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Isolation in Poetry and Music, 2007.
An analysis of the isolation depicted in "Vincent" by Don McLean, "Cry" by Casey Scott and "Six Feet Under" by Alan Ball.
2,971 words (approx. 11.9 pages), 11 sources, MLA, AU$ 126.95
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Abstract
This paper discusses the recurring theme, in poetry, music and film, of isolation, loneliness and of being marginalized by society because a person is different. The paper discusses the song-poem "Vincent" by Don McLean, which looks at a portrait of Vincent Van Gogh. It then discusses the song, "Cry" by Casey Scott, which shows another form of marginalization of someone who is suffering from depression. Finally, the paper looks at the series "Six Feet Under" by Alan Ball and discusses the character of Billy, who is schizophrenic.
From the Paper
"While almost all the regular characters on the show are on the fringes of societal norms and it is well known that this series highlights dysfunctional people and families. I think Billy is the saddest. He is diagnosed as schizophrenic and he is also a photo artist. Poor Billy lives the dreaded life of the life long mental patient. (Remember that this illness also has chemical and physical causes.) Billy on medication is likable and productive. He teaches photography and earns a good living. However, he has no edge to make his own photo essays unique. He is creatively dead. Billy off medication is sometimes wildly wonderful or violently insane and dangerous to himself and others. Billy constantly struggles with his desire to feel strong passion, which he cannot do while medicated. However, when he goes off medication, his life becomes a ruin."
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Orientalism in the Opera "Turandot", 2007.
This paper explores the representation of the East in Giacomo Puccini's opera "Turandot."
3,907 words (approx. 15.6 pages), 8 sources, APA, AU$ 153.95
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Abstract
This paper examines the Opera "Turandot" and how the Orient is portrayed in relation to Western conceptions of the East. This research uses Edward Said's essay on Orientalism to further construct the exotic East in "Turandot." Also addressed is the question "how does this opera exemplify the East as being savage and archaic when compared to Western thought and culture?" Both Orientalism and the writings of Edward Said are discussed.
Outline:
Abstract
Objective
Introduction
Overview of Orientalism
Overview of Edward Said
Overview of the "Turandot" Opera
Gozzi's "Turandot" Opera
Puccini's "Turandot"- Giacomo Puccini (1858-1924)
An Asian view of the "Turando" opera
Discussion
Bibliography
From the Paper
"The Metropolitan Opera states that "Orientalism is the term used to describe Western fascination with the 'exotic' cultures of the Eastern hemisphere." Stated as well is that Many works of art, including operas like "Die Entfuhrung aus dem Serail' and 'Madama Butterfly', have illustrated and enforced the West's idea of the dangerous, sensual, alien East." (Metropolitan Opera, 2006) The Metropolitan Opera further reveals that: "In order to create a more 'realistic Chinese atmosphere, Puccini read many books on the culture and ceremonies of China. He also sought out real Chinese music to imitate." (Metropolitan Opera, 2006) "
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Music and Adolescents, 2006.
A discussion regarding the influence music has on the lives of American adolescents.
1,600 words (approx. 6.4 pages), 7 sources, MLA, AU$ 75.95
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Abstract
This paper focuses on the medium of music, and the effect its message can have on American adolescents today. The paper discusses how there is hardly an American teen who does not have a ubiquitous iPod lodged in his/her ears and the medium of music is thus in an unparalleled position to influence American youth.
Outline:
Musical Dangers
Music as Therapy
Music as Expression
Holistic Approach
From the Paper
"Activities during the music instruction ranged from singing songs solo or in groups and listening to CDs. More advanced students are taught to play a variety of musical instruments. When conducted under ideal conditions and with trained facilitators, such activities provided students with a vehicle for self-expression (Boyer and Lee 2001). This vehicle is particularly significant for younger teens with autism and those whose learning and emotional disabilities make verbal communication difficult. Music can therefore be an invaluable communication method for a teenager struggling with learning disabilities.Similarly, other therapeutic specialists incorporate dance therapy into the disabled students' therapy, a combination of both physical education and music. This helps provide the children with more individually structured programs that are geared to their specific needs. A combination of music and physical education training, for example, may prove beneficial for many children with regressed motor as well as communicative skills (Shapiro and Sayers 2003)."
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Legal Control of Music, 2007.
This paper discusses whether the legal control of music is a form of protection or one of domination.
