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Johann Sebastian Bach, 2002.
This paper traces the extraordinary life of Johann Sebastian Bach.
3,400 words (approx. 13.6 pages), 11 sources, AU$ 196.95
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Abstract
This paper stresses Bach's accomplishments and his Cantatas.
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Johan Sebastian Bach, 2002.
A review of the works of the composer Johan Sebastian Bach.
2,619 words (approx. 10.5 pages), 0 sources, AU$ 123.95
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Abstract
This paper provides a biography of the life and music of Johan Sebastian Bach, considered to be one of the greatest composers of all time and is celebrated as the creator of the "Brandenburg Concertos", "The Well-Tempered Clavier", the "Mass in B Minor", as well as numerous other masterpieces of church and instrumental music. It discusses how Bach brought together and synthesized the principle styles, forms and national traditions of his age, picking the best of each, andby bringing them together enriched them all. It provides a detail analysis of "Third Brandenburg Concerto", by looking at such issues as instrumentation, texture, framing, phrasing and mood.
From the Paper
"In the Third Brandenburg Concerto, the strings act as an ensemble throughout the entire work, sometimes as a group, and at other times with one instrumental group, say the violins, are given emphasis. Throughout the entire piece, a heavy Italian influence is present. As may be guessed, the harmony is carried by the harpsichord, while the melodies are carried by the strings. In this case, the Bass and the three cello?s carry the lower, heavier part of the melody while the lighter, higher part of the melody is carried by the violins and the violas. Although the harmonies are somewhat different, they work in concert. One harmony will take the lead and the other will fall back or disappear. They also work in concert with each other, playing off each other and using the other to emphasize the statement of the music."
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Beethoven vs. J.S. Bach, 2007.
A comparison of Ludwig van Beethoven's "Symphony No.5" and Johann Sebastian Bach's "Brandenburg Concert No. 5".
1,615 words (approx. 6.5 pages), 6 sources, MLA, AU$ 82.95
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Abstract
This paper compares the works of Ludwig van Beethoven and Johann Sebastian Bach. The paper points out that both musicians were great and influential men, but their styles and the way they conducted their lives and their music varied greatly. The works compared and contrasted are the first movement of Beethoven's "Symphony No. 5", belonging to the classical genre of music, and the first movement of Bach's "Brandenburg Concert No. 5", belonging to the late Baroque style. The paper also addresses the composers' tragic lives. To conclude, the author of the paper praises both composers, but ultimately prefers Beethoven's works.
From the Paper
"The Brandenburg Concertos were written by Johann Sebastian Bach between the years of 1715 and 1721. There are six different concertos, all of which individually call for a diverse group of soloists in the concertino. In the first movement of the Brandenburg Concerto No. 5, which was written in 1720 and lasts for a period of nine minutes and forty-one seconds, a brilliant use of the harpsichord can be heard by the listener. Bach's intent in writing the Brandenburg Concertos was to show off his ability to write challenging music for any instrument, which he does illustrate greatly in the first movement of the fifth concerto, as well as in all of the others. Johann Sebastian Bach lived from 1685 to 1750 and it is said that everything he did, everything that he wrote was for the glory of God. Bach's tragic life was not unlike Beethoven's in that Bach and his wife Anna had twelve children and eight of them died before they reached the age of five. This was not exactly uncommon for the time, but tragic nonetheless. Bach was the master of counterpoint, which means that he essentially mastered polyphony and the harmonious opposition of two or more independent musical lines. In this first movement of the fifth Brandenburg Concerto, the full orchestra is in competition for the attention of the listener with the concertino."
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Bach the Unknown, 2006.
An examination of the contributions of Johann Sebastian Bach that are generally unknown.
1,854 words (approx. 7.4 pages), 6 sources, MLA, AU$ 93.95
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Abstract
Johann Sebastian Bach stands as the epitome of Western music. This paper explains that as a musician, Bach encompassed all of the musical styles that preceded him, such as those found in the medieval and Renaissance periods, and then rose to the highest peak of artistic and technical development beyond which it was, in many cases, impossible to go any further. The writer points out, however, that Bach also looked forward to the future of Western art and music and set the standards for the centuries to come. More conspicuously than any other composer of his day, Bach suggested and invented the technical devices and methods which, with the coming of other composers like Haydn, Mozart and Beethoven, were soon to open up new horizons for music.
