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To throw oneself into reality asking questions is vital. It is not necessary to ask someone else a question but to ask the said individual subject a question. The question can be on any subject but the important part is to satisfy the inquirer (oneself). Elaborate on said question; answering with thoughtful, powerful, and intriguing ideas. The reality will present itself with the flow of ideas that proceed it. These ideas are usually linked to reality as the owner of them has been subject to reality before. No matter how arbitrary and perplexing the thoughts are how can they be created without having faced reality?

The significance of the previous paragraph is that it proves itself. Like an idiophone it need rely only on itself to convey a message. This holds true because the writer has asked themself a question: “How does one throw themself into reality?” In their message there is a thought and a resolution. This is exactly what the writer was trying to prove. The question that they asked themself not twenty minutes before writing this was resolved by answering the question. In Layman’s terms, for the sake of both writer and reader, the owner of the thought resolved the thought by experiencing the thought first hand. Don’t worry, the writer is 100% indefinitely 100% confused as well. Though while the writer is confused the answers come as said writer continues to simultaneously dance with both mind and pencil. In the end it comes down to simply experiencing a thought for oneself.

All this inquiry started when the writer was phased by how unphased they were by the fact that they would be graduating high school and moving on in the world in a week. As the writer continues to follow this road of thoughts they gradually grasp reality.

This world is far too big a place where every decision is followed by an action, and no matter how minuscule the result is it affects the future indefinitely. With an ambitious future and the time to stand in the open and carve a trail of their own slowly becoming more and more distinguished, the first step to a rebirth seems overwhelming. However, determination and inspiration pushes the writer into the thickest woods where a clearing of clarity becomes ever so intimidating yet endearing. In fear of the metronome that keeps life in time moving at double the speed once the first step into the clearing is taken, the writer begins to reminisce. The writer wishes for a moment that this time hadn’t come so soon. However, the realization that just getting into this part of the woods has been an exceptional journey presents itself. It is at this point that the writer remembers that time is no fun when it is considered. The prospect is laid to rest for the time being.

The moral of the writer’s story is that the writer was able to find their answer by asking themself a question that enticed them. This allowed the writer to throw themself into reality by following their inquiring thoughts and facing the resolving ones.

How does one write lyrics that inspire others? As a musician and songwriter I ask myself this question frequently. I’ve written plenty of lyrics, a few poems, and a lot of papers, but how does one leave behind a legacy like Paul McCartney and John Lennon? They’ve inspired a countless amount of people and are often referred to as the best songwriters of all time. Lately I’ve caught myself inquiring how they were able to write such incredible lyrics.

Collaboratively, Lennon and McCartney wrote and published about 180 songs from 1962 to 1969. In a short seven years they accomplished about 18 times more than what I did in two years, and on top of that were much more successful. According to the Guinness World Records their song “Yesterday” has been recorded by more artists than any other song written. In a Playboy interview with Lennon said he would “always go for the sadness, the discords, a certain bluesy edge.” On the other hand McCartney “provided a lightness, an optimism,” and would also tell the story while Lennon would philosophize.

Napoleon vs. Nelson: The Battle of the Nile
On August 1st, 1798 British Naval Officer Sir Horatio Nelson finally caught up to the French General Napoleon Bonaparte and his naval forces after a chase that lasted for over two months. They engaged in a most gruesome naval battle that lasted for three days at the Aboukir Bay on the Mediterranean coast of Egypt. The French had been fighting battles along the coast for the past three months in an effort to drive out the British from the French Revolutionary Wars by taking over British India. Those three brutal months led to the climax of the entire naval campaign: the Battle of the Nile. For those long three days Nelson led his fleet in battle and destroyed several French ships. Many were killed, and even more surrendered to Britain’s mercilessness. Only two French ships were able to break away from the battle and escape out of a total of seventeen. This battle was one of very few that the British won during the French Revolutionary Wars. It is also one of the most memorable wars due to the fact that it was a relieving British victory and left Napoleon stranded in Egypt. However, this was a mere bump in the road compared to the French victories that both preceded and followed.

