| Papers [1-11] of 11 | Search results on "ARIA": |
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Aria Habanera in Carmen, 2005.
A discussion on the significance of the Aria Habanera in the opera of Carmen.
900 words (approx. 3.6 pages), 1 source, AU$ 56.95
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Abstract
This paper briefly explores the Aria Habanera in Carmen and demonstrates the significance of this aria within the broader context of the opera. It discusses the general significance and placement of aria in relation to the action and purpose of the plot. and then focuses on this specific aria.
From the Paper
"Exploring the Aria "Habanera" in Carmen Introduction The placement of an aria in an opera is done for two principle reasons; an aria helps to develop the depth and the motivation of the singer's character, and helps to solidify the placement of this character in relation to the action and purpose of the plot. The aria "Habanera" from Carmen is an excellent representation of a successful aria. This paper shall briefly explore "Habanera" and demonstrate the significance of this aria within the broader context of the opera. The Purpose and Temporal Placement of "Habanera" In terms of its purpose, "Habanera: L'amour est un oiseau rebelle" is an aria that appears comparatively early in the opera. Its purpose is therefore less focused on plot than are many arias that follow, for the audience needs to be introduced to the title character and "Habanera" serves as an expositional song."
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"Aria", 2006.
The paper discusses Richard Rodriguez's book "Aria" and looks at the education of a Spanish-speaking child in an English-speaking school system.
827 words (approx. 3.3 pages), 1 source, MLA, AU$ 47.95
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Abstract
This article looks at Richard Rodriguez's "Aria", which is, essentially, the story of his own childhood as a Spanish-speaking boy who learned the intricacies of the English language under the most complex of circumstances. The writer explains that in revealing the hardships, both emotional and physical, that Rodriguez personally experienced as a non-English speaking child, he attempts to dispute the claims made by supporters of bilingual education - claims which call for the approval of the use of "family languages" in school settings. The writer exposes Rodriguez's emotions and feelings towards the English speaking world.
From the Paper
"Early in Rodriguez's childhood, he realized that the world outside his home was far different than the world within it. Outside the safety of the soothing rhythms of his parents' Spanish tongues, he felt as if he were a visitor in a foreign land, yet upon return to his home, the feeling of security returned. He describes the inferiority in the tones of his parents in the gringo world as they struggled through fragments of phrases, comparing it to their gentle confidence of their words as they spoke, within the walls of their home, in Spanish, and he explains that the contrast of the two served only to further his fright of the English language."
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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, AU$ 42.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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The Memories that Alienated a Bilingual Child, 2001.
A commentary on Richard Rodriguez' work "Aria: Memories of a Bilingual Childhood" and its relation to Dick Gregory's "Shame".
750 words (approx. 3.0 pages), 2 sources, MLA, AU$ 42.95
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Abstract
An analysis of the writing style of Richard Rodriguez in "Aria: Memories of a Bilingual Childhood" and how his environment growing up influenced his writing style. The paper presents a close look at the significance of diction, parallelism and personification within this work. The paper concludes with a relation to Dick Gregory's "Shame" with parallels between the two.
From the Paper
"The separation of a child from the masses because of language differences will not produce an identity; rather one must feel accepted to receive an identity. The diction throughout creates a vivid image of insecurity and alienation. Rodriguez effectively gets his position of anti-bilingual education across through the experiences of an innocent, na?ve child. The comparisons of private and public life reflect the contrast between English and Spanish. A thorough and compassionate insight into the past accomplishes the purpose of influencing a supporter of bilingual education to change his mind to the views that being exposed to the dominance of English will lead to success later in life. Rodriguez?s ?Aria: memories of a bilingual childhood? utilizes contrasting diction, parallelism, and personification to convey a melancholy tone of alienation and insecurity towards his own bilingual childhood, which eventually shifts to an acceptance to American society."
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Richard Rodriguez's Conflicts in Bilingual Education, 2006.
A discussion of the points made in Richard Rodgriquez'a essay, "Aria", and the writing techniques he used to make those points.
1,800 words (approx. 7.2 pages), 6 sources, AU$ 114.95
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Abstract
This research paper describes the ideas of Richard Rodriguez, as discussed in his essay "Aria". Specifically, the paper looks at the techniques used in Rodriguez's essay to get his point across, and discusses his views on bilingual education. It is discussed what his opinions are on bilingual education and why his ideas have developed in the way they have.
