The Motivation Of The Journey Themes

The Motivation Of The Journey Themes In literature the theme of a journey is a common one but the motivation for the journey changes considerably. The goal of each journey was directly influenced by the values of the specific time period and location in which the pieces were written. These pieces include The Odyssey by Homer, The Inferno by Dante, Candide by Voltaire, and A Study in Scarlet by Arthur Conan Doyle. Each of these works of literature have their own concept of a journey but are similar in that they all share a driving force to complete their own specific quests. In The Odyssey by Homer we see two journeys. The main journey is Odysseuss journey home, back to his civilization. We also see Telemachus journey to find his fathers whereabouts. In Odysseuss journey we see many obstacles that get in his way including gods which was a big part of Greek culture. Greek gods are considered to be human-like because of their inability to be perfect and because of this the gods are not always well respected by the humans. One of the gods who tried to prevent him from completing his journey was Poseidon. Poseidon sought revenge on Odysseus because Odysseus had blinded the Cyclopes which were one of Poseidons sons. In return Poseidon shipwrecks Odysseus and he ends up on Phaeacia. Odysseus will do what is necessary to get back to his polis. The ultimate goal for a Greek is to achieve fame and glory through his polis. I would have had my rites and the Achaians given me glory. Now it is by a dismal death that I must be taken (Homer, 306-312). If this fame and glory is not achieved they believed that life was a waste. The city in which he ruled was called Ithaca. The polis in which he ruled in Ithaca believed that Odysseus was dead because he had not returned home in such a long time. The only true believers were his wife Penelope and son Telemachus. Telemachus saw that the suitors were disloyal to his father Odysseus by eating all his food and trying to take his mother as a wife and because of this he went on his own journey to find someone who had visual evidence of his death. On this journey he found no such evidence of death but he was starting to lose hope of his fathers return. We see that both Odysseus and Telemachus believe that civilization is the motiva ting force for their journeys. In Telemachus case, he wants to bring back the truth to his polis about Odysseus. In Odysseus case, he wants to return to his polis for fame and glory which is the greatest achievement possible. In The Inferno by Dante we see a completely different journey. Instead of a journey for fame and glory through your polis we see a journey through hell to prove there is one God. Dante was born in Florence, Italy in 1265 in the Medieval era where Christianity was the dominate religion in that location at the time. In Christianity there is the idea of heaven and hell. In Christianity when you die you are judged based on your life by God and you are either sent to heaven where the good people go or hell where the bad people go. In this book Dante is allowed by God to enter hell alive to write about what he sees and who he meets. During this journey he is accompanied by Virgil who is his guide through hell because hell is where he resides. His journey is also stopped by obstacles, but since it was willed by God to make this journey no obstacle could stop him for long. Once the people in hell knew they were protected by God they would tell Dante anything he wanted to know. When Dante journey lead him to the wall of the city of Dis; he was stopped by demons that would not let him pass. The abyss of the rest of hell was behind this gate and he needed to get passed. An angel from heaven was sent to open the gate for Dante and Virgil. The demons could not reject anything from heaven because they feared heaven. Through me the way into the suffering city, through me the way to the eternal pain, through me the way that runs among the lost. Justice urged on my high artificer; my maker was divine authority, the highest wisdom, and the primal love. Before me nothing but eternal things abandon every hope, who enter hereà ¢Ã¢â€š ¬Ã‚ ¦(Dante, 1-11). This journey was meant to show that there is one God that is very powerful even am ongst the most evil and even Satan himself. Dante on his journey saw symbolic retribution which is when the punishment fits the crime and this was used to show that the sins committed on earth is the same sin you will commit in hell for all eternity. Hell is separated into 9 different circles with 1 being the best circle and 9 being the worst circle in terms of the punishment. Depending on the sin the person committed; they would be sent to that corresponding circle. For example, if you are a priest and you commit a sin such as you trade the grace and favor of the church for money you would be sent to the 3rd bolge in the 8th circle and you would be known a simonist. Their punishment is a reverse baptism where they are hung upside down in holes and are baptized in fire not in water. This is also an example of symbolic retribution. In Dantes journey we see a difference in motivation between the Odysseys journeys in that, a strive for fame and glory is not seen and polis is not even mentioned. His journey was used to communicate a fear for one God and also show the consequences of the wrong doings on earth. According to Dante, the worst sins you commit on earth you will pay for in hell. In the next piece of literature, Candide by Voltaire, we follow the main character Candide on a long journey for the girl that he loves Cunà ©gonde. He is banished from his home for kissing Cunà ©gonde who is of a higher social ranking then himself. Because of his banishment he embarks on a long journey of hardship. He remembers Dr. Pangloss teachings as a kid a uses his philosophy throughout his journey. Dr. Pangloss always would tell him that they live in the best world and everything in this world is for the best. After a couple of years with the army he escapes to Lisbon because he was ill-treated. In Lisbon he finds his lost love Cunà ©gonde with two men who want her. Candide kills the two men and he now escapes on a journey with Cunà ©gonde. But this journey with Cunà ©gonde did not last long because he was wanted for the killings of the two men. Candide had to flee and he told Cunà ©gonde to stay in Buenos Aires until his return. Candide and his servant Cacambo come across the lost city of gold known as El Dorado. Here they find kids playing with an abundance of gold as if gold was meaningless to them. In El Dorado there was so much gold that they played with it instead of cherishing it. El Dorado represents the conclusion of a perfect journey but for Candide this wasnt the case. This was not perfect because Cunà ©gonde was not with him and he never forgot about his promise that he would come back for her. So he took a large quantity of gold and went back to look for her. Since Candide cannot return because he is wanted; he instructs his servant Cacambo to go get Cunà ©gonde and bring her to Venice Italy where they could reunite. Candide arrives to Venice late and he has to search for Cacambo who was nowhere to be found. Eventually he finds Cacambo and again they embark on another journey to Turkey because that is supposedly where Cunà ©gonde now stays. Sure enough there long journey comes to an end when they meet in Turkey. Candide lost his love for Cunà ©gonde because she became ugly and fat but he still married her because of her social status. They end up buying a small farm that they must tend to regularly. Candide journey was all for nothing. In his journey he had the opportunity to stay in the perfect world of El Dorado where there was plenty of food an riches but instead he decided to pursue Cunà ©gonde. Cunà ©gonde was once the perfection in his life but by the end she became imperfect. His journey has put him through many obstacles but in the end he was happy with the farm although he must work for food and his wife is not what he wanted. à ¢Ã¢â€š ¬Ã‚ ¦for if you had not been kicked out of a magnificent castle for love of Miss Cunà ©gonde: if you had not been put into the Inquisition: if you had not walked over America: if you had not stabbà ©d the Baron: if you had not lost all your sheep from the fine country of El Dorado: you would not be here eating preserved citrons and pistachio-nuts. All that is very well, answered Candide, but let us cultivate our garden. (Voltaire, 30.29-31). In the end, his journey was to find the perfect place where Candide was satisfied with his life and he eventually did this at the end of his long journey for Cunà ©gonde. In the last piece of literature, A Study in Scarlet by Arthur Conan Doyle, two journeys also take place; the journey of why the crime was committed and the journey to find the criminal. One of the main characters is Sherlock Holmes who is a private detective not affiliated with the authorities helps people find the truth about a particular situation that is considered unsolvable. Sherlock Holmes uses the reality of the situation as well as common sense to