| Papers [1-16] of 18 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "HORN": |
|
|
The Horn, 2005.
This paper discusses the development and use of the horn during the Baroque era.
1,895 words (approx. 7.6 pages), 11 sources, MLA, AU$ 88.95
»
Click here to show/hide summary
Abstract
This paper explains that, during the first third of the 18th century, horns were making their way into the theater and ballet; a new horn, the Waldhorn, or "forester's horn", first made by Michael and Johannes Leichnambschneider in Vienna in the 1690s, was created for indoor orchestral use and eliminated the problems presented by parforce-horns (hunting horns). The author points out that an example of one of the earliest uses of the horn in a score is in the opera "Le Nozze di Tito e di Peilei" by Cavalli, first produced in the Teatro San Cassiano in Venice in 1639 and again in Paris in 1654. The paper relates that George Frideric Handel was the first to use horns in concert music in England as evidenced in the orchestral suite "Water Music" of 1717, written for George I in which a pair of horns playing in horn-fifths appears in the third and ninth parts of the suite and is set apart from the rest of the ensemble.
From the Paper
"Until about 1700, parforce-horns, or hunting horns, were the instrument used. They were short in length for ease of carrying on the hunt and only delivered single-note hunting signals. They were not yet used in a musical fashion. Around 1700, new longer instruments were made that allowed more overtones to be played. These hunting horns were known by the names Cor de chasse in France, Jagdhorn in Germany and corno da caccia in Italy. They could play twelve or more harmonics and had a narrow bore, thus producing a bright strident sound. The mouthpieces were shallow and conical, like those of the modern trumpet. The first hunting calls in which they were used musically are played in 6/8 time to imitate the galloping of horses. The players used the overtones in a manner we call "horn fifths". The first horn plays scale degrees 3,2 and 1 successively while the second horn plays a third, fifth and sixth below those tones, and the same in reverse."
| |
|
The Heroic Ideal in "King Horn" and "Sir Orfeo", 2002.
Examines what encompasses the character of a romantic hero in the medieval works, "King Horn" and "Sir Orfeo" (authors unknown).
875 words (approx. 3.5 pages), 1 source, MLA, AU$ 46.95
»
Click here to show/hide summary
Abstract
In a feudal age when lords and ladies lived in accordance with chivalric codes, society viewed the heroic ideal not as an elusive paradigm, but as an essential component of a good man. The paper shows that the ideal, stereotypical hero in a romance is a strong, crafty, brave, courteous, charmingly handsome ladies' man of noble birth. As opposed to the epic hero who retains some degree of individuality as he strives for high achievement, the romantic hero is a type of man who encounters unrelated adventure after adventure while on his quest to accomplish a goal such as rescuing a lady in distress, obeying a king's command, or seeking the Holy Grail. The paper discusses the image of a hero in "King Horn" and "Sir Orfeo", by anonymous authors, where he is a man of high standing who is exiled and then forced to rebuild his reputation in a foreign land.
From the Paper
"Unlike Horn who consistently relies on his attractiveness, Orfeo forsakes his appearance to assume the appearance of a poor pilgrim; "al his bodi was oway duine" and "his here of his berd, blac and rowel' (356). Such renunciation of the luxurious life he previously led is his effort to associate himself with the natural world so that he can
retrieve his wife Heurodis from the fairies. At the same time, the medieval audience recognized this alienation motif as essential to a hero's development. Only when his beard is shaved off, his self-imposed isolation ending with the acquisition of his queen, can Orfeo once again dress as a handsome king, charming his audience in addition to his subjects."
| |
|
Battle of the Little Big Horn, 1996.
Analyzes historical reporting of battle between General Custer's troops & Native Americans. Historiographic background, eyewitness testimony, modern interpretations, myths, revisionism, battlefield monument.