Nelson’s Nobility
Regardless of the French dominance throughout the war and the tragic events that were caused, the British Victory made people like Sir Horatio Nelson a hero. During part of a Mediterranean naval campaign Nelson became blind in one eye due to a battle in 1794 at Corsica, and in 1797 he lost an arm at the Battle of Santa Cruz de Tenerife. Even though he had to live with these disabilities he still managed to win a battle over Napoleon. Not only was Nelson able to direct his forces in pursuit of and into battle with the French, but he was also injured during the Battle of the Nile. While overseeing the battle a shot from the Spartiate was fired and hit Nelson just above his blinded right eye, causing him to be temporarily blind in both eyes as a flap of skin covered most of his face. Although he thought he was going to die the Vangaurd’s surgeon told him it was simply a flesh wound and he stitched it back together. After being stitched up Nelson was advised to stay inactive but he disregarded that reccomendation and watched the remainder of the battle; just enough time to see the Orient, which was the main French flagship, be destroyed.

Response to Nelson’s Victory
The victory that the British were able to hold over the heads of the French traveled throughout Europe and soon enough Nelson was called Baron Nelson. Although he wasn’t completely satisfied with a lot of his rewards, one that he was able grateful for was the Nelsonic Band of Brothers that he was able to form. Nelson’s Band of Brothers was a reference that Nelson got from Shakespeare’s play: Henry V. It was all the captains that were under his command and himself that were known as the Nelsonic Band of Brothers. Another response to Nelson’s victory was a composition that was nicknamed after him. Austrian composer Franz Joseph Haydn wrote a mass called “Missa in Angustiis” which means Mass in Time of Distress in the summer of 1798. He wrote the mass because it was a terrifying time for Austria due to Napoleon’s reign and threat toward Vienna. Coincidentally the mass was written in the same summer as the Battle of the Nile, and in 1800 Nelson visited England himself to see the mass performed. After that, or possibly even before, the mass was nicknamed “Nelson Mass” to honor the British Admiral for defeating the French in battle. Historian’s today refer to the Battle of the Nile as the most important of Nelson’s career. Even though he was in another battle at Trafalgar seven years later that proved to be important, the strategies used to confront the French naval forces had a much greater effect than any other battle. This victory over the French completely ruined Napoleon’s strategy and forced him to fight along the northern Mediterranean coast. It was here that Napoleon attempted to defeat Turkish defenders at the Seige of Acre and was defeated. After this loss Napoleon sailed back to France to recooperate, allowing Nelson’s victory to be even more appreciated and valuable.

As an open minded musician it is my goal to consistently pursue further knowledge about this art that I surround myself with daily. With that being said it is important to pick up an instrument, if not everyday, as often as possible. There is a substantial amount of practicing and successful musicians that do just that. More often than not these musicians give each other advice, ideas, and knowledge as they collaboratively jam or study music. These processes that take place to make musicians successful relate greatly to how a student of science or math can complete an assignment in an effective way. Everyone I know that studies and plays music with ambition and passion has certainly considered taking some schooling to further advance their understanding and success in music. After I graduate from high school this year it is my goal to attend a school dedicated to the art of music.

Although the local junior college offers degrees in music the main focus isn’t music itself but education in general. I will probably attend this local JC for the associate degree it offers in music but I am certain it won’t give me as valuable an education as a music school would. The school that I have been looking to attend one day is the Musician’s Institute in Hollywood, California. I have done a lot of research on the school, and have even taken one of their open house tours and I am positive that this is the school for me. A lot of people struggle with getting into the schools they want because they hold themselves or the schools to such high standards. For me it is evident that the Musician’s Institute meets my standards and is the right choice for me.

The Musician’s Institute takes on talented musicians, as I have observed after their open house and looking at their website (www.mi.edu). Also, a lot of MI alumni have made it big as musicians. Synyster Gates from American metal band Avenged Sevenfold, Paul Gilbert from Mr. Big and Racer X, and Peter Thorn from Chris Cornell were all once students at MI. There are also other musicians that play bass, drums, keyboard, and more that go on tour and record with artists like Chick Corea, Yellowcard, and Beyonce. Not only do students who attend and graduate from MI get an opportunity to record with other musicians, but they get to compose and write music for movies and documentaries. These are just a few of Musician’s Institute’s many success stories. If you go to their website you will actually find a link that takes you to a series of stories about different artists success.

It is my ambition to become not only a musician, but an actor as well. The fact that I don’t want to do either just to be famous or solely for the money assures me that I will be successful. Another factor that contributes to my optimistic attitude toward my future career as a musician/actor is my drive. No matter how difficult it gets I will always understand that life is not easy and I will seldom look for the easy way out of things.

When considering the fact that Hollywood is the perfect home to harness my education and success as a musician and actor my optimism only raises to greater heights. However, the fact that living expenses, competition with other musicians and actors, and getting along with other people will make life extremely difficult doesn’t necessarily make me more optimistic. Through observation I have noticed that a lot of successful individuals have overcome incredible obstacles. The fact that I will endure some of these obstacles and others helps reassure me that I will reach my goals.

