Opera and Composers in the United States - Essay Example

Opera in the U.S. by American composers Introduction In Opera, fallacy is highly advocated for where a fallacy is an informal notion or logic of thought. It is normally due to a misconception or false assumption. Normally, it is directed towards any other reason other than the true conception of truth. This form of reasoning is used to win arguments. There are many forms of trying to go about this form of reasoning in arguments relating to the question that the first paragraph intended to answer. In order to have a critical and analytical understanding of jazz composers, one should be familiar with the basic common errors of reasoning in order to have a concise form of logical argument. Opera in the U.S. by American composers Answering the question that many people have not been able to answer since the 1960’s, Opera in the United States of America supports performance and creation of new works by American composers especially those from the northern side. OPERA America’s online education core, which is the learning centre, features information, which not only focuses on frequent operas but also houses an inventory that has proven to grow of composers from north America as well as their operas for use by opera lovers, artists and administrators. Therefore, Opera finds synopses, biographies of librettists and composers, historical essays and other research as well as other multimedia excerpts. Jazz composers for example, which happens to be the genre subject in this paper, started way back in the 1960’s and up to date the composers still rely on Opera for research work. In the Opera, there is the voice workshop and the composers’ series, which is a competitive biannual fellowship, offered to composers especially those of jazz and composer/librettist teams (Gilbert& Chase, 26). The notion behind fallacies as outlined by major philosophers asserts that in order to be a rational thinkers and composers, then one should avoid the illogicality in fallacies and carry out an examination to gauge one’s level of thinking. While composing, development for Rational Persons involves Viewing Development in Stages; the composer tries to explain the basic concepts that would help in becoming a rational jazz composer. Librettists like mark Campbell places in the mind of the audience stages of evaluation through which one can become a more rational thinker. While at Opera and in stage one, composers assert that it is of primary importance to accept that since humans are always working towards being more rational thinkers, we should accept that shortcoming characteristic of humans and work towards better realization of relevant thinking. The second stage helps composers realize that unless they accept to being irrelevant thinkers, only then can they proceed to being rational thinkers. Stage 3 asserts that composers first question the belief of their reasoning before actually bringing it out to other people. When a composer gets to this stage, then he or she can be referred to as ‘beginning thinkers’. In the fourth stage, a composer is able to have a clearly defined outline of his or her thinking formula. One is able to have an organized line of thought even in arguments. According to Opera, There are 4 different kinds of fallacies. I. Non sequitur is the form of thinking where the composition may be right or wrong, but the premise from which the conclusion is born does not have clear outlay. II. Faulty analogy asserts some level of irrelevance during composition. For instance, if B has content, same as V and V has same composition as Q; simply assuming that therefore B and Q have same properties without founded conclusive finding is irrelevant and illogical. III. Hasty generalization: in this form of fallacy, a composer simply draws conclusion based only insufficient evidence. If in a list of 12 people, 10 have passed in an exam, simply assuming that the remaining two also have passed in an exam holds no ground for a sufficient conclusion. IV. Equivocation simply implies the translation of one word with different meanings in the way that it should not be use. Moving away from Opera and fallacy and with evidence from appropriate sources, Opera has been in existence since the early years and up to date the jazz genre has continued to get new works from the composers who come up with almost the same style of doing their thing. Mark Campbell, a librettists working in Opera and one of the most in demand premiered four new works n the year 2012 only. His works was inclusive of silent night for Minnesota Opera which was the music previously done by Kevin Puts and directed by Eric Simonson, the inspector for wolf, trap opera and this was music done by john Musto and Leon major was the director and Virginia’s opera Rappahannock county which was at the Virginia arts festival. In Opera, there are stipulated stages of new work development. What does this mean; this means that the road to creating a new opera is full of questions. These questions include who should comprise the creative team, how to determine if the work is ready for the next development stage, when do the composers release the work to the public and what to do after the public reacts on the work. All these are important questions for opera and it is because of such questions that it has previously been able to convince American composers to join the family. At this point, the public listens to the composers work through the artists and forefront administrators of contemporary opera. With this they gain insight into the creation of new works and development as well as production (Gilbert& Chase, 176). How to be