The artistic performance of a work of music is valued for the aesthetic experience of the audience, and speculating how this came to be is irresistible as it is irresponsible. So when we investigate what a musical work is, or how music expresses emotions, we adopt the perspective of someone whose relationship to the artwork is that of the consumer. The aesthetics of music in the contemporary analytic tradition is the aesthetics of the experience of the audience. Of course, I was wrong, but it struck me that a similar approach is common in the philosophy of music. better than probably everyone on the planet.)
(Above: a young Yuja Wang, playing Clementi No. My first reaction was to reflect that no one is going to force’s my fingers into any position (I’m an adult I don’t have to listen to the piano teacher if I don’t want to!), and anyway, isn’t it the production of the sound that’s artistically and aesthetically most important? Who cares how it happens? The sequence does not cover a great range, it’s not terribly fast, and at first, it’s terribly awkward.
To the early intermediate pianist, i.e., me, it is not immediately obvious why this should be. Then, the second finger crosses over to reach the D, the third follows to strike the E, and then the sequence repeats. To do this, one must curl the edges of the palm toward each other like a taco. The G is struck with the thumb, and the A with the fourth finger. Perhaps, because the sequence continues down the keys, the four and five fingers, so that other fingers are properly positioned to reach the next notes.īut that’s not what happens. The G and A keys are right next to each other on the keyboard, and one might expect that the prescribed fingering of two adjacent notes would require two adjacent fingers. In the numbering system every beginner learns, your thumbs are ones your pinkies, fives. This little cascade is a good example of why. This sonatina is often used as a teaching piece, because it’s a great introduction for the early intermediate pianist to the techniques required in more complicated piano pieces. The MCU generally abides by a house-style aesthetic, so stylistic touches like these that break the mold are most welcome.In the penultimate measure of the first movement Clementi’s Sonatina No. It'd be a stretch to call these moments scary, but they're undeniably shot and framed like horror scenes. Raimi shoots the disembodied 616 Wanda stalking her other self from a constantly moving first-person POV, much like the view of the evil forces in the forest in "Evil Dead." Soon afterward, there's a jump scare when 838 Wanda leans into a window and sees the Scarlet Witch staring back. Outside of the third act, this is the most "Evil Dead" like that "Multiverse of Madness gets. Once the preparations are set, Wanda possesses her 838 counterpart. Raimi has used this type of montage before, from one showing the progress in the gunslinging competition in " The Quick and the Dead" to Peter designing his costume in "Spider-Man." If it ain't broke, don't fix it. Raimi and his go-to editor Bob Murawski have been ones for utilitarian transitions, and the scene uses a mix of overlay inserts, fades, and close-ups of varying intensities to create a delirious swirl of character reactions. This montage sequence is the best editing in the film.
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