at the age of two and a half. He was playing sonatas by the age of five years old. He was writing dance music at the age of 15. According to his auto biography (p.7) â€Å" Liszt had to show by his Galop Chromatique the  distinction that genius can give to the most commonplace themes My waltzes were better. As has always been the case with me I was already composing the music directly on paper with working it out on the piano.† http://books.google.com/books?id=MOcPAAAAYAAJ&dq=camille%20saint-saens&pg=PA8#v=onepage&q=camille%20saint-saens&f=false As Camille later in his life looked over his composition, there wa s no error in it technically, which is quite significant considering he did not have the basic knowledge of the â€Å"science of harmony.† Camille Saint-Saens, by the age of ten, gave concert played Beethoven’s Concerto in C minor and also Mozart’s concertos in B flat. He became the organist at the Church of Madeleine, which was a highly regarded post. He was well known in Paris. A virtuoso who had won prizes for his compositions; Introduction et rondo capriccioso (1863) as well as the Second Piano Concerto (1868). He held a post at Ecole Niedermayer during 1861 and 1865 as a piano professor. He had built life-long friendship with one of his students Gabriel Faure, one of the great composers of the 19th century and early 20th century. He would be what we would call a renaissance man, for his many gifts and interests. He was interested in Science and also a mathematician. During his later years, an avid traveler and writer wrote about his travels, poetry, and philosophical work. His work continued to be inspired by Franz Liszt and Richard Wagner, composed symphonic poems including Danse Macabre in 1874. He is also known for his opera Samson et Dalila. He died in 1921, in Algeria. https://www.sfcv.org/learn/composer-gallery/saint-saà «ns-camille Sou rces: The following websites retrieved on November 29, 2014. The third piece was composed by Giacomo Miluccio, Rhapsody for Clarinet (ca. 1979). This beautiful and technically difficult piece was a solo for clarinet. This piece started off slow, with low pitch then increased in tempo with increasing pitch as well, that continues to a call and response type music, transitioning to dissonance, to slow – low melancholy notes, then picks up to a livelier mood. This piece evoked an uncomfortable feeling inside me, sort of giving a music background to my emotions when I am uneasy, frantic, loosing my sense of direction. I personally would not select this music to unwind after a long day at work. The fourth was selections from Divertissement for Oboe, Clarinet, and Bassoon (1927) composed by Erwin Schulhoff, three movements were played. The Charleston: Allegro began with a brigh tone, upbeat rhythm, producing dance to the beat of the music. The second movement, Romancero: Andantino sounded playful, with the individual instruments playing consecutively in the introduction playing the same note. The tempo is more andantino, relaxed and mezzo forte. The last movement was the Rondo-Finale: Molto Allegro con fuoco, it featured a lively theme, faster tempo (prestissimo), many repeated tones playful notes with all instruments, and concluded fortissimo rushing at the end. The fifth piece was Suite d’aprà ©s Corrette, by Darius Milhaud. This had four movements included in the program, Entree et Rondeau, Tambourin, Musette and Le Coucou. Each of the four movements had very playful melody. Darius Milhaud, One of France’s leading composer of the 20th century. He was born to a Jewish family in Aix-en-Provence. His parents’ Jewish family line came from the Comtadin sect that has been well established in France for hundreds of years and the Italian Sephardim. http://www.anb.org/articles/18/18-03766.html Both of his parents had musical talents and had been playing music with his parents from his early childhood. He learned to play the violin at age 4. At the age of 17, Milhaud went to school at Paris Conservatoire where he ended up focusing on piano and composition, having the musical influence of top French composers like Paul Dukas, Charles Marie Widor (fugue), Andre Gedalge (counterpoint, composition, and orchestration) Nadia Boulanger, Maurice Ravel, George Enesco, Jacques Ibert were his students. http://www.classical.net/music/comp.lst/milhaud.php Milhaud and poet, Paul Claudel established a long collaborative relationship where Milhaud would compose incidental music, while Claudel will produce libretti for Milhaud’s works. Their friendship began when he served as a French attache in Rio de Janeiro in the First World War. http://www.allmusic.com/artist/darius-milhaud-mn0001175393/biography He became part of â€Å"Les Six†, a group of popular French composers under the supervision of Jean Cocteau. The group did not last very long, and had only been able to put together some piano pieces together as a whole group namely, L’Album des Six. http://www.classicalarchives.com/composer/3012.html#tvf=tracks&tv=about http://en.wikipedia.org/wiki/Les_Six During his tours to foreign countries such as the U.S.A., Brazil, Vienna, London and the U.S.S.R., where he had quickly absorbed the various musical influences of these regions like jazz and Brazilian music. In 1939, he left France after the Nazi installed the Vichy Regime and many of his Jewish relatives were murdered by the Nazi Germans. An invitation to conduct at the Chicago Symphony, had given his family a timely exit visa. Through a friend of his, a famous French conductor then at the San Francisco Symphony as a conductor, Pierre Monteux, organized a teaching post for Milhaud at Mills College in Oakland, California. He is â€Å"often perceived as the champion of polytonality.