In order to explore how music of different periods is used, being able to identify genres of music and the characteristics of the time period in which it was used, as well as how music is used in film and theatre, we will be doing Music Reports for homework which will discuss the use of music in the movie The Blues Brothers (1980).
Instructions: In this numerical order (use the numbers please), respond to the following and submit your typed responses via CANVAS:
Research the following movie. What interesting facts did you find during your research?
What is(are) the name(s) of the composer(s) and/or artist(s)?
What is the research link / book citation you used for your information? FYI: You may not use Wikipedia.
Watch the movie in its entirety. Briefly summarize the main events.
Discuss the ending of the movie.
What was the meaning and purpose behind the resolution at the end and how does it relate to music?
Why was this movie important?
What, if any nominations or awards did the movie and/or music receive?
How was music used in this film? Use an example.
How was music used to tell the story/propel the storyline?
What style of music was represented in this film? How do you know?
How did the era or culture effect the music selections or genre?
What was going on in America at the time (current events) or what had just previously occurred that may have influenced the making of this movie, the subject matter or music, or the musical genre being represented?
What makes this musical movie different from others you have experienced in the past?
is effectively removes each woman from matters of the outside world and suggests that there is a sense of privacy and security attached to the domestic household. In doing so, a distinct divide is created between the outside and inside spaces in both texts. This can be seen explicitly in Ibsen’s choice of setting for A Doll’s House, “A comfortably and tastefully, though not expensively, furnished room.” (109), which is clear in its exclusive focus on the middle-class, bourgeoise household. This claustrophobic setting is overt in its marked isolation. It is, at first glance, untouched by the influence of the outside world. However, a close reading of the “tastefully, though not expensively, furnished room.” (109) reveals an unmistakeable consciousness surrounding financial matters. In other words, the pressures of capitalism can already be spotted within the household. In this light, the room’s interiors appear to be a calculated facade imitating comfort yet bearing marks of concern towards matters of wealth and appearance. Mark Sanberg expands upon this idea of innate corruption within the bourgeoise household by stating that Ibsen’s text is concerned with “dislodging the home from its privileged association with domestic ideals and the testing of the “house” as a modern alternative.” (85). Indeed, the distinction between the home and the house is an important one. The house is stripped of its elevated position as a secure space and instead occupies a more liminal position, prone to change and invasion. This differs from Tagore’s text which has no apparent engagement with capitalist affairs at the outset. Instead, Bimala’s household is initially unmarred by the influence of external forces “It transcended all debates, or doubts, or calculations: it was pure m>GET ANSWER