solve the issues he is presented with. The first journey of why the crime was committed starts off when John Ferrier and young Lucy are rescued by Brigham Young and the Mormons. The Mormons agreed to take them if they converted to the Mormon religion which meant they had to follow the Mormons rules. John Ferrier and young Lucy had to agree to this or they would die in the desert. As time went on they settled with the Mormons and followed their traditions of their religion but they were still Christian at heart. According to Mormon law young Lucy who is John Ferriers adopted daughter must marry a Mormon boy but Lucy loved another boy named Jefferson Hope who is a hunter but is not Mormon. John Ferrier was forced to make a choice or flee away from the Mormon settlement. With the help of Lucys love Jefferson Hope they try to run away from the Mormons. They eventually get caught and John Ferrier gets murdered, Lucy gets seized, and Jefferson Hope was not there to witness this so he gets spared. Therefore, Jefferson Hope, seeking revenge, finds out the names and whereabouts of the Mormons who killed John and Lucy. He finds out that Drebber and Stangerson are the ones responsible for this so he goes on a journey hunting for them. Jefferson Hope eventually finds both of them and kills them. Jefferson Hope killed Drebber by poison and Stangerson by stabbing him to death. It became a coincidence that Sherlock Holmes was put on this case to find the killer. Eventually with the cunningness of Sherlock Holmes, Jefferson Hope gets caught for his wrong doings and he confesses everything and why he killed them. These journeys of killing for revenge and finding the killer worked hand in hand perfectly because both show a journey of truth. Ive done my work now, and I dont care how soon I go, but I should like to leave some account of the business behind me. I dont want to be remembered as a common cut-throat. (Doyle, 77). We first begin with Sherlock Holmes doing his usual investigation and we as the reader wants the killer to be caught. After we see the killers journey unfold, we feel sympathetic towards the killer because we know what he has been through. After we see his journey we are lead back to the capturing of the killer and the reader is left to wonder if killing was the correct route to take. To conclude, the motivation for journeys between these four pieces of literature change throughout the time periods. In The Odyssey by Homer the motivation for the journey during Greek times was to achieve fame and glory through their polis. This is proven by Odysseus overcoming obstacles throughout the epic. In The Inferno by Dante the motivation for his journey during the Medieval period was to show that there is one God that is very powerful and God should be feared because of symbolic retribution as well as loved because he makes the ultimate decision after death. In Candide by Voltaire the motivation of the journey in the Era of Enlightenment was to find the perfect place where you could be satisfied with life even if hard work and a long journey are involved. Lastly, in A Study in Scarlet by Arthur Conan Doyle the motivation of the journey for the Age of Empiricism is to find your own truth but there are always consequences in truth.

Glossary of Musical Terminology

Glossary of musical terminology From Wikipedia, the free encyclopedia Jump to: navigation, search This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by â€Å"(Fr)† and â€Å"(Ger)†, respectively.Others are from languages such as Latin and Spanish. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms here. For a list of terms used in jazz, country, rock, and o ther popular music genres, see the Glossary of jazz and popular musical terms. Contents| A B C D E F G H I J K L M N O P Q R S T U V W Z References  Ã‚   External links| A a, a (Fr): at, to, by, for, in, in the style of†¦ * a 2: see a due in this list * a battuta: return to normal tempo after a deviation; same as ‘a tempo' * abbandonatamente, con abbandono: free, relaxed * aber (Ger): but * a bene placito: up to the performer * a cappella: in the manner of singing in a chapel; i. e. , without instrumental accompaniment * accarezzevole: expressive and caressing * accelerando, accel. : accelerating; gradually increasing the tempo * accent: emphasize, make a particular part more important * accentato/accentuato: accented; with emphasis acceso: ignited, on fire * acciaccato: broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top. * acciaccatura: crushing; i. e. , a very fast grace note that is â€Å"crushed† agains t the note that follows and takes up no value in the measure * accompagnato: accompanied; i. e. , with the accompaniment following the soloist, who may speed up or slow down at will * adagietto: rather slow * adagio: at ease; i. e. , play slowly * adagissimo: very, very slow ad libitum (commonly ad lib; Latin): at liberty; i. e. , the speed and manner of execution are left to the performer * a due: intended as a duet; for two voices or instruments; together; two instruments are to play in unison after a solo passage for one of the instruments * affannato, affannoso: anguished * affettuoso, affettuosamente, or affectueusement (Fr): with affect (that is, with emotion); see also con affetto * affrettando: hurrying, pressing onwards * agile: swiftly * agitato: agitated al, alla: to the, in the manner of (al before masculine nouns, alla before feminine) * alla breve: in cut-time; two beats per measure or the equivalent thereof * alla marcia: in the style of a march * allargando: broadeni ng, becoming a little slower each time * allegretto: a little lively, moderately fast * allegretto vivace: a moderately quick tempo * allegrezza: cheerfulness, joyfulness * allegro: cheerful or brisk; but commonly interpreted as lively, fast * allegrissimo: very fast, though slower than presto all' ottava: â€Å"at the octave†, see ottava * als (Ger): than * alt (English) (also alt dom or altered dominant): a jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with altered upper extensions (e. g. , sharp 11th, flat 13th, etc. ). * altissimo: very high * alto: high; often refers to a particular range of voice, higher than a tenor but lower than a soprano * alzate sordini: lift or raise the mutes; i. e. , remove mutes * am Steg (Ger): at the bridge; i. . , playing a bowed string instrument near its bridge, which produces a heavier, stronger tone (see sul ponticello in this list) * amabile: amiable, pleasant * amoroso: loving * anacrusis: a note or notes that precede the first full bar; a pickup * andamento: used to refer to a fugue subject of above-average length * andante: at a walking pace; i. e. , at a moderate tempo * andantino: slightly faster than andante (but earlier it is sometimes used to mean slightly slower than andante) * angstlich (Ger. ): anxiously a niente: to nothing; an indication to make a diminuendo which fades to pppp * a nessuna cosa: to nothing; an indication to hold a fermata until it dies away (this only works with instruments which cannot sustain a note) * anima: feeling * animandosi: animated, lively * animato: animated, lively * antiphon: a liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition; a repeated passage in a psalm or other liturgical piece, similar to a refrain. 1] * apaise (Fr): calmed * a piacere: at pleasure; i. e. , the performer need not follow the rhythm strictly, for example in a cadenza * appassionato: passionately * appoggiatura also called a â€Å"leaning note†: one or more grace notes that take up some note value of the next full note. * a prima vista: Sight-read (lit. â€Å"at first sight†); i. e. , (to be) played or sung from written notation but without prior review of the written material * arco: the bow used for playing some string instrument; i. e. played with the bow, as opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction * arietta: a short aria * arioso: airy, or like an air (a melody); i. e. , in the manner of an aria; melodious * armonioso: harmoniously * arpeggio: like a harp; i. e. , the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Arpeggios are frequ ently used as an accompaniment.See also broken chord in this list. * arpeggiato: a way of playing a chord: starting with the lowest note, and with successively higher notes rapidly joining in. Sometimes the effect is reversed, so that the highest note is played first. * assai: very * assez (Fr): enough, sufficiently * a tempo: in time; i. e. , the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc. ); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) * attacca: attack or attach; go straight on; i. e. at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause * Ausdruck (Ger): expression * ausdrucksvoll/mit Ausdruck(Ger): expressively, with expression * avec (Fr): with or with another B * B: German for B flat (also in Swedish, Finnish, Icelandic, Danish and Croatian); H in German is B natural * barbar o: barbarous (notably used in Allegro barbaro by Bela Bartok) * Bartok pizzicato: a term which instructs string performers to play a pizzicato note to pull the string away from the fingerboard