Abstract
The paper describes how Amy Beach and Clara Schumann helped to advance the greater participation of women in a patriarchal music culture of the Romantic era. The paper discusses the parental influences of both Beach and Schumann as well as their innate talents. The paper looks at how their pioneering efforts on the touring circuits would pave the way for other female performers to be able to compose and perform.

From the Paper
"Although the term feminism was not present in the time of Amy Beach, her family often supported her desire to become an accomplished musician when she was a young girl. In a modern sense, Beach's father was considered "progressive", since he wished to see her learn and be able to perform music as a major part of her educational development. Amy Beach (1867-1944) was a woman that beheld many talents, and when she was younger, she was considered a childhood prodigy. Her main instrument was the piano, on which she had already written her first song at the age of four. The obvious signs of her talent were noticed by her parents, who were supportive of her musical training."

Tags:women, patriarchy, male, dominance, culture, morality, gender

Abstract
The following discussion provides an analysis of the Classical Era, which represents much of the work of Beethoven, Mozart, and Haydn. The writer points out that these composers have withstood the test of time due to their valuable and significant contributions to the classical music genre, and their unique works continue to be enjoyed by individuals of all ages and cultures.

From the Paper
"The role of classical music as a bona fide art form is of critical importance to the development of music as a means of true artistic expression. During one of the most formidable periods of classical music, which took place during the 1700s and 1800s, there was a reintroduction of traditional forms to the music genre, which provided a means of structure and symmetry that was not evident for some time. This period in music history provided a greater emphasis on simplicity, and it removed some of the emotional context that Baroque music was known for. This era is perhaps best known for the development of the following musical forms: symphonies, sonatas, and concertos, all of which provided enormous contributions to the period as a whole."

Tags:classical, music, beethoven

Abstract
An overall description of the effect of classical music on academic learning taking into focus the Mozart Effect research.

Tags:classical, music, learning

Abstract
The paper relates that Classical music was a distinct style and period in musical history and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque. The paper compares Baroque compositions to those of the Classical era and points out the many differences. The paper points out, however, that both Beethoven's and Mozart's careers show that strict classification of musical styles is difficult.

From the Paper
""Do you like Classical music?" If you are asked this question, colloquially, usually the speaker means: do you like to listen to symphonic or orchestral music by composers of the past like Handel, Bach, Mozart, and Beethoven? However, this understanding and use of the term 'Classical' music is really in error, at least from the point of view of a historian of music. In fact, Classical music was a distinct style and period in musical history, and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque."

Tags:Beethoven, Mozart, Haydn, orchestra, melody, instruments, tone, tempo, sonata

Abstract
This paper discusses how, at first glance, the Baroque music period and Classical music periods seem to be very much alike. They do, in fact, have many similarities, such as the same basic orchestral and chamber ensembles used in both periods. However, by carefully analyzing each period, this paper explains how distinct differences can be found.

From the Paper
"The word "Baroque" comes from the Italian word barocco, which literally translates to bizarre, however some feel that when dealing with the arts, exuberant is closer to the aim of the translation, and exuberant is a word that perfectly fits this style of music. Although Baroque was first used to describe ornately decorated buildings in Austria and Germany, it quickly became used to describe a similarly ornate period of music."

Tags:orchestral, chamber

Abstract
This paper provides a discussion of Romanticism in classical music and compares it to the forms and ideas in music from twentieth century composers. The works of Brahms, Verdi, Stravinsky and Schoenberg are used in the analysis.

From the Paper
"The Romantic Period refers to the period of European classical music that stems roughly from ... to ... and largely represents a reaction to and an integration of Classical music and its forms and ideas which preceded it. The central theme underlying Romanticism in music is the same as it is in literature, that not all truths are derived from axioms, because there are inescapable realities in the world which can only be reached through emotion, feeling and intuition. Romantic compositions by Romantic composers like Brahms, Verdi..."

Tags:nationalism, emotion, intuitiveness, truth, nature

Abstract
The paper examines differences in the Baroque and the Classical music styles. The paper looks at the melody, rhythm, harmony, texture, form and dynamics of both styles. The paper discusses the Sonata Allegro form and what types of works commonly use this form. The paper discusses the music of Mozart and relates that he is often seen as a bridge between the Baroque and the Classical eras.