In modern society a lot of people have grown fond of describing their compulsive addictions as diseases; which is a very common misconception of the defining aspects of addiction and disease. Those who eat food, do drugs, drink alcohol, or gamble compulsively are all simply subjects of their own cowardice. Doing any of the previously described activities, or even others, compulsively is not a disease as most are subject to it would describe it as, but an extreme addiction. A popular addiction today is gambling; one that leaves people broke and even endangers lives just like most other addictions.

Gambling has rapidly become a problem throughout North America ever since it started becoming legal in certain parts of the U.S. in 1931. It’s fun for some and torture for others but in any case it becomes a problem when people become so absorbed with the activity that they begin to do it compulsively. Many people who attend Gamblers Anonymous claim that they sacrifice everything they have for this addiction only to face extremely negative outcomes. A lot of the time these addicts will go to a therapist or even group organizations such as Gamblers Anonymous, and be told that the addiction is in fact a disease. At this point the addicts feel helpless in the face of the “disease” and are discouraged from actually trying to end the addiction. Very few are lucky enough to see past this belief that is nailed into their heads in attempts to ease their pain and end the addiction.

It seems as though the best way to resolve the problem would be to first come to peace with the fact that an addiction is not a disease and it can be stopped. It is an educated guess through observation and experience that everyone has gone through some sort of addiction. For some the addiction sticks while for others it is a simple bump in the road that corrupted their past. People who are aware of the addiction and who can assure themselves that they have the power to end the addiction will. Easing out of the addiction rarely works for anyone. Stopping completely without even thinking twice, or at least disproving the proceeding doubt, is the real answer. The greatest factor to consider is that there is no easy way out.

There are no boundaries to music and there never will be as we are surrounded and inspired by it daily. The growth of different tastes and abilities in peoples’ music has expanded the range of accomplishments in the industry to a substantial degree that is seldom appreciated. There are several different types and genres of music but they can all be most simply categorized as either instrumental or vocal. Instrumental music relies solely on the talent and emotion conveyed by the musicians and the instruments they play. On the other hand, music with vocals relies greatly on the role the singer, or singers, play in the music and the talent and emotion that is displayed by them. Some would say that instrumental is better than lyrical, or vocal, and others would argue the contrary. These sorts of conversations and debates have taken place for decades and maybe even longer than that. The more interesting part of the subject is how both types of music contrast in how they affect people. What genres are usually discussed when addressing the topic? Which artists are compared when wondering which type of music is preferred? How do people incorporate music into their everyday lives and how might it affect them? These are much more intriguing questions than simply asking, “Which is better”?

One way to compare the two is to consider the popularity among the audience. The popularity of instrumental tunes in our society is slowly diminishing, regardless of the respectable aspects that relate to it. From 1960 to 1974 128 instrumentals were on the Top 20 in radio. Only 30 got to that point from ’75 to ’90, and ever since then there have only been 5, which consist of jazz or soundtrack songs. Today pop music is filled with lyrics where vocals are the main focus, a completely different story to that of most rock or jazz. The Top 10 songs from 1960 to 1969 have an average count of 176 words. More recently, Chris Brown and T-Pain have soared way above that and gone up to 742 words in their hit “Kiss Kiss”, a song from 2007. Lady Gaga’s “Bad Romance” doesn’t use actual words in some of the song, which was already a popular feature in modern music. However, older artists such as Ella Fitzgerald, a jazz singer, couldn’t say much to disrespect that without being a hypocrite. The bottom line is that it’s a style, and each artist has a different style which means that every genre has a different style and these differences in taste and sound will continue to change.

After surfing the internet on the topic it is surprising to find on forums that most individuals prefer instrumentals to music with lyrical content. On the other hand, it appears that most people who like lyrics in their music don’t care to socialize over forums. It’s a common stereotype to consider most people that spend their time on the internet talking over Myspace or Facebook listen to pop. For example, when looking at most people’s Myspace profiles they don’t have Beethoven, Larry Carlton, or even Electric Light Orchestra music playing in the background; they usually have Jason Mraz, Lady Gaga, Owl City, Tim McGraw, Avenged Sevenfold, or Slipknot, all of which include lyrics. This is most likely due to age and advertisement, both of which are important in most musicians’ success. A lot of teenagers listen to the more modern music, and even some of their parents do as well. Then again, parents also may introduce an old classic rock artist like Bad Company, or Led Zeppelin to their children and the kids grow used to and fond of that music as well. Bob Seger’s “Old Time Rock and Roll” is featured on Guitar Hero commercials which is a popular video game amongst a large teen fan base.

