I am writing this blog to respond to Sara's blog about Where the Wild Things Are. I saw the moive when it first came out. From watching the previews I thought I would be seeing a happy childrens movie. I read the book as a child and loved the story. The book has only 32 words in it. I thought the whole movie would be a happy story about the little boy finding the wild things and having fun with them but ulitimately learning that home is the place to be. Because the book was so short, a new story had to be filled in. I found the movie very depressing and sad.

 Questions for our trip to Carnegie Hall: 

1. What was Chinese classical music like prior to the cultural revolution and how did it change thereafter? 

2. In rejecting the, "international style," how is there no distinct point of origin in the class of 78's music? 

3. Is Chinese composition determined by education, personal experiences or both? 

4. In seeking to bring music back to China, is this a collective or more individual effort? 

This past Thursday I had three hours to kill before class. It was such a beautiful day that I decided to go to Madison Square Park and get some work done. As I walked over to the park from my bus stop I saw all of these little tiny booths set up along the street. As I got closer I saw that a little marketplace was set up around the park. Different people set up booths and were selling all of this really cool merchandise. A lot of the stuff for sale were things these people created. I walked around and saw a bunch of cool things. One woman had handbags made from candy wrappers.

     Joan Acocella states in an essay about music and its importance to Mark Morris, “Structure gives us freedom,” (166). Structure and freedom, however, appear to be in opposition of one another. Acocella contents that it is with knowing and understanding structure that we can learn to break it. In Mark Morris’ choreography, he loves the clarity of structure that is afforded by working with a composition of music. Moreover, his work is a, “physical act of musical understanding,” (162).