so that it snaps back percussively on the fingerboard. bass: the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an orchestral context, the term usually refers to the double bass. * basso continuo: continuous bass; i. e. , a bass part played continuously throughout a piece to give harmonic structure, used especially in the Baroque period * battement (Fr. ): used in the 17th-century to refer to ornaments consisting of two adjacent notes, uch as trills or mordents * beat: (1) the pronounced rhythm of music; (2) one single stroke of a rhythmic accent * bellicoso: warlike, aggressive * ben or bene: well; in ben marcato (â€Å"well marked†) for example * bend: jazz term referring either to establishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. * beschleunigte (Ger): accelerated, as in mit beschleunigter Geschwindigkeit, at an accelerated tempo * bewegt (Ger): moved, with speed binary: a musical form in two sections: AB * bird's eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish * bis (Lat): twice; i. e. , repeat the relevant action or passage * bisbigliando: whispering; i. e. , a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume * bocca chiusa: with closed mouth * bravura: boldness; as in con bravura, boldly * breit (Ger): broad * bridge: Transitional passage connecting two sections of a composition, also transition.Also the part of a stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument. * brillant e: brilliantly, with sparkle * brio: vigour; usually in con brio * brioso: vigorously (same as con brio) * broken chord: A chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass. bruscamente: brusquely C * cadenza: a solo section, usually in a concerto or similar work, that is used to display the performer's technique, sometimes at considerable length * calando: falling away, or lowering; i. e. , getting slower and quieter; ritardando along with diminuendo * calore: warmth; so con calore, warmly * cambiare: to change; i. e. , any change, such as to a new instrument * canto:chorus; choral; chant * canon or kanon (Ger): a theme that is repeated and imitated and built upon by other instruments with a time delay , creating a layered effect; see Pachelbel's Canon. cantabile or cantando: in a singing style * capo: 1. Capo: a key-changing device for guitars and banjos; 2. head; i. e. the beginning (of a movement, normally). * capriccioso: capriciously, unpredictable, volatile * cedez (Fr): yield, give way * cesura or caesura (Latin form): break, stop; i. e. , a complete break in sound (sometimes nicknamed â€Å"railroad tracks† in reference to their appearance) * chiuso: closed; i. e. , muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) * coda: a tail; i. e. a closing section appended to a movement * codetta: a small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement * col, colla: with the (col before a masculine noun, colla before a feminine noun); (see next for example) * colla parte: with the soloist; as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage) * colla voce: with the voice; as an instruction in a choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage) * col legno: with the wood; i. e. , the strings (for example, of a violin) are to be struck with the wood of the bow, making a percussive sound; also battuta col legno: beaten with the wood * coloratura: coloration; i. e. , elaborate ornamentation of a vocal line, or (especially) a soprano voice that is well-suited to such elaboration * colossale: tremendously col pugno: with the fist; i. e. , bang the piano with the fist * come prima: like the first (time); i. e. , as before, typically referring to an earlier tempo * come sopra: as above; i. e. , like the previous tempo (usually) * common time: the time signature 4/4: four beats per measure, each beat a quarter note (a crotchet) in length. 4/4 is often written on the musical staff as . The symbol is not a C as an abbreviation for common time, but a broken circle; the full circle at one time stood for triple time, 3/4. * comodo (or, commonly but less correctly, commodo): comfortable; i. e. , at moderate speed; also, allegro comodo, tempo comodo, etc. con: with; used in very many musical directions, for example con allegrezza (with liveliness), con amore (with tenderness); (see also col, colla, above) * con affetto: with affect (that is, with emotion) * con amore, or (in Spanish and sometimes in Italian) con amor: with love, tenderly * con anima: with feeling * con brio: with spirit, with vigour * con dolore: with sadness * con forza: with force * con (gran, molta) espressione: with (great, much) expression * con fuoco: with fire, in a fiery manner * con larghezza: with broadness; broadly * con moto: with motion * con somma passione: with great passion * con slancio: with enth usiasm * con spirito: with spirit; with feeling con sordina, or con sordine (plural): with a mute, or with mutes; several orchestral instruments can have their tone muted with wood, rubber, metal, or plastic devices (for string instruments, mutes are clipped to the bridge, and for brass instruments, mutes are inserted in the bell); compare senza sordina in this list (which instructs the musicians to remove their mutes); see also Sordino. Note: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. * con sordino, or con sordini (plural) (incorrect Italian): see con sordina, above * con variazioni: with variations/changes conjunct: an adjective applied to a melodic line that moves by step (intervals of a 2nd) rather in disjunct motion (by leap). * contralto: * contrapuntalism: see counterpoint * coperti (plural of coperto, which may also be seen): covered; i. e. , on a drum, muted with a cloth * crescendo: growing; i. e. , progressively louder (contrast diminuendo) * cuivre: brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] * cut time: Same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by . This comes from a literal cut of the symbol of common time.Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve. D * da capo: from the head; i. e. , from the beginning (see capo in this list) * D. S. : Dal Segno, from the sign () * D. S. al fine or dal segno al fine: from the sign to the end; i. e. , return to a place in the music designated by the sign and continue to the end of the piece * D. S. S. al coda or dal segno al coda: same as D. S. al coda, but with a double segno * D. S. S. al fine or dal segno al fi ne: from the double sign to the end; i. e. , return to place in the music designated by the double sign (see D. S. al coda) and continue to the end of the piece * deciso: decisively decelerando: slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando) * decrescendo or decresc. : same as diminuendo or dim. (see below) * deest: from the Latin deesse meaning absent; placed after a catalogue abbreviation to indicate that this particular work does not appear in it. [2] The plural,desunt is used when referring to several works. * delicatamente or delicato: delicately * detache: act of playing notes separately * devoto: religiously * diminuendo, dim. : dwindling; i. e. , with gradually decreasing volume (same as decrescendo) * disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) * dissonante: dissonant divisi or div. : divided; i. e. , in a part in which several musicians n ormally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves. It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is marked unisono: see in this list. ) * doit: jazz term referring to a note that slides to an indefinite pitch chromatically upwards. * dolce: sweetly * dolcissimo: very sweetly * dolente: sorrowfully, plaintively * dolore: pain, distress, sorow, grief * doloroso: sorrowfully, plaintively * doppio movimento: twice as fast double stop: the act of playing two notes simultaneously on a melodic percussion instrument or string instrument * downtempo: a slow, moody, or decreased tempo or played or done in such a tempo. It also refers to a genre of electronic music based on this (downtempo). * drammatico: dramatically * drop: jazz term referring to a note that slides to an indefinite pitch chromatically downwards. * Dur (Ger): major; u sed in key signatures as, for example, A-Dur (A major), B-Dur (B? major), or H-Dur (B major). (See also Moll (minor) in this list. ) * duolo: (Ital) grief * dumpf (Ger): dull * dynamics: the relative volume in the execution of a piece of music E * e (Ital), or ed (Ital – used before vowels): and eco: the Italian word for â€Å"echo†; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect * ein wenig (Ger): a little * Empfindung (Ger): feeling * encore (Fr): again; i. e. , perform the relevant passage once more * en dehors (Fr): prominently * energico: energetic, strong * enfatico: emphatically * en pressant (Fr): hurrying forward * en retenant (Fr): slowing * eroico: heroically * espansivo: effusive; excessive in emotional expression; gushy. * espirando: expiring; i. e. , dying away * espressione: expressively * espressivo or espr. : expressively * estinto: extinct, extinguished; i. e. , as soft as possible, lifeless, barely audible * etwas (Ger): somewhat F facile: easily, without