Depending on the individual, the genre of music, and the genre of literature music can be distracting to some as they read to themselves. Some find it hard to listen to music with vocals while reading and others don’t find it very distracting at all. However, if one likes both the book and the song that could have lyrical or strictly instrumental content then the music does not detract from the reading but actually may help. Others find it difficult to read while there is a lot of bass in the music they are listening to or someone else is listening to. Music can also stimulate the imagination of the individual depending on the song and book. A jazz guitar solo could help one’s mind bounce around a variety of ideas while some heavy metal could completely ruin any sort of creative process. Then again, if one listens to heavy metal on a daily basis, has grown fond of and used to it, the loud music and vocals could be the equivalent to the Coltrane solo that stimulates someone else’s reading. Some people need a lot of noise when writing an essay or reading a book so they can block out any surrounding noise in the environment. Others need complete silence, and some people are only distracted by the music when it is something they haven’t heard before.

Another fascinating topic on instrumental and lyrical music is the affect they have on intellect and the thinking process. Due to several studies it is said that music affects infants more than any other age group and that it improves learning skills, test taking skills, and concentration. At a young age, usually from birth to the age of six, neurons in the brain develop much more rapidly than they do at any other time in life. When exposed to music at this age the neurons make synaptic connections, which are connections between neurons, and this helps the part of the brain related to abstract thought. The right hemisphere of the brain is the side that processes arbitrary and intuitive information, and the left side of the brain serves for processing information in a sequential way which is related more toward learning math and other subjects. Infants are more likely to use the right side of their brain way before using the left side which is a good reason why this affect music has on that side of the brain is so important.

To study further on the subject, scientists used a brain scanning technique and found that musicians had a 25% greater response rate on the intuitive side of the brain. This rate was even larger for those who began their music related studies at a young age. Another study was made by Frances Rauscher and Gordon Shaw, at the University of California in Irvine, on the Mozart Effect. Essentially, the main idea was to see how exposure to music affects visual-spatial abilities, which is what allows us to solve math problems. Rauscher and Shaw had students at the university listen to Mozart, a relaxation tape, or complete silence while having to complete a visual-spatial task. The result was a 62% increase in performance when students listened to Mozart, 11% increase for the relaxation tape, and 14% for the silence group.

In an essay written in 1912 it is stated that there are “2 classes, one purely emotional, the other sensuous; the one arising from the language of heroes, the other from the swaying of the body and the patter of feet“. –Music without Lyrics: Instrumental Music throughout History on 1912 essay Origin of Song vs. Origin of Instrumental Music. In a debate between which is better, instrumental or lyrical, the true verdict is actually quite simple: there is no right or wrong, better or worse, at least not when used in such broad context. The whole debate simply proves to be a way to bounce around different opinions. Instrumental may be better than lyrical to some and vice versa, but the affect both will have on people when they’re younger is always going to be substantial. In the end it is undoubtedly best to keep an open mind on the topic as a more broad opinion provides oneself and others with a much more elaborate understanding.

Classical music provides its listeners with a diverse, complex, and united sound that is created by the most talented of artists. Not only are we lucky enough to have the actual pieces of literature that renowned masterpieces such as Beethoven’s 9th Symphony were written on; but we are also lucky enough to have gifted musicians and conductors that recreate the sound as if they were the ones who originally wrote the pieces themselves. Furthermore, it is a privilege to be able to attend a symphony and watch these musicians go to work as their conductor guides them through each piece with a unique energy that can only run through them self. Although I have only attended one symphony, which was one that was played in San Francisco a few years ago, I can still recall some important aspects of it. Since I only have that vivid memory of seeing a symphony I will also incorporate one online that I found to be interesting. The piece that I will take a closer look at and elaborate on is Beethoven’s 4^th Symphony in B flat major Opus 60 conducted by Herbert Von Karajan, and compare it to Haydn’s 88^th Symphony in G Major as conducted by Leonard Bernstein.

