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"Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? for UPSC 2024 is part of UPSC preparation. The Question and answers have been prepared according to the UPSC exam syllabus. Information about "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for UPSC 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer?.

Solutions for "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for UPSC. Download more important topics, notes, lectures and mock test series for UPSC Exam by signing up for free.

Here you can find the meaning of "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930‘s, for example, has elements of folklore, but is closer to junk than to high art or folk art. The case of Giuseppe Verdi is an interesting one: he took a popular genre, bourgeois melodrama set to music and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally, in the plots of these operas, a hero or heroine— usually portrayed only as an individual, unfettered by class—is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique.Q. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth- century opera asa)An idealized but fundamentally accurate portrayal of bourgeois lifeb)A plot convention with no real connection to political realityc)A plot refinement unique to Verdid)A symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariatCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice UPSC tests.