| Papers [1-15] of 1172 :: [Page 1 of 79] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Creativity, 2009.
This paper creatively and progressively illuminates our understanding of creativity by briefly analyzing it from eight different points of view.
2,161 words (approx. 8.6 pages), 8 sources, APA, $ 67.95
»
Click here to show/hide summary
Abstract
This paper begins by critically reviewing Howard Gardner and Mihaly Csikszentmihalyi's perspectives on ongoing creativity, pointing out their shortcomings. The writer next discusses Csikszentmihalyi's research on creative flow, and then takes a look at what it means to be a Renaissance man like Leonardo da Vinci. Csikszentmihalyi and Poincare's theories on the way creativity manifests are briefly looked at, and a short overview of evolutionary psychology is given. The writer also discusses the findings of neuroscience on brain structures and systems associated with cognitive functions such as logical ability, mathematical prowess, musical thinking, and spatial relations. From here the paper moves on to computer programs which simulate such functions, and concludes with a short piece on how artificial intelligence can offer useful models of creativity.
From the Paper
"Creativity is not necessarily qualitative in nature, as Gardner and Csikszentmihalyi suggest. Therefore, creativity is not necessarily expressed in regular intervals over time as with a novelist like Stephen King. A sudden burst of productive inspiration can be tremendously meaningful and wholly representative of the creative process. The burst reflects the mysterious power of the brain and mind to synthesize ideas or generate art and music. Creativity is not measured in volume of output but in quality of output."
| |
|
Music and Psychology, 2009.
A discussion of the importance and the power that music can have from a psychological and philosophical standpoint.
3,104 words (approx. 12.4 pages), 25 sources, APA, $ 90.95
»
Click here to show/hide summary
Abstract
This paper explores the way that music is seen to be significant in human life and society and the way that it interacts with the mind. The paper focuses mainly on the psychological as well as psychosocial aspects of musical influence and the way that music can be seen to affect human society and act as a means of healing. The paper also discusses how music allows people to share and participate in a common sense of humanity and understanding.
Outline:
Introduction
Overview of Music - Why Is It So Universally Important?
Music and Society - Music's Role in Our World and Cultures
Music and the Mind - Exploring the Effects of Music on the Human Mind
Music and You - How Music Can Change Life for the World and You
From the Paper
"The power and importance of music from a psychological and philosophical standpoint has been discussed and explored in many studies and theses. The saying that music has the power to "calm the savage beast" refers to the commonly accepted notion that music can influence the mind and consciousness and has healing and recuperative powers. This has led to the study of musicology and various disciplines that investigate the qualities and nature of music in relation to society, culture and the individual; as well as to psychological, educational and sociological theory in a more modern context."
| |
|
Beethoven's Ninth Symphony, 2009.
A discussion of the struggles involved in Ludwig von Beethoven's composition and premiere of the Ninth Symphony.
1,091 words (approx. 4.4 pages), 1 source, APA, $ 38.95
»
Click here to show/hide summary
Abstract
The paper reveals that what makes Beethoven's Ninth Symphony so remarkable is that its composer was deaf when he wrote and performed it. The paper discusses the hasty, ill-timed and imperfect execution of the symphony in Vienna and the critical audience responses to his final symphony. The paper also discusses how other critics, however, received the premiere of the Ninth Symphony favorably, demonstrating the deep respect for Beethoven by acknowledging the difficulties associated with staging a live concert while being unable to hear anything.
From the Paper
In spite of the optimism surrounding it, staging the premiere in Vienna turned out to be disappointing for the composer. For one, Beethoven could barely conduct his own symphony. His hearing loss was by 1824 so complete as to render his conducting practically useless. Beethoven still took to the stage and engaged in what have been called "over-the-top theatrical gesturing" while musicians paid attention to the timekeeping gestures of the concertmaster Michael Umlauf (Huscher, 2007). Umlauf did not steal the stage from the verable Ludwig von Beethoven, though.
"Ludwig von Beethoven's Ninth Symphony was his last, completed and performed in 1824 in Vienna. Incorporating a Friedrich Schiller poem "An die Freude," ("To Joy"), Beethoven set a theme for one of the most magnificent classical choral compositions. The integration of choral elements into a symphony was wholly unique: the first time a composer had ever undertaken a task so ambitious. The Philharmonic Society of London commissioned the symphony in 1817, and Beethoven took six years to compose it. The symphony undulates, proceeding through moments of restive peace and near-quietude to shockingly loud crescendos. However, what makes Beethoven's Ninth Symphony so remarkable is that its composer was deaf when he wrote and performed it. The composition and premiere of the masterpiece proved an enormous struggle for the hearing-impaired musician."
| |
|
Star-Crossed Lovers Then and Now, 2009.