fuss * fall: jazz term describing a note of definite pitch sliding downwards to another note of definite pitch. * falsetto: vocal register above the normal voice * fermata: finished, closed; i. e. , a rest or note is to be held for a duration that is at the discretion of the performer or conductor (sometimes called bird's eye); a fermata at the end of a first or intermediate movement or section is usually moderately prolonged, but the final fermata of a symphony may be prolonged for twice its printed length or more for dramatic effect. * feroce: ferociously * feurig (Ger): fiery * festivamente: cheerfully, celebratory * fieramente: proudly fill (English): a jazz or rock term which instructs performers to improvise a scalar passage or riff to â€Å"fill in† the brief time between lyrical phrases, the lines of melody, or between two sections * fine: the end, often in phrases like al fine (t o the end) * flat: a symbol (? ) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low. * flautando (may also appear as flautendo): flutelike; used especially for string instruments to indicate a light, rapid bowing over the fingerboard * flebile: mournfully * focoso or fuocoso: fiery; i. e. , passionately * forte or f (usually): strong; i. e. , to be played or sung loudly * fortepiano or fp (usually): strong-gentle; i. e. , 1. loud, then immediately soft (see dynamics), or 2. n early pianoforte * fortissimo or ff: very loud (see note at pianissimo in this list) * fortississimo or fff: as loud as possible * forza  : musical force * forzando or fz: see sforzando in this list * freddo: cold(ly); hence depressive, unemotional * fresco: freshly * frohlich: lively, joyfully * fugue (Fr), fuga (Latin and Italia n): literally â€Å"flight†; hence a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses. * funebre: funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo. * fuoco: fire; con fuoco means with fire * furia: fury * furioso: furiously G * G. P. Grand Pause, General Pause; indicates to the performers that the entire ensemble has a rest of indeterminate length, often as a dramatic effect during a loud section * gaudioso: with joy * gemendo: groaningly * gentile: gently * geschwind (Ger): quickly * geteilt (Ger): See divisi * getragen (Ger): sustained * giocoso or gioioso: gaily * giusto: strictly, exactly, e. g. tempo giusto in strict time * glissando (simulated Italian[citation needed]): a continuous sliding from one pitch to another (a true glissando), or an incidental scale ex ecuted while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list. * grandioso: grandly * grave: slowly and seriously * grazioso: gracefully gustoso: with happy emphasis and forcefulness H * H: German for B natural; B in German means B flat * Hauptstimme (Ger): main voice, chief part; i. e. , the contrapuntal line of primary importance, in opposition to Nebenstimme * hemiola (English, from Greek): the imposition of a pattern of rhythm or articulation other than that implied by the time signature; specifically, in triple time (for example in 3/4) the imposition of a duple pattern (as if the time signature were, for example, 2/4). See Syncopation. * hervortretend (Ger): prominent, pronounced * Homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic).Compare with polyphony, in which several voices or melody lines are performed at the same time. I * immer (Ger): always * imperioso: imperiously * impetuoso: impetuously * improvvisando: with improvisation * improvvisato: improvised, or as if improvised * in altissimo: in the highest; i. e. , play or sing an octave higher * incalzando: getting faster and louder * innig: intimately, heartfelt * insistendo: insistently, deliberate * in modo di: in the art of, in the style of * intimo: intimately * intro: opening section * irato: angrily * -issimo: a suffix meaning ‘extremely', e. g. fortissimo or prestissimo * -issimamente: a suffix meaning ‘as†¦ as can be', e. g. leggerissimamente, meaning ‘as light as can be' J Jazz standard (or simply â€Å"standard†): a well-known composition from the jazz repertoire which is widely played and recorded. K * keyboardist (Eng)  : a musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or pop ular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. * kraftig (Ger): strongly * Klangfarbenmelodie (Ger): â€Å"tone-color-melody†, distribution of pitch or melody among instruments, varying timbre L * lacrimoso: tearfully; i. e. , sadly * laissez vibrer, l. v. Fr): allow the sound to continue, do not damp; used frequently in harp music, occasionally in piano or percussion. For percussion ; electric guitar, â€Å"let ring† is more common. [1] * lamentando: lamenting, mournfully * lamentoso: lamenting, mournfully * langsam (Ger): slowly * largamente: broadly; i. e. , slowly (same as largo) * larghetto: somewhat slowly; not as slow as largo * larghissimo: very slowly; slower than largo * largo: broadly; i. e. , slowly * leap (skip): a melodic interval greater than a major 2nd, as opposed to a step. Melodies which move by a leap are called â€Å"disjunct†. Octave leaps are not uncommon in flori d vocal music. * lebhaft (Ger): briskly, lively * legato: joined; i. e. smoothly, in a connected manner (see also articulation) * leggiero, leggiermente or leggiadro: lightly, delicately (The different forms of this word, including leggierezza, â€Å"lightness†, are properly spelled in Italian as legger- without the i. ) * leggierissimo: very lightly and delicately * lent (Fr): slowly * lentando: gradual slowing and softer * lentissimo: very slowly * lento: slowly * liberamente: freely * libero: free, freely * lilt: a jaunty rhythm * l'istesso: see lo stesso, below * loco: [in] place; i. e. , perform the notes at the pitch written, generally used to cancel an 8va or 8vb direction. In string music, also used to indicate return to normal playing position (see Playing the violin). 1] * long accent Hit hard and keep full value of note (>) * lontano: from a distance; distantly * lo stesso (or commonly, but ungrammatically, l'istesso): the same; applied to the manner of articulatio n, tempo, etc. * lo stesso tempo (or l'istesso tempo): the same tempo, despite changes of time signature * lugubre: lugubrious, mournful * luminoso: luminously * lunga: long (often applied to a fermata) * lusingando: coaxingly M * ma: but * ma non troppo: but not too much * maestoso: majestically, in a stately fashion * magico: magically * maggiore: the major key * magnifico: magnificent * main droite (French): [played with the] right hand (abbreviation: MD or m. d. * main gauche (French): [played with the] left hand (abbreviation: MG or m. g. ) * malinconico: melancholic * mancando: dying away * mano destra: [played with the] right hand (abbreviation: MD or m. d. ) * mano sinistra: [played with the] left hand (abbreviation: MS or m. s. ) * marcatissimo: with much accentuation * marcato, marc. : marked; i. e. , with accentuation, execute every note as if it were to be accented * marcia: a march; alla marcia means in the manner of a march * martellato: hammered out * marziale: martia l, solemn and fierce * massig (German): moderately (also: ma? ig) * MD: see mano destra and main droite * melancolico: melancholic melisma: the technique of changing the note (pitch) of a syllable of text while it is being sung * measure (US): also â€Å"bar† the period of a musical piece that encompasses a complete cycle of the time signature, e. g. , in 4/4 time, a measure has four quarter note beats * medesimo tempo: same tempo, despite changes of time signature * medley: piece composed from parts of existing pieces, usually three, played one after another, sometimes overlapping. * meno: less; see meno mosso, for example, less mosso * messa di voce: in singing, a controlled swell, i. e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period[1] * mesto: mournful, sad meter (or metre): the pattern of a music piece's rhythm of strong and weak beats * mezza voce: half voice; i. e. , with subdued or moderated volume * mezzo: half ; used in combinations like mezzo forte (mf), meaning moderately loud * mezzo forte: half loudly; i. e. , moderately loudly. See dynamics. * mezzo piano: half softly; i. e. , moderately softly. See dynamics. * mezzo-soprano: a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a soprano and that of an contralto. * MG: see main gauche * misterioso: mysteriously * mobile: flexible, changeable moderato: moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato * modere (Fr): moderately * modesto: modest * modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. * Moll (German): minor; used in key signatures as, for example, a-Moll (A minor), b-Moll (B? minor), or h-Moll (B minor) (see also Dur (major) in this list) * molto: very * morendo: dying; i. e. , dying away in dynamics, and perhaps also in tempo * mosso: moved, moving; used with a preceding piu or meno (see in this list), for faster or slower respectively * MS: see mano sinistra moto: motion; usually seen as con moto, meaning with motion or quickly * movement: a section of a musical composition (such as a sonata or concerto) * munter (German): lively * Mussete (Fr) a dance or tune of a drone-bass character, originally played by a musette * muta [in†¦ ]: Change: either a change of instrument, e. g. flute to piccolo, horn in F to horn in Bb; or a change of tuning, e. g. guitar muta 6 in D. Note: does not mean â€Å"mute†, for which con sordina or con sordino is used. [1] Muta comes from the Italian verb mutare (to change into something). N * narrante: narratingly * natural: a symbol (? ) that cancels the effect of a sharp or a flat (see in this list) * naturale or nat. : natural; i. e. discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics * N. C. : no chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony * Nebenstimme (Ger): secondary part; i. e. , a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme * nicht (Ger): not * niente: â€Å"nothing†, barely audible, dying away * nobile or nobilmente: in a noble fashion * nocturne (Fr): a piece written for the night * notes inegales (Fr): unequal notes; a principally Baroque performance practice of applying long-short rhythms to pairs of notes written as equal; see also swung note * notturno: same as nocturne (see above) number opera: an opera consisting of â€Å"numbers,† e. g. arias, intermixed with recitative O * obbligato: required, indispensable * octave: interval between one musical pitch and another with half or double its frequency. 