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Where do the wandering singers roam? According to the poet, what calls their
wandering feet?
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Where do the wandering singers roam? According to the poet, what calls...
Wandering Singers: Their Roaming Ground
The wandering singers, as depicted in the poem, traverse various landscapes in search of inspiration and connection. They do not belong to one specific place but rather roam freely through the world, embodying the essence of freedom and artistic expression.
Calls to Their Wandering Feet
The poet suggests that the wandering feet of these singers are called by several profound elements:
- Nature's Beauty: The allure of natural surroundings, such as mountains, rivers, and forests, beckons them. The beauty of the earth inspires their melodies.
- Human Experience: The diverse experiences and stories of people they encounter ignite their creativity. Each interaction provides a new narrative to weave into their songs.
- Yearning for Freedom: An intrinsic desire for freedom drives them to explore. They are compelled to break free from societal confines, seeking solace in the open road.
- Emotional Resonance: Feelings of joy, sorrow, and love shape their journeys. The emotional weight of these experiences calls them to express themselves through song.
Conclusion
In conclusion, the wandering singers roam not for mere travel but to connect with the world around them. Their wandering feet are called by the beauty of nature, the depth of human experience, a longing for freedom, and the emotional narratives that life presents. Through their journeys, they embody the spirit of exploration and artistic expression, making their songs a reflection of the world they traverse.
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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. According to the passage, the immediacy of the political message in Verdi’s operas stems from the

"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. According to the passage, all of the following characterize musical drama before Verdi EXCEPT

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Where do the wandering singers roam? According to the poet, what calls theirwandering feet?
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