SOUND OF MUSIC PDF

adminComment(0)
    Contents:

THE SOUND OF MUSIC. Lyrics by OSCAR HAMMERSTEIN II. Music by RICHARD RODGERS. Molto moderato (tenderly. Voice EL. My day in the hills his come. The Sound of Music is a registered trademark used under license from The Rodgers 1SON MUSIC owner of publication and allied rights throughout lhe world. The Sound of Music tells the story of. Maria, a high-spirited postulant (nun-in training) who becomes a governess for the seven children of a widowed naval.


Sound Of Music Pdf

Author:CARMELA POTTERSON
Language:English, Japanese, French
Country:Kazakhstan
Genre:Health & Fitness
Pages:299
Published (Last):10.12.2015
ISBN:913-5-67102-656-3
ePub File Size:21.53 MB
PDF File Size:9.23 MB
Distribution:Free* [*Registration needed]
Downloads:44065
Uploaded by: CHRIS

The Sound of Music - Conductor's Piano - Vocal Score - Ebook download as PDF File .pdf) or read book online. The complete piano-vocal score from "The. 'The Sound of Music' is the end result of NYTC's. On Stage programme. Our cast is comprised of over young performers, aged between five and twenty-one. The Sound Of Music Sheet Music From The Sound Of Music. Download free The Sound Of Music Sheet Music From The Sound Of Music PDF for Piano Sheet.

This may be observed in various generic exercises within the contemporary American cinema After Hours, Blood Simple, etc. The text itself is open inasmuch as it is dependent upon the surrounding circle of reference to be complete. The grid structure is meaningful only in a context of diminished faith in both the suspension of disbelief in narrative worlds and the avant-gardist imperative to unmask the fictionality of such worlds.

It is produced by the banality of wishing to break down barriers between spectacle and audience and the impossibility of remaining innocently embedded within that spectacle: rather, the spectacle constructs a space for a certain limited play, and that play may involve the assumption of created or borrowed identities. The overwhelming tendency in writing on music television is to see its appropriation of historical styles and codes as a process of decontextualization, as part of the diminishing of a sense of historical time within an endless present.

There is much that is pertinent in this critique, but it frequently underestimates the extent to which the play of historical reference within music videos is rooted in a particular logic. It has much to do with shifts in the politics of that culture, and in particular its renegotiation of a relationship with its own history. The sense of a specificity to youth culture, or of a tradition that ran through rock music and included its most commercially popular forms, virtually disappeared.

When these notions return, it is primarily as part of the attempt to reconstruct a rock tradition following the withdrawal of the gesture of punk. In Britain, this involved, in its early stages, a quest for privileged images of rebellion and style in the history of youth culture, and a settling on a limited repertory of these around mod, ska and rockabilly musics.

In North America, this project has had less coherence and urgency about it, but its most distinctive component is the redefining of authenticity as, among other things, the connoisseurist consumption of debased forms of popular culture hence, the initial fixation on those aspects of s culture least associated with rebellion and artistic credibility, as in the music of the Bs or Devo. Both of these tendencies involve a recentring of rock music within its own history, and the acknowledgement that it is on the terrain of popular, even commercial, culture that rock music must function.

The revival of Top 40 radio and of dance further this tendency; there is the explicit sense that the crucial genealogical continuities are those which run through the history of the pop-musical mainstream, rather than being found outside of this.

The substance of these moments and these postures is likely to change, but they are at any given moment indexes of the state of this negotiated sense of history, and not the random and meaningless juxtaposition of archival fragments. That is, in the absence of a style which innocently and fully can be said to express the present, the attractiveness of styles which seem to embody the historical fullness of the past increases.

At the same time, it is the plentitude of this embodiment, rather than specific qualities of the historical moment, which threaten to become the important criteria. Its sense has undergone at least one significant shift, and that shift is at the heart of problems in conceiving a politics of popular music and popular culture.

