The Sunken Cathedral Analysis

The narrator of Raymond Carver's short story Cathedral starts by saying, "This blind man, an old friend of my wife's, he was on his way to spend the night. "The narrator continues to say that after the blind man's wife died while visiting her relatives in nearby Connecticut, he had called the narrator's wife to arrange a visit of old friends. The narrator admits he is not excited about this man coming to visit his wife. "He was no one I knew. And his being blind bothered me. My idea of blindness came from the movies. In the movies, the blind moved slowly and never laughed. Sometimes they were led by seeing-eye dogs. A blind man in my house was not something I looked forward to." Soon enough, the narrator would come to look at being blind in a much different way and even come to realize that he himself is being blind.

Can a person learn something from communicating with someone else? For some people is difficult to make new friends of just talking to a random person. One might find it unnecessary to make new friends. Raymond Carver’s “Cathedral” is a story about the narrator, narrator’s wife, and the blind man Robert. The narrator is not happy with Robert coming to stay at his house. Then, Robert comes to his house and they start to get along with each other. Later at night, the narrator and Robert are watching television show about cathedrals. While, they were watching the show Robert tells the narrator to get a piece of paper. Lastly, the narrator and Robert draw a picture of a cathedral together, so Robert can get a better idea of a cathedral. In the

The need to memorialize events or people is complex; in some cases, monuments honor moments of great achievement, while in other cases, monuments pay homage to deep sacrifice. A monument 's size, location, and materials are all considerations in planning and creating a memorial to the past. In any case, the need to honor or pay homage to a specific person or event is prevalent within society. A monument has to mean something to the society it is place in. The location of a monument is perhaps the most important aspect of creating a successful monument to honor and show respect to a person or event. Kirk Savage suggests in Source A (Savage), “The public monument speaks to a deep need for attachment that can be met only in a real place, where

Another composer who played an important role in the development of the Symphony is no other than Joseph Haydn, the ‘Father of Symphony’. One of his works, Symphony no. 92 in G Major, Hob I:92, composed in 1789, will be reviewed. “Oxford” Symphony was commissioned by Count d’Ogny for the Loge Olympique Concerts in Paris. It is known as “Oxford” because Haydn presented this symphony at the Sheldonian Theater at Oxford University in July 1791, where he was awarded a honorary doctorate degree. This symphony displays Haydn’s mature style of composition, presenting his capability to utilize thematic development, counterpoint and a mixture of distinctive moods. This work calls for flute, pairs of oboes, bassoons, horns in G and trumpets in C, timpani, and strings.

In the world of literature, stories are often released for the purpose of social commentary or even to reflect on the authors past in a that its similar to an autobiography. Raymond Carver is a unique author often creating short stories that are of his own personal life through fictional characters that embody the turmoil he has gone through and social commentary on social issues. This is seen especially in his 1981 short story, Cathedral with a revised version being released in 1983, but we are gonna focus on the 1981 original.

It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

It is forceful and heavy and is very different to the accompaniment of the first section. The accompaniment has a sudden crescendo from the pianissimo of the first section to the mezzo forte of the second section, which shocks the audience. The harmonies are also more chromatic and dissonant, adding to the unease and discomfort felt, both by the character and the audience. In bar 23, instead of the dyads, the left hand begins playing octaves while the right hand plays chords, making the piece feel more menacing. The crescendos, diminuendos and sforzandos in the accompaniment, and the harmonies accurately portray the second and fifth stanzas of the poem, where the character is pulled from his lovely dream and sees his reality, where it is cold and he is alone. This thus explains why section A and B have such contrasting musical

Unity and variety is put in this piece through dynamics, timbre and pitch. The song adds variety by increasing the volume during Idea B. Idea B is unified in the piece keeping the same instruments as Idea A to keep the rhythm. The dominant instruments during Idea B introduces new sound sources and adds variety to the piece. The overall pitch of this piece is low but the piano during 2:18-3:17 gives variety by introducing a higher pitch.

Evocative of much of the work he composed during his younger years Wolfgang Amadeus Mozart’s Symphony No. 29 is a testament to his genius and mastery of classical musical forms. Written when he was just eighteen years old the composition is a concise and peculiar example of classical Sonata form. Instead of having an introduction before the exposition Mozart ops to present the primary theme of the piece’s Allegro movement at the start of the first downbeat.

The pitches are getting higher, while the song is going to the end. From 32:25 to 30:10 the flow is gaining momentum and the song has more powerful sounds until 44:25. The atmosphere of the work is entirely powerful and strong. The other hand, as the song is progressed, the flow loses momentum, and at 58:41, the atmosphere is changed into placidly mood. Ratio-based tuning system has intimately relationships between the other scales and notes. The same themes and chords cycle in this piece. The chords and continuous chorus do not sound like piano performance. The listeners could be aware of the resonance of the piano. I could notice that the music reaches the end of the work. However, the song could go on moreover, if the composer would keep playing the music. Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the

There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone. The first movement of the Swan Lake Suite, Scene, which began with the violins playing with an oboe solo on top. The oboe was playing various crescendos and decrescendos at a mezzo piano dynamic and the tempo was moderate. This ends with the high woodwinds playing a string of the melody, passing it to the low brass with the strings very quietly in the background and then what seemed to be a diminuendo. The second movement of the Swan Lake

This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.

“I Cannot Forget” is a poem written by Alexander Kimel in 1942 in which he tackles his experience in the Ghetto of Rohatyn. The title of the poem suggests an internal conflict from which the poet suffers. He wants to forget the days when “{The Jews} lived in terribly overcrowded quarters, were given too little to eat and little or no medicine and were forced to work in factories” (Abzug 110). However, he knows very well that he should not because millions of people died for the sake of one man.

In his contemporary short story, “Cathedral,” Raymond Carver tells the story of an unnamed narrator, his wife, and an old friend, a blind man named Robert. Robert has come to visit the narrator’s wife, who is quite excited to see this man whom she hasn’t seen in ten years, yet the same can’t be said of the narrator who is noticeably and vocally uncomfortable about his visit. The story is told through the narrator’s first person point of view, showcasing his thoughts and the events that take place when Robert comes to visit. Carver highlights the theme of having the ability to see, but not truly seeing, through his use of colloquial language, and creation of relatable characters.

Die Kapuzinergruft, German for ‘The Capuchin Crypt’ describes the traditional burial ceremonies of the Imperial Hapsburgs. In his 1938 novel of the same name, author Joseph Roth describes the parallel symbolic death and burial of an Empire in the waning days of the Habsburg Monarchy. The Overlook Press published an English translation by John Hoare in 1984; The Emperor’s Tomb describes the life of a Slovenian national during the waning days of the Austro-Hungarian Empire, and through this use of a minority, he conveys the struggle for self identity that a great many states and countries went through as a result of their dissolutions at the end of the First World War. At the beginning of the book, Franz Ferdinand Trotta, or Herr Trotta, as he is referred to in much of the book, is a strong and decisive man. He leads a life of dignity and grace, never stepping too far from where he came, following the rules of society. But internally, he struggles almost constantly with an inner voice that wants him to explore his romantic and less realistic side. Despite a fierce pride of his heritage as a Slovenian, expressed through language and culture, the region of Slovenia does not have its own sovereignty, and Trotta is forced to identify as Austro-Hungarian. His father had long believed that the Empire would become three-headed, with a Slovenian crown rising up within the empire of the Austrians and Hungarians. But this was never to be. Slovenia would one day become a sovereign