Abstract This paper describes a particular Chinese Buddhist chant used for both individual and group practice, which is the repetition, through singing or chanting, of one of the names of Buddha - Amitabha. The author points out that Amitabha, which is an ancient chant, was written in the Sanskrit language before Buddhism was transmitted to China. The paper relates that the chanting is sometimes accompanied by percussion instruments.
From the Paper "The Chinese Buddhist chant I have chosen to describe is, perhaps, one of the simplest and most ancient - the chanting of Amitabha. While some Chinese Buddhist chants were originally written in Chinese, this one predates the transmission of Buddhism to China and is therefore written in Sanskrit, the original language of Buddhism that comes from northern India. Amitabha is one of the names of Buddha, and the chant is associated with repentance and forgiveness. It is, in most cases, as simple repetition of the four-syllable word 'Amitabha', though in some cases other syllables are added to it. Buddhist thought values simplicity above all things."
Abstract This paper explains that the earliest form of known sacred music is the chant, a monophonic, single-line melody using free-verse rhythm. The author explains that the Gregorian chant was not arranged until the 11th and 12th centuries; therefore, it is difficult to reconstruct the exact music from Charlemagne's court. The paper relates that the Gregorian chant is about the text; its roots are in the liturgical, sacred Latin texts being read aloud.
From the Paper "During the rise of Charlemagne's rule, learning, trade and the appreciation of culture took hold of Roman Empire. Charlemagne's keen interest in music explains why certain monasteries of his reign became large centers for church music. Charlemagne brought monks from Rome to stabilize and reform the church music in his kingdom. St. Ambrose and St. Gregory have come to be named and honored in musical history. Ambrose was Archbishop of Milan from 374 to 397. He took a keen interest in church music, and did much for its advancement. He devised a general system of chanting known from his name as the Ambrosian Chant. When Ambrose died, church music again deteriorated."
Abstract This paper explains that the 21st chant of Walt Whitman's "Song of Myself" can be divided into four main parts: The first two lines function as an introduction of the basic themes, which are developed throughout the rest of the chant; the next three lines (line 3 to line 5) focus on the theme of the night, or rather the Night; lines 6 to 13 develop the theme of the Earth and, finally, the last two lines synthesise the whole in a notion of universal Love. The author points out that the first two lines of the chant take the form of a statement, which once again evokes the style and melody of Biblical poetry and especially the expression "I am he that...". The paper relates that Nature is seen from a cosmic point of view; the reader gets glimpses of the air, the water, the earth, as if the basic elements of the universe are uniting.
From the Paper "The vision of the Night which has shrouded the Earth is maintained throughout the third part too but without actually mentioning the Night itself. We have the allusion to sleep as the trees are "slumbering", the poet also uses the expressions "departed sunset" and "misty-topt" mountains. We have a whole nightscape by the end of the third part with the image of the "full moon" and the "dark... tide of the river". He proceeds from a description of a landscape to the creation of a more imaginary one, of a poetic landscape ("liquid trees"). It is also intensely personal, we have the unclear vision of a dreamer, and it is partly surreal and distorted. The description is freed from control of reason and consciousness."
Abstract This paper describes the daily invocations and chanting, which comprise one part of Buddhist practice. The author points out that, contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere formulated exercises. The paper explains that these chants are , sophisticated rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being.
From the Paper "This brief essay is a review of the sonorous and seemingly inscrutable chanting that informs Chinese Buddhism. Contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere "external exercises, carried out in prescribed order" (Welch, 80-81). They are, rather, sophisticated and significant rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being - chanting of the Buddhist liturgy being of especial importance. With that in mind, this brief essay examines the chanting of Chinese Buddhist monks in greater detail for it is only through such inquiry that true understanding can emerge."
Abstract This paper explains that Mariama Ba's "Un Chant 'Ecarlate" ("Scarlet Song") is about the failure of an interracial marriage between a young, poor man from Senegal and the daughter of a French diplomat, focusing on the difficulties of an interracial marriage, such as family opposition from both sides, the weaknesses of the husband and the culture shock of the wife. The author points out that Mariama Ba, born in 1929 in Senegal, was raised by her grandparents in a traditional Muslim household and, being a divorced mother of nine children, was no stranger to the trials and tribulations of marriage. The paper relates that this book makes no attempts at hiding the injustice of the Africans toward the white woman; like a Greek tragedy or a morality play, the lesson is for the people who hear and read the words of the author. Several long quotes.
