An aversion therapy called the 'Ludovico technique' from the 1971 classic A Clockwork Orange features which composer's music? Kudos if you can name the piece too.
"attack, but knows of Alex and the Ludovico technique from the newspapers. He sees Alex as a political weapon and prepares to present him to his colleagues. While bathing, Alex breaks into ""Singin' in the Rain"", causing Mr. Alexander to realise that Alex was the person who assaulted him and his wife. With help from his colleagues, Mr. Alexander drugs Alex and locks him in an upstairs bedroom. He then plays Beethoven's Ninth Symphony loudly from the floor below. Alex is unable to withstand the sickening pain and attempts suicide by throwing himself out the window, falling unconscious on the"
"""A Clockwork Orange"". It is played in the scene that follows Alex's exposure to the Ludovico Technique, when he gets assaulted in public to demonstrate his lack of a violent reaction. The piece is written in a Renaissance-like style, and its elegance constitutes a counterpoint to the violence of the scene. Later in the film, when Alex comes back home to his parents, ""Lighthouse Keeper"" is played. This song, which is cheerful and cute but frivolous compared to the compositions of Beethoven that Alex listens to, emphasizes the lack of taste of his parents. Still in the 70's, we can"
"A Clockwork Orange (soundtrack) The soundtrack to Stanley Kubrick's A Clockwork Orange was released to accompany the 1971 film of the same name. The music is a thematic extension of Alex's (and the viewer's) psychological conditioning. The soundtrack of ""A Clockwork Orange"" comprises classical music and electronic synthetic music composed by Wendy Carlos. Some of the music is heard only as excerpts, e.g. Edward Elgar's ""Pomp and Circumstance March No. 1"" (a.k.a. ""Land of Hope and Glory"") heralding a politician's appearance at the prison. The main theme is an electronic transcription of Henry Purcell's ""Music for the Funeral of Queen"
"After his fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy, in which Alex is injected with nausea-inducing drugs while watching graphically violent films, eventually conditioning him to become severely ill at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, Beethoven's Fifth Symphony, renders Alex unable to enjoy his beloved classical music as before. The effectiveness of the"
"A Clockwork Orange (film) A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novel of the same name. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain. Alex (Malcolm McDowell), the central character, is a charismatic, antisocial delinquent whose interests include classical music (including Beethoven), committing rape, and what is termed ""ultra-violence"". He leads a small gang of thugs, Pete (Michael Tarn), Georgie (James Marcus), and Dim (Warren Clarke), whom he calls"
"composition, among other things attempting a fictional representation of Symphony No.40. Beethoven's Symphony No. 9 features prominently in ""A Clockwork Orange"" (and in Stanley Kubrick's film version of the novel). Many of his unpublished compositions are listed in ""This Man and Music"". He wrote a good deal of music for recorder as his son played the instrument. Several of his pieces for recorder and piano including the Sonata No. 1, Sonatina and ""Tre Pezzetti"" have been included on a major CD release from recorder player John Turner and pianist Harvey Davies; the double album also includes related music from 15"
"world really means"". A Clockwork Orange (film) A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novel of the same name. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain. Alex (Malcolm McDowell), the central character, is a charismatic, antisocial delinquent whose interests include classical music (including Beethoven), committing rape, and what is termed ""ultra-violence"". He leads a small gang of thugs, Pete (Michael Tarn), Georgie (James Marcus), and Dim (Warren Clarke),"
"prison. Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open and he is injected with drugs. He is then forced to watch images of sex and violence, one of which is accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and begs for an end to the treatment, fearing the technique will cause similar nausea"
"of ""A Clockwork Orange"", which featured original music by Carlos along with several Moog versions of classical pieces by Beethoven and Rossini. Carlos would again employ a Moog synthesizer for the opening of Kubrick's The Shining (1980), which featured a Moog interpretation of the ""Dies Irae"" (Day of Wrath) section of Hector Berlioz's Symphonie Fantastique. An important contribution to Moog synthesizer's evolution was made by Keith Emerson, who purchased the second modular system available in the UK. Having difficulties with its assembly and tuning, he collaborated with Dr. Moog himself, thus contributing to the development of even more stable oscillators"
"rather than the pieces Carlos composed for those sections. He states the original LP omitted the first due to lack of space on a traditional vinyl LP recording. Three months after the official soundtrack's release, composer Carlos released ""Wendy Carlos' Clockwork Orange"" (1972) (Columbia KC 31480), a second version of the soundtrack containing unused cues and musical elements unheard in the film. For example, Kubrick used only part of ""Timesteps"", and a short version of the synthesiser transcription of the Ninth Symphony's Scherzo. The second soundtrack album contains a synthesiser version of Rossini's ""La Gazza Ladra"" (The Thieving Magpie); the"
