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Joseph Brahms' "Symphony No.1", 2008.
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
1,185 words (approx. 4.7 pages), 4 sources, MLA, AU$ 61.95
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Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
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Claudio Monteverdi's Opera "Orfeo", 2008.
This paper analyzes the organization and expression in Claudio Monteverdi's opera "Orfeo".
1,605 words (approx. 6.4 pages), 4 sources, MLA, AU$ 79.95
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Abstract
This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper
"The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
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Jelaluddin Rumi and Sufism, 2008.
This paper discuses Jelaluddin Rumi, one of the most well-known of Persian poets, who is largely credited with infusing Sufism with its highly intimate relationship with aesthetic traditions.
2,850 words (approx. 11.4 pages), 9 sources, MLA, AU$ 127.95
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Abstract
This paper explains that classically trained Jelaluddin Rumi, who was born in 1207 in the region that is now part of Afghanistan, lived most of his life in Turkey and the surrounding area. The author points out that Rumi created the Mevlevi Order of Dervishes or commonly called the Whirling Dervishes of Sufism. The paper relates that the Whirling Dervishes are most recognized for their unique dance movements, oblique body posturing, acute mental focus and their musical facility, which is said to combine to bring them closer in union to God. The author states that Rumi's poetry is regarded as the cultural epicenter of all thought, literature, dance and music in the world of Islamic aesthetics. The paper reports that the traditional approach to studying the impact of Rumi's poetry on Sufi music has been to examine the text from a critical theoretic perspective.
From the Paper
"The natural academic tendency, regardless of academic specialty, is to examine the concepts contained within the lines of verse; to question 'what is the tree of wisdom' and to ask what or how one identifies one's internal "fairy." These are important metaphysical questions that can and should be asked of the text through critical analysis. However, therein rests the academic pitfall that most researchers and even casual observers typically get trapped in: the interpretation of the text which is made even more complex in translation."
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, AU$ 52.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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Feminism and Classical Music, 2008.
This paper discusses the feminist roles of composers Amy Beach and Clara Schumann in the Romantic era.
2,379 words (approx. 9.5 pages), 6 sources, MLA, AU$ 109.95
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Abstract
The paper describes how Amy Beach and Clara Schumann helped to advance the greater participation of women in a patriarchal music culture of the Romantic era. The paper discusses the parental influences of both Beach and Schumann as well as their innate talents. The paper looks at how their pioneering efforts on the touring circuits would pave the way for other female performers to be able to compose and perform.
From the Paper
"Although the term feminism was not present in the time of Amy Beach, her family often supported her desire to become an accomplished musician when she was a young girl. In a modern sense, Beach's father was considered "progressive", since he wished to see her learn and be able to perform music as a major part of her educational development. Amy Beach (1867-1944) was a woman that beheld many talents, and when she was younger, she was considered a childhood prodigy. Her main instrument was the piano, on which she had already written her first song at the age of four. The obvious signs of her talent were noticed by her parents, who were supportive of her musical training."
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Claude Debussy and Ryo Noda, 2008.
A comparative analysis of Claude Debussy and Ryo Noda's musical compositions.
1,159 words (approx. 4.6 pages), 8 sources, MLA, AU$ 59.95
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Abstract
The paper compares and contrasts the renowned French composer Claude Debussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper
"In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
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Lunch with Copland, Brahms and Bach, 2007.
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
1,705 words (approx. 6.8 pages), 4 sources, MLA, AU$ 83.95
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Abstract
The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper
"Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
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Cadenza, 2008.
An analysis of Mozart's use of cadenza in the nineteenth century.
1,611 words (approx. 6.4 pages), 8 sources, MLA, AU$ 79.95
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Abstract
This paper describes a cadenza, which is a musical flourish that is usually improvised and placed in the final cadence of any section of an aria or a solo instrumental movement. It looks at the history of the cadenza and how different composers have used it over time. The paper particularly focuses on Mozart's use of cadenza in his compositions.
From the Paper
"The way Mozart treated the credenza freed the composer to make direct use of the form while essentially leaving it to the performer to play it or not, though as time passed, it became more likely that the performer would perform the piece as written and follow the lead of the composer on this issue. As noted, the cadenza remained an important element in opera until after Verdi. Performers were often ranked according to their handling of the cadenza, as in a comparison of violinists Louis Spohr and Niccolo Paganini."
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"Georgia on My Mind", 2008.
