| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "JAZZ APPRECIATION": |
|
|
Jazz Appreciation, 2005.
An analysis of the history of jazz music and how it can be used in urban-area education.
3,273 words (approx. 13.1 pages), 11 sources, MLA, AU$ 136.95
»
Click here to show/hide summary
Abstract
This paper discusses the importance of jazz appreciation. It begins by discussing the history of jazz music and how its popularity has changed over time. The paper defines jazz music and discusses jazz musicians. It then goes on to discuss how music, in general, can be used in education and how jazz music, in particular, can be used as a vehicle for urban-area education.
From the Paper
"Anyone in today's world can turn on the radio and find almost every genre of music, except for one: jazz. Jazz was a music form that dominated the billboard charts fifty to sixty years ago, and has slowly faded away, leaving the music industry as a money-interest only business, not very concerned about the music itself. Jazz as a whole today can be found in very few places such as small jazz clubs in big cities, private parties, and unfortunately, elevators. When music is restricted only to certain venues, it is bound to die out soon. Today's music world has pop and rap genres dominating. What many music followers fail to realize is that the roots of their "popular" music evolved from jazz. Jazz music is on a definite decline due to a lack of appreciation and media attention. The music of jazz brings along many positive aspects, most importantly, a vehicle for urban-area education. Through the different stages of the jazz period, and the influences that made a milestone in that period, this classic genre has made a landmark in our world's history."
| |
|
Appreciation, 2006.
An analysis of the theme of appreciation in Simon Ortiz's poem "My Father's Song" and Robert Hayden's poem "Those Winter Sundays."
1,310 words (approx. 5.2 pages), 4 sources, MLA, AU$ 65.95
»
Click here to show/hide summary
Abstract
This paper examines the moments of appreciation, which is the primary theme in Simon Ortiz's poem "My Father's Song" and Robert Hayden's poem "Those Winter Sundays." The poem focuses on the similarities between the two poems. First, the paper demonstrates how the poets of both "My Father's Song" and "Those Winter Sundays" use their writing as a sort of memory of something significant that their father taught them. At the time, continues the paper, this lesson seemed unimportant or irrelevant but in retrospect, it was instrumental in shaping the man the poet became. The paper also examines how the poems are both touching without being overly sentimental. Furthermore, the paper shows how both poems express love realistically, through simple events and actions. Lastly, the paper discusses the poems similar structure -- both are tributes to the poet's father, focusing on qualities that were unique unto him.
From the Paper
"These poems are poignant because they are touching without being too sentimental. In "My Father's Song," the poet is remembering an event that probably lasted no more than ten minutes. However, within those ten minutes, he was able to hear his father's song, which consisted of strong, gentle, and silent movements. His act is significant because the man takes the time out of working to move the mice to the edge of the field. The grown up poet remembers "the very softness/of cool and warm sand and tiny alive mice/and my father saying things" (Ortiz 23-5). This moment triggers the poem in the first place when the poet misses his father and "his voice" (3). The simple and seemingly insignificant things he misses are more powerful than any momentous occasion could ever be. Likewise, in "Those Winter Sundays," we find that uncomfortable moments turn out to be the ones that evoke powerful memories. Johnson states that while we cannot ignore the fact that the poet calls actions of love "lonely" (Hayden 14) and "austere" (14), the "seeming contradiction is precisely what the poet wishes to portray. His idea of love is that it has many conflicting qualities and that it expresses itself in complex ways" (Johnson). The poems are about the actions of a father that speak love without ever saying it or ever having to define it. In many ways, this is how we learn to recognize love--by subtle actions and gestures. These poems also express the love of the each poet. In "My Father's Song," it is woven between the lines from beginning to end with the poet fondly remembering and missing his father and the things he used to say. In "Those Winter Sundays," the poet's final question releases the love that the father's actions prompt."
| |
|
Food Appreciation, 2004.
A look at what influences our appreciation for food.
1,125 words (approx. 4.5 pages), 4 sources, APA, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper explains that the three factors that influence our appreciation of food are taste, smell, and texture. The paper further shows how smell is the most important factor, responsible for 90% of the sense of taste. The paper then explains olfactory adaptation and its importance.
From the Paper
"The three factors that influence our appreciation of foods are taste, texture and smell. The factor which has the most influence on taste is the sense of smell. Often we smell food long before we see it or taste it and are attracted by the smell. Food can smell appetizing and tempt us to eat even when we are not hungry, for example when..."
| |
|
Appreciation, 2006.
This paper shows through various scenarios what happens when more attention is paid to the big events and the small events are ignored.