From the Paper
"His special quality had much to do with how he used the resources of art in order to apply them to new purposes. His artistic powers and insight were so much higher than those who came before him that Western music, almost at once, evolved from the simplicities of the Medieval period and into full maturity. Bach wrote a library of music that is incomparable in regard to its extensiveness and artistic merit. It is indeed curious that this uniquely productive genius who wrote so much that was touched with immortality should have been neglected for almost a century after his death in 1750."
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Bach's B Minor Mass, 2005.
An overview of this work by Johann Sebastian Bach.
2,122 words (approx. 8.5 pages), 6 sources, MLA, AU$ 104.95
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Abstract
The paper asserts that the "Mass in B Minor" not only sums up Bach's own eclectic style, but also sums up the styles of previous periods as well. This paper first addresses some of the historical aspects surrounding the Mass. It then discusses controversial theories regarding Bach's purpose in writing such a work and finally acknowledges a small variety of those styles, i.e., stile antico, galant, that Bach assimilated into this monumental work.
From the Paper
"Throughout the Mass in B minor there are three clearly distinct styles of Baroque vocal writing that can be heard influencing this quite eclectic work. The first is the traditional stile antico or "church style," the somewhat plain and simple manner inherited from the Renaissance (prima practica). In this musical style the notation employs long note values, dissonance and melodic ornamentation are used cautiously, and the instruments are used primarily to double the choral parts. In contrast, the vibrant, sometimes harsh Baroque style displays an often lively rhythm, brilliant orchestration, expressive dissonance, and melodic lines that are highly ornamented. The third and final type is that of the arias and duets, derived predominately from the virtuosic solo writing of the opera and cantata."
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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$ 87.95
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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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Bach's Organ Music, 2007.
A description and analysis of four of Johann Sebastian Bach's compositions of organ music.
2,246 words (approx. 9.0 pages), 11 sources, MLA, AU$ 109.95
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Abstract
This paper discusses four works that Bach composed to be played on the organ (which he himself played). It discusses the Toccata and Fugue in D minor, BWV 565; the Fantasia and Fugue in G minor, BWV 542 "Great G minor"; the Passacaglia and Fugue in C minor, BWV 582; and the Concerto for Organ solo in A minor, BWV 593 (after Vivaldi). The paper looks at each work and then describes how these works influenced many later composers in the process.
Table of Contents:
Introduction
Toccata and Fugue in D minor, BWV 565
Fantasia and Fugue in G minor
Passacaglia and Fugue in C minor
Concerto for Organ solo in A minor
Conclusion
From the Paper
"Bach wrote a variety of organ music, much of it requiring considerable skill on the part of the organist, presumably so he could demonstrate his own skill with the organ. This is reminiscent of similar ways of demonstrating skill on the violin for Paganini, or on the piano by Liszt. Bach extended the reach of the organ in these works and influenced many later composers in the process. Many of his organ works were from an early period in his career, in keeping with his role as church composer and organist in various venues."
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Bach, Beethoven and Chopin, 2002.
This paper discusses the composers Bach, Beethoven and Chopin, the great masters of the Baroque, Classical and Romantic periods, respectively.
1,575 words (approx. 6.3 pages), 2 sources, MLA, AU$ 81.95
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Abstract
The paper explains and illustrates that each composer supplied the musical paradigms for their distinctive eras. This paper discusses that Johann Sebastian Bach (1685-1750) is considered as the culminating influence of the Baroque period. The author believes that Ludwig Van Beethoven (1770-1827) is the supreme pianist of the Classical period. The paper states that Frederic Francois Chopin (1810-1849) is one of the most original and influential musicians of the nineteenth century.
From the Paper
"As early as 1831, Chopin expressed his wish to create a new musical world characterized by musical poetry of an extraordinary elegant nature, mostly represented by his piano pieces, such as his Polonaises (Adante spianato and Grande Polonaise Brilliante Op. 22 and Polonaise in Ab Heroic Op. 53). Chopin?s harmonic language was also completely original, symbolized by complex chromatic harmonies mingled with the drones of fifths and modal scales of traditional Polish folk music. His fifty-five Mazurkas displayed all the intricacies of his style. It has often been compared to the virtuosity of Bach?s Well-Tempered Clavier."
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J.S. Bach, 2002.
A review of Bach's musical achievements.
1,400 words (approx. 5.6 pages), 5 sources, AU$ 83.95
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Abstract
This paper describes the Mass in B Minor by Bach as a musical achievement of the western World.