"Ludovico Technique LLC Ludovico Technique LLC was an art and entertainment production company which produces a variety of media, from feature films, to comic books. Their name comes from the Ludovico technique, a fictitious brainwashing technique from both the novel and the film A Clockwork Orange. Robert Meyer Burnett, CEO of Ludovico Technique, both co-wrote and directed the feature film ""Free Enterprise (film)"", which won both the ""Best Screenplay"" award and the ""New Directions"" award at the American Film Institute's 1998 AFI Fest. Ludovico staff work on-set during the production of a feature film, working to develop a rapport with"
"The music, including ""The Devil Is In The Beats"" and ""The Devil Is In The Details"", underscores the movie's style, recalling Stanley Kubrick's ""A Clockwork Orange"" with musical motifs consistent with Wright's ""fairy tale theme"" of childhood innocence confronting the modern ""synthetic"" world. Several reviewers have commented that the movie has a hyper-stylized Kubrickian tone, reminiscent of ""A Clockwork Orange"". The ""Kubrick-esque"" style includes Isaacs' ""gleeful sadism... at times darkly comedic,"" a whistling villain reminiscent of Alex DeLarge. Joe Wright's ""love of fairy tales and David Lynch movies"" was seen as blending ""A Clockwork Orange"" and the work of the"
"and protagonist, Alex, undergoes a procedure called the Ludovico technique, where he is fed a solution to cause severe nausea and then forced to watch violent acts. This renders him unable to perform any violent acts without inducing similar nausea. Unintentionally, he also forms an aversion to classical music. Some general examples that involve the classical conditioning theory in action include, in a lot of cases, advertising. This is a tactic used in order to elicit a response. Advertising on game shows is one of many examples. With the exciting and positive environment of a game show, the viewer may"
"entirely to Carlos' and Elkind's liking. For the CD re-release, an image parodying the film's own logo was created and used on the cover—depicting Beethoven holding out a glass of drugged milk through the film poster's iconic ""A""-shaped image—with the original cover image on the back cover of the included booklet. The original release contains the following tracks: A Clockwork Orange: Wendy Carlos's Complete Original Score A Clockwork Orange: Wendy Carlos's Complete Original Score, first released in 1972 as Walter Carlos' Clockwork Orange, is an electronic music album by Wendy Carlos featuring songs composed for the 1971 film ""A Clockwork"
"in a minor key, that it must be Mozart at his most serious. But listen to how it needs to move. [He illustrates.] There are dance elements, too, in this rondo. It can't be academic. It is not really sad. It is pensive."" The moody chromaticism of the work has reminded many listeners of the (decades-later) piano music of Frédéric Chopin. Mitchell speculates a possible specific case of influence: ""Chopin revered Mozart ...and this reverence influenced his own pianistic textures. (It is unthinkable, for example, that Chopin could have written his A minor mazurka, opus 17, no. 4, had he"
"his ""droogs"" (from the Russian word друг, ""friend"", ""buddy""). The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via an experimental psychological conditioning technique (the ""Ludovico Technique"") promoted by the Minister of the Interior (Anthony Sharp). Alex narrates most of the film in Nadsat, a fractured adolescent slang composed of Slavic (especially Russian), English, and Cockney rhyming slang. The soundtrack to ""A Clockwork Orange"" features mostly classical music selections and Moog synthesizer compositions by Wendy Carlos. The artwork for the poster of ""A Clockwork Orange"" was created by Philip Castle with the layout by"
"A Clockwork Orange: Wendy Carlos's Complete Original Score A Clockwork Orange: Wendy Carlos's Complete Original Score, first released in 1972 as Walter Carlos' Clockwork Orange, is an electronic music album by Wendy Carlos featuring songs composed for the 1971 film ""A Clockwork Orange"". Although Carlos worked closely with director Stanley Kubrick during production of the movie, much of her work was not used, or used only in abridged form. The official soundtrack album also omitted much of Carlos' work. Under the original title ""Walter Carlos' Clockwork Orange"" (Carlos transitioned to female at about the same time) the album included full-length"
"Floyd bassist Roger Waters to use elements of the ""Atom Heart Mother"" suite. Waters refused when he found that Kubrick wanted the freedom to cut up the piece to fit the film. Later, Waters asked Kubrick if he could use sounds from """"; Kubrick duly refused. The album can be seen in the film, during the scene in the record store. It is said that Carlos was so insulted by Kubrick's decision to jettison most of the synthesizer score that she and Elkind refused to work with Kubrick again until ""The Shining."" A Clockwork Orange (soundtrack) The soundtrack to Stanley"
"soundtracks to many films, including ""A Clockwork Orange"" and ""The Shining"". The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analog Moog synthesizer and Crumar's GDS digital synthesizer (complex additive and phase modulation synthesis), along with non-electronic pieces performed by the London Philharmonic Orchestra (hired at the insistence of Disney, which was concerned that Carlos might not be able to complete her score on time). Two additional musical tracks (""1990's Theme"" and ""Only Solutions"") were provided by the American band Journey after British band Supertramp pulled out of the project."
