Download 9 melodii ludowych na gitarę (Guitar Scores) by Witold Lutosławski PDF

By Witold Lutosławski

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Given the absence of villains and, correspondingly, so few elements with which to define them, music-video figures become shadowy. Music video’s protagonists are strange. Video directors I have interviewed note how rare it is for viewers to become truly curious about the lead character. By common consent, a handful of Mark Romanek’s videos form a rare exception. )14 Romanek’s videos contain a series of tantalizing glimpses into some offscreen world, whole within itself but opaque to viewers. His characters possess special powers and often partake in illicit behavior.

Each of music video’s media—music, image, and lyrics—are to some extent blank. (Are the lyrics for me or a lover, or are they the singer’s personal reflection? To whom do the empty sets and characters belong? ) Music, image, and lyrics each possess their own language with regard to time, space, narrativity, activity, and affect. The rest of the book will explore this topic, but I would like to give one example of how each medium possesses its own language with regard to time, space, narrativity, and affect.

Yet the sources of music video are quite disparate, and even if the genre appears to be narrative, a story may not materialize. Generic cues may provide no more guidance for the viewer than do other unfolding narrative elements. A look at how easel painters handle depiction will be helpful to our understanding. Educated audiences know that if a portrait includes a particular cluster of icons like a lily, a cross, and a swan, there will be no story conveyed about the person depicted in the painting; rather, by drawing on biblical and mythological references, the painting will point to a generalized truth—an ideal such as faith, beauty, or chastity.

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