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Bach's First Brandenburg Concerto, 2004.
A discussion on elements and form in Bach's First Brandenburg Concerto.
690 words (approx. 2.8 pages), 3 sources, MLA, AU$ 37.95
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Abstract
This paper looks at Bach's First Brandenburg Concerto in F major. It examines the formal elements of the opening movement and the minuet and polacca at the end of the concerto.
From the Paper
"Johann Sebastian Bach achieved eminence first as a keyboard virtuoso and later as a prolific master composer in nearly all the musical forms and genres of the high Baroque. "
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Johann Heinrich Pestalozzi, 2006.
A review of the life of Johann Heinrich Pestalozzi.
894 words (approx. 3.6 pages), 3 sources, MLA, AU$ 49.95
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Abstract
This paper takes a look at Johann Heinrich Pestalozzi, whose compassion and genuine caring for his students not only lead to the development of his basic education style, but also made him an endearing figure in the field of pedagogy.
From the Paper
"Much of his pedagogical theory, which he successfully implemented into his education practices, was outlined in his 1801 book How Gertrude Teaches Her Children. In this work he outlined how he wished to establish a method of instruction that was based on the psychological development of the child and emphasized the natural progression of human development. Spontaneity was key and learning was facilitated by the natural curiosity and propensity for exploration that children display (Mayer 214). Pestalozzi asserts that children should be allowed to arrive at answers on their own through hands-on exploration and an encouragement that allows their own powers of reasoning, judgment and observation to blossom instead of being given ready-made answers. The aim is ultimately very holistic. Pestalozzi's goal was to achieve a balance between the education of the head, the heart and the hands. "
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Johannes Brahms?s ?Concerto for Violin and Orchestra in D?, 2002.
This paper describes each movement of Johannes Brahms?s ?Concerto for Violin and Orchestra in D?.
810 words (approx. 3.2 pages), 1 source, MLA, AU$ 44.95
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Abstract
This paper explains, by describing in detail each movement, that Brahms?s ?Violin Concerto? demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)
From the Paper
"Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."
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Rock vs. Bach, 1973.
This compares the music of Rock with Bach.
900 words (approx. 3.6 pages), 4 sources, AU$ 49.95
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From the Paper
" In the comparative analysis of rock vs. Bach, there appears to be no recognizable competition between the two. The true audiences of the two forms of music are as extreme as mid-day and mid-night. There are some who fail to recognize Rock as music at all. They view this type of simple expression as not even related to music. The Rock advocates, on the other hand, often look upon their ancestral heritage as meaningless musical "jive." There is also, admittedly, the m.o.r. (middle of the road) crowd, which seems to enjoy some of each of the before-mentioned music. These more broad-minded patrons are often seen attending the chamber music societies as well as the rock concerts.
When Bach was alive, he was well-known primarily as an organist, not as a composer. "It took a hundred years for people to discover from his music what a great genius he was.""
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The Philosophy of Johann Gottlieb Fichte, 2002.
The philosophy of Johann Gottlieb Fichte who believes in the absolute ontological priority of morality.
960 words (approx. 3.8 pages), 3 sources, MLA, AU$ 54.95
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Abstract
This paper explains Fichte?s three fundamental principles. The author states that the ethical idealism of Fichte?s theory of knowledge and reality appears more clearly in his moral philosophy. The author concludes that, according to Fichte, even white lies are taboo since with these we exchange a right principle for expediency and seeming advantage.
From the Paper
"Fichte traced reality from the self-affirmation of the absolute Ego to the subject-object integration achieved by the moral will. The will, by striving and pursuing unendingly the ideal, expresses both its limited character as an empirical ego and, through moral activity, its oneness with the infinite Ego. Our essential life does not lie in the blind drive of empirical impulses but in the higher self-insight and self-commitment to a moral life. ?Divinity itself enters again into thee, in its first and original form, as life, as thine own life that thou shouldst live and wilt live.?"
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Johannes Vermeer, 2002.
A discussi0on of some of the artist's paintings.
650 words (approx. 2.6 pages), 3 sources, AU$ 41.95
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Abstract
This arts paper discusses three paintings of Johannes Vermeer from the Baroque period. The paper points out the specific Baroque features of the paintings explaining how they make good examples of works from the period. Also the paper briefly explains how viewing a painting online or from a book differs from viewing it in person.
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