Opera in the U.S. by American composers Essay Example | Topics and Well Written Essays - 1500 words

Opera in the U.S. by American composers - Essay Example Opera in the U.S. by American composers Answering the question that many people have not been able to answer since the 1960’s, Opera in the United States of America supports performance and creation of new works by American composers especially those from the northern side. OPERA America’s online education core, which is the learning centre, features information, which not only focuses on frequent operas but also houses an inventory that has proven to grow of composers from north America as well as their operas for use by opera lovers, artists and administrators. Therefore, Opera finds synopses, biographies of librettists and composers, historical essays and other research as well as other multimedia excerpts. Jazz composers for example, which happens to be the genre subject in this paper, started way back in the 1960’s and up to date the composers still rely on Opera for research work. In the Opera, there is the voice workshop and the composers’ series, w hich is a competitive biannual fellowship, offered to composers especially those of jazz and composer/librettist teams (Gilbert& Chase, 26). The notion behind fallacies as outlined by major philosophers asserts that in order to be a rational thinkers and composers, then one should avoid the illogicality in fallacies and carry out an examination to gauge one’s level of thinking. While composing, development for Rational Persons involves Viewing Development in Stages; the composer tries to explain the basic concepts that would help in becoming a rational jazz composer. Librettists like mark Campbell places in the mind of the audience stages of evaluation through which one can become a more rational thinker. While at Opera and in stage one, composers assert that it is of primary importance to accept that since humans are always working towards being more rational thinkers, we should accept that shortcoming characteristic of humans and work towards better realization of relevant thinking. The second stage helps composers realize that unless they accept to being irrelevant thinkers, only then can they proceed to being rational thinkers. Stage 3 asserts that composers first question the belief of their reasoning before actually bringing it out to other people. When a composer gets to this stage, then he or she can be referred to as ‘beginning thinkers’. In the fourth stage, a composer is able to have a clearly defined outline of his or her thinking formula. One is able to have an organized line of thought even in arguments. According to Opera, There are 4 different kinds of fallacies. I. Non sequitur is the form of thinking where the composition may be right or wrong, but the premise from which the conclusion is born does not have clear outlay. II. Faulty analogy asserts some level of irrelevance during composition. For instance, if B has content, same as V and V has same composition as Q; simply assuming that therefore B and Q have same properti es without founded conclusive finding is irrelevant and illogical. III. Hasty generalization: in this form of fallacy, a composer simply draws conclusion based only insufficient evidence. If in a list of 12 people, 10 have passed in an exam, simply assuming that the remaining two also have passed in an exam holds no ground for a sufficient conclusion. IV. Equivocation simply implies the