This conceptualization was one which grounded the transformed sense of an artefact in some property of that artefact and its history: it was because working-class men had figured stereotypically as beast-like brutes that the stylistic operations of skinhead culture involved the play with brutish imagery. The history of this concept is in a sense one in which intrinsic aspects of artefacts themselves gradually become less important than the simple gesture of mixing or recontextualizing them.

In recent writing on rock video, these politics persist in claims that the eclectic assembling of random fragments within videos involves a disengagement from hegemonic notions of stable identity structures.

In retrospect, the fragmentation of subcultural theory may be seen to have emerged at this point: one tendency insisting on the oppositional and disruptive transformation of hegemonic codes, reading youth culture backwards through a history of rebellious moments; the other renewing links with the traditions and literature of dandyism and rooting these in a newly theorized experience of metropolitan culture.

Sound and Vision 16 There are two senses in which the legitimacy of a politics of recontextualization seem diminished at the present time. First, if the meaning of the politics of cultural bricolage is rooted in the very act of recontextualization, rather than in specific substantive or pragmatic aspects, then the primary criteria by which these acts come to be judged are those of ingenuity and connoisseurship. The argument may be advanced that these qualities are distributed according to the differential possession of cultural capital, and therefore along the lines of existing social structures, with one of two possible implications: either that they reinforce existing social divisions, or that cultivation of these practices becomes an available useful strategy for social mobility.

The first of these seems to have held true in white rock culture in the US; the second is a traditional feature of British youth culture. Second, there is a sense in which the disruptive quality of appropriation and bricolage, arguably a genuinely subversive element within post-punk youth culture, has given way to a tribalist pluralism.

In this pluralism, any number of historical styles exist for use in the present, but that use is organized across a multiplicity of coherent images or texts, modelled on privileged styles and stances from the cultural past rather than through the mixing up of these on the terrain of the individual body, musical text or video.

The realm of freedom becomes that of the liberty to choose models from among these. The dominant tendency in recent cultural forms and practices including dressing is, I would argue, towards this seriality of coherent identities and away from the disruptive tensions seen by many as central to the politics of popular music.

The British invasion of the early s, from this perspective, came to be seen as a more sustained and devious form of cooptation. See also, in the same issue, Briankle G. XXIV, no. XX, no. Television seems to absorb the musical matrix effortlessly and irrevocably into its visual field, to confirm the now commonplace knowledge that music television has reshaped the music industry irrevocably.

A single can exist technically, at least without the video, but the reverse is not the case. As if in evidence of this, music videos, almost without exception, do not make so much as a single incision in the sound or structure of the song.

However bizarre or disruptive videos appear, they never challenge or emancipate themselves from their musical foundation, without which their charismatic indulgences would never reach our eyes.

The commercial relation is one obvious reason for the changes brought about by the televisualization of pop music, and for the evolved metalanguage of visual plenitude and semantic cynicism which both confirms and disguises that circulation. Everything in the world of pop music is a commodity, whether sound, image, word or act just as this book is —that tells us both everything and nothing about how it works.

Music video draws our attention simultaneously to the song and away from it, positing itself in the place of what it represents. As a genre, its formal structure is based on a paradox, which is unravelled here through the trope of the guitar. Tracing this symbol through some of its history, I will show its foundation in new relations between representation and meaning, sound and image, musical community and technological space, which arise from the movement of pop songs to television and from the industrial consolidation of the genre.

I begin by tracing the iconographic language of music video to its roots in the historical interaction between musical and visual communication and communication technologies, suggesting some of the ways that this interaction has been Sound, Image and social space 21 shaped technically and culturally by the colonizing institutions and narratives of the visual media.

Elvis before Warhol. Or even Elvis before Ed Sullivan. Chuck Berry before the Beatles. Marlon Brando before Marlon Brando. What is it that gives these images such magical coherence?