A comprehensive analysis of the song "Georgia on My Mind" by Ray Charles.
2,500 words (approx. 10.0 pages), 4 sources, MLA, AU$ 113.95
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Abstract
The paper provides a musical, historical and emotive analysis of this famous 20th century musical masterpiece, "Georgia on My Mind" by Ray Charles. The paper shows how the social and cultural context of the song reveals the African-American experience of geography and the theme of "homecoming" for Charles within the Civil Rights era. The paper discusses how this song reveals Ray Charles' background and personality.
From the Paper
"Ray Charles Robinson was born on September 30, 1930 in Albany, Georgia. The details of his upbringing relates directly to the emotion and intensity of "Georgia on My Mind" reflect the tragedies he lived through as a child. His younger brother, George, died in a washtub when he was very young. After learning that he was going blind, Charles' parents both died within a year of two of each other when was studying at a school for the blind. When he was declared legally blind as a teenager, he continued to work on his piano skills and compose various songs through the musical training he received in his early education. His determination to overcome his disability and learn the piano played a major part in creating an outlet for the troubled young man who had learned music to alleviate his misery and suffering."
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Claude Debussy, 2008.
This paper discusses French composer Claude Debussy's melody "Reverie".
1,098 words (approx. 4.4 pages), 6 sources, MLA, AU$ 58.95
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Abstract
The paper relates that Claude Debussy's music was often associated with the Impressionist movement in painting. The paper shows how his piece "Reverie" reflected the aesthetic currents of the time and mirrored the methods of the Impressionists. The paper describes the complexities of this piece.
From the Paper
"Claude Debussy (1862-1918) was a French composer and critic whose music was often associated with the Impressionist movement in painting. He believed that the primary aim of music is to give pleasure, and Debussy was especially interested in the sensuous quality of music. He often allowed the sensuous qualities of the sound to override many of the rules of composition and harmony. In his early period, Debussy was a follower of Wagner and saw his power as the future of music, especially with reference to musical drama. He later changed his focus and was influenced by the symbolist and decadent movements in poetry, notable for their interest in sound and abstract meaning. Debussy became increasingly drawn to abstract forms in music as well ("Claude Debussy" paras. 1-6)."
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Giovanni Palestrina's "Pope Marcellus Mass", 2008.
An analysis of the historical context of Giovanni Palestrina's "Pope Marcellus Mass" and its contribution to the evolution of Renaissance music.
1,589 words (approx. 6.4 pages), 8 sources, MLA, AU$ 77.95
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Abstract
This paper explores the significance of Giovanni Palestrina's "Pope Marcellus Mass" to the history and evolution of Renaissance music. The paper first discusses the musical tradition which preceded the Council of Trent and the completion of Palestrina's composition and then details the objections the Council of Trent had with regards to the polyphonic music that was so popular across Europe at the beginning of the sixteenth century. Finally, the paper delineates the criteria the Council established for church music and how Palestrina's work successfully met these requirements while simultaneously invoking stirring elements of the polyphonic tradition.
From the Paper
"Still, there was widespread consensus among Catholic reformers that the "pagan" music of di Lasso and the earthy themes of Josquin were ill-suited to the mass. Even before the Council had concluded its work, Savonarola - a man whose stubborn insistence upon thumbing his nose at the "ecclesiastical status quo" in the fifteenth century eventually cost him his life (Matter, 795) - proclaimed that the secular, pagan and polyphonic compositions popular in his own time were nothing more than "figured music" that charmed the ear and senses while distracting from the worship of God (Mullett, 211). This view was shared by Erasmus who, while his interests tended more towards re-interpreting the Bible using the new-fangled historical-critical method (Pabel, 63-75) nonetheless felt moved enough by the scandalous church music of his time to condemn it as being sensuous, agitated and - for all intents and purposes - not at all Christian (Mullett, 211)."
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Beethoven and the French Revolution, 2008.
This paper explores the influence of the French Revolution on Beethoven's music.
893 words (approx. 3.6 pages), 4 sources, MLA, AU$ 47.95
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Abstract
The paper describes how Beethoven lived in a European society that was undergoing profound economic turbulence, political upheaval and violent warfare. The paper compares Beethoven to Franz Joseph Haydn and Wolfgang Amadeus Mozart and then discusses his difficult background and personal tragic events in his life that affected his music. The paper then shows how the French Revolution caused turbulent inner passions that were reflected in his music.