From the Paper "The men in the novel are, surprisingly, more sympathetic then the women of the novel. Strangely enough, it is Ousmane''s father, the Koranic scholar, who is the family member most accepting of his white daughter in law, though this is of little comfort as he calls the marriage "a necessary evil," (pg 66). While this may not sound like a ringing endorsement, it is considerably better then being an active force in his daughter-in-law's downfall. Ali, a close friend of Ousmane and the husband of Rosalie reproaches Ousmane for his treatment of his white bride. "How can you, Ousmane, betray trust? I hardly know you in your new guise.......besides, what do you reproach your wife with? Her Colour? Her mentality? The same grievances that her father had against you? Ridiculous! You are the racist now." (pg 138)"
Abstract This paper provides a historical background to the Gregorian chant, an important musical style that came to represent all holy occasions by putting poetry to music, and charts its development through the years. The paper then discusses and describes four hymns that are still used today: Stabat Mater Dolorosa or "Our Lady of Sorrows", Pange Lingua Gloriosi or "Sing, My Tongue, the Saviour's Glory", Victimae Paschali Laudes or "May you praise the Paschal Victim", and Veni Creator Spiritus or "Come Holy Spirit, Creator Blest".
From the Paper "By the Sixth Century, when Gregory was a Monk, there were already many, many chants in use. He gathered and collected these. In those days monks often wrote their own hymns or adapted earlier versions they had heard in other monasteries. The result is that there was already many different kinds chant. For example in the 4th Century Mozarabic chant developed in Spain. We get Ambrosian chant for St. Ambrose in Milan and Gallican chant from "Gallic" France. There are even chants from Ethiopia in Africa. Over time many different styles of chants developed and found their way into daily mass and special services for festivals or holidays. (Hope, 2007) Sometimes this style was also used for non-church music as well. (Music-for-Church-Choirs.com)
"Gregorian chant is also known as "plainchant" from the French "plein chant" which means "full singing." (Music-for-Church-Choirs.com) By the time of Gregory different chants had been connected with or written for most all special events. We don't know the names of most of the early chant composers, but we do know that many intended for specific Sundays or feast days were composed between the 5th and 8th Centuries. (Ex. Introit, Gradual, Alleluia, Offertorio and Communio). Many of those commonly heard in mass today like the Kyrie, Gloria, Credo or Sanctus were composed later, between the 9th and 12th Centuries. (Hope, 2007)"
Abstract This paper explains that the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4, an all female quartet that specializes in medieval music is an excellent example of this period's chant and polyphony music. The author points out that the recording is composed of eighteen tracks that are divided up into six different types of songs: one antiphon, five conductuses, two hymns, two motets, one processional hymn and seven sequences. The paper concludes that this recording is helpful in learning about sacred medieval music.
From the Paper "A sequence is a category of Medieval Latin chant and is also known as prose. It is part of the liturgy and comes after the Alleluia. It usually begins with an introductory phrase of the form "aa." Then phrases are paired together until the concluding phrase "n." The total form of a sequence usually written as: "aabbccddeeff...n." There are seven sequences in this recording and they range in length from a little over a minute to over eight minutes long. While listening to the sequences in this recording, I noticed that they all seemed to follow the same pattern with the voices."
Abstract The paper analyzes the many differing musical innovations of the medieval composer Hildegard von Bingen. The paper discusses her biographical background as a woman in the Roman Catholic Church in relation to the spirituality of her music. The paper also looks at her status as a feminist innovator of her time. The paper shows how her spiritual music deviated from normative western religious music interpretations of medieval vocal chant.
From the Paper "Hildegard von Bingen was born in 1098 into a family of German nobles from the courts of Sponheim at Bermersheim. In most historical evaluations of her life it was known that she was the 10th daughter and was found to be sickly and weak at birth. However, her family quickly sent her to be educated at the Disibodenberg monastery after her apparent recovery from illness at a young age. At the monastery she was brought under the tutelage of Jutta, a famous nun that played a crucial role in her educational development within the Roman Catholic Church. In many ways, religious education at the nunnery directly resulted in her acquiring the musical lessons and spiritual inspiration to understand the complexities of composing music within the Church tradition. Yet there is a contradictory historical perspective that tells of von Bingen never actually being taught composition, but that it was an act of God that gave her the gift of music."
Abstract In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper "Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
Abstract This paper provides a detailed account of the Music therapy method of treatment especially in the critical care units. It shows how modern scientists agree that many different kinds of music can be therapeutic. Some people respond well to reggae or jazz. Others are uplifted or in fact healed, when they listen to Gregorian chant, or heavy metal.