From our vantage point they represent a tradition—a past, a moment of classical attainment, a shared style, an index of chosen identity—which is both necessary to and lacking in the language of pop culture today. They radiate the purity of style of an era when sound and image, desire and refusal, dance, age and the pocketbook appear to be perfectly conjoined.

In their original form they remain as mysterious as they are magical. At the same time these images reproduce themselves all around us, as though coming from nowhere, everywhere, a set of moving images empowered by a history which is forgotten, displaced, floating in the Imaginary.

The theme In , popular record releases mark the end of silent film. The music consecrating this transformation: naturally, a love song. The rock star is no longer a mere musician. One image says it all. Its celebration spreads across the globe. The Song is seen. The image is irresistible. The rise of modern media technology has been founded upon the separation of sound in recording and image in the photograph and in their subsequent reunification through electronic means.

This reconstruction of sound and image has been dominated by the economic, technical, narrative and topographical requirements of the visual media of film and television. These integrative methods need to be comprehended in relation to a different kind of history of production, not of things, but of space. Each new medium finds different ways of moving images or sounds into the social spaces of its users, and so places and displaces its listeners differently.

Not surprisingly, the contemporary image tends to present itself as representing imaging, standing in for what it is also displacing: the social context of the music itself.

But surely this is the beneficence of the Trojan Horse; like the strategists of ancient myth, its inventors researching the best form in which to invade by request of those who are to be conquered, emulating their collective desires as a means to enter their space and to separate them from it, and thereby conceiving a perfect device to override the limits and differences of inhabited space.

What better way to talk about television? Through TV the entertainment industry won control of our living rooms, displacing radio, via which, in its new transistorized form, pop music represented a plausible escape. The story We are concerned here with the history of technology.

The bourgeois epoch gave rise to the song as an ambivalent articulation of individual self-recognition and self-doubt , manifesting musically the concept of individual expressive communication by remaining perfectly enclosed in its own structure Marothy Nostalgia is bound to run rampant; music is by nature phenomenologically social, even when this becomes a semantic quality, a symbol of sociality evoked in the physical absence of others.

Thus the poignant quality of much film music, whose narrative separation from the image evokes a sense of three-dimensional absence. The history of communication technology is the history of the increasing separation of singer, sound and image, their fragmentation into raw materials, and the simultaneous history of their reconstructed unity.

This technical reconstruction is instrumental in the changing topography of social, cultural and political space Berland The photograph catches the image, and moves it away from its origin. The recording catches sound, and it too can move, without listeners ever setting eyes on the source of what they hear. Film promises to restore the abandoned unity of Sound, Image and social space 23 image and sound or, rather, to take its place, to become that unity within its own selfenclosed structure, in relation to which our presence as viewers is both necessary and invisible.

The mass production of restored images—the talkies—permits a potentially infinite expansion of their audiences. This is a great moment for songs: after sound enters film, music publishers can sell , song scores in a month, where before 10, in a year would have been pretty marvellous Kreuger The film companies download out the sheet music publishing houses and take over the financing of sound-technology development.

The song-writers move west. Movies become a hazardous architecture of forgettable stories and unforgettable songs. In early films the songs are incidentals to the plot marketed in illustrated sheet music, then through record sales; now, songs may appear in films as opening or closing framing devices conveniently reproduced on video.

The simultaneous rise of talkies and the record industry marks a new stage in industry integration; this was expressed in and facilitated by technical innovation in film itself. The more films and then TV offer themselves as a marketplace for songs, the more they set the tune. There could be—and have been—countless other ways to employ music in film. But the reconstruction of sound and image has been, from the beginning, economically driven, visually weighted, sumptuously engineered.

The increasingly sophisticated production values of the entertainment industry make live music and later recorded music , and then radio, function as underdeveloped relations of the Image.