839 words (approx. 3.4 pages), 5 sources, MLA, AU$ 42.95
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Abstract
In this article, the writer discusses that the history of music is replete with examples of musical suppression. The writer notes that in the days of the classical composers such as Mozart, Bach, and Beethoven these 'now famous' musicians were referred to as 'long hair' musicians and were shunned much in the way that the 'long hair' musicians of the 1960s and 1970s were shunned by proper aristocratic society. The writer points out that classical musicians such as those mentioned were completely dependent upon their patrons. Further, the writer notes that the musicians in today's world are not so hampered as those in earlier decades and centuries, however, there has always been a political and sociological force within the world that attempts to control music through legal means in what some believe is a form of protection and others believe is a form of domination. The writer concludes that while Max Weber views the control of music to be a form of protection, the view of the Marxist is that legal control of music is a strategy of the ruling social class to keep the lower classes under their thumb, stifling creative expression.
Outline:
Objective
Introduction
The Marxist View
The Shifting Cultural Perspective and Music
The Weberian View Contrasted to the Marxist View
Summary and Conclusion
From the Paper
"The view of Marxism can be applied to the shift from the 'bee-bop' music of the 1950s to the Beatles rock of the 1960s, a shift which was helped along greatly by the pelvis gyration music of Elvis Presley in which the entire beat of the music changed and along with this came the music revolution that led to 'rock-and-roll' much despised by the controlling social class in that decade. Along with this new form of musical expression came expression of rebellion against the Vietnam War that was taking place in the songs of that time that spoke of revolution and played out in society by draft dodgers and flag burners protesting the war that was taking place in Vietnam."
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The Musical: "Les Miserables", 2006.
This paper analyzes six crucial songs in the musical "Les Miserables".
870 words (approx. 3.5 pages), 0 sources, AU$ 44.95
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Abstract
This paper explains that, in Act I of the musical "Les Miserables", the entire company, who represent factory workers, sings "At the End of the Day", which sets the scene of the misery and poverty of the majority of the French populace and helps explain why the revolution will occur later in the musical. The author points out that the song "Master of the House", sung by the Thernardiers, provides a welcome note of comic relief from the tragedies of the play. The paper relates that, in "Bring Him Home", Jean Valjean prays by the half-alive body of Marius for God to "bring him [Marius] home", to bring the "boy" home to health and happiness, so that Valjean's adopted daughter Cosette can marry and live a happy life.
Table of Contents:
"At the End of the Day" (Community)
"I Dreamed a Dream" (Fantine)
"Master of the House" (Thernardiers)
"Stars" (Javert)
"On My Own" (Eponine)
"Bring Him Home" (Valjean)
From the Paper
"In this Act I song, ["Stars" ]the audience gains an important bit of insight into the psychology of Inspector Javert. Without this song, the audience might see Javert only as a cruel and relentless persecutor of Jean Valjean. However, Javert explains that he thrives upon the idea of order in the cosmos, like the stars "filling the darkness." Javert clearly sees the misery of the world around him, but rather than revolution, he hopes that a law and order society will bring about a better world. Javert is not an aristocrat, benefiting from the system, ..."
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Music, Culture and Hip Hop Dance, 2007.
This paper examines hip hop dance and its place in music and culture.
861 words (approx. 3.4 pages), 3 sources, APA, AU$ 44.95
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Abstract
This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper
"The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
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"The Waning of the Middle Ages", 2007.
An analysis of medieval music, as described by the book "The Waning of the Middle Ages" by Johan Huizinga.
827 words (approx. 3.3 pages), 0 sources, MLA, AU$ 42.95
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Abstract
This paper reviews the book "The Waning of the Middle Ages" by Johan Huizinga, which discusses music in the Middle Ages. The paper describes the book as impacting the overall knowledge of our history of medieval life and culture in Flanders, Burgundy, and France. The paper suggests that relying too heavily on Huizinga's criticisms of medieval music does a great disservice to the music of the 14th and 15th centuries.
From the Paper
"Many modern musicologists, in the spirit of Huizinga, have had trouble with the lack of song development and the repetitiveness of medieval songs. However, medieval music should not be listened to with prejudicial ears. Huizinger also criticized medieval culture in general, leading to an overly pessimistic vision of life in the 14th and 15th centuries in Europe. All aspects of courtly life, from its songs to its chivalric pageants, were moribund, stagnant, and overly stylized, according to Huizinga. Huizinga also wrote with hyperbole, exaggerating the contrasts inherent in medieval life without acknowledging the "extraordinary creative energy of Western musicians during the middle ages," (p. 149)."
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Richard Addinsell, 2007.
This paper discusses the life and achievements of composer Richard Addinsell.
1,770 words (approx. 7.1 pages), 7 sources, MLA, AU$ 83.95
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Abstract
The paper relates that in the past few centuries, there have been countless classical composers whose music has inspired and encouraged populations around the globe. One such composer is Richard Addinsell, whose legendary works have provided entertainment for moviegoers and theater-attendants for generations. The paper reveals that he is credited for over 40 film scores and he successfully wrote music for nearly every genre in film, from historical documentaries to light hearted comedies. The paper details his personal history and his rise to fame. The paper concludes that his level of skill as well as his ability to orchestrate music flawlessly and seamlessly has made Richard Addinsell a composer to be remembered and revered for generations.