Regardless of whether or not a piece was written for the sake of making money because it is a profession, or if it is written for the simple joy of creating music, the aspects of that piece are an art form. In Beethoven’s Op. 60 the sound that is emitted through the string and wind instruments are the main focus throughout the entire piece. Karajan conducts a symphony that consists of violins, violas, cellos, flutes, bassoons, clarinets, and timpani. The first movement of the piece is an Adagio and throughout it I noticed that a lot of it is buildup. The exposition is really dark and the primary instruments are the strings and the flutes. While the flutes provide a backup sound and play beautiful sustained notes, the string instruments compliment its sound with a nice melody. Eventually, the song goes from quiet and mysterious to loud and exciting, but in a way that isn’t quite as dark anymore. At this point the strings and wind instruments are working together with the timpani and the song gets faster and then dies down and then picks up again. While this piece has a lot of different sounds going on simultaneously a piece like Franz Joseph Haydn’s 88th Symphony in G Major has a lot going on but the sound is in unison. For example, Beethoven’s 4th opens up with dark string sounds and a dark, sustained flute. Haydn on the other hand starts off his piece with a single idea that is played together by all the instruments and is much louder. One thing that caught my attention about Haydn’s symphony was that in the development the flute can be heard playing pleasing and sustained notes that compliment what the rest of the symphony is doing just like in Beethoven’s 4th. What’s really cool about Haydn’s 88^th is that he puts a lot of focus into the flute. The entire symphony is playing an upbeat melody, and the flute plays notes that go along with the melody and then sort of branch off in different directions; or it will be playing an entirely different melody of its own. This actually happens a lot throughout the piece.

What really fascinates me about the contrast of these two completely different composers isn’t necessarily who they were but what they accomplished in their music. I believe Haydn to be the more experienced composer, no doubt, but Beethoven seemed to be a bit more experimental and kind of reminds me of postmodern artists that we see today even though they both lived in a completely different time than our own. Beethoven seemed to defy the norms of music in his time which is probably the core reason as to why we remember him to this day. In Haydn’s 88th Symphony he gives the flute solo sections, where as Beethoven seems to give the strings, bassoons, clarinets, and the flutes solos.

Another interesting contrast is that of the two different conductors for the pieces. It’s incredible to watch Karajan conduct his entire symphony with his eyes closed and be so accurate in his movements. While something like Beethoven’s 4^th could easily put me to sleep if I had my eyes closed long enough, Karajan maintains a constant flow of energy that helps the band with the direction of the music. On the contrary, Bernstein keeps his eyes open almost the entire time and actually uses them to help direct the band. At times he won’t even move but will strictly use facial expressions to help direct the band. As one part of the piece will give him the appearance of a very content elderly man, another part will give him a more intense look as if he’s concentrating extremely hard to cast a spell.

Haydn finished this symphony in 1787 and at this point in his life he was still working for the Esterhazy’s under Nikolaus. Beethoven, evidently, had much more freedom with writing his compositions. In 1807 Beethoven’s 4th premiered at the home of Prince Franz Joseph von Lobkowitz, and the work was actually dedicated to Count Franz von Oppersdorff who was a relative of Beethoven’s current patron Lichnowsky.

The atmosphere of a concert, no matter who the artist is that’s playing, is a lot different than that of the experience one gets out of a recording. In fact, when I saw that symphony in San Francisco, I recall looking more at what was going on in the environment around me than anything else. The room was huge and probably fit a few thousand people in it easily. What I find really interesting is how I perceived the concert then, and how I believe I would look at it now. Back then I wasn’t very fond of classical music but I was still amazed at what was being played as I could actually relate to some of the pieces (I remember the Star Wars theme was one of them). It was the room that got my attention more than anything else. The most interesting thing to me at the time was the giant pipes on the wall behind the band that instantly reminded me of an organ. There was a lot of excitement in the audience as well. While everyone was packing in and taking their seats the hall was filled with thousands of different conversations. However, once the musicians took their places and the conductor came out, the audience was completely attentive and it remained so throughout the entire concert. I don’t imagine that it would be any different for most other concert. It’s probably the fact that as oppose to being supplied with energy from amplifiers and exciting bands, the audience is provided an energy that the symphony is in complete control over. I noticed the same behavior in the half hour video I watched of Beethoven’s 4th. Most of the time I didn’t even realize the audience was there but the sound that came out of the instruments and the energy of the conductor provided me with a whole new perspective on this music. What I realized is that these musicians are not the ones that could make a mistake on their instrument and no one would hear or even pay attention because the band looks and acts so cool. These musicians are there to be precise so that they can truly respect the work of their inspiration.