The more this reconstruction of sound and image is so produced, the more mediated is its method. And the more entranced its spectators: oh, we are all happy children now! But clearly by that was already being done by music television. Their influence preceded them in MTV Sound and Vision 24 claimed 18 million viewers, around three-quarters of the population of Canada. You know them without hearing their lists: dry ice and back-lighting, characters mysteriously running up or down stairs or along passages or streets, women undulating in synchronized rows, various alluring angles on female skin, car chases, pilgrimages to exotic places, exploding bombs or battles, anguished heroes, curtained windows….

The industry, they claimed, has encouraged a shrinking repertoire of visual signs. On the subject of what that was, they were silent. Why, she asked, did music videos always have to show the guitar somewhere, perpetuating that phallic image of the rock musician and forcing us to admire the neck of every thrusting guitar in the western world? Coming out of the session, fans took issue with this critique.

And what has anyone got against looking at guitars if they like the music? A clear and straightforward defence.

I want to think about that guitar. This calls for a retrospective summary of the economic, iconographic and structural issues relevant to the Sound, Image and social space 25 continuous integration of pop music with the powerful visual media. The history traced through this paradigm draws to our attention a cumulative integration of symbolic machinery within the universe of signs, manifested in a system of imploding intertextuality which is not simply a fusing of art and commerce, an explosive shrinking of narrative repertoires, nor even an increasingly complex web of selfreferential quotation but, in conjunction with all of these, a process of increased vertical and horizontal integration in an emergent system of global cultural production.

The absorption of pop music by television contributes to spatial processes of displacement and domestication, as well as to the proliferation and centralization of symbols, and offers an ideal apparatus for the international dissemination of mediated consumption and display in which the uneven development of resources—centre and margin, sound and image—is the order of the day. The Vitaphone is the newest application of sound to motion pictures. The Vitaphone, however, is an unusual thing, miles ahead of the famous early Edison talking pictures.

Such an authority as Michael I. You have to have trained people to do that. What are we getting now? People see these things over and over again. People begin to believe that you have to have that sort of thing. This development could destroy everything that has come down through the ages, everything that we can proudly call national culture.

Sri Lankan musician W. This resource also endows television with a new language, which invites us to embrace every available visual memory: the dreams of twentieth-century art return to haunt us. For this we are grateful. It all begins to come together before us. Watching this beneficent hospitality, everything is brought home. Into our home. We are on an adventure; we seem to have been there all along.

I am still talking about the guitar. At the same time such a series takes its own general meaning—which is never finally closed—from the patterns, contradictions, repetitions of the individual parts. Over time these patterns change, like patterns of musical practices, for instance, to which echoing images refer.

The meanings of specific forms then also change, in response to changing structures of performance, reproduction or perception, circling through appropriations by an audience who know and do different things now. Some are used, and re-used, and reimbued with meaning, until a single image flickering before us resonates with a whole cookbook of crystallized uses: a quantity of qualities, an accumulation of quantities into new qualities, none of them the same as what they were.

Thus the gesture of the rocker with the guitar. It draws with it a cinemascope of youthful rebellion, announcing itself as the sudden explosion of a biology that must have been there waiting all along. What are we going to do? Think of a song for the baroness. Father doesn't like us to sing. Perhaps we can change his mind. Now, what songs do you know?

We don't know any songs. Let's not lose time. You must learn. But how? Once you have them in your head you can sing different tunes.

Like this: So-do-la-fa-mi-do-re Can you do that? So-do-la-fa-mi-do-re So-do-la-ti-do-re-do So-do-la-ti-do-re-do Now, put it all together. So-do-la-fa-mi-do-re So-do-la-ti-do-re-do -Good. So we put in words. One word for every note. Like this: When you know the notes to sing You can sing most anything Together!

Even if it's to a height of feet. Georg always believes in "rising to the occasion.

You didn't invite me. I invited myself. Max, you are outrageous. Not at all. I'm a very charming sponge. That's the Klopmann Monastery Choir. They're good. Very good. I must explore this area in the next few days. Somewhere, a hungry singing group is waiting for Max Detweiler. But someday that'll be changed. I shall get the fame too. Good heavens, what's this? It's nothing. Just some local urchins. This really is exciting for me, Georg. Being here with you.

