Catégories : Tous - nacionalismo - modernismo

par Camilli Starosky Il y a 3 années

178

Modernismo

O texto aborda a evolução da música clássica do final do século XIX até meados do século XX, destacando compositores e movimentos significativos. A tradição austro-germânica é representada por figuras como Mahler e Strauss.

Modernismo

Primeira geração Moderna

Áustria

Anton Webern ( 1883-1945 )
Alban Berg ( 1885-1935 )
Arnold Schoenberg ( 1874-1951)
Alexander Scriabin ( 1872-1915 )
Sergei Rachmaninov ( 1873-1943 )

Filândia

Jean Sibelius ( 1865-1957 )

República Tcheca

Leos Janácek ( 1854-1928 )

Inglaterra

Ralph Vaughan Williams ( 1859-1924 )

Espanha

Manuel de Falla ( 1876-1946 )

França

Maurice Ravel ( 1875-1937 )
Claude-Achille Debussy ( 1862-1918 )
Impressionismo

Modernismo

To name your story, you have to think about the overall message and what you want your audience to understand from the story. Also, make it relevant and easy to remember.

Segunda metade do século 20

Dodecafonismo
Luciano Berio ( 1925-2003 )
Eliott Carter ( 1908-2012 )
Pierre Boulez ( 1925)
Karlheinz Stockhausen ( 1928-2007 )

Música Eletrônica

Tradicionalismo Tonal
Samuel Barber ( 1910 - 1981 )
Tradição Clássica
Olivier Messiaen ( 1908-1992 )

Novo realismo

The ending of a story is essential. We all know that if the ending is weak, what happened before loses its importance. So make it unpredictable, but fair. A resolved ending answers all the questions and ties up any loose threads from the plot.

Dmitri Shotakovich ( 1906-1975 )
Paul Hindemith ( 1895-1963 )
Kurt Weill ( 1900-1950 )

This is the closure section of the story.
See examples of possible outcomes below:

Movimento avant-garde

The middle of the story is where you add layers of complications that will lead to the end. Reveal more about the character's journey. Did their personality go through changes? How did they overcome the challenges? And as you build up the story’s central conflict, make it more personal to that character. Also, from the middle act, you have to lead into the final act.

Béla Bartók ( 1881-1945 )

There wouldn't be any tension and excitement in your story if there weren't any obstacles in your character's way.

Igor Stravinsky ( 1882-1971 )

Your character(s) need(s) motivation in order to solve the challenge(s).

Fase Serial

Secondary characters also might have motivs beacuse of which they may cross path with main character or which might trigger them to help the main character.

Fase Neoclássica

Secondary characters might also have motives that lead them to cross paths with the main character or which might trigger them to help the main character.

Neotonal

Fase Russa

Why does your character need to confront this challenge? What does he/she expect to accomplish by solving it?
See a few examples:

Primitivista

Erik Sate ( 1866-1925 )

Each story has a main character and that character usually needs to solve a problem or challenge. The character's challenge is the one that creates tension throughout the story.

Futurismo
Subtópico

Correntes nacionalistas

França e Itália
Gabriel Fauré
Cesar Franck
Rússia
Nicolai Rimsky-Korsakov
Modest Mussorgsky

Tradição austro-germânica

In the beginning of the story (or the exposition), you will need to introduce the setting and characters. You might also want to introduce the main conflict. This part of the story is important because it gives the reader necessary background information and maybe even a first insight into a character’s personality.

Richard Strauss ( 1864-1949 )
Gustavo Mahler (1860-1911)

The setting (time & place) of a story can change throughout the plot.

Hugo Wolf ( 1860-1903)

Characters are essential to a good story. Usually, the protagonist(s) is/are the most affected by the plot. Introduce a character by focusing on their actions, interests, and occupation, as the physical appearance doesn't make a difference in most cases.