1,600 words (approx. 6.4 pages), 0 sources, AU$ 76.95
»
Click here to show/hide summary
Abstract
The paper focuses on how by appreciating the small and beautiful things, even in the face of the large and terrible, one could make at least a small corner of the world more pleasant. The metaphysicians state that this will lead to the world being full of more small beautiful events than large frightful ones. If the doomsayers are right, the appreciation of small, beautiful things will expand to fill the available time.
From the Paper
"All the time these 'big things' were going on, however, there were small things, humanizing, spirit-lifting little events that kept us from disintegrating as totally as the World Trade Centers did. There were little things that kept us from agonizing over the betrayal of trust seemingly so prevalent in the world's oldest Christian denomination. There were little things keeping us from despairing that world-class criminals could so easily murder a man who had done nothing but his job, reporting on the big events in the world. Last weekend, we needed little events to keep us from wondering if, like the Genesis planet in the Star Trek series, our Earth was about to shake apart, blow apart and send us all to perdition in a frightful, smoke-and-noise-filled cataclysm."
| |
|
Developmental Trend in Joke Appreciation, 2004.
Presents results of study testing children's responses to three jokes.
675 words (approx. 2.7 pages), 0 sources, APA, AU$ 34.95
»
Click here to show/hide summary
Abstract
This paper describes a study that tested the response of children to three jokes and then analyzes the results of that study. The paper discusses the developmental trend in joke appreciation, participant's verbal and nonverbal reactions and how different age groups reacted.
| |
|
Literature Appreciation: Poetry, Drama and Prose, 2006.
A comparison of various works of literature.
675 words (approx. 2.7 pages), 1 source, AU$ 38.95
»
Click here to show/hide summary
Abstract
This paper examines a number of works from Michael Myer's 'The Bedford Introduction to Literature'. To begin with the paper explores the poetic methods employed in the featured work of Lord Byron and the paper then outlines the themes of three of the greatest plays contained within the anthology. Thereafter the paper adumbrates the plot and character development in a short story by Stephen Crane and delve into the subtle craft of the poetry penned by T. S. Eliot and by Louise Erdrich.
From the Paper
"The following paper will very briefly discuss the theme presented in Lord Byron's "She Walks in Beauty" as well as three elements of poetry in the work. From there, the paper will discuss the main theme in three dramas - Oedipus the King, Hamlet and Doll's House - and offer brief examples from each play to support the conclusions reached; as an addendum, the paper will also detail how conflict played a role in the selection of each theme. Proceeding onward, the paper will examine "The Bridge Comes to Yellow Sky" and discusses how plot and character may have affected the outcome of the story. "
| |
|
All That Jazz, 2005.
A discussion about the topic of music appreciation in relation to jazz music.
1,784 words (approx. 7.1 pages), 4 sources, MLA, AU$ 84.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the topic of music appreciation. Specifically, the paper discusses the author's personal attraction to jazz music and some of its composers and performers. An annotated listening list is appended to the paper.
From the Paper
"Jazz is a uniquely American creation, and perhaps that is one reason I enjoy it so much. In the early part of the 20th century, the music we call jazz and blues were beginning to develop into popular songs people enjoyed. One critic writes, "Unquestionably, the most significant contribution made to music by the United States in the period under discussion lay in the field of popular music" (Hansen 84). Jazz used atypical syncopation and "blues notes," which included a complex variation on the major scale. Most music experts believe jazz and the blues developed from black spirituals and folk music of the South, and stretched from New Orleans to Chicago and then the East. In due course, jazz would influence later styles of music, such and be-bop and swing. In fact, jazz helped generate a popular music rage that seized the country. That passion for jazz continues today. Jazz also influenced other styles of music, as the uniquely American compositions of George Gershwin and Aaron Copland clearly illustrate."
| |
|
Jazz Music, 2001.
This paper examines the history of American jazz music, various jazz artists, cultural, and musical influences.
2,200 words (approx. 8.8 pages), 13 sources, AU$ 100.95
»
Click here to show/hide summary
Abstract
This paper provides an in depth look at the history of jazz, the early development of the music style, through African American musicians trying to create music that was uplifting; the direct opposite of the blues. The author discusses rhythm and instrumentation, numerous jazz artists and popular tunes.
From the Paper
"Jazz is associated with the African American people and this is an influence unequaled in the field of music. The true spirit of jazz arises from a revolt from convention, custom, authority, and boredom, even sorrow, from everything that would confine the soul of man. The blacks that invented it called their songs the blues, and they weren't capable of satire or deception. Jazz was their explosive attempt to cast off the blues and be happy, carefree happy, even in the midst of sordidness and sorrow. Jazz is a release of all the suppressed emotions at once. Jazz is a part of the direct process of African American music. In rhythm it goes directly back through ragtime, through the minstrel period, through the spirituals and dances to its African origin."
| |
|
Race and Jazz Music, 2004.
An historical and cultural exploration of the roots of the debate over whether jazz music is exclusively "black" music.