Trees, lakes, you've seen them before. That is not what I mean, and you know it. I'm exciting? No, just highly improbable. You're much less of a riddle when I see you here, Georg. Are you saying that I'm more at home. How poetic.

Yes, it was rather, wasn't it? More at home here than in Vienna in all your glittering salons. Now whatever gave you that idea? Oh, I do like it here, Georg.

It's so lovely and peaceful. How can you leave it so often?

Emotions evoked by the sound of music: characterization, classification, and measurement.

Oh, pretending to be madly active, I suppose. Activity suggests a life filled with purpose. Could it be running away from memories? Or perhaps just searching for a reason to stay. I hope that's why you've been coming to Vienna so often. Well, what would you call me, Georg? Oh, how unromantic. I'd be an ungrateful wretch if I didn't say. I am amusing, I suppose. I have the finest couturier in Vienna and a glittering circle of friends.

But take all that away. More strudel, Herr Detweiler? Make it an uneven three. Still eating, Max? Must be unhappy. That mixed quartet I've been trying to steal away from Sol Hurok. Sascha Petrie stole them first. I hate thieves. Max, you really must try and learn to love yourself. I had to call Paris, Rome and Stockholm. I like rich people, the way they live and how I live when I'm with them.

I wonder where the children are. They must have heard I was coming and hid. I was hoping they'd be here to welcome you. Max, do step out of character for a moment and try and be charming. Well what? Have you made up his mind? Do I hear wedding bells? None-of-your-business talk. I'm terribly fond of him, so don't toy with us. But I'm a child. I like toys. So tell me everything. Tell me every teensy-weensy, intimate, disgusting detail. Well, let's just say I have a feeling I may be here on approval.

How can you miss? If I know you, darling, and I do, you will find a way. His wife's death gave him a great heartache. And your husband's death gave you a great fortune. Oh, Max, you really are a beast. You and Georg are like family. That's why I want to see you married.

We must keep all that lovely money in the family. I was just looking for. I didn't see, I mean, I didn't know you were-- Heil Hitler! Who are you? I have a telegram for Herr Detweiler.

You've delivered your telegram. Now get out. Things will happen. Make sure they don't happen to you. Don't you ever say that again. I have no political convictions. You must help it. You're far away. Where are you? In a world that's disappearing, I'm afraid. Is there any way I could bring you back to the world I'm in? Oh, captain, you're home! Come out of that water at once! Oh, you must be Baroness Schraeder. I'm soaked to the skin!

Straight line! This is Baroness Schraeder. And these. How do you do? Go inside, dry off, clean up, change your clothes and report back here!

I think I'd better go see what Max is up to. I want a truthful answer. Yes, captain. Is it possible, or could I have just imagined it? Have my children, by any chance, been climbing trees today?

I see. And where, may I ask, did they get these. I made them from the drapes that used to hang in my bedroom. We've been everywhere in them. Are you telling me that my children have been roaming about Salzburg.

And having a marvelous time! They can't be children if they worry about clothes-- They don't complain. They don't dare. They love you too much and fear-- Don't discuss my children. You've got to hear, you're never home-- I don't want to hear more! I know you don't, but you've got to! Friedrich wants to be a man but you're not here to show-- Don't you dare tell me-- Brigitta could tell you about him. She notices everything. Kurt acts tough to hide the pain when you ignore him.

Louisa, I don't know about yet. The little ones just want love. Please, love them all. I don't care to hear more. Now, you will pack your things this minute. What's that? It's singing. Yes, I realize it's singing. But who is singing? The children. The children? I taught them something to sing for the baroness.