4,500 words (approx. 18.0 pages), 16 sources, AU$ 197.95
»
Click here to show/hide summary
From the Paper
"Every year over 200,000 people visit the site of the Battle of the Little Big Horn in Montana. Long known as the Custer Battlefield National Monument, the name of the site was changed in 1991 when Congress made it the Little Bighorn National Monument and the monument to the Indians was planned. This shift in emphasis at the popular tourist attraction is the result of changes in the perception of the battle's meanings for both Native Americans and white Americans. The change represents an outward sign of the re-thinking of history that has slowly recognized how both popular myths and supposedly objective history serve hidden agendas. Feminist and ethnic groups' critiques of the way all kinds of history has been written have gradually produced wider recognition of the fact that these underlying interests need to be brought out in the open and..."
| |
|
With the Horns of a Lamb and the Voice of a Dragon, 2001.
This paper discusses Marilyn Manson's autobiography.
1,000 words (approx. 4.0 pages), 2 sources, AU$ 51.95
»
Click here to show/hide summary
Abstract
This paper examines the checkered and violent life life of Marilyn Manson, the hard rocking singing star from his childhood, as an outcast and rebel to his development as a singer. It also examines how the events in his life, as discussed in the book, are reflected in his music.
From the paper:
"Marilyn Manson?s book, The Long Hard Road out of Hell, tells the dramatic story of one man?s metamorphoses from an innocent, sensitive child to a hardened, fame splattered rock star whose name was synonymous for millions of people with evil itself. If it were written differently, it might be a book to make one cry: the pathetic story of an outcast boy who can never quite seem to be good enough, and finally embraces an illusion of evil in order to make himself powerful. However, the pathos is rather directly thwarted by the immense humor and strength of the central character and narrator. Marilyn is not sitting about feeling sorry for himself, any more than the any winged insect which has gone through metamorphosis sits about bemoaning all its time spent writhing about in the dirt. He faces the dirty aspects of his childhood with a gentle mix of contempt and sympathy for the snot-nosed brat he was. One might also find pitiable the struggle of the grown man to overcome the coldness within him, yet at the same time there is a sense of Becomingness within that coldness, of a winter that is already naturally breaking itself into spring."
| |
|
Massacre at Little Big Horn, 1993.
A histiographic study of the battle between Custer and the Sioux Indians as an example of the victor's control of history.
1,125 words (approx. 4.5 pages), 6 sources, AU$ 57.95
»
Click here to show/hide summary
From the Paper
"The subject of this paper is the process by which history is manipulated. The thesis of this paper is that even learned history is subject to manipulation of a sort, the same manipulation of dominant cultural interpretation that permeates taught history. A case in point is the historical record of General George Armstrong Custer, the Sioux Nation, and the Battle at Little Big Horn.
During the winter of 1875-1876, the Army tried to collect all the Indians quickly. The Indians in Montana were out hunting, however, because the winter was so severe that the reservation needed more food. Whether the Indians knew the Army wanted them back or not, they did not respond to the Army's attempts. Consequently, the Army went after them. Custer, who was in charge, expected to find a small group, but he discovered..."
| |
|
Long-Horned Sculpin, 1996.
Biology of seafloor-dwelling fish. Looks at its size, features, color and reproduction.
1,800 words (approx. 7.2 pages), 18 sources, AU$ 92.95
»
Click here to show/hide summary
From the Paper
"The Long-Horned Sculpin (Myoxocephalus octodecimspinosus)
The sculpins, or cottids, are a widespread family. The fish live near the sea floor. Perhaps they are most easily recognized by their eyes. These are large, and placed high on the head. To some, the cottids may appear strange-looking, or even ugly. Nonetheless, the fish are important ecologically. The long-horned variety, Myoxocephalus octodecimspinosus, is an unremarkable sculpin.
