Jumat, 29 Mei 2009

Kamis, 28 Mei 2009






The Greek word mousikē covered all the arts presided over by the Muses. The various civilizations of the ancient and modern world developed their own musical systems. Eastern music recognizes smaller changes of pitch than does mainstream Western music (with the exception of much 20th-century contemporary art music) and also differs from Western music in that the absence, until recently, of written notation ruled out the composition of major developed works, though these are created through improvisation using melodic and rhythmic patterns governed by particular modes and formal devices. Such improvisations (as in the Indian raga) can last up to 70 minutes, interpreted by virtuosos.


Dance ·
(from French danser, perhaps from Frankish) is a sport and art form that generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting.

2.Music ·

3.Opera ·
Opera is an
art form in which singers and musicians perform a dramatic work (called an opera) which combines a text (called a libretto) and a musical score.[1] Opera is part of the Western classical music tradition.[2] Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.

Theatre (or theater, see
spelling differences) is the branch of the performing arts defined by Bernard Beckerman as what "occurs when one or more persons, isolated in time and/or space, present themselves to another or others."[1] By this broad definition, theatre has existed since the dawn of man, as a result of human tendency for storytelling. Since its inception, theatre has come to take on many forms, utilizing speech, gesture, music, dance, and spectacle, combining the other performing arts, often as well as the visual arts, into a single artistic form.


Circus Arts ·

Circus arts refers to a body of performing arts featured in, derived from, or inspired by circus productions.There are two main genres of circus arts: traditional, often referred to as "Old Circus Arts" and contemporary, sometime called "new circus arts". Below is a table comparing several distinct aspects of traditional and contemporary circus arts.


Magic is a performing art that entertains an audience by creating illusions of seemingly impossible[1] or supernatural[2] feats, using purely natural means. These feats are called magic tricks, effects or illusions.





Drama ·

Drama is the specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning "action" (Classical Greek: δράμα, dráma), which is derived from "to do" (Classical Greek: δράω, dráō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.[2] The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the supreme masterpieces of the art of drama.[3]

Tragedy ·

Tragedy (Ancient Greek: τραγῳδία, tragōidia, "goat-song") is a form of art based on human suffering that offers its audience pleasure.[1] While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization.[2] That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity--"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.[3] From its obscure origins in the theatres of Athens 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, or Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, or Müller's postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change.[4] A long line of philosophers--which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, and Deleuze--have analysed, speculated upon and criticised the tragic form.[5] In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general, where the tragic divides against epic and lyric, or at the scale of the drama, where tragedy is opposed to comedy. In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic and epic theatre.[6]


The comic drama, whose Western origins are found everywhere Northrop Frye described the comic genre as a drama that pits two societies against each other in an amusing agon or conflict. He depicted these two opposing sides as a "Society of Youth" and a "Society of the Old" (The Anatomy of Criticism, 1957), but this dichotomy is seldom described as an entirely satisfactory explanation.


Much comedy contains variations on the elements of surprise, incongruity, conflict, repetitiveness,and there are also adult comedy, and the effect of opposite expectations, but there are many recognized genres of comedy. Satire and political satire use ironic comedy to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of humor.



Tragicomedy is
fictional work that blends aspects of the genres of tragedy and comedy. In English literature, from Shakespeare's time to the nineteenth century, tragicomedy referred to a serious play with a happy ending or a serious play with an unhappy ending, which however may be filled with jokes throughout.


As a literary genre of high culture, romance or chivalric romance refers to a style of heroic prose and verse narrative that was particularly current in aristocratic literature of Medieval and Early Modern Europe, that narrated fantastic stories about the marvelous adventures of a chivalrous, heroic knight, often of super-human ability, who goes on a quest. Popular literature also drew on themes of romance, but with ironic, satiric or burlesque intent. Romances often reworked legends and fairy tales and traditional tales about Charlemagne and Roland or King Arthur. A related tradition existed in Northern Europe, and comes down to us in the form of epics, such as Beowulf, which were deeply imbued with dreamlike and magical elements foreign to the classical epics.


Satire ·

1867 edition of Punch, a ground-breaking British magazine of popular humour, including a good deal of satire of the contemporary social and political scene.


A very common, almost defining feature of satire is its strong vein of irony or sarcasm, but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. The essential point, however, is that "in satire, irony is militant". This "militant irony" (or sarcasm) often professes to approve (or at least accept as natural) the very things the satirist actually wishes to attack.


An epic (from Greek: έπος or επικό "word, story, poem"is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation.[2] Oral poetry may qualify as an epic, and Albert Lord and Milman Parry have argued that classical epics were fundamentally an oral poetic form. Nonetheless, epics have been written down at least since Homer, and the works of Vyasa, Virgil, Dante Alighieri and John Milton would be unlikely to have survived without being written down. The first epics are known as primary, or original, epics. Epics that attempt to imitate these like Virgil's The Aeneid and John Milton's Paradise Lost are known as literary, or secondary, epics. One such epic is the Anglo-Saxon story Beowulf. Another type of epic poetry is epyllion (plural: epyllia) which is a brief narrative poem with a romantic or mythological theme. The term, which means 'little epic', came in use in the Nineteenth century. It refers primarily to the type of erotic and mythological long elegy of which Ovid remains the master; to a lesser degree, the term includes some poems of the English Renaissance, particularly those influenced by Ovid. One suggested example of classical epyllion may be seen in the story of Nisus and Euryalus in Book IX of The Aeneid.

· Lyric

yric poetry refers to a usually short poem that expresses personal feelings. It may or may not be set to music.Aristotle, in Poetics, contrasted lyric poetry with drama and epic poetry. An example would be a poem that expresses feelings and may be a song that could be performed to an audience.