My heart wants to sing Every song it hears Every song that it hears My heart wants to beat like the wings Of the birds that rise From the lake to the trees To the trees My heart wants to sigh Like a chime that flies From a church on a breeze To laugh like a brook When it trips and falls Over stones on its way On its way To sing through the night Like a lark who is learning to pray I go to the hills When my heart is lonely I know I will hear What I've heard before My heart will be blessed With the sound of music And I'll sing You never told me how enchanting your children are.

Don't go away. I apologize. I'm far too outspoken. It's one of my worst faults. You were right. I don't know my children. There's still time, captain. They want so much to be close to you. And you brought music back into the house. I'd forgotten. I want you to stay. I ask you to stay. More than you know. High on a hill was a lonely goatherd Loud was the voice Of the lonely goatherd Folks in a town That was quite remote heard Lusty and clear From the goatherd's throat heard Marta.

Gretl, the prince! Very good! Of course you may, my darlings. Why else did I tell Professor Kohner to send the bill to your father? I really am very much impressed. They're your children, captain. My dear, is there anything you can't do? Well, I'm not sure I'll make a good nun. If you have any problems, I'd be happy to help you. Attention, everyone! I have an announcement to make. Today, after a long and desperate search. I have found a most exciting entry for the Salzburg Folk Festival.

Congratulations, Max. And who will you be exploiting this time? Well, let me see now. The Klopmann Choir? Tell us. A singing group all in one family. You'll never guess, Georg. What a charming idea! Whose family? They'll be the talk of the festival. You're expensive, but very funny. It's a wonderful idea. Fresh, original. My children do not sing in public. You can't blame me for trying. Children, who shall we hear from next? The vote is unanimous. You, captain. No, no, no, no. I'm told that you were quite good.

To bring along my harmonica. I have a wonderful idea, Georg. Let's really fill this house with music. You must give a grand and glorious party for me. It's high time I met all your friends. Don't you agree? Children, it's bedtime. Come now, say good night. Good night, Father. Good night, Uncle Max.

It'll be my first party, Father! Baroness Schraeder. Did you notice the obvious display of the Austrian flag? The women look so beautiful. I think they look ugly. You're just scared of them. Silly, only grown-up men fear women. Liesl, who are you dancing with?

Euripides and the Sound of Music

Oh, yes, you are. May I have this dance? I'd be delighted, young man. Why didn't you tell me you could dance? We feared you'd make us all dance. The von Trapp Family Dancers. What are they playing? It's the Laendler. An Austrian folk dance. You remember. All right. Come on over here.

Now you bow and I curtsy. Now we go for a little walk. One, two, three. One, two, three, step together. Now, step hop, step hop. Now turn under. Not quite. This way. Hop step, hop. And under. Kurt, we'll have to practice. Do allow me, will you? I don't remember anymore. I don't suppose I'm used to dancing. Why, that was beautifully done.

What a lovely couple you make. It's time the children said good night. We'll be in the hall. Yes, come on! All that needless worrying, Georg.

You thought you wouldn't find a friend at the party. It seemed rather warm to me. Ladies and gentlemen. The children of Captain von Trapp wish to say good night to you. There's a sad sort of clanging From the clock in the hall And the bells in the steeple too And up in the nursery An absurd little bird Is popping up to say "coo-coo" Coo-coo Coo-coo Regretfully they tell us But firmly they compel us To say goodbye To you So long, farewell Auf Wiedersehen, good night I hate to go And leave this pretty sight So long, farewell, Auf Wiedersehen, adieu Adieu, adieu To you and you and you So long, farewell Au revoir, auf Wiedersehen I'd like to stay And taste my first champagne -Yes?

What they'd do at the festival. Young lady, I must have a word with you. Georg, you won't let this girl get away. She must join the party. Stop it now. I insist. You will be my dinner partner. This is business. You can change. We'll wait. Captain, you must be very proud of your youngsters. I am, thank you. Is there a more beautiful expression of what is good in our country. Oh, come now, baron. Would you have us believe that Austria holds a monopoly on virtue? Herr Zeller, some of us prefer Austrian voices raised in song.