a teaching artist, a product of opera, is a way of making connections for the artists. The artists teaching in this case fully engage and educate the members of the community through working in hospitals, schools and other social services organizations. Opera helps the teaching artists become successful by possessing a wide range of interpersonal and business skills as well as artistry and talent. It is now that the opera artists who are also composers and panelists discuss the opportunity types available to teaching artists. During the discussions, they also discuss how one can obtain the needed skills for success (kingsman,28). Looking at what we started with, there were stages of new work development, how to be a teaching artist and now we have reading o write, which is like a book list of composers helps one understand that composers are not limited by the domain or genre of music but instead inspired by all the senses that they have. For composers, a written piece represents an extension of his or her experiences and at the same time reflects the spoken language musically. Opera America comprising of composers loves using books as an inspiration tool. Opera discusses reference texts and literature with industry experts and this helps them in one way or another o compile a reading list for opera composers with technical skills topics, history, biography, publishing, business, vocal reference and others from art fields. Opera advices people that as they explore the above named resources; they also try to get their expectations and investigations beyond the page. Opera advocates for people interacting with singers, working backstage, analyzing and listening for the purposes of forming an intimate relationship with opera writing. In opera, there is also the composer’s cohort, which entails the secrets of collaboration. In a composer’s repertoire, writing an Opera is an undertaking unlike any other. The depth of knowledge, time commitment and scope of similar ambitious project make it look like an enormous challenge for writing in and of itself. Many aspiring Opera composers overlook the test waiting beyond the studio’s solitude: collaboration other with staged vocal work artists. Earlier in the paper, there was no mention that Opera is a magazine. This sells more than any other composer’s piece and many people as well as organizations find it fit to advertise through it because of its readability (Gilbert& Chase, 76). Opera devotes itself in the organization of new composers and management of innovation in America. The development of new composers is in line with both the standardization and adaptation strategy. Opera has expanded internationally into the united sates of America by developing and creating compositions that meet artists demand in the local market. The development of new product is done after intensive research and development to allow it to compete with strong artists that have presence in America. Opera ensures that it frequently adds something new and special in its booklist through new composition development as one of its competitive advantage. Opera uses permanent composer’s strategy development where it provides written work on its composer’s booklist, which is permanent. There are those products which are permanent on the menu and do not change to provide a familiar pieces to American artists. In addition, Opera has temporary pieces development strategy where it offers temporary compositions especially during festive seasons. Opera also uses local product development strategy and local adaptation strategy to adapt to the American market and compete with both local and international companies. The company ensures it develops new products for the locals by using the adaptation strategy whereby they take a product and modify it to fit local tastes. In general, the development of new products like new and more engaging magazines in America is in line with the adaptation strategy to ensure it develops products, which fit the local tastes (Wiley & Hitchcock, 89). Conclusion In conclusion, Innovation is vital for the company’s operation in America to cater for composition management, order taking and quick payment control. The innovation in America makes management more reliable, effective and saves cost. The company uses local innovation to develop systems, which allow easy composition process and quick payment control to ensure that customers have high quality service and increase accuracy and efficiency. Through its innovation in America, Opera has managed to squeeze high sales and greater profits from the local entertainment industry. It is important to note that Opera in America relies on local technology and innovation, which is readily available and cheap. The company is able to take advantage of the relatively high innovation levels in America, which is one of the fast developing countries in the world. Opera tries to utilize innovation and technology, which is available locally to mitigate any negative influence from the locals. This is an effort to adapt and use local individuals to make the locals feel that the company looks at their interest. In addition, the company relies on local companies and employees to offer both innovation services and ideas to adapt to the local innovation levels. Works cited Kingman. American Music: A Panorama; with the North America volume of the Garland Encyclopedia of World Music. New York: university press, 2008, 183. Gilbert, Chase. America's Music. USA: Minnesota press, 2009. Charles, Hamm. Music in the New World. New York: A&C Black, 2010. Wiley, Hitchcock. Music in the United States. New York: Infobase Publishing, 2010, 109 pages. Read More