Author: admin

Posted on

Perceptions and the Past in The Night Watch

29 April 2016

Perceptions and the Past in The Night Watch

First impressions are fleeting, momentary snapshots of a person’s life and are therefore not to be trusted. Judging a character on an impression one develops based on information one’s just learned at one’s first meeting cannot give a true sense of that character’s personality. Waters’ decision to write her novel The Night Watch in reverse chronological order influences and ultimately enhances the readers’ perceptions of the characters. Waters’ form of narration goes from a series of events from the latest date, to another long stretch of time from an earlier date, to the earliest events that started it all.… Read the rest

Posted on

“We’ll Strive to Please You Every Day”: Music and its Implications in Twelfth Night

28 March 2016

“We’ll Strive to Please You Every Day”: Music and its Implications in Twelfth Night

From the first line of William Shakespeare’s Twelfth Night, or What You Will, the importance of music is introduced. As in any production, music is integral in setting the scene, and this play features it abundantly. Music begins the play as well as concludes it, and there are several songs inserted into the dialogue in the middle. The songs of this play work in several ways. Different characters’ varied reactions and amount of involvement in the music help the audience interpret their characterization.… Read the rest

Posted on

Musical Relationships in the Broadway Theatre

22 February 2016

Musical Relationships in the Broadway Theatre

Two years ago, I saw Les Misérables on Broadway with a friend and we sat in the very front row. Reading Christopher Small’s Musicking; The Meanings of Performing and Listening led me to ponder this performance. There were a few discrepancies between the connections that occur between people during a performance as described in Small’s book versus what I experienced at the Broadway musical. Looking back, I thought about distinct relationships that took place within the theatre during that performance: the relationship between the space and the audience, the relationship between members of the audience, the relationship between the audience and the performers, and the relationship between everyone in the theatre and the music.… Read the rest

Posted on

The String Quartet Through the Ages: Crumb’s Black Angels Explored

21 April 2015

The String Quartet Through the Ages: Crumb’s Black Angels Explored

George Crumb’s Black Angels acts as an excellent demonstration of the drastic difference between an avant-garde quartet of the later twentieth century, and a traditional Beethovenian string quartet of the early seventeenth century. The first difference between Crumb’s piece and other more traditional works is that his quartet is played with electric strings as well as maracas, crystal glasses, glass rods, metal thimbles, metal plectrums, tam-tams, and even the occasional spoken recitative. This widespread array of sounds creates an atmosphere quite distinct from the more conventional quartet, in particular, Ludwig van Beethoven’s D-Major Quartet, Op.… Read the rest

Posted on

Beethoven’s String Quartet in D Major, Op. 18 No. 3

18 February 2015

Beethoven’s String Quartet in D Major, Op. 18 No. 3

The first movement of Beethoven’s String Quartet in D Major is a mostly angelic-sounding piece with a few mischievous deviations into minor keys. Throughout the piece, the dominant is used heavily, which leaves the listener constantly eager for the next note, anticipating its resolution. The quartet begins with a grand pair of whole notes on A and then G that seem to lean toward the tonic, which is later emphasized by several short ornamental phrases. The musical atmosphere of 1P is quite dreamlike, and reminds me of the leisurely way a feather floats back and forth in midair as it falls until finally, gently, it reaches the ground.… Read the rest

Posted on

“For Man is a Giddy Thing”: The Significance of “Sigh No More Ladies” in Much Ado About Nothing

15 December 2014

“For Man is a Giddy Thing”: The Significance of “Sigh No More Ladies” in Much Ado About Nothing

In Shakespeare’s classic comedy Much Ado About Nothing, the song “Sigh No More Ladies” has produced much controversy, especially in relation to its use in the 1993 film adaptation by Kenneth Branagh. It’s use in the film is the basis of Philippa Sheppard’s article “‘Sigh no more ladies’—The Song in Much Ado About Nothing: Shakespeare and Branagh Deliver Aural Pleasure.” Sheppard argues that the song emphasizes male infidelity and the female indifference and/or ignorance of it. She claims that it is used in merry or celebratory moments in the film, which conflicts with the song’s lyrics and message, or that “[Branagh’s] own jolly treatment of the song obscures the lyrics’ bitter taste” (92).

… Read the rest
Posted on

Internships, Work, and Other Experience

For my Subsidiary Rights Internship at Jane Rotrosen Agency, I created, formatted, and copyedited the Frontlist and Indie Rights Guides for the 2020 London Book Fair and designed layouts using InDesign to showcase JRA’s upcoming titles. Some of my other tasks include scheduling and compiling notes for publisher meetings, communicating with authors and publishers about marketing and contracts, reading Frontlist titles and submissions and writing reader’s reports, and updating foreign contracts in Atlas and BAITS.

During my time as Editorial Assistant at BookTrib.com, I got to write reviews for upcoming books of all genres as well as edit and publish reviews on the BookTrib website.… Read the rest

css.php