The ostrich buries his head in the sand. Perhaps those who would warn you that the Anschluss is coming, and it is. If the Nazis take over Austria, you will be the entire trumpet section. You flatter me. Oh, how clumsy of me. I meant to accuse you. It's very kind of you to offer to help me, baroness. I'm delighted, Maria. I really don't think I have anything that would be appropriate. Now where is that lovely little thing you were wearing the other evening? When the captain couldn't keep his eyes off you.

Couldn't keep his eyes off me? Come, my dear, we are women. Let's not pretend we don't know when a man notices us. There's no need to feel so defensive, Maria.

You are quite attractive, you know. The captain would hardly be a man if he didn't notice you. Baroness, I hope you're joking. I've never done a thing to-- You don't have to, my dear.

Nothing's more irresistible to a man than a woman who's in love with him. What makes it so nice is he thinks he's in love with you. But that's not true. Surely you've noticed the way he looks into your eyes. And you know, you blushed in his arms when you were dancing just now. Don't take it to heart.

He'll get over it soon enough, I think. Men do, you know. Then I should go. I mustn't stay here. Don't say a word to the captain.

No, I wouldn't dream of it. Goodbye, Maria. I'm sure you'll make a very fine nun. Champagne, darling. I feel like celebrating. I want those children in the festival. Elsa, this is important to Austria. Wouldn't do you any harm either. I thought of that. Well, if it's a matter of influence. Isn't this fun? Baroness Schraeder, do you mind if we stop now? We're tired. Whatever you want, dear. We'll do it again tomorrow. The country's so restful, isn't it?

Have some lemonade. There must be an easier way. I get a fiendish delight thinking of you as the mother of seven. How do you plan to do it? Darling, haven't you ever heard.

The Laendler from the Sound of Music

Baroness Machiavelli. Uncle Max, where's Father? I think he's in the house. What's the matter with all you gloomy pussies? Let's have a rehearsal. What for? Let's make believe we're on-stage at the festival.

Liesl, get the guitar. Come on, Marta. Everybody into the group. Get in your places. Now be cheerful, right? Give us the key, Liesl. Now, impress me. Gretl, why don't you sing? I can't. I've got a sore finger. But you sang so beautifully the night of the party. Come on, all of you. Try something you know.

Enjoy it. Be cheerful. All right, Liesl. The hills are alive With the sound of music With songs they have sung For a thousand years The hills fill my heart With the sound of music They wanted to sing for me, bless their hearts. That's lovely, lovely. Don't stop. Yes, I suppose it's true. What have we got here? I don't believe it, Father. Didn't I tell you what her note said? I'm sure I did. She said she missed her life at the abbey.

She had to leave us. And that's all there is to it. I think I'm brave enough to try some of that. That isn't the same thing. Not too sweet, not too sour. Just too pink. Father, who is our new governess going to be? You're going to have a new mother. A new mother? We talked about it last night.

It's all settled. And we're all going to be very happy. Well, all right, all right. Run off and play. Yes, my children? Oh, Maria. Come in, please. Wait here. I'm Sister Margaretta.

I understand you inquired about Maria. We have to see her. Will you tell her we're here? She didn't even say goodbye. All we want to do is talk to her. I'm very sorry, but Maria is in seclusion.

I want to show her my finger. Some other time, dear. I'll tell her you were here. Run along, children. Run along home. I'm sure she'd like to see us. Sister Margaretta, please. What was that about, Sister? The von Trapp children, Reverend Mother. They want to see Maria. Has she spoken yet?

Has she told you anything? She doesn't say a word, Reverend Mother, except in prayer. Poor child. It's strange. She seems happy to be back here. Perhaps I have been wrong in leaving her alone so long. Bring her to me, even if she's not yet ready. Yes, Reverend Mother. Sister Augusta, take our new postulant to the robing room. God bless you, my daughter. Yes, bring her in. You've been unhappy. I'm sorry. Reverend Mother.