3,320 words (approx. 13.3 pages), 6 sources, MLA, AU$ 138.95
»
Click here to show/hide summary
Abstract
Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.
From the Paper
"The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."
| |
|
Jazz, 2005.
An overview of the definition and origins of jazz.
1,214 words (approx. 4.9 pages), 7 sources, MLA, AU$ 60.95
»
Click here to show/hide summary
Abstract
Jazz is described as a form of musical improvisation that combines both organization and spontaneity. It is the spontaneous improvisation that separates it from traditional Western music, which is written down in notation as carefully as possible, in order to make sure that it is performed as closely to the composer's intentions as possible. This paper provides a definition of jazz before exploring the origins of this musical genre. The paper examines what makes certain music be regarded as jazz and explores the influence of jazz on other music.
Paper Outline:
Introduction
The Origins of Jazz
What Makes it Jazz?
The Influence of Jazz
Conclusion
Bibliography
From the Paper
"Even though jazz is a rich mixture of melody, rhythm, harmony and inventive improvisation based on those basics, it has always not been treated with respect by music historians and other experts. For instance, in his book An Illustrated History of Music, the author does not even give jazz a mention. Marc Pincherle seems to have a bias toward traditional Western European styles of music, but Gerard (p. 12) states, "Music does not have to be totally predictable to be beautiful." Jazz may suffer because it is often not written down in notation, and because much of its history is recorded informally."
| |
|
The Development of Jazz in the U.S., 1991.
This paper analyzes the development of jazz in the United States: Early influences, Ragtime, Blues, New Orleans Jazz, Big Band Jazz and Bebop, Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbedke, Charlie Parker, Thelonious Mon
2,025 words (approx. 8.1 pages), 10 sources, AU$ 104.95
»
Click here to show/hide summary
From the Paper
"This paper will provide an analysis of the development of jazz in the United States. After a brief overview of the history of the art form, the paper will turn to an analysis of some of the major types of early jazz--ragtime, blues, New Orleans jazz, the Big Band, and Bebop. Finally, the paper will conclude with some of the personalities that made jazz such a vital and exciting art form: Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbecke, Charlie Parker, and Thelonious Monk.
During the 1920s, while European classical music was being "turned upside down" by such composers as Arnold Schoenberg and Igor Stravinsky, the United States was quietly, developing its own distinct and separate musical form with a decidedly unclassical name--jazz. At this point, jazz was not the product ... "
| |
|
Jazz: The American Heritage, 2002.
Looks at the origins, history, and composition of American jazz.
1,774 words (approx. 7.1 pages), 8 sources, MLA, AU$ 84.95
»
Click here to show/hide summary
Abstract
This paper delves into the indigenous, American creation of jazz music. It looks at the relationship between the origins of jazz and the history of African-Americans, the main characteristics of jazz music, and the instruments originally used for playing jazz. The beginning of jazz music in New Orleans is discussed, as well as some of the influences on the music and the different types of jazz that evolved over time. Famous jazz musicians and singers are also mentioned.
From the Paper
"A significant relationship exists between the origins of jazz and the history of African-Americans. To entertain themselves and get through the grueling days, plantation slaves would perform music that would remind them of their African homeland. Their songs, sounds and compositions would be on the wide variety of singing, rhythms and melodies that ranged throughout the continent."
| |
|
Jazz in the Twenties, 2005.
This paper discusses the history of jazz in the twenties as it developed in two centers, Chicago and New York.
2,635 words (approx. 10.5 pages), 14 sources, MLA, AU$ 116.95
»
Click here to show/hide summary
Abstract
This paper explains that, with the closing of the Storyville seaports in New Orleans and increased discrimination in the south, numerous musicians began to venture to Chicago and New York with hopes of finding prosperity in their field of business--jazz. The author points out that, in Chicago, the four main styles of jazz were Boogie Woogie, Chicago Jazz, Society Jazz and Urban Blues and the major innovators were Bix Beiderbecke and Benny Goodman. The paper relates that, in New York's Harlem area, which did more for the Jazz age then any other town in the world, jazz flourished in the different styles of bands from big band to spasm bands and in innovators such as Paul Whiteman, James Reese Europe and Fletcher Henderson, which resulted in the Harlem Renaissance that opened the eyes and the mouths of African-American public.
From the Paper
"Bandleader Paul Whiteman was another major New York Jazz figure of the era. He was especially famous for introducing jazz into the mainstream audience of the decade. Not only was he a great performer of the day, be he also gave back to the jazz community as an avid listener and audience member himself. For instance, Duke Willington stated, "no one could fault Whiteman for his generosity of spirit." In 1924, after finishing his evening at New York's Palais Royal, he would stop by around the corner at the Kentucky Club to soak up the sounds of Duke Ellington and his Club Serenaders."
| |
|
"Jazz", 2005.