"morality. The young anti-hero, Alex, captured after a short career of violence and mayhem, undergoes a course of aversion therapy treatment to curb his violent tendencies. This results in making him defenceless against other people and unable to enjoy some of his favourite music that, besides violence, had been an intense pleasure for him. In the non-fiction book ""Flame into Being"" (1985) Burgess described ""A Clockwork Orange"" as ""a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence."" He added ""the film made"
"no. 1 and no.2 are intensely atonal and show the influence of Karlheinz Stockhausen. Since then, however, he has turned to a more approachable style following the tradition of 20th-century masters including Igor Stravinsky, Dmitri Shostakovich, Béla Bartók and Arnold Schoenberg, the latter who taught his teachers Earl Kim and Leon Kirchner. His ""Love-Canzonettes"" and other works for chorus and his many ragtime works for piano are completely tonal and classically conceived, as is his ""Symphony in A"" and his chamber opera, ""Taema"". His string quartets and much of his other music including his Concertino for Wind Band are tonally"
"featuring ""Polymorphia"" released on March 13, 2012 and including a piece composed by Greenwood entitled ""48 Responses to Polymorphia"". Polymorphia is used in the soundtrack of the horror films ""The Exorcist"" by director William Friedkin (1973) and ""The Shining"" by director Stanley Kubrick (1980). Opus Musicum OM 116—118, 1975. 3 discs, 33 rpm stereo. Polymorphia Polymorphia is a musical composition for 48 string instruments (twenty-four violins and eight each of violas, cellos and basses) composed by the Polish composer Krzysztof Penderecki in 1961. The piece was commissioned by the North German Radio Hamburg. It premiered on April 16, 1962 by"
"by John Sturges, and ""A Clockwork Orange"" (1971) by Stanley Kubrick. When the directors of ""Marooned"" changed their minds about including a soundtrack, Carlos chose to work with Kubrick, as she and Elkind were fans of his previous films, adding: ""We finally wound up talking with someone who had a close connection to Stanley Kubrick's lawyer. We suddenly got an invitation to fly to London."" Before Carlos knew about the offer, she read the book and began writing a piece based on it named ""Timesteps"". A soundtrack containing only the film cuts of the score was released as ""Stanley Kubrick's"
"film by Stanley Kubrick, ""A Clockwork Orange"". The 1973 ""Rolling Stone"" review of Jethro Tull's ""A Passion Play"" compared the musical style of the album with the one of Purcell. In 2009 Pete Townshend of The Who, an English rock band that established itself in the 1960s, identified Purcell's harmonies, particularly the use of suspension and resolution that Townshend had learned from producer Kit Lambert, as an influence on the band's music (in songs such as ""Won't Get Fooled Again"" (1971), ""I Can See for Miles"" (1967) and the very Purcellian intro to ""Pinball Wizard""). Purcell's music was widely featured"
"Jolivet: Arioso barocco (1968) 6. D Lowry: Suburban Measures (1991) Baltic Organ Music (BIS-CD 561) A Pärt: Annum per annum M K Ciurlionis: Fugue in C sharp minor M K Ciurlionis: Chorale Fugue in A minor on ’Aus tiefer Not schrei ich zu dir’ P Süda: Prelude and Fugue in G minor I Zemzaris: Pastorales for Summer Flute P Vasks: Te Deum B Kutavicius: Sonata ’Ad Patres’ The Complete Organ Music by Beethoven and the Complete Works for a Musical Clock by Haydn Kalevi Aho: Symphony no 8 Hans-Ola Ericsson, Organ, Lahti Symphony Orchestra, Osmo Vänskä, Conductor. C P E"
"his neoclassical works. Part of the composer's error, in Adorno's view, was his neoclassicism, but of greater importance was his music's ""pseudomorphism of painting"", playing off (time-space) rather than (time-duration) of Henri Bergson. According to Adorno, ""one trick characterizes all of Stravinsky's formal endeavors: the effort of his music to portray time as in a circus tableau and to present time complexes as though they were spatial. This trick, however, soon exhausts itself"". Adorno maintained that the ""rhythmic procedures closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to"