Why did they send you back to us? They didn't send me back. I left. Sit down, Maria. Tell me what happened. I was frightened. Were they unkind to you. No, I was confused. I felt. I've never felt that way before. I couldn't stay. I knew that here I'd be away from it. I'd be safe. Maria, our abbey is not to be used as an escape. What is it you can't face? I can't face him again. Thank you, Sister Margaretta. Captain von Trapp?

I don't know. I-- The baroness said I was. She said that he was in love with me. But I didn't want to believe it. There were times we looked at each other. I could hardly breathe. That's what's torturing me.

I was on God's errand. To have asked for his love would have been wrong. I just couldn't stay. I'm ready at this moment to take my vows. The love of a man and a woman is holy. You have a great capacity to love. You must find out how God wants you to spend your love. But I pledged my life to God. I pledged my life to his service. My daughter, if you love this man, it doesn't mean you love God less. You must find out. You must go back. You can't ask me to do that. I beg-- -Maria.

These walls were not built to shut out problems. You have to face them. You have to live the life you were born to live. Climb every mountain Search high and low Follow every byway Every path you know Climb every mountain Ford every stream Follow every rainbow Till you find your dream A dream that will need All the love you can give Every day of your life For as long as you live Climb every mountain Ford every stream Follow every rainbow Till you find your dream A dream that will need All the love you can give Every day of your life For as long as you live Climb every mountain Ford every stream Follow every rainbow Till you find We're not being secretive, Father.

And it's not like my children to be late for dinner. Who's going to be the first one to tell me the truth? Where do you think we were, Father? If you don't believe us, you must have some idea of where you think we were. You tell me. Friedrich told you, Father. We were berry picking. You were berry picking. All afternoon? It's too early for blueberries. It's been so cold lately, they turned blue. Very well. Show me the berries.

You don't have them? What happened to them? Since you've obviously stuffed yourselves on thousands of berries. It's your fault. We should have told him the truth. And made him boiling mad at us? It's better than starving to death. We didn't do anything wrong. We just wanted to see her.

My stomach's making noises. The least they could have done was to let us say hello. Let's try it. Raindrops on roses And whiskers on kittens Bright copper kettles And warm woolen mittens Brown paper packages Tied up with strings These are a few of my favorite things Why don't I feel better? Girls in white dresses With blue satin sashes Snowflakes that stay On my nose and eyelashes -Silver white winters I missed you.

But I'm learning to accept it. I'll be glad when school begins. Liesl, you can't use school to escape your problems. I have so much to tell you. We have things to tell you too. The most important thing is that Father is going to be married.

Yes, to Baroness Schraeder. Father, look! Good evening, captain. Everyone inside for dinner. You left without saying goodbye. Even to the children. It was wrong of me. Forgive me. Why did you? Please don't ask me. The reason no longer exists. Isn't it wonderful, Georg? I wish you every happiness, baroness. You too, captain. The children say you're to marry. Thank you, my dear. You are back to stay? Only until arrangements can be made for another governess.

There you are. I must speak to cook about the schnitzel. It is entirely too delicious for my figure. And it makes you much too quiet at the dinner table. Or was it the wine?When the captain couldn't keep his eyes off you.

Why difficult, Reverend Mother? You may call me "captain.

Yes, come on! Children, in the morning I shall be going to Vienna. More at home here than in Vienna in all your glittering salons. I begin by tracing the iconographic language of music video to its roots in the historical interaction between musical and visual communication and communication technologies, suggesting some of the ways that this interaction has been Sound, Image and social space 21 shaped technically and culturally by the colonizing institutions and narratives of the visual media.

Hurry up. We mustn't!

VICENTA from Charlotte
Also read my other articles. I have only one hobby: rec footy. I fancy reading novels hourly .
>