Myoxocephalus octodecimspinosus belongs to the phylum Chordata, the subphylum Vertebrata, and the superclass Gnathostomata. A ray-finned fish, M. octodecimspinosus is also a member of the class Actinopterygii. The species further belongs in the division Teleostei, the subdivision Euteleostei, the superorder Acanthopterygii, and the order Scorpaeniformes (Nelson.."
| |
|
Djibouti, 2003.
Describes the nation's search for stability in the Horn of Africa.
2,250 words (approx. 9.0 pages), 5 sources, AU$ 115.95
»
Click here to show/hide summary
Abstract
Presents an overview of the economic and political environment of Djibouti. Discusses key political and ethnic disputes, the lack of natural resources and industry, and the lack of arable land. Examines the development of international trade.
From the Paper
"The tiny Republic of Djibouti, which is nearly the size of the state of Massachusetts, is emerging from the latest round of Horn of Africa travesties with a positive political and economic outlook on the future (CIA- The World Factbook 1). In a region ..."
| |
|
The History of Evil Symbols, 2000.
A study of various common symbols with evil connotations.
1,850 words (approx. 7.4 pages), 8 sources, APA, AU$ 86.95
»
Click here to show/hide summary
Abstract
This paper explores the origins of evil symbols including the pentagram, the eye (the evil eye, the third eye), the horns, the cross, the ankh, the number "6" and the snake. It investigates the reason why these common symbols have become associated with evil in today's society. The paper includes many high quality images of the symbols.
Table of Contents
Table of Contents
The History of Evil Symbols
The Eye, The Evil Eye, The Third Eye
Horns
The Cross
666
The Snake, The Serpent
From the Paper
"There are many symbols commonly found in art, architecture, and literature which are associated with evil. These symbols have come to denote evil or are used to add evil meaning to otherwise ordinary things, yet the true origin of such symbols is historically not linked to evil at all."
| |
|
The Evolution of the Brass Band, 2002.
This paper is an extensive treatise on the development of the brass band from earliest times to the relation of the brass band to American jazz.
20,000 words (approx. 80.0 pages), 53 sources, MLA, AU$ 363.95
»
Click here to show/hide summary
Abstract
This paper explains the cultural history, the development of brass instruments, the bands, the instrumentation of many bands and the composers for brass band music. This paper discusses that the development of brass instruments has been an ongoing process of interaction between cultures and the technological advancements of the instrumentation. The author feels that the various styles of brass music - blues, ragtime, minstrel tunes, the early Broadway melodies and the music of the brass bands - continue to gain in popularity.
Table of Contents
Introduction
The Sound of Brass Music
The Early Influences
The "Dark Ages" and Horn Band Music
Enter Brass
Russian Horn Bands
The Precursors of Valved Instruments
Brass Comes Back
The Development of Valve Instruments
Military Brass Bands
Prussia
Calvary Jager
Cavalry Artillery Jaqer
Austrian Band Music
Brass Band Music in France
Brass Bands in England
Salvation Army
United States
From the Paper
"One of the unique aspects of a brass organization is that most of the instruments operate in exactly the same way and so there is scope for moving around from one instrument to another as a person's physique changes or as a way of achieving variety in one's musical satisfaction. There are three main types of instruments involved -- keyed, valved instruments (trumpets, cornets etc.), slide instruments, and percussion."
| |
|
Jazz Musician Louis Armstrong.
This paper discusses the life of jazz musician Louis Armstrong especially his early formative years.
845 words (approx. 3.4 pages), 4 sources, APA, AU$ 44.95
»
Click here to show/hide summary
Abstract
This paper explains that Louis Armstrong started his career by blowing on a little tin horn, the kind with which people celebrate; he could mimic some of the music he heard around his home and the kids loved the sound of the little horn. The author points out that Armstrong, who lived in an area where he heard street musicians and steamboat bands, developed a perfect pitch and began teaching himself music. The paper relates that, in his teen years, having shot a borrowed pistol into the air, he got arrested and was sent to the city's Waif Home for Boys where he came under the very capable tutorship of Peter Davis, a brass band leader, who taught him how to play the cornet. Picture.