12 sem itones equals an octave, so does the first and eighth (hence â€Å"oct†ave) note in a major or minor scale. * omaggio: homage, celebration * one-voice-per-part, or OVPP: the practice of using solo voices on each musical line or part in choral music. * ordinario, or ord. (It. ): in bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as â€Å"naturale†. organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often an electric guitar player and a drummer. * ossia or oppure: or instead; i. e. , according to some specified alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff * ostinato: obstinate, persistent; i. e. , a short musical pattern that is repeated throughout an entire composition or portion of a composition * ottava: octave; e. g. ottava bassa: an octave lower P * parlando or parlante: like speech, enunciated * Partitur (Ger): full orchestral score * passionato: passionately pastorale: in a pastoral style, peaceful and simple * pausa: rest * pedale or ped: In piano scores, this instructs the player to press the damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells the organist that a section is to be performed on the bass pedalboard with the feet. * penseroso: thoughtfully, meditatively * perdendosi: dying away; decrease in dynamics, perhaps also in tempo * pesante: heavy, ponderous * peu a peu (Fr): little by little * pezzo: a composition * pianissimo or pp : very gently; i. e. , perform very softly, even softer than piano.This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Dynamics in a piece should be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder than ppp. More than three ps (ppp) or three fs (fff) are uncommon. * piano or p (usually): gently; i. e. , played or sung softly (see dynamics) * piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar * piacevole: pleasant, agreeable * piangevole: plaintive * pietoso: pitiful, piteous * piu: more; see mosso for an example piuttosto: rather, somewhat; e. g. allegro piuttosto presto * pizzicato: pinched, plucked; i. e. , in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco (in this list), which is inserted to cancel a pizzicato instruction * pochettino or poch. : very little * poco: a little, as in poco piu allegro (a little faster) * poco a poco: little by litt le * poetico: poetic discourse * poi: then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud * pomposo: pompous, ceremonious * portamento: carrying; i. e. , 1. enerally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato, in this list * portato or loure: carried; i. e. , non-legato, but not as detached as staccato (same as portamento [2], in this list) * posato: settled * potpourri or pot-pourri (Fr): potpourri (as used in other senses in English); i. e. , a kind of musical form structured as ABCDEF†¦ etc. ; the same as medley or, sometimes, fantasia * precipitato: precipitately prelude or prelude (Fr): a musical introduction to subsequent movements during the Baroque era (1600's /17th century). It can also be a movement in its own right, which was more common in the Romantic era (mid 1700s/18th century) * prestissimo: extremely quickly, as fast as possible * presto: very quickly * prima volta: the first time; for example prima volta senza accompagnamento (the first time without accompaniment) * primo or prima (the feminine form): first Q * quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures. quasi (Latin and Italian): as if, almost, e. g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia R * rallentando or rall. : Broadening of the tempo (often not discernible from ritardando); progressively slower * rapido: fast * rapide (Fr): fast * rasch (Ger): fast * ravvivando: quicken pace * recitativo: recita tively; one voice without accompaniment * religioso: religiously * repente: suddenly * restez (Fr): stay; i. e. , remain on a note or string * retenu (Fr): hold back; same as the Italian ritenuto (see below) * ridicolosamente: humorously, inaccurate, and loosely * rinforzando (rf, or rinf. ): reinforced; i. e. emphasized; sometimes like a sudden crescendo, but often applied to a single note * risoluto: resolutely * rit. : an abbreviation for ritardando;[3] also an abbreviation for ritenuto[4] * ritardando, ritard. , rit. : slowing down; decelerating; opposite of accelerando * ritenuto, riten. , rit. : suddenly slower, held back (usually more so but more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note) * ritmico: rhythmical * ritmo: rhythm, e. g. ritmo di # battute meaning a rhythm of # measures * ritornello  : a recurring passage for orchestra in the first or final movement of a solo concerto or aria (also in works for chorus). * rolled chord: see arpeggiato in this list roulade (Fr): a rolling; i. e. , a florid vocal phrase * rondo: a musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA * rubato: robbed; i. e. , flexible in tempo, applied to notes within a musical phrase for expressive effect * ruhig (Ger): peaceful * run: a rapid series of ascending or descending musical notes which are closely spaced in pitch forming a scale * ruvido: roughly S * saltando: bouncing the bow as in a staccato arpeggio, literally means â€Å"jumping† * sanft (Ger): gently * scatenato: unchained, wildly[5] * scherzando, scherzoso: playfully scherzo: a light, â€Å"joking† or playful musical form, originally and usually in fast triple metre, often replacing the minuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc . * schleppen (Ger): to drag; usually nicht schleppen (â€Å"don't drag†), paired with nicht eilen (â€Å"don't hurry†) in Gustav Mahler's scores * schnell (Ger): fast * schneller (Ger): faster * schwungvoll (Ger): lively, swinging, bold, spirited * schwer (Ger): heavy * scordatura: out of tune; i. e. , an alternative tuning used for the strings of a string instrument * scorrendo, scorrevole: gliding from note to note secco, or sec (Fr): dry * segno: sign, usually Dal Segno (see above) â€Å"from the sign†, indicating a return to the point marked by * segue: carry on to the next section without a pause * sehr (Ger): very * semitone: the smallest pitch difference between notes (in most Western music) (e. g. , F–F#) * semplice: simply * sempre: always * senza: without * senza misura: without measure * senza sordina, or senza sordine (plural): without the mute; compare con sordina in this list; see also Sordino. Note: sordina, with plural sordine, is strictl y correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music.In piano music (notably in Beethoven's Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely. * serioso: seriously * sforzando or sfz: made loud; i. e. , a sudden strong accent * shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic. * sharp: a symbol (? ) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch. * short accent: Hit the note hard and short . (^) si (Fr): seventh note of the series ut, re, mi, f a, sol, la, si, in fixed-doh solmization. * siciliana: a Sicilian dance in 12/8 or 6/8 meter[6] * sign: see segno * silenzio: silence; i. e. , without reverberations * simile: similarly; i. e. , continue applying the preceding directive, whatever it was, to the following passage * sipario: curtain (stage) * slargando or slentando: becoming broader or slower (that is, becoming more largo or more lento) * smorzando or smorz. : extinguishing or dampening; usually interpreted as a drop in dynamics, and very often in tempo as well * soave: smoothly, gently * sopra: above * sognando: dreamily solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as â€Å"break†), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo. * solenne: s olemn * solo, plural soli: alone; i. e. , executed by a single instrument or voice. The instruction soli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony. * sonata: a piece played as opposed to sung. * sonatina: a little sonata sonatine: a little sonata, used in some countries instead of sonatina * sonore: sonorous * sonoro: ringing * soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano) * sordina, sordine (plural): a mute, or a damper in the case of the piano. Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used as terms in music. See also con sordina, senza sordina, in this list. * sordino: see sordina, above * sortita: a principal singer's first entrance in an opera * sospirando: sighing * sostenuto: sustained, lengthened * sotto voce: in an undertone i. e. quietly * spianato: smooth, even * spiccato: distinct, sepa rated; i. e. a way of playing the violin and other bowed instruments by bouncing the bow on the string, giving a characteristic staccato effect * spinto: literally â€Å"pushed† * spiritoso: spiritedly * staccato: making each note brief and detached; the opposite of legato. In musical notation, a small dot under or over the head of the note indicates that it is to be articulated as staccato. * stanza: a verse of a song * stornello originally truly ‘improvised' now taken as ‘appearing to be improvised,' an Italian ‘folk' song, the style of which used for example by Puccini in certain of his operas. * strascinando or strascicante: indicating a passage should be played in a heavily slurred manner * strepitoso: noisy, forceful * stretto: tight, narrow; i. e. faster or hastening ahead; also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative p assages in other compositions * stringendo: gradually getting faster (literally, tightening, narrowing); i. e. , with a pressing forward or acceleration of the tempo (that is, becoming stretto, see preceding entry) * subito: suddenly (e. g. , subito pp, which instructs the player to suddenly drop to pianissimo as an effect) * sul E: â€Å"on E†, indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument. * sul ponticello: on the bridge; i. e. in string playing, an indication to bow (or sometimes to pluck) very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental; the opposite of sul tasto * sul tasto: on the fingerboard; i. e. , in string playing, an indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello. Playing over the fingerb oard produces a warmer, gentler tone. * sur la touche (Fr): sul tasto * syncopation: a disturbance or interruption of the regular flow of downbeat rhythm with emphasis on the sub-division or up-beat, e. g. in Ragtime music. T * tacet: silent; do not play tasto solo: ‘single key'; used on a continuo part to indicate that the notes should be played without harmony * tempo: time; i. e. , the overall speed of a piece of music * tempo di marcia: march tempo * tempo di sturb de neighbors[7] seen in Fats Waller's arrangement of Stardust * tempo di valse: waltz tempo * tempo giusto: in strict time * tempo primo, tempo uno, or tempo I (sometimes also written as tempo I ° or tempo 1ero): resume the original speed * tempo rubato, means â€Å"robbed time†; an expressive way of performing a rhythm; see rubato * teneramente: tenderly * tenerezza: tenderness * tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano) * tenuto: held; i. e. , touch on a n ote slightly longer than sual, but without generally altering the note's value * ternary: having three parts. In particular, referring to a three-part musical form with the parts represented by letters: ABA * tessitura: the ‘best' or most comfortable pitch range, generally used to identify the most prominent / common vocal range within a piece of music * Tierce de Picardie: see Picardy third * timbre: the quality of a musical tone that distinguishes voices and instruments * time: in a jazz or rock score, after a rubato or rallentendo section, the term â€Å"time† indicates that performers should return to tempo (this is equivalent to the term â€Å"a tempo†) * tosto: rapidly * tranquillo: calmly, peacefully * tremolo: shaking; i. e. a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). String players perform tremolo with the bow by rapidly moving the bow while the arm is tense. It can also be intended (in accurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes). * tre corde or tc (or sometimes inaccurately tre corda): three strings; i. e. , release the soft pedal of the piano (see una corda) * triplet (shown with a horizontal bracket and a ‘3'): Three notes in the place of two, used to subdivide a beat. * tronco, tronca: broken off, truncated troppo: too much; usually seen as non troppo, meaning moderately or, when combined with other terms, not too much, such as allegro [ma] non troppo (fast but not too fast) * tutti: all; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutt i. See also: ripieno. U * un, uno, or una: one, as for example in the following entries * una corda: one string; i. e. , in piano music, depress the soft pedal, altering, and reducing the volume of, the sound. In some pianos, this literally results in the hammer striking one string rather than two or three. For most notes on modern instruments, in fact it results in striking two rather than three strings. ) Its counterpart, tre corde (three strings; see in this list), is the opposite: the soft pedal is to be released. * un poco: a little * unisono or unis (Fr): in unison; i. e. , several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves. Often used to mark the return from divisi (see in this list). * uptempo: a fast, lively, or increased tempo or played or done in such a tempo. [8] It is also used as an umbrella term for a quick-paced electronic music style. * ut (Fr): first note of the series ut, re, mi, fa, sol, la, si, in fixed-doh solmization. V vagans: the fifth part in a motet, named so most probably because it had no specific range * vamp till cue: a jazz, fusion, and musical theatre term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or â€Å"groove† until the band leader or conductor instructs them to move onto the next section * veloce: with velocity * velocissimo: as quickly as possible; usually applied to a cadenza-like passage or run * vibrato: vibrating; i. e. , a more or less rapidly repeated slight alteration in the pitch of a note, used to give a richer sound and as a means of expression. Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note. via: away, out, off; as in via sordina or sordina via: ‘mute off' * vif (Fr): quickly, lively * vite (Fr): fast * vittorioso: victoriously * virtuoso: (noun or adjective) perform ing with exceptional ability, technique, or artistry * vivo: lively * vivace: very lively, up-tempo * vivacissimo: very lively * vocal score or piano-vocal score: a music score of an opera, or a vocal or choral composition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano * vivamente: quickly and lively * voce: voice * volante: flying * V. S. (volti subito): turn suddenly; i. e. , turn the page quickly.While this indication is sometimes added by printers, it is more commonly indicated by orchestral members in pencil as a reminder to quickly turn to the next page. W * wenig (Ger): a little, not much * wolno (Polish): loose, slowly; found as a directive in The Elephant from The Carnival of the Animals by Saint-Saens Z * Zahlzeit (Ger): beat * zart (Ger): tender * Zartheit (Ger): tenderness * zartlich (Ger): tenderly * Zeichen (Ger): sign * Zeitma? , also spelled Zeitma ss (Ger): time-measure, i. e. , tempo * zelo, zeloso, zelosamente: zeal, zealous, zealously * ziehen (Ger): to draw out * ziemlich (Ger): fairly, quite, pretty, or rather * zitternd (Ger): trembling; i. e. , tremolando * zogernd (Ger): doubtful, delaying; i. e. rallentando * zuruckhalten (Ger): hold back See also | Music portal| References 1. ^ a b c d e f Collins Music Encyclopedia, 1959. 2. ^ About the word deest 3. ^ musicdictionary; Merriam-Webster Online Dictionary; American Heritage Dictionary, 4th edition; Gardner Read, Music Notation, 2nd edition, p. 282. 4. ^ Dolmetsch Online, â€Å"Tempo†; Oxford American Dictionary; Collins English Dictionary. 5. ^ Carl Orff, Carmina Burana 6. ^ Definition of Siciliano at Dictionary. com 7. ^ Scivales, Riccardo (2005). Jazz Piano: The Left Hand. Ekay Music, Inc.. ISBN  1-929009-54-2. Retrieved 2011 April 16. 8. ^ â€Å"uptempo† at Oxford Dictionaries Online External links Interpretations of Jazz Band Literature, musical te rms used in jazz * Virginia Tech Multimedia Music Dictionary (contains audio samples) * Choral Conducting Terms * Classical musical terms * Musical Terms Dictionary Definitions [show] * v * t * eMusic| | Help improve this page What's this? ————————————————- Top of Form Did you find what you were looking for? Yes No Bottom of Form Categories: * Glossaries of music * Italian language * Musical terminology * Create account * Log in * Article * Talk * Read * Edit * View history ————————————————- Top of Form Bottom of Form * Main page * Contents * Featured content * Current events * Random article Donate to Wikipedia Interaction * Help * About Wikipedia * Community portal * Recent changes * Contact Wikipedia Toolbox Print/export Languages * Boarisch * Cesky * Cymraeg * Dansk * Deutsch * Eesti * Espanol * Esperanto * Bahasa Indonesia * Islenska * Italiano * * * Romana * * Slovencina * Slovenscina * Suomi * Svenska * * This page was last modified on 11 August 2012 at 20:30. * Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia ® is a registered trademark of the Wikimedia Foundation, Inc. , a non-profit organization. * Contact us

