Solid 19th Century Classics with Modern Enthusiasm Symphony of the Mountains at ETSU, September 28, 2013

The concert on September 28th by the Symphony of the Mountains, at East Tennessee State University, featured a solidly classical program of pieces by Ludwig von Beethoven, Pablo De Sarasate, and Schubert . The performance group, under the direction of Sean Claire, is from the region, although they have interesting and varied international backgrounds .Advertising We will write a custom report sample on Solid 19th Century Classics with Modern Enthusiasm: Symphony of the Mountains at ETSU, September 28, 2013 specifically for you for only $16.05 $11/page Learn More The ensemble gave the music their all. They were patently highly skilled, and their performances were loving and enthusiastic, including no wrong notes or missed entrances (or, if they did, these were not noticeable to the untutored listener). It was an interesting matinee program at Mathes Auditorium, even for a listener for whom these particular pieces of music were not the most familiar. It wa s clear from themes and melodies contained in each piece that other composers, especially of film music and popular music, must have been inspired by this kind of music. The initial piece, Beethoven’s Sonata Number 5 in F, titled â€Å"Spring†, was performed by Emi Kagawa on piano and Sean Claire on violin. They somehow gave the impression of including many more instruments than these two. If a listener closed his or her eyes, it would at times seem that a whole ensemble was playing. This may be a reflection of the fact that both instruments can produce more than one note at once. It was a striking effect. The piece is programmatic in that the overall effect is of joy and growth rather than otherwise. The Scherzo movement, in particular, evokes the liveliness of young animals in springtime, whether lambs or colts, an image often associated with spring. Later in the concert, the same duo produced a lovely and hauntingly memorable melody, carried by the violin and backed with harmony by the piano. This seems very familiar, and it is this sense of dà ©jà   vu that suggests that other more recent composers have plundered this theme for their own use. The second melodic theme is clearly a dance tune, in what sounds like a waltz time signature. Again, the violin carries the melody, while the piano harmonizes along with this tripping, glancing melody.Advertising Looking for report on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More After correcting their tuning, the strings and piano performed movements that showcased the fireworks possible for the piano. In the first one, the piano thundered and crashed, rumbled and sang behind the strings, sometimes carrying the melodic line. There was, in spite of the drama of the piece and the volume of sound that the piano demonstrated, a fine balance between it and the strings. In the second movement, the piano sang the gentle and tender tune, in turn with the strings. This was contemplative music, tending The Schubert quintet filled out the program after the intermission, and called on the talents of not only Sean Claire but violinist Ilia Steinschneider, violist Gina Caldwell, and cellists Matt and Jeanine Wilkinson. This work was filled with variety, and ended with the lower strings sounding so richly human as to be spooky. It was not programmatic but It was tempting to read something into it, from the composer’s own life or events going on around him. Perhaps a personal evolution from quiet joy to more exuberant rejoicing would fit the bill. The program included a wide range of dynamics, from the very quiet and peaceful to the towering and emphatic. These 19th century classics hold up very well even for very modern listeners and these performers interpreted them individually and thoughtfully. It was a program that encouraged further listening to these composers and to music from this era and genre more generally. Reference Department of Music, East Tennessee State University. â€Å"The Symphony of the Mountains Chamber Ensemble†. (September 2013). Johnson City, Tennessee: Department of Music, East Tennessee State University, 2013. This report on Solid 19th Century Classics with Modern Enthusiasm: Symphony of the Mountains at ETSU, September 28, 2013 was written and submitted by user Kimberly Kent to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

The Insanity Defense in Criminal Cases

The Insanity Defense in Criminal Cases The standard for claiming a defendant is not guilty by reason of insanity has changed through the years from strict guidelines to a more lenient interpretation, and back to a more strict standard again. Although definitions of legal insanity differ from state to state, generally a person is considered insane and is not responsible for criminal conduct if, at the time of the offense, as a result of a severe mental disease or defect, he was unable to appreciate the nature and quality or the wrongfulness of his acts. This reasoning is, because willfull intent is an essential part of most offenses, a person who is insane is not capable of forming such intent. Mental disease or defect does not alone constitute a legal insanity defense. The defendant has the burden of proving the defense of insanity by clear and convincing evidence. The history of the insanity defense in modern times comes from the 1843 case of Daniel MNaghten, who tried to assassinate the prime minister of Britain and was found not guilty because he was insane at the time. The public outrage after his acquittal prompted the creation of a strict definition of legal insanity which is known as the MNaghten Rule. The MNaghten Rule basically said a person was not legally insane unless he is incapable of appreciating his surroundings because of a powerful mental delusion. The Durham Standard The Durham standard was a much more lenient guideline for the insanity defense, but it addressed the issue of convicting mentally ill defendants, which was allowed under the MNaghten Rule. However, the Durham standard drew much criticism because of its expansive definition of legal insanity. The Model Penal Code, published by the American Law Institute, provided a standard for legal insanity that was a compromise between the strict MNaghten Rule and the lenient Durham ruling. Under the MPC standard, a defendant is not responsible for criminal conduct if at the time of such conduct as a result of mental disease or defect he lacks substantial capacity either to appreciate the criminality of his conduct or to conform his conduct to the requirements of the law. The MPC Standard The MPC standard was popular until 1981, when John Hinckley was found not guilty by reason of insanity under those guidelines for the attempted assassination of President Ronald Reagan. Again, public outrage at Hinckleys acquittal caused lawmakers to pass legislation that reverted back to the strict MNaghten standard, and some states attempted to abolish the insanity defense altogether. Today the standard for proving legal insanity varies widely from state to state, but most jurisdictions have returned to a more strict interpretation of the definition.