"consisting of 13th century sacred and secular songs. Ligeti's music employed the new style of micropolyphony, which used sustained dissonant chords that shift slowly over time, a style he originated. Its inclusion in the film became a ""boon for the relatively unknown composer"" partly because it was introduced alongside background by notable composers, Johann Strauss and Richard Strauss. In addition to Ligeti, Kubrick also enjoyed a collaboration with composer Wendy Carlos, whose 1968 album ""Switched-On Bach""—which re-interpreted baroque music through the use of a Moog synthesizer—caught his attention. In 1971, Carlos composed and recorded music for the soundtrack of ""A"
"music), some techno, some of Igor Stravinsky's compositions, barococo and the Suzuki method. (Fink 2005, p. 5) Other important genres with repetitive songwriting are post rock, ambient/dark ambient and black metal. Repetitive music has often been negatively linked with Freudian thanatos. Theodor Adorno (1948, p. 178) provides an example in his criticism of Igor Stravinsky, whose, ""rhythmic procedures ostinato closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego."" Similar criticism was levelled at Ravel's Bolero. Wim"
"made by Martin Jones, Anton Kuerti and Daniel Blumenthal. Czerny's piano nocturnes show some of the elements present in Chopin nocturnes, such as the rhythmic fluidity and the intimate character. Chopin met Czerny in Vienna in 1828 and may have been influenced by his nocturnes. Czerny composed approximately 180 pieces that bear the title ""Variations"". Among them is ""La Ricordanza"", Op 33, which Vladimir Horowitz recorded. Czerny used not only his own themes but themes from other composers as well, including Daniel Auber, Ludwig van Beethoven, Vincenzo Bellini, Anton Diabelli, Gaetano Donizetti, Joseph Haydn, Heinrich Marschner, Wolfgang Amadeus Mozart, Niccolò"
"30 to 35 minutes, depending on the interpretation. The main movement of the concerto is marked ""Allegro affettuoso""; its origin lay in the one-movement fantasy written by Schumann in 1841, at whose core is the musical development of the conflict between the boisterous Florestan and the dreamy Eusebius, two characters Schumann often used to express the duality of being. The movement is set in 4/4 rhythm. The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. This exposition chord is followed by a descending, rhythmically incisive chord progression of the"
"he had had extensive personal and professional contact with many of the great composers of the day. Many of those composers wrote pieces for him, including Sergei Prokofiev (Cello Concerto), Paul Hindemith (Cello Concerto), Mario Castelnuovo-Tedesco (Cello Concerto), William Walton (Cello Concerto), Vernon Duke (Cello Concerto), and Igor Stravinsky (Piatigorsky and Stravinsky collaborated on the arrangement of Stravinsky's ""Suite Italienne"", which was extracted from ""Pulcinella"", for cello and piano; Stravinsky demonstrated an extraordinary method of calculating fifty-fifty royalties). At a rehearsal of Richard Strauss's ""Don Quixote"", which Piatigorsky performed with the composer conducting, after the dramatic slow variation in D"
"with an added passing note) and downward passages transition into the main ""appassionato"" melody. The octave melody's dotted rhythms and the continuous accompaniment give an impression of tension. The piece ends by recalling the opening in a final descending sweep (with both hands) descending to a C major chord, although within a context that draws its expected function as a resolution into question. The pianist Alexander Dreyschock was renowned for playing the left hand part in octaves, an approximate reconstruction of which can be viewed here: https://www.youtube.com/watch?v=YboZVLoBS18 The end of the étude alludes to Ludwig van Beethoven's Piano Sonata No."
"the style of Italian opera composer Giuseppe Verdi can be heard during full chorus scenes. One of the themes within the opera's overture references the works of composer and virtuoso pianist Franz Liszt, and one prelude in act 2 uses Smetana's fondness of switching between the dominant seventh and the tonic, as analyzed by Clapham. ""Alfred"" does leave room for improvement, however. Dvořák followed Körner's libretto very closely, which resulted in several disjointed passages, a lack of action, and hit-or-miss characterizations. Dvořák had planned for a performance of just the overture from ""Alfred"" in May 1881 under the title ""Tragic"