A connection between noise pollution and deafness

Contact Us Search The present generation and the coming generations have to solve three grave problems, namely, population poverty and pollution if they have to survive. Pollution being the most dangerous problem likes cancer in which death is sure but slow. Environment pollution is assuming dangerous proportions all through the globe and India is not free from this poisonous disease. This is the gift of modern living, industrialization and urbanization.

A connection between noise pollution and deafness

The second — unbridled emotion and improvisation — was forged in the hideous caldron of Nazi Germany. Great music never emerges from comfort, well-being and privilege.

Rather, throughout the history of music, the finest work arises from the most trying of circumstances. All of the great artists — composers and performers — were tortured souls. Even Beethoven was a gifted but largely derivative composer until driven to the brink of suicide by deafness, the cruellest blow of all for a budding musician.

He believed that music was a biological index that reinforced the ideals of humanity, its sonic struggles between tension and relaxation moving the listener toward an objective understanding of one's position in the universe.

Some reportedly ended in meditative silence, the audience quietly leaving without daring to break the rarified mood with applause. He refused to give the types of precise cues upon which musicians rely for cohesion and ensemble. Music works best as an autonomous form of art.

While music occasionally can blend well with certain other art forms such as dance to produce ballet and poetry to create songthe most affecting musical experiences have no need of such linkage.

The greatest music, like all great performing art, rarely translates well into verbiage. Several are contained in a recent video, The Art of Conducting: Great Conductors of the Past Teldec His right hand and baton roughly keep the beat, his left hand weaves round, flowing patterns having no apparent connection with the music, and his head and torso constantly jerk convulsively.

How any orchestra could derive meaningful, much less expressive, cues from such seemingly random movements is amazing; that the Berlin Philharmonic could produce readings of compelling unity and power is simply miraculous.

But despite our natural fascination with seeing the process of artistic creation, of far greater significance is an artist's success in translating his technique into valid musical terms. Legend has it that he once stormed out of a Toscanini concert, cursing the Maestro as a mere "time-beater.

A connection between noise pollution and deafness

His vision, although deeply personal, was never arbitrary, but always sought inspiration in the mind of the composer. One of the clearest examples of the validity of his unusual approach is found in the opening of Beethoven's Symphony 7.

The work begins with four full orchestral chords, separated by increasingly complex wind figures. There is nothing in the score to indicate anything other than a sharp attack; indeed, every other known recording presents the chords with as much precision as the orchestra can muster — a rapt call to attention and nothing more.

The impression is one of great effort, as if the chords had to struggle to overcome the smothering silence. This is no mere empty rhetorical flourish.

Most conductors adhere to Berlioz's famous characterization of the Symphony 7 as an apotheosis of the dance and emphasize its abundant grace and rhythmic drive.

His opening chords are both the introduction to and the distillation of his vision. As eight warrior-sisters arrive at a rocky summit and boast of their exploits, the effect is indeed thrilling, with the sopranos belting out their ecstatic lines over the thrashing full orchestra.

In a long, deeply moving scene, she begs forgiveness which he cannot grant without destroying his own authority, and ultimately is punished with banishment and mortality. His recording heralds the drama perfectly, both in tempo and in texture. He begins the "Ride" at a brisk pace, but then gradually decelerates so that Brunhilde arrives not on a buoyant note of ecstasy but crushed by impending tragedy.

The feeling is reinforced by the orchestral balances: Right before the end the final words of the chorus are slow and stately. This passage leads abruptly to an orchestral coda, marked "presto," which most conductors indeed take at a healthy clip.

The musical sense becomes utterly lost and the work invariably ends in a jumble of confusion. Why mangle the final sublime moment of the ultimate orchestral work of the greatest composer in this way?

At the same time his daring approach empowers the modern listener to relive the shock felt by Beethoven's own audiences. The depth of his thought is simply staggering. Aside from richer sound and a first movement repeat, the performance is virtually identical to their earlier Polydor reading.

The next year, they returned to the studio for a solid Tchaikovsky Symphony 6 "Pathetique" and several Wagner excerpts. All three are collected on Teldec CD and are far more remarkable for the unrelieved somberness of the repertoire than for any particular musical insight.

In purely artistic terms, the wartime studio recordings are barely significant. But from a psychological perspective, it seems amazing that such a sensitive artist was able to so fully suppress the turmoil and anguish that buffeted his personal and professional life.

The first documentation of this change is heard in two marvelous London performances from May, The pickup consisted of a principal microphone at the podium, mixed at the back of the hall with 3 others; all were omnidirectional and picked up a lot of audience noise.

The sound was relayed by telephone line to Radio Berlin headquarters, where it was recorded on machines in 20 minute segments on 14 inch reels of iron oxide tape running at 30 inches per second.Piped music is a global problem but one best dealt with nationally, even locally.

Each country has specific problems. Katie, who lives in Toronto, plans to start a Canadian branch of Pipedown.

If you live in Canada – or even just across the border in the USA – do contact her at [email protected] Misc thoughts, memories, proto-essays, musings, etc.

And on that dread day, the Ineffable One will summon the artificers and makers of graven images, and He will command them to give life to their creations, and failing, they and their creations will be dedicated to the flames.

Latest environmental news, features and updates. Pictures, video and more. Legendary conductor Wilhelm Furtwangler's incomparable artistry was forged in the clash with Nazi morality and politics.

Discussion and recommendations of his greatest recordings. CBSE Class 12 English Letter Writing – Letters to The Editor.

A connection between noise pollution and deafness

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