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Her thoughts always went down along the damp, dark passageways, shaking the dry cobweb-covered dust off the portraits. That disturbing and fearsome dust that fell from above, from the place where the bones of her ancestors were falling apart. Invariably she remembered the "boy." She imagined him there, sleepwalking under the grass in the courtyard beside the orange tree, a handful of wet earth in his mouth. She seemed to see him in his clay depths, digging upward with his nails, his teeth, fleeing the cold that bit into his back, looking for the exit into the courtyard through that small tunnel where they had placed him along with the snails. In winter she would hear him weeping with his tiny sob, mud-covered, drenched with rain. She imagined him intact. Just as they had left him five years before in that water-filled hole. She couldn't think of him as having decomposed. On the contrary, he was probably most handsome sailing along in that thick water as on a voyage with no escape. Or she saw him alive but frightened, afraid of feeling himself alone, buried in such a somber courtyard. She herself had been against their leaving him there, under the orange tree, so close to the house. She was afraid of him. She knew that on nights when insomnia hounded her he would sense it. He would come back along the wide corridors to ask her to stay with him, ask her to defend him against those other insects, who were eating at the roots of his violets. He would come back to have her let him sleep beside her as he did when he was alive. She was afraid of feeling him beside her again after he had leaped over the wall of death. She was afraid of stealing those hands that the "boy" would always keep closed to warm up his little piece of ice. She wished, after she saw him turned into cement, like the statue of fear fallen in the mud, she wished that they would take him far away so that she wouldn't remember him at night. And yet they had left him there, where he was imperturbable now, wretched, feeding his blood with the mud of earthworms. And she had to resign herself to seeing him return from the depths of his shadows. Because always, invariably, when she lay awake she began to think about the "boy," who must be calling her from his piece of earth to help him flee that absurd death.

She took refuge in all her beliefs. Why didn't it dawn right then and there or why didn't she die once and for all? She had never thought that beauty would cost her so many sacrifices. At that moment--as usual--it still pained her on top of her fear. And underneath her fear those implacable insects were still martyrizing her. Death had squeezed her into life like a spider, biting her in a rage, ready to make her succumb. But the final moment was taking its time. Her hands, those hands that men squeezed like imbeciles with manifest animal nervousness, were motionless, paralyzed by fear, by that irrational terror that came from within, with no motive, just from knowing that she was abandoned in that ancient house. She tried to react and couldn't. Fear had absorbed her completely and remained there, fixed, tenacious, almost corporeal, as if it were some invisible person who had made up his mind not to leave her room. And the most upsetting part was that the fear had no justification at all, that it was a unique fear, without any reason, a fear just because.

Created by: icey

  1. large-scale composition for chourses vocal soloist and orchestra, set to biblical text and is not staged
  2. a hymn tume, bach often harmonized these
  3. dialouge or conversationcal par of opera, ment to imitate the rhthms of natural speech
  4. multi-movement orchestral composition in which a small group of soloists is contrasted with the orchestra.
  5. polyphonic organ compositioni in which a subject is imitated in each voice/part
  6. lyrical or more song like portion of the opera
  7. present in nearly every barque piece, serves as the foundation and is usually played by two instruments
  8. small scale piece for orchestra, chorus, and soloists, usually scared; bach wrote many of these
  9. multi-movement chamber musix
  10. A three movement work for soloist and an orchesta
  11. term used to descibe light and graceful music
  12. a new typw of opera which appealed to the middle class
  13. music designed to be played ina small intimate venue
  14. form in which a single theme is repeated each time it is repated it is changed a little
  15. chamber piece for 1-2 instruments
  16. multi-movement work for an entire orchestra
  17. chamber music written for four sting instruments
  18. tone color or quality of a sound
  19. degrees of loudness and softness in music
  20. relative highness or lowness of a sound; frequency of vibrations
  21. part of a melody; small musical gesture
  22. organization of beats into regular groupings
  23. speed of a beat
  24. unstable combination of tones; harsh sounding
  25. the part of a Roman Cathloic Church service which are the same everyday of the church year
  26. a secular polyphonic composition for voices
  27. a sacred polyphonic composition for voices
  28. scales used during the Middle Ages and Renaissance
  29. one or more long sustained notes which accompnay melody
  30. Harmony occurs when
  31. Beat is the even pulse in music.
  32. rythem- organization of the music
  33. classical music does NOT explore far off and interesting chomatic dissonances.
  34. Handle did NOT write operas in english!
  35. Baroque music placed a new wmphasis or impartance on what voices or parts .... Soprano and Bass
  36. strings were the most impartant familt of instument in the baroquw orchestra
  37. music is sound that is organized

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