† He may not be the inventor of this technique, he was able to use the technique to its possibilities. He produced at least 440 music pieces, including 12 ballets, nine operas, 12 symphonies, six chamber symphonies, 18 string quartet. He also continued to show his identity with France and the Jewish religion though his music. He later returned to France and kept a similar teaching post at Paris Conservatoire until 1971 along with his post in Mills College. http://www.classicalarchives.com/composer/3012.html#tvf=tracks&tv=about He died in 1974. http://www.milkenarchive.org/people/view/all/574/Darius+Milhaud Sources: All websites retrieved on November 30, 2014 The final piece was Divertissement for Oboe, Clarinet, and Bassoon by Jean Franà §aix. The first movement was allegretto assai, it had a fast beat and very playful. This piece had a lot of dissonance. The Elegie had low pitch, the bassoon was setting the tone to a mournful sound, played in  harmony by the clarinet and oboe. The Scherzo, was the last movement played, it had a lot of energy, moving very fast. It sounded like a music for dancing, with contrasting tone color. Jean Franà §aix was born to a family of musicians on May 23, 1912. His father, Alfred Franà §aix spent sixteen years as the director for the Le Mans Conservatory of Music. His mother was a teacher and choir director also at the Conservatory. He had an early music influence, started learning piano at four, at ten he was taking music lessons with Isidor Philipp,whose long list of students were significant pianists, composers, and conductors, who was also a long time friend of Claude Debussy. http://en.wikipedia.org/wiki/Isidor_Philipp Franà §aix, also studied music with Nadia Boulanger, who was a French composer, conductor, who also had a long list of well known students of musicians and composers of the 20th century. Jean Franà §aix at ten years old, composed â€Å"Pour Jacqueline† in honor of his cousin, and was published after two years. http://www.classicalarchives.com/composer/2535.html#tvf=tracks&tv=about He met Maurice Ravel in 1923, who had encouraged the young Franà §aix, to pursue his path that he is currently taking. He won the first prize at the Paris Conservatoire when he was 18. In 1932, he successfully gained popularity at the premiere performance of his Concertino for Piano and Orchestra at the Baden-Baden Chamber Music Festival, in Germany. He became sought after after this that he was commissioned to write music for sixteen ballets. He had completed and extensive collection of works including orchestral works, film music, vocal works as well as chamber music. He served at Ecole Normale de Musique in Paris teaching from 1959 to 1962. According to Schott music website, although Jean Franà §aix had exposure, influence, and fondness for the French Impressionism and the Neoclassicism, and his close relationship with Francis Pulenc and the â€Å"Groupe Des Six,† â€Å"Jean Franà §aix never felt committed to any particular musical ideology.† http://www.schott-music.com/shop/persons/featured/jean-francaix/ Jean Franà §aix died in 1997, his major work, written in 1939, The Apocalypse of Saint John, first performed in 1942, and was later played at his memorial  service at Le Mans Cathedral in 1999. http://www.classicalarchives.com/composer/2535.html#tvf=tracks&tv=about (Sources: all websites retrieved on November 30, 2014) The center stage’s design seemed very intimate to me in terms of the close proximity of the audience to the performers. From where I was sitting (left side, third row from the stage), I noticed that the instrumentalist were exchanging glances, waiting or taking the lead with each melody. I noticed that the instrumentalist had to tune their instruments before they start their pieces. They also seem to be constantly licking their lips. One striking event that I noticed, that I probably will not notice at a different venue where the stage is at a farther distance to the audience, is that the instrumentalists that played as a group, had a way of communicating with each other by glances and nods, whether to play solo, duo or trio. They played their musical instruments with such grace and poise. The moment the instrumentalist started performing the audience were very enthralled with the sound of the music. It was quite a life enriching experience. There was certain beauty and somewhat felt spiritual as I watch the instrumentalist play fantastic sounds with each of their instruments. The Colburn Conservatory School director welcomed the audience to the concert and with pride mentioned that most of their students have won the Pasadena Showcase House Instrumental Competition. Jay,  I am hoping if you would be able to help me describe the following. I don’t exactly know how to go about writing description of this final music pieces. If you can, I would really appreciate it. 7. A full description of the final musical piece on the concert – 10 points Divertissement for Oboe, Clarinet, and Bassoon by Jean Franà §aix, 1912-1997 Prelude https://www.youtube.com/watch?v=XQywosBYkac Allegretto Assai https://www.youtube.com/watch?v=W682MdjDb4o