| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "2003 DETROIT INTERNATIONAL JAZZ FESTIVAL": |
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The 2003 Detroit International Jazz Festival, 2005.
Positive review of the Ford Detroit International Jazz Festival held in Detroit, Michigan.
915 words (approx. 3.7 pages), 7 sources, APA, $ 32.95
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Abstract
This paper describes the author's experience at the Detroit International Jazz Festival. The paper describes the musical program during the festival, the types and range of artists performing, and the venue. Additionally, the author suggests that the festival is an excellent musical experience for anyone, from a newcomer to jazz to a long-time jazz fan.
From the Paper
"Officially titled the Ford Detroit International Jazz Festival, the Festival first began to bring jazz to the city of Detroit in 1980. It was founded by the Detroit Renaissance, and has seen tremendous success since that day. Since 1994, the Festival has been produced by the Music Hall Center for the Performing Arts. The Festival was originally called the Ford Montreux Detroit Jazz Festival ."
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The Korean Full Moon Festival, 2005.
An overview of the Korean full moon festival, otherwise known as Chusuk.
1,596 words (approx. 6.4 pages), 6 sources, MLA, $ 52.95
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Abstract
This paper looks at how Chusuk is a Korean festival celebrated on the 15th day of the eighth lunar moon and how, during this festival, Koreans offer produce from the harvest as a token of gratitude to their ancestors for providing them with good fortune. It explores how the Chusuk festival represents many aspects of Korean culture and serves a social and a community function. It also shows how the essential purpose of the festival still remains embedded in the ancient culture of Shamanism and how its central function is to ensure, though respect and worship, the success of the next harvest.
Outline
Introduction
Origins
Shamanism and Ancestor Worship
Conclusion
From the Paper
"The most important aspect to consider when trying to understand ancestor worship and its relationship to Shamanism in Korean culture, is the emphasis on the presence of those who have died in the world of the living. Shamanism was, and in some cases still is, an ancient form of religious belief and practice which believes that there are other dimensions to this world which are part of or co-present with our ordinary lives. The Shaman or "priest" is the one who can enter these different "worlds" and who can perform acts of healing in the state of trance. All Shamanic traditions emphasized that the ancestors were present and even unseen participants in the ordinary world."
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'The Worker Festival', 2006.
A review of the book 'The Worker Festival: A History of Labour Day in Canada'.
2,025 words (approx. 8.1 pages), 0 sources, $ 80.95
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Abstract
This paper reviews the book 'The Worker Festival: A History of Labour Day in Canada', an original work that focuses on the working class throughout Canada. The direction of the book, however, demonstrates that as the celebration of labor changed so did the manner in which individuals functioned within society. The paper goes on to discuss that initially the working efforts of the masses were hailed in society, but over time it was apparent that society and business were more focused on monetary gain than how that gain was accomplished. This paper reports that events in society altered people's lives and ultimately how they functioned in industry because the demands of industry were also conforming to the needs of the larger social order. These factors played a significant role in the progression of labor and Labour Day in Canada.
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The Heb-Sed Festival, 2006.
An examination of the Heb-Sed (or Sed) Festival of ancient Egypt.
2,925 words (approx. 11.7 pages), 6 sources, $ 115.95
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Abstract
This paper discusses how few ancient civilizations have given so much as have the ancient Egyptians. Like their Greek counterparts, the Egyptians' innovations in the areas of mathematics, architectural design, mythology, literature (albeit in the Egyptian case, hieroglyphics) and government were seized upon as exemplars by later empires in both the Western and Middle Eastern worlds. The paper examines a certain aspect of ancient (and still fairly inscrutable) Egyptian society known as the Sed Festival.
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Risk Management and a Music Festival, 2007.
An analysis of corporate risk management of a pop music festival.
2,987 words (approx. 11.9 pages), 2 sources, APA, $ 88.95
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Abstract
This paper analyzes the risks involved in a municipality sponsoring a pop concert. It is organized into three parts in order to describe the precise risks and necessary management measures involved. Firstly, the precise details of the risks are described. Secondly, a plan is described for the mitigation of risks before, during and after the event. Thirdly, conclusions and recommendations are offered in terms of risk management.
Outline:
Introduction
Corporate Risks
Program of Action
Before the Event
During the Event
After the Event
Conclusions and Recommendations
From the Paper
" During the event, the organizer's reputation may be damaged by a number of factors associated with the nature of the event and its attendees. The noise level may for example damage the reputation of the organizers in terms of maintaining the peace in the neighborhood. Because a large number of attendees are expected, it is also expected that the music presentations will have to be loud in order to be audible to the entire crowd. Furthermore, it is also expected that the crowd will produce a high level of noise. This could be perceived as a bad influence on the community and carry with it an unfavorable impression in the eyes of the community."
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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, $ 68.95
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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."
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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, $ 94.95
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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."
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Jazz, 2005.
An overview of the definition and origins of jazz.
1,214 words (approx. 4.9 pages), 7 sources, MLA, $ 41.95
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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."
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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, $ 71.95
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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 ... "
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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, $ 57.95
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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."
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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, $ 79.95
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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."
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Civic Athenian Festivals, 2007.
An analysis of the practices of some of the main Athenian civic festivals.
2,412 words (approx. 9.6 pages), 7 sources, MLA, $ 73.95
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Abstract
This paper describes the ways that the Athenians practiced a polytheistic religion which expressed itself through civic festivals and cults. The paper attempts to create an overview of the most important Athenian civic festivals. It describes the way in which each festival provided a basis in Athenian worship, gave Athenian's a sense and a meaning in life and provided them with a sense of identity as human beings.
Table of Contents:
The Panathenaia
The Anthesteria
The Dionysia
The City Dionysia
From the Paper
"The Dipolieia was a very strange Athenian festival that took place two days after another important festival, the Skira (Parke 162). It comprised of a ceremony called the Butaphonia in the honor of Zeus (Parke 162). They celebrated a special aspect of Zeus by this festival, i.e. Zeus as the God of the city and the festivities took place at his altar from the Acropolis (Parke 162). The ceremony implied the sacrifice of an ox and a mock of its restoration to life. The ritual had become antiquated and so did the festival (Parke 166).
In conclusion, the calendar of the ancient Greeks was full with both the specific Athenian festivals and the ones referring to the entire Attica. However, they did not serve only the scope of entertainment, but they supported the development of the sciences and the art while encouraging people to travel and try new things."
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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, $ 93.95
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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."
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"Jazz", 2005.
Examines how jazz music connects people in Toni Morrison's novel.
1,524 words (approx. 6.1 pages), 1 source, $ 50.95
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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".
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Religion and Seasonal Festivals, 2002.
Explores festivals relating to seasons in Christianity, Hinduism and Buddhism.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper concerns seasonal festivals in three major religions: Hinduism, Buddhism, and Christianity. Using examples from these religions, the paper formulates a cohesive definition of a seasonal festival and enumerates the reasoning behind their celebration and inclusion in worship traditions and the connection between nature mythology and seasonal festivals. Material is drawn primarily from Theodore Ludwig's 2000 textbook "Sacred Paths".
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