Mlk Rhetorical Analysis

Rhetorical Analysis of Martin Luther King’s â€Å"I Have a Dream†? The â€Å"I Have a Dream† speech has very simple diction and context. The author of the â€Å"I Have A Dream† speech is Dr. Martin Luther King, Jr. King and is known for his work in Civil Rights during the late 1950s and mid1960s. The purpose of this speech is to inspire change in both white and black citizens of the United States during the Civil Rights era. The main idea of the speech is to convince both sides of the discussion that they must accept change in a non-violent yet effective way.Finally, the audience of the speech is very broad as it spans across all colors and ages however, one should note that since the speech is given in Washington, it can be assumed that the speech attempts to engage lawmaker’s and policy maker’s ears. The tone of Dr. King’s speech is somewhat narrative yet argumentative. The speech conveys many of his personal thoughts and experiences . However, there is a strong position taken against the crimes of â€Å"white† citizens and the nation as a whole, and also the victimization of African Americans as a whole.The style of the speech is very formal with some hints of informality to help gain appeal to the largely uneducated black population. The diction or word choice is comparable to other political speeches due to the fact that Dr. King must still be very persuasive with is ideas and thoughts. Yet, throughout the â€Å"I Have a Dream† speech, one may find a bit of black gospel within it. The images and the allusions are heavily religious, reminiscent of a Sunday church service. The tone is both informative and argumentative.The claims he makes are very clear: 1) American has defaulted on its promise in that all men are created equal 2) The black people of the U. S. are still not â€Å"free. † 3) Now is the time to make changes. 4) As, King suggests, â€Å"Let us not seek to satisfy our thirst f or freedom by drinking from the cup of bitterness and hatred† (p. 2) People should move forward to spread the message that freedom is a part of every U. S. citizen’s life, even blacks. In terms of support, King uses biblical references along with his very overt in using his own testimony of what is happening in the United States. That one day every valley shall be exalted, every hill and mountain shall be made low†¦ the glory of the Lord shall be revealed, and all flesh shall see it together† (p. 1). In terms of â€Å"artificial† support, King uses many different kinds of pathos. Beginning with a long allegory about Negro freedom and banking, King uses the imagery of being behind a great leader, Abraham Lincoln. One could easily make a case that the imagery is also linked to ethos, since Lincoln was the father of the Emancipation Proclamation and freed all slaves.Towards the end of the speech, there is a surge of pathos, as King discusses the brutality that the Negros have experience and the basic everyday life of the Negros who are unable to find jobs, stay in hotels, etc. Towards the absolute close of the speech, King launches into a long discussion of a possible and decent future, using images of children playing together. While the introduction of the speech comes from Lincoln, the conclusion uses lyrics from the song â€Å"America†. Additionally, he gives a sort of shout out to the people of the United States, saying: â€Å"Let freedom ring from the mighty mountains of New York†¦Pennsylvania†¦ Colorado†¦ California† (p. 2). In the end, King closes with words from an old Negro spiritual: â€Å"Freed at last! Free at last! Thank God almighty, we are free at last† (p. 1). King’s style is unique but very easy to discuss. King’s use of ornamentation is made possible through heavy uses of the anaphora. An example of this includes his long series of â€Å"I have a dream†¦ â₠¬  statements, where he states: â€Å"I have a dream that one day this nation will rise up and live out the true meaning of its creed†¦I have a dream that my four little children will one day live in a nation where they will not be judge by the color of their skin but by the content of their character† (p. 2). Further, King makes heavy use of listing. In one passage, he states: â€Å"Go back to Mississippi, go back to Alabama, go back to South Carolina†¦ † (p. 2), which he mixes with a sort of anaphora. King uses a large allegory in the beginning of the speech, again comparing banking to the rights of black U. S. citizens. Overall, the speech is very much loaded with rhetorical techniques.King as an accomplished civil rights leader is a very talented and persuasive writer. His words are very optimistic and deliberate. He is very conscious of his audience, and he is very commanding of his wording to avoid hurting his credibility with this audience. The image I have chosen shows a group of men at a civil rights rally. All eyes, including a white man’s, are focused on Dr. King as he gives a speech promoting a higher equality for black citizens of America. There are signs in the background that say â€Å"full employment†, but the most powerful aspect f the picture is that there is a white man and a black man holding hands. The symbolism in which they are holding hands is incredibly powerful. At first thought people believe that all white men are against the idea of blacks having an equal opportunity, and for the most part that is true, but the fact that they are holding hands at a public speech is very powerful. I have a dream speech text I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a grea t beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity. But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition. In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir.This note was a promise that all men, ye s, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked â€Å"insufficient funds. † But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation.So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood.Now is the time to make justice a reality for all of God's children. It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights.The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline.We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. They have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone.As we walk, we must make the pledge that we shall always march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, â€Å"When will you be sat isfied? † We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one.We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating â€Å"For Whites Only†. We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells.Some of you have come from areas wher e your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: â€Å"We hold these truths to be self-evident: that all men are created equal. † I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be abl e to sit down together at the table of brotherhood.I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black irls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope.With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. This will be the day when all of God's children will be able to sing with a new meaning, â€Å"My country, 'tis of thee, sweet land of liberty, of thee I sing.Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring. † And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring f rom the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous slopes of California! But not only that; let freedom ring from Stone Mountain of Georgia!Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring. And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, â€Å"Free at last! ree at last! thank God Almighty, we are free at last! † Work Cited Harrison, James H. â€Å"Ten Martin Luther King Jr. Quotes. † The Christian Science Monitor. The Christian Science Monitor, 18 Jan. 2010. Web. 20 Fe b. 2013. Kanalley, Craig. â€Å"I Have A Dream Speech (TEXT). † The Huffington Post. TheHuffingtonPost. com, 17 Jan. 2011. Web. 20 Feb. 2013. Mlk Rhetorical Analysis Rhetorical Analysis of Martin Luther King’s â€Å"I Have a Dream†? The â€Å"I Have a Dream† speech has very simple diction and context. The author of the â€Å"I Have A Dream† speech is Dr. Martin Luther King, Jr. King and is known for his work in Civil Rights during the late 1950s and mid1960s. The purpose of this speech is to inspire change in both white and black citizens of the United States during the Civil Rights era. The main idea of the speech is to convince both sides of the discussion that they must accept change in a non-violent yet effective way.Finally, the audience of the speech is very broad as it spans across all colors and ages however, one should note that since the speech is given in Washington, it can be assumed that the speech attempts to engage lawmaker’s and policy maker’s ears. The tone of Dr. King’s speech is somewhat narrative yet argumentative. The speech conveys many of his personal thoughts and experiences . However, there is a strong position taken against the crimes of â€Å"white† citizens and the nation as a whole, and also the victimization of African Americans as a whole.The style of the speech is very formal with some hints of informality to help gain appeal to the largely uneducated black population. The diction or word choice is comparable to other political speeches due to the fact that Dr. King must still be very persuasive with is ideas and thoughts. Yet, throughout the â€Å"I Have a Dream† speech, one may find a bit of black gospel within it. The images and the allusions are heavily religious, reminiscent of a Sunday church service. The tone is both informative and argumentative.The claims he makes are very clear: 1) American has defaulted on its promise in that all men are created equal 2) The black people of the U. S. are still not â€Å"free. † 3) Now is the time to make changes. 