From the paper:
"Music Therapy is a form of sound wave therapy which includes several other different tools and methods. The music therapists or the sound therapists in general work with tuning forks, song pods, toning, and music. Tuning Forks produce pure sounds when tapped. The human bodies in actual acts like a resonating board to the pulses of the universe as the major part of the human body is water. The human cells resound with the vibrations of the sounds by which they are surrounded in the daily life. When tuning forks are being used the energy blocks can be released and the physical system can be brought back into alignment. The sounds can also balance the spiritual, emotional and mental bodies by creating sounds through the tuning fork that the nervous system and the whole body can harmonize to. The other tool is the song pods."
Abstract In this paper the author looks at the characteristics of different time periods in music starting with Medieval music and cites examples in each category. The author then moves on to look at some prominent composers, including, (to name but a few), Purcell, Vivaldi, Shutz, Bach, Mozart and Beethoven, and shows how their works demonstrate the traits of the periods previously mentioned. The author concludes with a brief discussion of form and structure looking at various examples such as song form, themes and variations and sonatas.
From the paper:
?Franz Liszt
Liszt was a composer of the Romantic period and was among the first to arrange entire programs of solo piano music. He composed piano miniatures, solo piano music, transcription pieces, symphonic poems and symphonies. Some of his best known pieces include Mephisto Waltz, Totenanz,Leibestraum and the Hungarian Rhapsodies.?
Tags: middle ages baroque renaissance medieval plain chant troubadour music polyphonic motet opera trio counterpoint classical cadences symphony minuet rondo sonata romanticism symphonic poem concerto wagner impressionism debussy twentieth century rigadoon, con
A discussion on the book "House Made of Dawn" by N. Scott Momaday, a story about a Native American man that could never fit into the white man's world, and did not feel a connection with the Native American world any more.
1,010 words (approx. 4 pages), 0 sources, 2002, $ 35.95
Abstract The following paper discusses the themes of dawn and dusk in "House Made of Dawn" focusing on their symbolic and metaphorical meanings of new beginnings and endings. The paper briefly discusses the story, which tells of the differences between the races, and how difficult it is for Native Americans to fit into either world.
From the Paper "We learn throughout the novel that he never could fit into the white man's world, but he does not feel a connection with the Native American world any more. He is going through his own personal "hell" of not belonging anywhere. We see his life in Los Angeles, after he finishes serving his time in prison for murdering the albino. We can see immediately this is not the place for him. He cannot find his place. He returns home only when he is beaten so badly, he almost dies. The story uses the imagery of New Mexico to paint pictures of the old ways, and even romanticize them. Dusk and dawn are important elements in the painting of pictures."
Tags:chant, grandfather, tradition, indians, white
From the Paper "The Navajo Indians are perhaps one of the most fascinating of the American Indian groups to study. Their courage, stamina and perseverence as a people speak highly for the psychological and even physical unity which their religion supplies.
The Navajos did not appear in the southwest United States until 1000 - 200 A.D. They had probably come from across the Bering Strait and down along the west coast of the United States although there is some evidence from religious ideas from the Plains Indians woven into their ideas, that they might have first come south along the east side of the Rocky Mountains and then filtered into the southwest.
Once in the southwest the Navajos took advantage of the Hopi ... "
From the Paper "This paper will discuss the history and development of Gregorian chant, a type of music which predominated in the services of the medieval church. The Gregorian chant flourished between the seventh and fourteenth centuries A.D., and there are about 3,000 chants which have survived to the present day. The study of these chants is important to musicologists because "the Gregorian repertory is the first in the West to be preserved complete" (Crocker 118).
Gregorian chant was always based on the use of a single melody line. Thus, the music of the chant was monophonic and lacking in harmony. Gregorian chant was also lacking in the use of instrumental accompaniment. Thus, the melody line was sung either by a solo singer or a choir singing in unison. Gregorian chant was also distinguished by the use of free rhythm. In other ..."
This paper compares two poems from China's Sung Dynasty, "Li Po Chanting A Poem" by Liang K'ai and "Mother Monkey and Child" by Mu-ch'i: Poets, styles, visual & content analyses and themes.
1,575 words (approx. 6.3 pages), 4 sources, 1995, $ 55.95
From the Paper "Two important works of art representing different styles from the same period of time in China are "Li Po chanting a Poem" and "Mother Monkey and Child." A comparison of the two will show the wide range of styles and expression in the Sung Dynasty and the similarities between the two artists. The works actually derive from similar impulses on the part of the artists but try to reach their goals through different methods. The works will be considered in terms of formal visual and content analyses, with some background on the artists, their circumstances, and their reason for producing these works.
"Li Po chanting a Poem" is a hanging scroll produced as ink on paper in the mid-thirteenth century, during the Sung Dynasty, by Liang K'ai. It is presently in Tokyo in the commission for the Protection of Cultural Properties Collection. ... "
