Problem: Given the below context:  Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed...  Guess a valid title for it!

A: Pyotr Ilyich Tchaikovsky


Problem: Given the below context:  Beth is becoming bored with her life in Florida, doing stripteases and lap dances for private customers. Her dad, Jerry, tells her to follow her dream of moving to Las Vegas, where she seeks honest work as a cocktail waitress. A young woman named Holly, who lives at the same Vegas motel, arranges for Beth to meet Dink Heimowitz, a professional gambler who follows the fast-changing odds on sporting events and employs assistants at Dink, Inc., to lay big-money bets for him. Beth is intrigued and it turns out she has a good mind for numbers, easily grasping Dink's system and becoming his protégée and he views her as his lucky charm.  When Beth begins expressing a more personal interest in her much-older mentor, Dink's sharp-tongued wife, Tulip, lets it be known in no uncertain terms that she wants Beth out of her husband's life.  As a result, from pressure from his wife, Dink lets Beth go. A young journalist from New York, Jeremy, meets Beth in the casino and they immediately hit it off and she makes plans to move back to New York with him, having nothing left in Las Vegas to keep her there.  She is hooked on the excitement and income that gambling provides and backs out suddenly whenever Dink, facing a heavy losing streak without his lucky charm, asks her to come back to work for him. Whenever Dink's losing streak continues even with Beth's return, he has a meltdown and fires everyone in his office.  Having enough, Beth goes to New York to be with Jeremy but accepts a similar job for a rival bookie called Rosie.  Gambling is illegal in New York and Dink worries about Beth.  Rosie then sets up a legal operation based in Curaçao and Beth goes down to help run the betting.  Rosie and his men are more interested in drugs and hookers and Beth wants out.   A New York gambler, Dave Greenberg, is in debt for sixty-thousand dollars and may be working for the Feds.  Guess a valid title for it!

A: Lay the Favorite


Problem: Given the below context:  Sir John Barbirolli, CH (2 December 1899 – 29 July 1970), né Giovanni Battista Barbirolli, was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings. Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians.  After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Hallé he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known. Both in the concert hall and on record, Barbirolli was particularly associated with the music of English composers such as Elgar, Delius and Vaughan Williams. His interpretations of other late romantic composers, such as Mahler and Sibelius, as well as of earlier classical composers, including Schubert, are also still admired.  Guess a valid title for it!

A: John Barbirolli


Problem: Given the below context:  A serial killer named Karl Hochman is known as "The Address Book Killer" due to his habit of stealing address books and choosing his victims from them. While he is working at a computer store, he obtains Terry Munroe's (Karen Allen) address book after another employee, who is demonstrating a scanner, copies a page of her address book into the computer. On a rainy night while heading home, Karl collides into a truck, which causes his car to go off the road and swerve down a trail in a cemetery as he laughs. In the emergency room he is put into an MRI machine. A surge from an electrical storm manages to transfer his soul into a computer. Now as a network-based entity, Karl continues to plot his killing spree using various objects connected to the electrical grid and computer networks. Karl opens the scanned page from Terry's address book and begins to kill all the names he finds there. Her co-worker, Frank Mallory, becomes the first victim when his microwave oven explodes. Another friend, Elliot Kastner, gets burned to death when a hand dryer turns into a flamethrower. Terry hires a babysitter, Carol Maibaum, to look after her son Josh. However, Carol becomes the third victim, electrocuted by an exploding dishwasher in the kitchen. The police do not believe the theory that Karl is on a killing spree after his death, but Josh realizes the order of the killings is related to a list of contacts from Terry's address book. Terry, along with computer hacker Bram Walker, unplugs everything in her house.  Guess a valid title for it!

A:
Ghost in the Machine (film)