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Memoria

為了解決Underscore music的問題，作者Menes, Orlando Ricardo 這樣論述：

Born to Cuban parents in Lima, Per , raised in Miami among political exiles, and having spent two years in Francoist Spain, Orlando Ricardo Menes pays tribute to the resilience and tradition that shape Hispanic culture across the globe while critiquing the hypermasculine characteristics embedded wit

hin. Ripe with pride and shame, beauty and aversion, Memoria relays the personal path one takes while navigating the complexities of heritage. Throughout his life, the ever-present concept of machismo has created turmoil and grief for Menes, who aligns his sensibilities with a more compassionate ex

pression of masculinity. In poems about the Franco dictatorship and the Spanish Civil War, Menes assails the fascists' preoccupation with violence and domination as tokens of manliness. Meditations on the music of Menes's youth also underscore a young man's desire for alternative versions of manhood

. Alice Cooper and Lou Reed offer examples of self-liberation from the repressive regime: "Cropped head, whitewashed face, O Lou, our goth-butch apostle / In skintight leather pants, eagle's-head buckle on a rhinestone belt . . . Our mothers horrified to have borne sons so twisted, so perverse, / Th

eir mop sticks primed to beat us into Marlboro Men." Menes balances these unflinching criticisms with celebratory lines for Espa a as a mother country: "We . . . sailed in silence on the asphalt currents / to Madrid's Puerta del Sol, our little car / gliding like a caravel to this Gate of the Sun,

/ Spain's navel, point zero, her alpha and omega, / where the empire was born and died, / where every road and every life begins and ends." Menes's honest embrace of his heritage includes fond remembrance of his mother, "we talked about your house in / Havana, so close to the bay your young eyes win

ced / in salt air," and sincere expressions of cultural reckoning, "Nations die but blood lives forever in la memoria, / So pray to your Abuelo as you would God Himself / Who made earth, sky, and water from the void." At once rich with sensorial memories and rife with conflicts of identity, Memori

a expands representations of Hispanic culture while drawing on universal themes of love, belonging, and rebellion. Orlando Ricardo Menes is a Cuban-American writer who was born in Lima, Perú. A professor of English at the University of Notre Dame, he is author of six poetry collections and the poe

try editor of the Notre Dame Review.

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從《亂世佳人》的主題動機探討許泰納的電影配樂

為了解決Underscore music的問題，作者劉晞穎 這樣論述：

被尊為電影音樂之父的許泰納（Max Steiner, 1888-1971）處於電影發展的黃金時代，他的職業生涯有60年左右都獻給了好萊塢，在好萊塢時期創作了無數電影音樂作品，受華格納的歌劇配樂影響形成獨特的個人配樂風格與模式，以主題配樂聞名。在《亂世佳人》電影中，配樂可以分為民歌引用（Quotation）與主題音樂創作兩個部分。民歌引用是由於製片人的要求，在引用歌曲上許泰納沒有完全照搬引用，而是根據劇情氛圍和人物情緒進行了改編再創作。引用民謠中不乏平日里耳熟能詳的歌曲，如【London Bridge】（倫敦橋）、【Beautiful Dreamer】（美麗的夢中人）、【Bonnie Blue

Flag】（美麗的藍旗）、【Dixie】（南方）等，其中屬美國音樂之父——佛斯特（Stephen Collins Foster, 1826-1864）的歌曲為最大宗。許泰納為《亂世佳人》中的主要角色及人物關係都創作了特別的主題音樂，並隨著劇情的變化隨之產生主題中主導動機的變化與發展。本文主要探討《亂世佳人》的創作過程與背景以及許泰納運用主題、主導動機來配樂的音樂手法。以《亂世佳人》最主要的音樂主題旋律TARA為例，許泰納在主題和主導動機上的發展手法表現為節奏的變化、主導動機旋律變化、不同的配器演奏主導動機、主題之間的連續轉換和拿坡里六和弦的運用。許泰納利用傳統音樂的專業性結合近現代的方式，在

華格納的影響下誕生了帶有許泰納標籤的主題配樂，推動了電影音樂的發展和歷史。