From the Paper
"Addinsell's music was primarily written for piano, either in solo or duet, as well as for orchestras or ensembles. Varying from passionate, somber pieces of tragedy to light-hearted pieces for comedy to slow moving waltzes, Addinsell's musical style is varied and versatile, which are the qualities that allowed his career to thrive in the film industry. Paid by the film studios for specific works, the funding from such endeavors allowed him to write music for less lucrative genres such as theater and radio. As a modern classical composer, Addinsell was able to combine the richness of piano with full orchestra accompaniment to provide thundering war marches, when required, or to use a simple single piano to show a softer, more subtle element of a film."
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Psalms Versus Hymns, 2007.
A comparison of the language and themes of Psalm 72 and the hymn "Jesus Shall Reign".
934 words (approx. 3.7 pages), 0 sources, AU$ 48.95
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Abstract
This paper compares psalms and hymns. Particularly, the paper compares Psalm 72 to the hymn "Jesus Shall Reign". The paper presents the images found within both the psalm and the hymn and discusses its rhyme, structure and the language used. It concludes by comparing the overall theological images and messages of both the texts, particularly with regards to the Christian faith.
From the Paper
"The psalm's interlocking rhyme structure, and highly regular metrics stress the importance of words like "lord" and "poor" at the end of every line, making one clear word and image emerge from every line that seem particularly designed to stress the regality and reign of the king. That it is Christ who is the Lord of the poor of all lands is not conveyed, however, simply by the title, "Jesus shall reign,' but also by the all-encompassing nature of the king's rule, which extends to all nations, and not simply to the land of Israel."
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Harlem Renaissance Music, 2006.
An historical journey from Black American migration from the south to the development of Harlem Renaissance music.
803 words (approx. 3.2 pages), 3 sources, MLA, AU$ 41.95
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Abstract
This paper will briefly trace the journey of the Black American experience through the music first articulated in the Harlem Renaissance. It begins with the migration of Black Americans from the South to the enclosed environment of a big city and their need to find a voice for themselves, which they did partly through music. It concludes by describing how the Harlem Renaissance was pivotal in American musical history.
From the Paper
"Harlem was nothing if not a melting pot of America's black cultures; the northern, the southern, the islands. In the 1930s, while combining all these influences, Harlem musicians set the stage for later Black-influenced musical forms. At the same time, Kramer and Russ argue that it was only by virtue of two things in addition to the migration to Harlem that caused Harlem Renaissance music to be influential across so many decades and so many cultures. One of those things was that mass media, in the form of radio and discography, had arrived on the U.S. market just in time to be useful to the Black artists. And the Black artists, while synthesizing other influences, kept their own identity intact; without this, Kramer and Russ contend, the later forms of Black music, such as rap, would not have been possible (1997)."
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George Frideric Handel, 2006.
A biography of the life and career of composer George Frideric Handel.
1,157 words (approx. 4.6 pages), 9 sources, MLA, AU$ 57.95
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Abstract
This paper looks at the life of George Fredric Handel, an English composer who lived from 1685 to 1759 who was born in Halle, Germany and is widely known as one of the great masters of the baroque movement. The paper examines his childhood and education and looks at some of works including his most notable composition, the oratorio "Messiah".
From the Paper
"Handel was sent as a boy to Friedrich Zachow, an organist and composer at Halle, for three years of training. He then studied law at the University of Halle but later in 1703 joined the opera orchestra at Hamburg, learning and playing while supporting himself by teaching organ lessons to others. It was here that his first two operas, Almira and Nero were written and produced. His life was challenging, as he suffered at least two known strokes and the development of cataracts, which eventually resulted in complete blindness despite a rather painful and rudimentary surgery, yet despite this he continued to write and support the music world up to the day he died. "
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The Meaning of Song, 2006.
A review of Victor Zuckerkandl's exploration into the meaning of song.
1,480 words (approx. 5.9 pages), 3 sources, MLA, AU$ 70.95
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Abstract
This paper takes a look at the exploration of Victor Zuckerkandl into the meaning of song. According to this paper, Zuckerkandl makes it clear he is not seeking a physical explanation involving muscles and voice box, but a spiritual explanation for the human activity of singing.