This paper provides a comparison of Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story".
1,150 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that both William Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story" take up an old tale, once told by a different author in a different genre, and reconfigure that tale to create a new, artistic vision. The writer maintains that what makes both versions of the 'star crossed lovers' unique is not Shakespeare or Bernstein's storyline, plot or even their characters, but the way these stories are applied or not applied to contemporary situations. The writer discusses that Shakespeare creates a story for all time, while Bernstein creates a story about young people in America who are ostracized from society, have little hope of growing old and find momentary happiness in love rather than a real future. The writer compares the two works and looks at the aspect of music. The writer concludes that it is not the musical aspect of "West Side Story" that makes it stand apart from its original source, but the musical's unapologetic American qualities of theme and characters that makes it of its time, seemingly ripped from the headlines of the past, rather than transcendent of time and place.
From the Paper
"Likewise, Bernstein adopted a previous tale to suit his own purposes, taking what had become Shakespeare's now-classic story of violent, warring lovers who are able to use love as a vehicle of compassion in a cruel and uncaring world. Bernstein did not select a far-off land, as Shakespeare selected Italy to add to the romance of the narrative. Shakespeare's hot-blooded, feuding Italians would have seemed foreign to his original English audience, but Bernstein selects a setting close at hand, that of New York City. Bernstein attempts to show that the sort of compassion evoked by Shakespeare for the young lovers in a never-never land of Italy is relevant to his own viewer's contemporary era and the racial strife of his day. The types of seemingly meaningless violent discord between Italian clans in Shakespeare are parallel to the struggles of Puerto Ricans and Anglos in New York, and ultimately just as empty and brutal in its consequences. Bernstein's evocation of "America," both in the song "America" suggests that the tragedy of Tony and Maria is not simply a sad event of circumstance and mishaps, but also a fundamental betrayal of the American dream of integration and that "everyone free in America.""
| |
|
The Music and Mastery of James Brown, 2009.
This paper discusses the musical mastery of the work of the legend James Brown.
1,059 words (approx. 4.2 pages), 4 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that James Brown was a musical pioneer and the timelessness of his music demonstrates that he will be an icon forever. The writer maintains that it is Brown's unique style of music, singing, and dancing that have earned him the popularity that still lives on today. The writer discusses that Brown personified soul and then he introduced it to funk. His screams, moves on stage, and excited nature display musical genius at work. THe writer points out that from his struggle out of poverty to his fame late in life, Brown never compromised what he believed in. The writer concludes that Brown overcame personal difficulties and will be remembered as an influential musician that helped mold the funky sound of soul.
From the Paper
"Brown's career experiences a rebirth in the 1980s with the hit song "Living in America." This song represents how Brown never lost popularity as this song can be identified by anyone of almost any age. The lyrics in this song are profoundly American and represent patriotism similar to that which Bruce Springsteen and Lee Greenwood have enjoyed. "Living in America" also illustrates how Brown never lost his individuality. Traditional horn sections are still present along with a funky beat that resonates from his earlier tunes.
| |
|
Don McLean's Song "American Pie", 2009.
Looks at the sematics and cultural context of Don McLean's 1972 song "American Pie".
13,585 words (approx. 54.3 pages), 6 sources, APA, $ 249.95
»
Click here to show/hide summary
Abstract
This paper explains that Don McLean's "American Pie", which debuted in 1972 at the height of the counter cultural revolution, was associated with the rebelliousness of the Hippies, the national social controversy of the Vietnam War, profound social changes in race relations and human rights and the women's liberation movement. The author points out that semiotics is the study of signs and symbols employed in communications and the process through which they develop their shared meaning among people who recognize and understand their intended message. The paper presents the semantic meaning of quoted lyrics from the song, such as 'I drove my Chevy to the levee but the levee was dry'. The author states that this relates to the three civil rights activists who were murdered by racists in Mississippi while working to register black voters in the rural South.
Table of Contents:
Semiotics
Cultural Context of Don McLean's American Pie
Semiotics of the Music
From the Paper
"Just as importantly, by the 1970s, the movement toward racial sensitivity had already resulted in a change from the term "race music" to "rhythm and blues" because the former had taken on an offensive symbolism of racial bigotry that was on the verge of
becoming culturally unacceptable. In particular, this change represents the distinction between language and semiotics in that purely non-literal influences inspired the semiotic evolution of elements of language. Whereas "rhythm" does correspond to a component of music and "blues" does correspond to a thematic focus of so-called "race music", the impetus for the change was strictly moral and ethical and not any need for linguistic precision."
| |
|
"Sonata in D major K96", 2009.
A comparison of two recordings of Domenica Scarlatti's "Sonata in D Major K96".