This is an essay I wrote for my “Vienna in the Late 18th Century” class. The prompt I chose to write about was this:

‘What was Freemasonry in Mozart’s time? Why would he have been attracted to it? Discuss, in detail, two of Mozart’s works which are related to Masonry. How are these works informed by the symbols and beliefs of Masonry?’

Freemasonry is abstract thought and meaning of the ideals of morality to educate men that want to live a life with respectable ethical standards. As respect can be a chore to receive, or even attain, it can be just as difficult to provide. During the Enlightenment reason and logic were usually what gave one authority. Respect and empathy allowed the individual’s voice to be heard and it would usually be answered within those same standards. On the other hand there were also people who weren’t quite as thoughtful, or even well thought of, and some of them did have authority. The wide, everlasting spectrum of a group, or even a single, concept can truly define a period of time. On the spectrum of the Enlightenment freemasonry stands somewhere between neutral and virtue, and since the Enlightenment was an era that existed primarily in Europe, and the Americas, mainly just the western regions of the globe were concerned with it at the time of its occurrence. The thoughts and desires of the individual were what really made a difference in this Age of Enlightenment, and it’s because of those desires that brought freemasonry to existence.

It is unknown at what point in time exactly that freemasonry became a practice for intellectuals who seek a greater meaning. Some people would say that Masonic groups and practices date back to the 16 century, or even as far back as the 14th. However, it became prevalent in the 17th century and its popularity grew to its peak in the 18th century. Due to the fact that religion has always been popular within every society, those that embrace the practice of freemasonry are usually religious people; therefore it is safe to say that it can be a spiritual practice. That does not mean that an individual is always admitted as a mason only if he is religious. Also, often times when referring to freemasonry, people will call it a “brotherhood,” or “fraternity,” simply because at whatever the time of it’s origin females were not thought of as highly as they are in society today, and therefore weren’t a part of this specific social and bureaucratic group. It is an organization of men that can stand up for moral excellence; a way of showing pride, and that’s the way they liked it. However, freemasonry does affect both males and females, especially when it comes to the controversial aspects of it. Some people believe that the practice goes against certain religions, while others simply believe that it is an anti-religious practice. Regarding the latter, its goals are in no way against any sort of religion but back in the 18th century the practice ran into a lot of conflict with the Catholic Church. There are three main points that reflect more upon the philosophical aspects of the Enlightenment rather than the political ones, and they are Nature, Reason, and the brotherhood of Man. All sorts of different kinds of people have joined the group, and a lot of them were a part of it during its peak in history. One of these individuals was Wolfgang Amadeus Mozart and freemasonry actually played a substantial role in his life.

Wolfgang Amadeus Mozart was born in 1756 in Salzburg only to die a short 35 years later in 1791 while in Vienna, both cities being a part of the Holy Roman Empire at the time. His father Leopold taught both Wolfgang and his sister Maria Anna how to play the piano at very young ages. While they both grew up in a musical household and because their father was a good teacher, they continued to follow careers in Classical music. However, Wolfgang was a much quicker learner when it came to music, and he impressed his father quite a bit more than his sister had. In any case, they both played for Maria Theresa, also an Austrian musician, in the year 1762; making Wolfgang only 6 years old. Even at a young age Wolfgang would write movements that made sense and were theoretically correct, but didn’t always sound good. As he grew older Wolfgang ended up working for the Archbishop Colleredo of Austria through connections with Leopold, since he too had already been working for the Archbishop. Although that was an impressive job to have, and he was quite successful as far as written works and talent goes, the Archbishop neglected to pay Wolfgang fair amounts of money for events that he should have been paid greatly for. One such event was when Wolfgang wrote a rondo for a violinist named Brunetti, a song for castrato Ceccarelli, and a sonata piece for himself; all for a special show that the Archbishop had hosted for the emperor. The pay for this show would have been equivalent to half of Wolfgang’s usual annual salary, but the Archbishop wouldn’t release him. Wolfgang had a very close relationship with his father, and the two would write letters to each other regarding Wolfgang’s life as a musician, and life in general. When the Archbishop didn’t let Wolfgang play the show he Leopold that he wanted to move to Vienna where his career could be much healthier.

After a few months and letters from his father, who didn’t like the idea very much, Wolfgang moved to Vienna, where he taught and composed, and lived in a residence that actually led him to his future fiancée. In the Weber house he got connected with Constanze; the third daughter of the family. At first Mozart would deny his relationship and any rumors about the two of them to his father, but they later got a lot closer and eventually married each other at St. Stephen’s Cathedral; where Franz Joseph Haydn, an inspiration and friend of Wolfgang’s, was a choir boy. Leopold wasn’t too thrilled about the fact that they were together, but he was somewhat supportive nonetheless. One of the biggest problems that Wolfgang had was that his father was so obsessive over him, and he didn’t want his son to get involved with women or anything else but music. Mozart wanted to have a domestic life though, and so he had two kids: in 1783 Raimund Leopold, his first son who died, and in ’84 Carl Thomas Mozart.