Examines how jazz music connects people in Toni Morrison's novel.
1,524 words (approx. 6.1 pages), 1 source, AU$ 73.95
»
Click here to show/hide summary
Abstract
As the title suggests, "Jazz" connects key aspects of jazz music to the disenchanted lives of the book's characters, creating three significant parallels. Overall, the book becomes an instrument for Toni Morrison's melody. The paper shows that, first, like a jazz ensemble, each character's solo is arranged together to create a disjointed unity, contrasting notes that somehow come together. Second, a new and unique rhythm, voice, beat and language are created that go beyond the conventional forms of both music and storytelling. In other words, the book tries to portray the importance of jazz for blacks in Harlem in the 1920's. It becomes a way of communicating a history, a present, and a future that have never before been told. The paper shows that, finally, the door is opened for improvisation, change, and perhaps even hope.
From the Paper
"Essentially, through these jazz-like lyrics, Morrison provides these characters with a way to tell their story. Otherwise, they do not know how to talk to each other; in fact, they can't seem to communicate in the traditional way through conversation. Therefore, they need, even want, their own form or method for saying what they want to say. For example, the narrator tells us that "Maybe everybody has a renegade tongue yearning to be on its own" (24). In the meantime, however, "Violet shuts up. Speaks less and less until "uh" or "have mercy" carry almost all of her part of a conversation".
| |
|
The Roots of Jazz, 2003.
Reports on the history of jazz, what it is today, and who some of its key players were.
2,025 words (approx. 8.1 pages), 7 sources, MLA, AU$ 94.95
»
Click here to show/hide summary
Abstract
This paper emphasizes the history of New Orleans and how it was such a perfect place for jazz to take hold and grow. The paper examines the city's race relations, reconstruction, its allowance of prostitution, and how these city characteristics fostered the growth of jazz.The paper also looks at some of the key players that were instrumental in popularizing jazz and examines the hardships faced by up and coming jazz musicians like Buddy Bolden and his sister, Lottie Bolden.
From the Paper
"To define the roots of jazz is to look into all that the cornucopia of Southern culture has to offer. It incorporates forms of music that are so widespread that it is often difficult to understand how they could have come together to create a music that is truly and completely American. From classical to hymnals, confederate marching bands to back-wood folk tunes, jazz brings together musical characteristics that come from Africa, Europe, the Caribbean and America. But the stage that these elements would come together upon was the most important key in the creation of jazz. It is difficult to surmise how this vast array of influences could have united in any place other than New Orleans. It is in this city of lust and guilty pleasures that jazz was born and its dirty cradle would provide jazz with an audience that spread throughout the country. The musical industry that jazz would become could not have formed without New Orleans? mixed culture and its allowance of prostitution in the region popularly known as Storyville. New Orleans at the turn of the century on one hand was a city ahead of its time in fashion and entertainment, and on the other hand far behind in race relations. It hosted several opera companies and incorporated some of Europe?s highest fashion. French and Creoles still had a strong presence in the city and brought their own individual flavor to the popular culture of the time. This however, would create divisions among races that ignited a variety of race riots in the early 1900s that would leave parts of the city badly damaged physically and culturally."
| |
|
The Changing Sounds of Jazz, 2007.
This paper discusses jazz focusing on the Dixieland revival of the 1930s and the blues revival of the 1960s.
1,727 words (approx. 6.9 pages), 5 sources, APA, AU$ 81.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that the sounds of jazz with its unique rhythms, instrumentals and vocals remain a mystery to many even today. However, the writer points out, it is more through a lack of understanding of the sounds of jazz, perhaps even the history of the music that it is cast into the category of musical mystery for those less gifted, but who nonetheless appreciate good music. The writer discusses two special moments in the history of jazz:the Dixieland revival period, or the "Swing Era," during the early 1930s and going into the 1940s; and the blues revival of the 1960s. The writer notes that a look at these two periods of musical history is interesting, and a music lover's delight, and informative when considering the influence both periods had on what is jazz today.
Outline:
The Dixieland Revival of the 1930s
Blues Revival of the 1960s
Conclusion
From the Paper
"Some historians have traced the roots of blues to a period in American history beginning with the arrival of the first slaves, in 1619. Ambiguous or contentious as that may be, it nonetheless serves as a marker for what is surely one of the most significant forms of music in America; the blues. Perhaps what can be said, without contention and without setting historians and musicians alike into a tailspin, is that the blues, like Dixieland, have experienced peaks and low in musical history, and has contributed and influenced the heart of jazz. One of the significant periods in history where the blues experienced both a revival in sound and style, and from which, like the Dixieland of the 1930s, emerged new figures of greatness; and a time that greatly influenced and helped spotlight once again jazz, is the 1960s."
|
|
|
