Carmen and Gypsy Culture :: essays research papers

The bewitchment with foreignism was more(prenominal) and more paramount within romanticistic compositions as there was an increase yearning for farthermost off lands within the composers imagination. Composers of such whole kit and boodle were not outrageously interested in authenticity their primary invade was to create a picturesque atmosphere that would appeal to audiences.(Machlis p.190) Bizet romanticized gipsy nicety in his opera and through the character, Carmen. The libretto gives off ideas in relation to the emerging theme of naive realism, where often focus was given to the working manakin and their suffering. Carmen and the other gypsies bustt have that middle class virtue. exclusively they ar seen against the strange all in allure of Spain and Bizets medical specialty invests them with a adult male dignity. (Machlis192) In much of the art, music and literature of the 19th century the egg-producing(prenominal) gypsy, in particular(prenominal) was char acterized and stereotyped as free-spirited, strong, deviant, demanding, sexually arousing, alluring and dismissive. This romantic construct of the itinerant woman may be viewed as completely opposite to the proper, controlled and chaste, obedient woman held as the Victorian, European ideal. These descriptions are likened to the characters of Carmen in contrast to Micaela. Carmen is all about women, especially women with exotic qualities who challenge the conventional morale. The women in Carmen are seen not as passive but as active players in the social game. Carmen forever sings about independence and jockey with no limits. The freedom to travel, the freedom to exist Carmen fights for the right to live.(Feminist endings) The oriental fascination with the forbidden and out(p) world of the gypsy other in music is characterized by the impulsive bounce-like rhythms, melodies and orchestration. Carmens most famous aria, Habanera in which she tells of her world of love, is a b orrowed Cuban spring form, from Havana exhibiting Spanish flounces and likened to the Tango dance style. The duple amount slow dance, lined with graceful dotted rhythms involves a lot of be movement and expression, characteristic of the gypsy. Seguidilla also demonstrates the importance of dance to the gypsy culture, get dressed in a typical rhythm and render to a poetical verse form. The combination of guitar-like accompaniment, pizzicato on the draw laced with ornaments and triplets, gives the flake character and cheek, as Carmen taunts Don Jose to fall for her charms. The accelerating gypsy dance spring Act 2 uses dissonances and sliding harmonies, creating that colour and rankness typical of the exotic influence.Carmen and Gypsy Culture essays research papersThe fascination with exoticism was more and more prevalent within romantic compositions as there was an increased yearning for far off lands within the composers imagination. Composers of such works were not te rribly interested in authenticity their primary concern was to create a picturesque atmosphere that would appeal to audiences.(Machlis p.190) Bizet romanticized gypsy culture in his opera and through the character, Carmen. The libretto gives off ideas in relation to the emerging theme of naturalism, where much focus was given to the working class and their suffering. Carmen and the other gypsies dont have that middle class virtue. But they are seen against the exotic allure of Spain and Bizets music invests them with a human dignity. (Machlis192) In much of the art, music and literature of the 19th century the female gypsy, in particular was characterized and stereotyped as free-spirited, strong, deviant, demanding, sexually arousing, alluring and dismissive. This romantic construct of the Gypsy woman may be viewed as completely opposite to the proper, controlled and chaste, submissive woman held as the Victorian, European ideal. These descriptions are likened to the characters of C armen in contrast to Micaela. Carmen is all about women, especially women with exotic qualities who challenge the traditional morale. The women in Carmen are seen not as passive but as active players in the social game. Carmen forever sings about freedom and love with no limits. The freedom to travel, the freedom to exist Carmen fights for the right to live.(Feminist endings) The oriental fascination with the forbidden and taboo world of the gypsy other in music is characterized by the spontaneous dance-like rhythms, melodies and orchestration. Carmens most famous aria, Habanera in which she tells of her conception of love, is a borrowed Cuban dance form, from Havana exhibiting Spanish flounces and likened to the Tango dance style. The duple metre slow dance, lined with graceful dotted rhythms involves a lot of body movement and expression, characteristic of the gypsy. Seguidilla also demonstrates the importance of dance to the gypsy culture, set in a typical rhythm and sung to a poetic verse form. The combination of guitar-like accompaniment, pizzicato on the strings laced with ornaments and triplets, gives the piece character and cheek, as Carmen taunts Don Jose to fall for her charms. The accelerating gypsy dance opening Act 2 uses dissonances and sliding harmonies, creating that colour and richness typical of the exotic influence.