Trans World has F.Y.E. stores in more than a dozen locations around Southern California, including Baldwin Hills Crenshaw Plaza and Montebello Town Center. Trans World opened F.Y.E. stores vacated by Tower in Philadelphia and Nashville as well.
Robbie thinks Jasper Jasmine has it all. When Robbie and Jasper meet and become friends, however, Robbie finds out that life is not simple for anyone. Ages 9-12. Reviewed by Gordon Eisenman, Augusta State, GA
1 - Christina Aguilera feat Redman Dirrty (RCA)
2 3 Nelly feat Kelly Rowland Dilemma (Universal)
3 2 DJ Sammy and Yanou feat Do Heaven (Data/MoS)
4 1 Westlife Unbreakable (S)
5 5 Las Ketchup The Ketchup Song (Columbia)
6 - Blazin’ Squad Love on the Line (East West)
7 - Sugababes Stronger/Angels With Dirty Faces (Island)
8 - Kylie Minogue Come Into My World (Parlophone)
9 4 Shania Twain I’m Gonna Getcha Good (Mercury)
10 - Coldplay The Scientist (Parlophone)
In 1941, the composer Arnold Schoenberg viewed “the Beginning” as a vision which only an omniscient force could embrace and realize. “To understand the nature of creation,” he wrote, one must acknowledge that there was no light before the Lord said: |Let there be light. . . .’ |There was Light’ at once and in its ultimate perfection …. Alas, human creators, if they be granted a vision, must travel a long path between vision and accomplishment … painstakingly connecting details until they fuse into a kind of organism.
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To transform a vision into an object in this case via musical composition, is a step-by-step operation. Using an enormous vocabulary of symbols, a composer communicates detailed musical instructions to the performer while constantly keeping in mind the desired shape of the final work.
A vision of the “whole” does not, of course, always appear to the artist as a flash of lightning suddenly illuminating a landscape that needs only to be transcribed onto canvas, paper or audio tape. Even if a piece of music (oddly, the word “piece” is used to describe an entire musical composition) has been inspired by a non- musical object or event that suggests a musical point of departure, a “Big Bang” for example, it still remains for the composer to organize, manipulate and develop purely musical fragments into a form which will be comprehensible to listeners.
“Object” and “fragment”: are these modern concepts? Do they have a relevance to our daily lives that is specifically modem? Let us take the dictionary definition of an object as “anything that is visible or tangible and is relatively stable in form.” It may also be something that “can be apprehended intellectually”, and in this sense could be applicable to a musical performance. A fragment is “a part broken off or detached”, something that is by definition “incomplete” or “unfinished”.
One composes music by combining sound elements to create a musical structure: a continuum sounds. Listening to music, one relies on memory to retain the succession of sounds that identifies the composition as an entity. If a listener is preoccupied with other matters or momentarily nods off during the performance, the continuity is lost and he or she may wake up during the last movement completely confused by the sounds coming from the stage. Even if one is awake throughout the performance, has one witnessed a “relatively stable” musical object?
By modifying the elements which make up the object, conductors, performers and acoustic conditions all influence the outcome of the composer’s vision and the reality that the listener experiences. If a musical performance were completely stable we would not have a multitude of recordings of Beethoven’s Fifth Symphony. One would suffice.
FROM STABILITY TO FRAGMENTATION
The composer’s job is to build unity within a composition so as to ensure that it is comprehensible to the listener. This will hopefully outweigh the various chance factors that occur during performance.
Before the twentieth century, certain conventions of form developed that brought a degree of stability and comprehensibility to musical compositions. Before hearing the first performance of a piano concerto in the eighteenth century, an educated listener already knew many things about it. The concerto would probably have three movements–medium fast, slow, and fast–with a solo cadenza section leading up to the final chords, or coda. This cadenza was intended to offer the soloist some freedom of expression, imposing a minimum of constraints and enabling him to show musicianship and virtuosity. As time went by, even this “unstable” section of the piece became more controlled, until finally the cadenzas were entirely written out by the composer. So much “stability” and “built-in memory” were present in music by the end of the nineteenth century that composers could not find their own form of self-expression within these accepted conventions.
1 (1) SCISSOR SISTERS
IDon’t Feel LikeDancin’ (Polydor)
2 (5) THE KILLERS
WhenYouWereYoung (Vertigo)
3 (2) JUSTINTIMBERLAKE
SexyBack (Jive)
4 (4) NELLY FURTADO FT TIMBERLAND
