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. "
Abstract This paper discusses how the Brandenburg v. Ohio (1969) case has been an active and major precedent that sets the standard for cases that relate to, or fall under the protection of freedom of speech guaranteed by the First Amendment. This paper examines such cases and focuses on one case that did not fall under its protection: Rice v. Paladin Enterprises (1997), also known as "The Hit Man" case. This paper concentrates on what distinguished both these cases from each other in order to make one fall under the protection of freedom of speech of the First Amendment and the other not.
From the Paper "On October 26th 1984 a 19 year- old boy named John Mc Collum shot himself and died while he was listening to the recorded song of the rock singer Ozzy Osbourne. He was found dead with the headphones still on and had been listening to the lyrics of the song called "Suicide Solution" which followed:
"Ah know people
You really know where it's at
You got it
Why try, why try
Get the gun and try it
Shoot, shoot, shoot" (as cited in Mc Collum v. CBS Inc., 1988)
The family of the boy sued CBS Records and Ozzy Osbourne holding them responsible for the suicide; the Superior Court of Los Angeles County dismissed the case. The Court of Appeal affirmed."
This paper discusses Bach's "Brandenburg Concerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, 2005, $ 36.95
Abstract This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "Brandenburg Concertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth Brandenburg Concerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper "While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
Abstract The paper looks at the broad context within which the elevation of the German-speaking peoples took place. The paper looks at the role the Treaty of Westphalia played in prompting German militarism under the reign of Frederick William I of Brandenburg. The paper explores in detail the policy initiatives and exploits of the three great leaders who turned Brandenburg-Prussia into an aspiring and powerful state: Frederick William I of Brandenburg, Frederick William I of Prussia and Frederick William II of Prussia. The paper argues that all three were driven by a desire to make the country militarily powerful, economically wealthy and with sufficient human resources to allow the fledgling nation to overcome the advantages of its neighbors and rivals.
From the Paper "In the eighteenth century, the German peoples of Central Europe still lived within what was then the Holy Roman Empire. That is to say, there was still a Habsburg Emperor, there were still electors (albeit only eight after Bavaria and the Palatinate were joined in 1778) and there was still a Diet which met regularly at Ratisbon (Hayes, 342). Nonetheless, a case can be made that the German territories of the eighteenth century were ones in which the Holy Roman Empire became increasingly dispensable in the eyes of the inhabitants. For instance, the ancient Peace of Westphalia dictated that each German state was permitted to freely make war or peace without consulting the emperor - each prince, in fact, was granted sovereign authority (Hayes, 228). Thus, the political bonds which might have previously bound the German areas of continental Europe to the ancient empire of Charlemagne were vastly weakened - if not fatally undermined."
Abstract This paper reviews "The Great Elector" by Derek McKay. The book, which is about Frederick William of Brandenburg, whose position as an elector gave him the power to vote for or against the Holy Roman Emperor, is reviewed in terms of how McKay treats the question of ethical leadership, the issues raised in the book, and in terms of McKay's underlying assumption about what it takes to be a successful leader. The paper also looks at the implications the book has concerning the rise of Nazism.
From the Paper "It is difficult to evaluate history or historical figures without bias and in terms of historical setting. However, this is exactly what Derek McKay attempts in his book, The Great Elector about Frederick William of Brandenburg. McKay's purpose is to provide a biography based on the circumstances of the time as well as what is known about the man without judgment concerning his effect on history. This is a difficult task, especially for a person whose epithet, "the Great Elector" contains an inherent judgment and presumptive bias, albeit the epithet was given to him by contemporaries."
Tags: hohenzollern, holdings, thirty, years, war, absolutism, calvinism, protestantism, realpolitik, nationalism
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."
Tags: concertino, counterpoint, harmony, baroque, romantic, classical, music
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."
Abstract This paper is an examination of the Pietist religious movement which stressed education and hard work, and how it influenced the Prussian State of the Holy Roman Empire during the early eighteenth century. By improving society's social values, as well as disciplining and strengthening the military, the Pietist movement's influence, under Frederick William I, made Prussia a stronger and more stable force in the empire.
There is a good bibliography, but no footnotes, or endnotes.
From the Paper "The Pietist movement first gained a foothold in Brandenburg-Prussia following the exile of Spener and Francke from Saxony in 1690. In Brandenburg, the University of Halle was established, and Spener and Francke began preaching freely, in Berlin and the university respectively. Frederick I banned the two from being spoken out against by Lutheran opposition, and even channeled religious debates through them for their opinions. This close alignment with the Hohenzollern court proved vital to the spread of Pietism throughout Prussia under Frederick William I. The popularity and reputation of the University of Halle, which attracted more than 1200 students in just twenty-five years, also helped the new movement flourish."
Abstract Studies performed by Brandenburg and others suggest that 6 to 10 percent of school-age adolescents show signs of conduct disorder and that 25 to 50 percent of juveniles with conduct disorder become antisocial adults. This paper provides an overview of conduct disorder in young people. It looks at symptoms, nature and nurture factors that contribute to conduct disorder, as well as treatment options.
From the Paper "School remains an immeasurable source of influence in juvenile behavior. Children spend as much time interacting in school relationships as they do in family relationships. Curriculum that is designed for the "normal" student may not be effective with those affected by Conduct Disorder. Also, the same problem with discipline exists with school relationships as it does with family relationships (Hallahan, 234)."
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
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.""
Abstract This paper discusses the issue of freedom of expression, which has required legal interpretation of our constitutional rights and reexamination of the First Amendment in our courts. The writer notes that there are three types of speech: 1) constitutionally protected speech, 2) speech given intermediate protection and 3) fully protected speech, and cites some Supreme Court cases such as Brandenburg v. Ohio (395 U.S. 444 (1969)) which drew the line where free speech ends and unprotected speech begins. Movies that depict violence have already been shown to incite viewers to illegal acts. Rap and heavy metal music are still afforded protection under the First Amendment, but are now under scrutiny as to whether they merit that protection, and the writer quotes several song lyrics which contain words that spur children and adults to lawless acts. The writer concludes that research shows that courts will decide that any speech directly advocating a particular audience to act upon some illegal activity will not be protected under the First Amendment.
From the Paper "The first instances in our country's history of challenges to the First Amendment came in the year 1798, when we were on the verge of war with France and during the early days of the abolition movement. In fact, colonial America did not particularly cherish the concept of freedom of expression. According to Leonard Levy in Freedom of Speech and Press in Early American History, "The American people did not understand that freedom of thought and expression means equal freedom for the other fellow, especially the one with hated ideas." In this respect, the more things change, the more they stay the same. For even now, most controversy over freedom of speech occurs when people differ over which things are considered worthy of being protected."
Tags: Congress kill statute lawlessness appeals, Ku Klux Klan, copycat restriction offensive