4) As, King suggests, â€Å"Let us not seek to satisfy our thirst f or freedom by drinking from the cup of bitterness and hatred† (p. 2) People should move forward to spread the message that freedom is a part of every U. S. citizen’s life, even blacks. In terms of support, King uses biblical references along with his very overt in using his own testimony of what is happening in the United States. That one day every valley shall be exalted, every hill and mountain shall be made low†¦ the glory of the Lord shall be revealed, and all flesh shall see it together† (p. 1). In terms of â€Å"artificial† support, King uses many different kinds of pathos. Beginning with a long allegory about Negro freedom and banking, King uses the imagery of being behind a great leader, Abraham Lincoln. One could easily make a case that the imagery is also linked to ethos, since Lincoln was the father of the Emancipation Proclamation and freed all slaves.Towards the end of the speech, there is a surge of pathos, as King discusses the brutality that the Negros have experience and the basic everyday life of the Negros who are unable to find jobs, stay in hotels, etc. Towards the absolute close of the speech, King launches into a long discussion of a possible and decent future, using images of children playing together. While the introduction of the speech comes from Lincoln, the conclusion uses lyrics from the song â€Å"America†. Additionally, he gives a sort of shout out to the people of the United States, saying: â€Å"Let freedom ring from the mighty mountains of New York†¦Pennsylvania†¦ Colorado†¦ California† (p. 2). In the end, King closes with words from an old Negro spiritual: â€Å"Freed at last! Free at last! Thank God almighty, we are free at last† (p. 1). King’s style is unique but very easy to discuss. King’s use of ornamentation is made possible through heavy uses of the anaphora. An example of this includes his long series of â€Å"I have a dream†¦ â₠¬  statements, where he states: â€Å"I have a dream that one day this nation will rise up and live out the true meaning of its creed†¦I have a dream that my four little children will one day live in a nation where they will not be judge by the color of their skin but by the content of their character† (p. 2). Further, King makes heavy use of listing. In one passage, he states: â€Å"Go back to Mississippi, go back to Alabama, go back to South Carolina†¦ † (p. 2), which he mixes with a sort of anaphora. King uses a large allegory in the beginning of the speech, again comparing banking to the rights of black U. S. citizens. Overall, the speech is very much loaded with rhetorical techniques.King as an accomplished civil rights leader is a very talented and persuasive writer. His words are very optimistic and deliberate. He is very conscious of his audience, and he is very commanding of his wording to avoid hurting his credibility with this audience. The image I have chosen shows a group of men at a civil rights rally. All eyes, including a white man’s, are focused on Dr. King as he gives a speech promoting a higher equality for black citizens of America. There are signs in the background that say â€Å"full employment†, but the most powerful aspect f the picture is that there is a white man and a black man holding hands. The symbolism in which they are holding hands is incredibly powerful. At first thought people believe that all white men are against the idea of blacks having an equal opportunity, and for the most part that is true, but the fact that they are holding hands at a public speech is very powerful. I have a dream speech text I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a grea t beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity. But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition. In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir.This note was a promise that all men, ye s, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked â€Å"insufficient funds. † But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation.So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood.Now is the time to make justice a reality for all of God's children. It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights.The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline.We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. They have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone.As we walk, we must make the pledge that we shall always march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, â€Å"When will you be sat isfied? † We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one.We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating â€Å"For Whites Only†. We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells.Some of you have come from areas wher e your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: â€Å"We hold these truths to be self-evident: that all men are created equal. † I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be abl e to sit down together at the table of brotherhood.I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black irls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope.With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. This will be the day when all of God's children will be able to sing with a new meaning, â€Å"My country, 'tis of thee, sweet land of liberty, of thee I sing.Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring. † And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring f rom the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous slopes of California! But not only that; let freedom ring from Stone Mountain of Georgia!Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring. And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, â€Å"Free at last! ree at last! thank God Almighty, we are free at last! † Work Cited Harrison, James H. â€Å"Ten Martin Luther King Jr. Quotes. † The Christian Science Monitor. The Christian Science Monitor, 18 Jan. 2010. Web. 20 Fe b. 2013. Kanalley, Craig. â€Å"I Have A Dream Speech (TEXT). † The Huffington Post. TheHuffingtonPost. com, 17 Jan. 2011. Web. 20 Feb. 2013.

The War II And The Vietnam War Essay - 1457 Words

A few years back while on vacation in Santo Domingo, I overheard a conversation between three American men who were sitting at a table behind me in a local restaurant. Their discussion peeked my interest because they were to talking about World War II and the Vietnam War, which happens to be a couple of my favorite topics of study, more specially they spoke on the foreign policies that dictated these wars. As their conversation progressed I discovered the names of these gentleman; George, Booker and Jack. George seemed to be the leader of the party, listening to him reminded me of a military general, he believed that America’s foreign policy should be to provide leadership throughout the world so it can maintain global stability. Booker’s opinion was different; his thoughts gave way to ideas of America working alongside other countries to resolve international problems and crises. Jack’s logic was unlike his friends, he believed that the United States should sto p interfering in international affairs, reason being that the US is exploiting countries around the globe. I sat at my table eavesdropping, on their discussion as it moved deeper into US foreign policy in regards to war. George bragged about how important the United States was to the rest of the world especially during WWII and if it had not been for America winning the war we all would be speaking German or Japanese. He believed that not only did America save the world from destruction but it also proved thatShow MoreRelatedVietnam War I And World War II2551 Words   |  11 PagesVietnam War POL 128 Essay The Vietnam War is a war that took place in Vietnam. The war was a particularly interesting war because it resulted in a previous unheard of result: the United States of America outright losing a war. This war was a war that was symbolic of one between democracy (good) and communism (bad). 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