In 1784 Mozart joined a freemason group at the Zur Wohlthatigkeit lodge. To join a freemasonry group was a respectable thing to do at this point in history. During this time freemasonry was a lot more open-minded than it had been when it wasn’t as popular. Freemasonry accepted all religious groups, and built an elaborate imagery from several different sources, unifying a variety of people under the same basic principles of moral excellence and equality. It’s not much of a surprise that Mozart would join a group that is so broad and popular. However, the idea that he joined solely because everyone else did seems rather repulsive and is a thought that should be dismissed with the back of a hand. There are several factors in Mozart’s short, but eventful life that could lead him to join a freemasonry group.

Throughout Mozart’s life he was disrespected by certain individuals, when he deserved much better than that. For yet another example, the Archbishop Colleredo from Salzburg never treated Wolfgang very decent at all. Even though this actually helped Mozart in a way, because it led him to Vienna, it’s still a good reason to join a group that stands against unethical ways. Another factor that could have contributed to Mozart joining the freemasonry group is that his father was a complete control freak. Leopold wanted to have control over Mozart’s life, and he expected Mozart to do what he wanted. This is only another good reason to become a part of a group of people that stands up for individuality. Wolfgang was also a very intellectual being, and no matter how bad he made his money situations, surrounding himself with other intelligent people is clearly a logical move. Also, during the time in his life that he joined, Wolfgang’s career was actually doing very well and he was quite happy. Regardless of the fact that his first son died a year before he still managed to be very happy during this time, and while freemasonry has more optimistic views on life than pessimistic, it’s not necessarily a bad idea to be around other people who have the same ideals. Freemasonry was also what a lot his friends were interested in providing a good social life for him as he did very well in the group. While joining the group also gave Mozart more reason to compose, it was also an organization that consisted mainly of middle-class citizens, in which case he would fit right in. The master of the first lodge Wolfgang joined, Zur Wohlthatigkeit, was also a friend of his that he met back in 1778: Baron von Gimmingen. Another good friend of Mozart’s that was in the freemasonry group was Haydn. The two of them were at the Zur wahren Eintracht lodge in 1785.

As Mozart progressed rapidly in freemasonry, becoming a third degree master in 1785, part of what helped him gain his way was his musical contributions. Anton Stadler, a friend and freemason brother of his, was a clarinetist who arranged a concert with Mozart for the 20th of October in 1787. The concert included specific Masonic works such as two symphonies by a fellow freemason Paul Wranitzky, a few hymns, and Mozart’s cantata Die Maurerfreude K. 471. During Mozart’s first two years as a mason he composed works for special occasions such as the cantata Dir, Seele des Weltalls K. 429, which was played at an event where even those who weren’t members were invited, and the song Gesellenreisek K. 468, which was composed for a member that was advancing to the second degree of the practice. These works, along with others, are considered to be Masonic music as they were intended for use in several different aspects of the rituals that occurred, and they incorporate Masonic musical symbols. Wolfgang’s most famous work that reflects Masonic imagery is his Die Zauberflote, which was composed in 1791. The libretto in the piece, which was actually written by freemason Emanuel Schikaneder, shows close attention. Each trial the couples end up in depicts the different stages of Masonic initiation and advancements. Another example of symbolism that is being used in his compositions is Mozart’s Dir, Seele des Weltalls K. 429. This is one of a few pieces that he wrote in E flat to form the concept of the three pillars of the “Temple of Humanity,” because the key of E flat has three flats.

Due to the fact that freemasonry is still a common practice within different societies, Mozart’s music can be passed around not only to different generations, but different ethnic groups as well. Freemasonry also allowed Mozart to portray his brilliance, and ensure his love for music by incorporating different symbols within the content and tone of his music. A hidden feature like using the key of E flat, simply because it has three flats to represent the three pillars of the Temple of Humanity, to compose and manipulate the sound of a song is not something that a lot of musicians do in contemporary music. An important aspect of Mozart’s legacy is that he lived a very short life, but accomplished so much in that very small amount of time. It is easy to take note of how incredible his life has been when not only considering that he has composed hundreds of pieces, but also that when comparing Mozart to another composer like Franz Joseph Haydn, who was one of Mozart’s inspirations and lived a much longer life regardless of being older, Mozart accomplished much more as far as a ratio of time and work would show.

