In the passage, composer Igor Stravinsky describes orchestra conductors by using rhetorical devices and detailed language to bring in his feelings on the subject. He is obviously unimpressed with the skillÂ that conductors atomic number 18 praised for and cynical of their talent in general. The pen uses bitter metaphors and demoralised language to perceptibly make his opinion known.
Â Â Â Â Â Â Â Â The author often comp ares conductors to politicians in the first paragraph. In the first sentence he makes his first strike with the comment Conducting, like politics, rarely attracts airplane pilot minds.Â With this comment, his position on the issue is clearly stated. By using politics, a subject often looked down on, as affinity to conducting, he automatically portrays conducting in a negative connotation. He to a fault dismisses the talent of the conductors with the comment; A conductor may actually be less well equipped for his ply than his playersÂ¦Â This implies that conductors have no real knowledge of music; they provided stand in front of the talent, soaking up the deferred payment by using power politics.Â The author is obviously arduous to expose the faÃÂ§ade of conducting.
Â Â Â Â Â Â Â Â The language the author chose to use also enceintely expresses his disdain for conductors. Phrases used, such as, the disease grows like a tropical weedÂ¦Â used to describe the progression of the conductors ego, depicts once again a negative connotation to the reader. The author then continues on to say that conductors begin to falsely believe that they are great than they really are, a result of the disease.Â They become egotisticalÂ and arrogant authority.Â The implication of these words is that the author is resentful towards conductors that do vigor to earn their way, but magically climb to the top.
He is sardonically repeating the comments about great conductors,Â making it known that he feels differently by using quotations around the word greatÂ virtually every time it is used, thus poking summercater at the so called great conductors.Â Sequentially, the author then turns and relies on the reader to get his point across. He points that if you are incapable of listeningÂ the conductor will show you what to feelÂ again poking fun at another thing conductors are at fault for, taking away from the music. These comments show that the author feels invaded by the presence of conductors, as if they are distracting and imposturous. And, in the last-place opportunity to persecute conductors, the author simply advises the reader not to go to a concert, for the conductors will surely ruin the experience.
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