From the Paper
"In Richard Rodriguez's essay "Aria" the author's key idea is that language is linked with identity, with varying results. Rodriguez's goal is to present those links, showing that a Spanish speaking child adapting to an English society will change while finding his own identity. The author's own confusion over identity became difficult when his family decided to begin speaking English, rather than Spanish, at home. His difficulty was not that he had to adapt to English but that he felt a sudden and complete loss of identity and family closeness."
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Families of the Melting Pot, 2002.
A comparison of two literary works, "The Color of Water" by James McBride, and "Aria: A Memoir of a Bilingual Childhood" by Richard Rodriguez.
716 words (approx. 2.9 pages), 2 sources, MLA, AU$ 41.95
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Abstract
This paper provides a brief discussion of the diverse ethnic groups in America. The assumption that assimilation and "Americanization" occurs, is examined in relation to the two books. The paper illustrates the reality of the racial and ethnic division in America. The theme of family is emphasized throughout the paper, portraying an awareness of the power of family to make differences seem trivial.
From the Paper
"America is often characterized as a melting pot, a term meant to show that the country is one in which many different kinds of people have come to join American society. These people are supposed to be assimilated, but this is not always true. Even if the first generation is not completely assimilated because of differences in language or customs, though, it is thought that their children would be fully assimilated and "Americanized." James McBride in The Color of Water and Richard Rodriguez in "Aria: A Memoir of a Bilingual Childhood" point to an America where the melting pot may be a reality, seen in the degree to which members of the family accept each other and their different heritages, but where they must also contend with the many examples of racial and ethnic division defining an America that remains separated by ethnicity and color."
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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$ 84.95
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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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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$ 84.95
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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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"La Boheme", 2005.
An analysis of Puccini's "La Boheme".
1,150 words (approx. 4.6 pages), 2 sources, APA, AU$ 63.95
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Abstract
This paper analyzes Puccini's "La Boheme", focusing on the literary elements that are in the text of the aria sung by Rodolfo at the end of the Opera's first act. The analysis provides examples of how these elements reinforce the theme, tone, characters and other aspects of the opera.
From the Paper
"The musical power and appealing melodies of Puccini's "La Boheme" are enhanced by the literary elements of the work. This story revolves around the fated love of a pair of youthful and emotional-drenched lovers, Rodolfo and Mimi. As Wallis..."
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La Boheme, 2005.
An analysis of Puccini's romantic opera "La Boheme".
920 words (approx. 3.7 pages), 2 sources, APA, AU$ 50.95
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Abstract
This paper analyzes Puccini's romantic opera "La Boheme". The paper focuses on the characterization of Mimi as it is revealed in her aria, "Si, mi chiamano Mimi," expressed to her beloved Rodolfo in Act I.
From the Paper
"In Puccini's "La Boheme", Mimi provides an aria in Act I immediatelyfollowing Rodolfo's aria, in which he professes his hopes and dreams to her. In this aria "Mi chiamano", Mimi Mimi describes herself and her poor but happy life to Rodolfo..."
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The Early Development of Opera, 2005.
This paper discusses the early progenitors opera that began at the end of the 16th century and into the early part of 17th century.
900 words (approx. 3.6 pages), 2 sources, AU$ 56.95
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Abstract
This paper explains that the return to Greek drama within the musical trends of the end of the 16th century and into the early part of 17th century resulted in a multifaceted musical and theatrical combination, which is now called opera. The author analyzes composers, such as Caccini, Peri and Monteverdi, to reveal how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. The paper relates that, in the late 16th century, various forms of music were beginning to combine theatrical productions, arias and extended recitative verses, which would invariably be termed opera.
From the Paper
"This music study will present the early progenitors opera that began at the end of the 16th century and into the early part of 17th century. By understanding the return to Greek drama within musical trends of these time periods, a multifaceted musical and theatrical combination resulted in what is now called Opera. By analyzing composers such as Caccini, Peri and Monteverdi, one can realize how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. In the late 16th century various forms of music were beginning to blend theatrical productions and arias, as well as extended recitative verses that would invariably be termed opera through these initial combinations."
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