Contents:
The Meaning of Song
Words and Tones in Song
"High Time" and Ambiguous Harmonic Function
From the Paper
"Zuckerkandl's explanation immediately brought to my mind an experience I had a few years ago. I was driving on a road through a thick Michigan forest at night when my car broke down. I had to walk back to a nearby town about three miles in the dark. There was no moon or stars to shed light; in fact, I couldn't even see the road beneath my feet or where I was stepping. I began to sing (like the soldiers Zuckerkandl mentions who sing to overcome their fear). As I walked along singing, I became aware of an animal in the woods only a few feet to my left. It seemed a large animal and made quite a noise with each movement it made. It began to walk alongside me, crashing and crunching the brush under its feet and snorting. I continued singing, this time a hymn, and hoped the creature was not a bear or an aggressive animal that might attack. Suddenly, as I sang "Lead Kindly Light amid the encircling gloom, lead Thou me on..." I connected to the animal's consciousness! It was most extraordinary. I believe it was a deer. Its consciousness was very innocent, and it wondered curiously what I was (but not what I was doing there in the middle of the night). I tried to convey the message mentally that I was harmless. Then it realized I was a human being and thought better of coming so close."
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Creative Music Therapy, 2006.
Explores the use of music in therapy.
895 words (approx. 3.6 pages), 4 sources, MLA, AU$ 45.95
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Abstract
The role of music in therapy has been explored in formal and informal contexts because most people connect feelings with music. This paper examines how music is used to treat people, including playing music as a form of self-expression and using the product of that self-expression as a symbolic code.
From the Paper
"If the therapist infers that a drone piece created by the client denotes sadness then the therapist infers too much and does the client a disservice. Rather, the role of the music therapist is to provide an open setting in which therapist and client can communicate in non-verbal ways. Non-verbal communication is essential in some therapeutic settings, such as with clients who are catatonic, autistic, or otherwise emotionally inexpressive."
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Music Therapy, 2006.
A comparison of traditional story-tellers (shamans) to contemporary music therapists.
1,107 words (approx. 4.4 pages), 3 sources, MLA, AU$ 55.95
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Abstract
This paper discusses how music has been used in healing, ritual, and shamanic activities in cultures throughout the world and the connection between these uses of music and music therapy. The paper further examines whether ritual is a form of therapy, and whether music therapists are analogous to modern-days shamans, or whether there are fundamental differences of culture and values. The writer concludes with ways that therapists in contemporary society can learn from the way that other societies have used, and continue to use, music.
From the Paper
"In therapy, however, the therapist attempts to provide not the voice of a past culture, but of the present state of the patient. Listening or making music can be one tool in helping explore the patient's view of his or her past and future. The therapist helps the patient see his or her personal past anew, and to move into the future with a clearer vision of his or her ego. However, rather than entering a trance, the patient tries to see the world as it is, and hopefully grow more articulate about what is troubling his or her mind."
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You're Still the One, 2006.
The purpose of this paper is to introduce, discuss, and analyze the song "You're Still the One" by singer Shania Twain.
999 words (approx. 4.0 pages), 0 sources, AU$ 51.95
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Abstract
This paper analyzes the song "You're Still the One" by Shania Twain. The writer shows how the song represents the continued commitment in Twain's own relationship with her husband, as well as the joy of a committed and caring relationship. The writer looks at the lines of the song and how they represent not only Shania's marital relationship, but also with those friends who doubted the commitment she had to her marriage.
From the Paper
"At the beginning, Twain makes it clear that she is happy she chose her husband for a partner, and that he's "still the one" she loves and admires. She also makes it clear that others were against the match, and predicted they would not "make it" as a couple. This shows how outside influences can often doom a relationship."
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Popular Culture, 2006.
This paper looks at popular culture which is the culture pertaining to the masses.
1,446 words (approx. 5.8 pages), 6 sources, APA, AU$ 68.95
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Abstract
In this paper, the writer discusses the popular culture that is prevalent globally. Some light is also shed upon the role that media, both electronic and print, has played in spreading this culture and thus converting the popular culture into a global culture that has more or less established its roots in countries all over the world, ranging from those in America to those in Africa and Asia. The effect that this popular culture is having on the youth of today that blindly embraces it is also taken into consideration.
From the Paper
"The popular culture is being embraced by the youth the world over as it creates a sense of belonging and community amongst them. The McDonald's and Coca-cola culture is what the youth of today takes pride in. It is quite a commodity-oriented tradition where the latest hairstyle, shoes, clothes, food and music make the youth of one place in-sync with the youths worldwide. It is apparently "hip" to engage in illicit activities such as sniffing drugs or possessing un-licensed weapons. The pop-culture is basically feeding off the insecurities of the youth; their desire to develop an identity either individually or collectively, they place their souls in their possessions such as cars, hi-fi gadgets, clothes or in the kind of shoes they wear. It is this parameter by which the young judge or are judged. In their attempt to keep up with the modern world as they see it each tries to out shine, the other which usually results in hostility and animosity."
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