My sources:

Sadie, Stanley. The New Grove Mozart (W.W. Norton: New York and London, 1983)

Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas (W.W. Norton: New York and London, 1993)

Oxford Music Online. “Mozart: (3) Wolfgang Amadeus Mozart,” Oxford University Press, www.oxfordmusiconline.com (accessed October 27 2009).

Oxford Music Online. “Masonic Music,” Oxford University Press, www.oxfordmusiconline.com (accessed October 27 2009).

A few months ago a relative of mine said that this country has no idea what heroes are anymore. More recently, a band that I like released their debut album and one of the lines in one of their songs is, “we’re running out of heroes.” Even more recently, my speech class teacher presented a prompt to us for a Veterans of Foreign War speech contest. The prompt was “Does America Still Have Heroes?” It wasn’t the first time I heard it, but nonetheless it seemed completely out of line. I understand some people feeling hopeless and not believing in heroes any more, but it’s not just something I can wave to as it passes by, I had to take some sort of action. Although it was a requirement that we present some sort of speech to the class to address the topic, it was not required that we enter the speech contest. The top prize is $30,000 dollars and I thought to myself, “this is a way that can help me pay off a possible loan for college. There is no way I can just pass this up.” So even though the question may bewilder me, it also inspired me. It inspired me to write a damn good speech that could possibly help pick people up, and maybe even help them develop a different and more positive perspective what a hero is. In the end the real question is “what is a hero?” This is my speech for the prompt “Does America Still Have Heroes?” Wish me luck.

We live in a time when even the most gifted student can be led astray, the strongest and most courageous soldiers can be shot down, and the rich can become the poor. When as we grow older we slowly realize that you know what, I really can’t just take the easy way out anymore. In times like these it comes as no surprise that we actually stop to wonder, “Does America still have heroes?” Well, does it? Absolutely!

We have to realize what a hero is before we ask ourselves if we have any. That is the most beautiful part about this question; when it comes to something like defining a hero the dictionary should be tossed out the window. I know what my idea of a hero is, how about you? It’s completely up to the individual what and who a hero may be. I’ll tell you what a hero is to me. A hero is someone that inspires us and influences what kind of goals we want to reach. Maybe even someone whose life used to be an unbelievable wreck, but has fought and still fights every single day to change and better themselves. But most important to me, a hero is someone who has dramatically helped shape who we have become and who we strive to be; the individual that we are, or would like to be, proud of. The definition of a hero is not limited. I say any one individual can be a hero and that we must have more than one hero. In fact, it’s the most difficult times, like these as we currently face a very unsettling economic depression, and war with foreign countries, when we need our heroes most. And I’m not talking Clark Kent, or Bruce Wayne, I mean real and genuine heroes. The next time someone that you know is down, hopeless, and “heroless,” I want you to mentally slap them in the face and tell them what a hero is to you.

Now, some of you may be wondering, “Well if heroes are so prevalent and this kid believes we all have heroes, then who are his heroes?” The goal I have set for myself is to encourage everyone to think about what a hero is to you personally, not what a hero is to me. Help define yourself by developing an understanding of what a hero is and then identify your heroes. Understand why they are your heroes and what motivates them. Get to know them and enjoy their company if you are lucky enough to be given the opportunity. Cry your eyes out when they pass away and help carry on their legacy, because it’s someone else’s legacy that helped shape them, and furthermore you. We all need heroes usually more than we usually tend to realize.

As you all might have guessed these ideas that have helped form my speech all relate to my own personal experience. Several important people in my life have inspired me to reach my goals and my full potential; they have encouraged me to take my talents and utilize them. Some of these people regret some things they have done. They have overcome these obstacles and have helped shape who I have become. That is heroic. I see these people, these heroes every day of my life. Although I may not think about it all the time, these people are my greatest heroes. I say heroes because I am one of those indecisive teenagers who sat and thought about who my greatest hero is and came up with absolutely nothing. Writing this speech has without doubt helped me to wrack my brain in order to find answers. If you cannot see how important heroes are to me then I have surely failed. I have heroes in my life, and so do you.

Now think about everything I have just said. Ask yourself, “What is a hero? Do I have a hero or heroes?” If I have heroes, and you, and you, and you have heroes, then I am damn sure that America still has heroes.