From the Paper
"In contrast to Classical music, Baroque music primarily tries to create a feeling of continuity rather than tell a story through a developing, evolving, or shifting use of melody. In Baroque pieces, the opening melody will be heard over and over again in the course of the piece. Many Baroque melodies are quite ornamental and elaborate while Classical melodies are much less adorned, and much easier to play and to remember ("Characteristics of Baroque Music," Thinkquest.org, 2007; "Characteristics of Baroque Music," Thinkquest.org, 2007). This greater simplicity allowed Classical composers to play with the use melody more within the different movements of the piece."

Tags:Sonata-Allegro, Mozart, symphony, orchestra, sonata, composers

Abstract
Analysis of whether music can be gendered. Examines several Sonatas & symphonies of Beethoven & Shubert as gender models. Development of the musical themes with reference to the identity of the self. The virility of Beethoven's music characterized by its directness & ferocity. The flexibility of Shubert's music as female. The Sonata as a model for experimentation. Biographical elements of the two composers that inform their musical expression.

From the Paper
"Susan McClary examines the second movement of Schubert's "Unfinished Symphony" with reference toward gender and constructions of subjectivity, and she poses the idea that during the early nineteenth century, concepts such as identity and masculinity were being newly defined, with art being one of the defining processes. In literature, the bildungsroman (or the novel of character development) were part of the "privileged genre," and through these novels, the middle class became educated as to the proper role of a civilized man. McClary finds that the sonata was the musical equivalent of the bildungsroman. The construction of the movements of the sonata shows the development of a theme that goes though many changes of identity and then resolves in the original key and theme. A sonata provided a model for experimentation that would resolve ..."

Abstract
This paper describes the author's experience of attending a classical music concert and the emotions that were felt from listening to the music. The author gives a background of the orchestra that played, then explores the impact and influence of music on its listeners and its therapeutic effects as well. The paper concludes with a discusison of how classical music appreciation is becoming more widespread.

From the Paper
"The concept of music as therapy is a very mainstream idea, however, very few people really understand the nuances of musical therapy. People tend to think that any type of background music will cause them to become calm and focused, receiving the therapeutic effects of music. Quite to the contrary Dr. Oliver Sacks, a neurologist writes that there is a strong difference between recreational music and therapeutic music. He explains, "the power of music to integrate and cure is quite fundamental. It is the profoundest non-chemical medication" (Sacks, npg). The beauty of music in general is that music is very easily absorbed by our minds. Since it is such an easy integrating method with our brains, we can achieve a sense of greater peace and tranquility when fully concentrating on music. At the core level, classical music is one of the strongest therapeutic musical mediums. This is because the therapeutic affect of music can be strongly attributed to the natural phenomenon of entrainment through rhythm. The concept of entrainment is to synchronize with something or someone, in both positive and negative ways. The effect of classical music as therapy is multifold, it is both psychological as well as physical. Sound is a physical force and part of the affect of classical music is to use the combination of mental and physical sensations caused by the music. As a result, classical music such Mozart's no. 23 Concerto affect not only the mind, but also how the immune system reacts. Music is entrenched in such a way that it becomes catalysts for emotional and mood adjuster, precisely because it uses physical sensation as a trigger for emotions and thoughts."

Tags:University, of, Michigan, Life, Sciences, Orchestra, classical, music, appreciation

Abstract
This paper analyzes the Ancient Greek play of" Lysistrata" and compares it to modern artistic productions. The claim is that this play addressed very contemporary issues. A summary of the play is provided, the characters are analyzed and a historical description of Ancient Greek artistic trends are described.

From the paper:

"Lysistrata is both the name of a woman and the name of one of the most famous comedies of ancient Greece. The name of Lysistrata has become a watchword for feminists and pacifists alike, for reasons a brief synopsis of the play will shortly disclose. Yet this paper will contend that rather than being an pre-modern, non-musical version of the popular musical ?Hair? for ancient Athens, where common societal sexual and military mores are brushed away, ?Lysistrata bears? far more resemblance to a kind of classical version of ?I Love Lucy.? In the play ?Lysistrata,? clever yet silly women try to twist their husbands around their little fingers to achieve their ends, to great comic effect, perhaps, but not in any fashion that permanently undoes the social mores of the time in a real and lasting fashion."

Tags:feminism, wife, classical, dramatic, rituals, worship, tradgedy, comedy, actors, heroine, parable, theatre, dominate, power, intellectual