From the Paper
"As an infant, his grandmother Josephine Armstrong raised Louis because his father abandoned him and his mother around the time of birth. He began his life struggling in the slums of New Orleans. He grew up in a bad area know as "The Battlefield" were gun and knife fights were not uncommon. At the age of seven he moved back with his mother and sister in Stormville where he worked for Jewish families for money. Now Stormville consisted of dance halls, brothels and honky tonks, it was an entertainment district where music was all around him, so he could hear music from outside his house when he woke up in the morning and when he went to bed at night."
| |
|
The Practice of Wicca, 2003.
A discussion on Women and Wicca: An alternative neo-pagan religion and its pro-feminine ideology.
1,610 words (approx. 6.4 pages), 7 sources, MLA, AU$ 76.95
»
Click here to show/hide summary
Abstract
The paper discusses the religion of "Wicca" and notes that women who have sought a more egalitarian path, found that answer in Wicca. The paper explains the rationale behind this neo -pagan religion, what it is based on, its symbols and its rituals. The paper comments that Wiccans follow a lunar year, practice "magic", but they view it as more of a cosmic energy that exists within all of us. The paper comments that since the central focus of Wicca is the Goddess fertility, and her consort a horned god, it has created a great deal of feminist appeal. The paper concludes that Wiccans encourage all who are interested in their religion to research as much information as possible and to make an informed decision.
Outline:
What is Wicca?
Women and Wicca
From the Paper
"Wicca does not have a formal "book" of its teachings like a Bible or a Q'uran. This is partly due to it being a nature based religion whose roots are akin to a faith that was based on an oral tradition. Wiccans are encouraged to keep a "Book of Shadows", which may consist of a personal chronicle with incantations, Wiccan teachings, personal reflections, etc. Wicca does not have a canon of laws, but practioners are required to celebrate the eight Pagan holidays based on the Lunar Calendar (October 31 to October 30). The holidays are Samhain (Oct.31), Imbolc (Feb. 2), Spring Equinox (March 21), Beltane (April 30), Summer Solstice (June 21), Lughnasadh (July 31), Autumn Equinox (Sept. 21), and Yule Lore (Dec. 21), (The Celtic Connection). The New Moon and Full Moon celebrations are of significance importance as well, since the moon is representative of the Goddess. The different feasts are sometimes associated with a pantheon of Celtic and Druidic deities apart from the Goddess and God. Each of these festivals has its own rituals and observances, and some even coincide with Western religious practices. "
| |
|
We Are Still Here, 2003.
A review of Peter Iverson's book, "We Are Still Here: American Indians in the 20th Century."
690 words (approx. 2.8 pages), 1 source, MLA, AU$ 34.95
»
Click here to show/hide summary
Abstract
This paper discusses Peter Iverson's book, "We Are Still Here: American Indians in the 20th Century." It reviews the impact of two major battles between the American army and American Indians namely, the Battle of Little and Big Horn Battle. It explains how these battles led to the 1890 massacre of Sioux men, women and children at Wounded Knee, which was the final battle in the four-centuries-long war between native Americans and European-American settlers.
From the Paper
"Peter Iverson certainly knows what happened at the Battle of Little and Big Horn Battle. It was one of the last great battles in the centuries, war between different American Indian nations and European-Americans. The Sioux won that battle of course bringing ..."
| |
|
"The Member of the Wedding" by Carson McCullers, 2006.
This paper focuses on the symbolic use of music in Carson McCullers' novel "The Member of the Wedding."
1,507 words (approx. 6.0 pages), 3 sources, APA, AU$ 72.95
»
Click here to show/hide summary
Abstract
This paper centers on the character of Frankie Adams' incomplete development and the symbolic use of music in Carson McCullers' classic novel "The Member of the Wedding." One of the most important examples of how the author uses music to signify Frankie's development is illustrated through the jazz horn in part one of the book while in part two the music of the piano foreshadows her progression towards maturity. This paper also examines how music signifies Frankie's instability within herself and the world around her.