From the Paper
"The French Revolution had a profound impact on the music of Beethoven. It is difficult for us in 2006 to imagine what life was like in Europe under the Ancien Regime, and the economic and social conditions in which Beethoven emerged. What is crucially important to understand is that throughout his musical career Beethoven lived in a European society that was undergoing profound economic turbulence, political upheaval and violent warfare. No understanding of his music is possible without an appreciation of these basic facts. It is useful in analyzing Beethoven's life and music to compare him briefly with Haydn and Mozart, two other musical giants who were born within fifty years of Beethoven's time, and who shared his Central European environment in the vicinity of Vienna."
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Celine Dion, 2008.
A brief examination of the life and career of Celine Dion from 1990 to the present day.
1,919 words (approx. 7.7 pages), 3 sources, MLA, AU$ 92.95
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Abstract
This paper examines performer, Celine Dion's career from 1990 to the present day. It begins by discussing a brief biography of her life and the beginning of her career. It then addresses the songs, styles and lyrics, as well as the videography that have characterized her music over this period. It particularly makes note of how women are represented in her music videos.
Table of Contents:
Biography
Songs, Style, and Lyrics
Videography
Conclusion
From the Paper
"These cut-away shots, in addition to telling the story, serve a purpose in the video-making process. Continuity editing, often seen in television and movies to establish fluidity of motion through an entire world, can be seen in some of the shots of people walking toward the store where people are gathering. However, the rest of the video seems to use brief clips consisting of only a few seconds at a time. This process, Carol Vernallis explains, is a music video technique used to keep the video story from overtaking the importance of the song (28). Vernallis explains that the most frequently seen setting for a woman in a music video is a domestic one (82). These videos do not place the singer in such a role; however, some of the dissatisfied women in the second video are seen in this setting."
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Bruce Springsteen and Freedom, 2008.
This paper analyzes the theme of freedom and the American dream in "Born to Run" by Bruce Springsteen.
1,194 words (approx. 4.8 pages), 5 sources, MLA, AU$ 61.95
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Abstract
This music study analyzes the theme of freedom in the song "Born to Run" by Bruce Springsteen. The writer notes that the lyrical content of "Born to Run" often describes the American dream of freedom and liberation from traditional societal values, which involves breaking ties with family and location through the bond of youthful romance. The writer discusses that the driving instrumentation of the song also reflects this type of freedom in the notation and chord progressions used by the artist to accent this theme in his lyrics. In essence, the writer maintains that the song "Born to Run" by Bruce Springsteen reflects the American dream of freedom within its lyrical and musical content.
From the Paper
"The song "Born to Run" has become a classic of American rock 'n' roll music and has become a staple song in the career of Bruce Springsteen. In the title song from the 1974 album Born to Run, Springsteen offered a large scale approach to the rock 'n' roll format by the expansive nature of his lyrical content. The message of many rock 'n' roll songs before this album did not reflect the deepening sense of personal freedom that many Americans desired after the turmoil of the 1960s. Springsteen sought to emulate Bob Dylan's lyrical and anthemic approach to songwriting, but did it on a much larger scale. Although Dylan had certainly depicted the tragedy of the 1960s in his lyrics, Springsteen defined the romantic and interpersonal aspects of freedom and the American Dream in Born to Run."
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Beethoven and Van Gogh, 2008.
A comparative analysis of the psychology behind the works of Ludwig Van Beethoven and Vincent Van Gogh.
936 words (approx. 3.7 pages), 3 sources, MLA, AU$ 50.95
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Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.
From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."
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Online Music Distribution, 2008.
An analysis of the competition in the global music recording industry (MRI).
1,109 words (approx. 4.4 pages), 7 sources, MLA, AU$ 58.95
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Abstract
This paper discusses the online distribution of music and how it is part of the larger, global music industry. It analyzes the aims and success of the global music recording industry (MRI) and discusses the six segments into which the MRI is primarily structured. The paper then discusses the new competitors in the MRI industry and how they relate to consumer expectations.
Table of Contents:
Industry Overview
The Apple Influence on Expectations
Technology Convergence
Conclusion
From the Paper
"Myspace.com and others are revolutionizing the MRI by creating a substitute industry that if not properly compensated for by traditional MRI participants could eventually supplant them. Consumer expectations have crystallized around the concept of total access across formats to their music and musical tastes and the future of the MRI, due to the online distribution of music and the evolving expectations of the consumer, rests with its ability to agree on a universally accepted electronic format for its music files."
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