From the Paper
"In part two of the novella, the music of the piano also foreshadows Frankie's progression towards maturity. As the neighbor's piano is being tuned, it carries out the sound of interrupted music. With every repeated stop and start, it shows the music is out of Frankie's control. Because the music is disoriented, it represents the unpredictable ways of Frankie not finishing her transition to young adulthood. The musical references symbolize the confusion and chaos Frankie associates with her transition in the world."
| |
|
Paleolithic Arts and the Evolution of Culture., 2002.
A look at the history of art by focusing on Paleolithic arts.
1,650 words (approx. 6.6 pages), 5 sources, AU$ 90.95
»
Click here to show/hide summary
Abstract
This paper discusses prehistoric art in the context of two particular features: one, the most dominant forms of this art are "portable" graphics, suggesting that iconic art was mobilized throughout geographic areas, and second, that much of this artwork is intextricable from technological innovations in carving, etching, "pecking/chipping" and shaping various mediums such as bone, ivory, horns, antlers, and softer stones.
| |
|
Zydeco Music and its Cultural Importance, 2002.
This is a paper about the history and influences of zydeco music.
793 words (approx. 3.2 pages), 6 sources, MLA, AU$ 41.95
»
Click here to show/hide summary
Abstract
Zydeco is an important musical genre and the writer defines it as fun, upbeat dance music from southern Louisiana; characterized by scrub board and thimbles, spoons (metal or wooden), fiddle, triangles, accordion and occasionally a horn or two. This paper discusses its unique origins, the impact it has had on other music forms and the what the future holds for Zydeco followers. The paper looks at the types of people who follow Zydeco music and some of its major artists.
From the Paper
"The reason this genre of music is not wide spread is very simple: the French Creole dialect. Most people cannot understand the lyrics because they are generally written and performed in French Creole (Kein, 41). This dialect was very prominent in seventeenth and eighteenth centuries in Louisiana and surrounding areas by African-American descendants and a few white settlers in rural areas (Kein, 133). After the Louisiana Purchase, English became more prevalent and French Creole died out except in rural areas and was passed down from parent to child and so on(Kein 56). Today, English is more often than not is the primary language used in Zydeco with hints of the Creole heritage."
| |
|
African Violence, 2004.
An attack on the naturalistic conception of African violence in the media.
3,031 words (approx. 12.1 pages), 15 sources, APA, AU$ 130.95
»
Click here to show/hide summary
Abstract
This paper examines the construction of Africa as a ?naturally violent place? by attempting to show that such portrayals misrepresent a complex and ambiguous picture. It looks at how such portrayals form a representation that affects the social world, both in the global North and in the South. It argues that contrary to journalistic depictions, which tend to naturalise and remove African conflict to some ahistorical realm far away from the global North, the roots of many of the conflicts plaguing the Horn of Africa can be found in the intersection of the global and the local. It also examines some of the conflicts in North East Africa and argues how one of the elements critical to these conflicts is not just the weapons flows and economic interests of the Global north but the way global narratives ? of progress, of modernity ? are taken up and played out.
From the Paper
"Before examining the construction of ?natural violence?, it is important to consider what violence is. When confronted by Alice Lakwena, an Acholi woman from northern Uganda who was possessed by a Christian sprit known as Lakwena and started a guerrilla group ? journalists employed terms like ?voodoo priestess.? Journalists, in being asked to report on the now, especially in a place so far from their understanding, tend to neglect history ? Johnson (2003) called it an institutional amnesia. This is not simply the fault of journalists; violence, a war, has this compelling property. So great are the upheavals of war, and the apparent discontinuities they bring with them, that they can often mask the deep rooted reasons for such struggle."
|
|
|