1,424 words (approx. 5.7 pages), 5 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
The paper compares and contrasts two different renditions of Domenica Scarlatti's "Sonata in D major, K96"; a recording of Cziffra and and that of Fabio Bidini. The paper shows how the performances of Cziffra and Bidini are diametric opposites in many ways. The paper examines the performances from the point of view of accuracy and concludes that Cziffra's performance is much more accurate from a historical standpoint, although it may not be as pleasing to the modern ear. The paper includes a copy of the notes of Scarlatti's sonata.
Outline:
Liberal vs. Conservative Viewpoints
Historical Context of the Piece
Performance Critique
From the Paper
"Scarlatti was one of the most renowned composers of the time. His music helped to define the baroque style and influenced many composers after him. Domenico Scarlatti was born in Naples, Italy in 1685 and died in Madrid, Spain in 1757. Scarlatti is believed to be a pupil of his father, who was also a well-known baroque composer. Scarlatti often found himself playing for royalty throughout his life.
"One of the most significant events in Scarlatti's life was when Handel's' patron, Cardinal Ottoboni, arranged a friendly duel between Scarlatti and Handel. The contest ended in a tie, with Handel being named the best organist and Scarlatti being named the best harpsichordist (Kennedy and Courne). This famous showdown furthered Scarlatti's career and he worked in Rome for some time after that."
| |
|
Native American Music, 2009.
A look at the history and development of Native-American music.
1,466 words (approx. 5.9 pages), 5 sources, APA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper provides a historical account of Native-American music and explains that the Native-American music made in Europe lacks certain elements that make it unique.
From the Paper
"Before the arrival of Europeans to North America, the native population had developed many complex musical styles. Without written language, music became one of the major modes of cultural expression. The values and histories of entire societies were distilled into their song, their dance and their costume. Today, Native American music is almost always crafted with a heavy dose of European influence. While Native American music today can be reasonably understood to be a reflection of a culture that has experienced significant European influence, at the same time the presence of that influence means that something authentic and unique has been irrevocably removed from the music."
|
| Term Paper # 112412 |
temporarily unavailable
|
|
|
|
The Global Battle over Copyrights, 2009.
A discussion over the copyright issue regarding downloading music from the Internet.
982 words (approx. 3.9 pages), 8 sources, APA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper discusses the legal and regulatory conflicts between advocates of free use of the Internet for distributing, copying and use of digital music, versus industry associations including the Recording Industry of America (RIAA) and the National Academy of Recording Arts and Sciences (NARAS) who oppose use of the Internet for this purpose. The paper also includes a discussion of one such case that went to court.
Outline:
Introduction
The case of Record Industry vs. Jeffrey Howell
Digital Rights Management Goes Orwellian
A Confused Industry on Downloads' Effects
From the Paper
"The legal and regulatory conflicts are intensifying between advocates of free use of the Internet for distributing, copying and use of digital music versus industry associations including the Recording Industry of America (RIAA) and the National Academy of Recording Arts and Sciences (NARAS). Further fueling the conflict that has escalated into hundreds of lawsuits and the issuance of en masse letter campaigns containing pre-lawsuit instructions from both the RIAA and NARAS to entire universities, the intention of using electronic surveillance to monitor music downloads has become increasingly Orwellian in tone, where traffic in and out of peer-to-peer music sites is now monitored (Banerjee, Faloutsos, Bhuyan, 2008). All of this legal and regulatory activity many argue isn't actually stopping any activity, merely diverting it to more organized and commercially-based pirates of digital music (Chang, Assane, 2007). In addition all these legal and regulatory efforts of the RIAA and NARAS are making attorneys the real financial winners, with one plaintiff sued by the RIAA remarking his case was managed by an incompetent attorney from an outsourced firm (Ward, 2007)."
| |
|
Ludwig van Beethoven, 2009.
A brief overview of the life of Ludwig van Beethoven.
916 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
The paper labels the 19th century German composer Ludwig van Beethoven a genius, revolutionary and pioneer in the world of music.
The paper describes Beethoven's life and the obstacles he overcame, such as abuse and deafness. The paper also looks at how he became financially independent as a composer and was able to realize his musical vision.
From the Paper
"Without qualification, the 19th century German composer Ludwig van Beethoven is called a genius in every textbook and encyclopedia across the world, a true revolutionary and pioneer in the world of music. His career straddles the technical precision and refinement of the Classical era and bridges the gap between this period and the emotional, Romantic era of music, where composers began to feel more free to pour their emotions into their works ("Classical: Musical Context," The Essentials of Music, 2008). Beethoven's body of work would be a marvel even if he had led a relatively happy and quiet life, like the Baroque composer Bach, living in a supportive family and community environment. But Beethoven did not and in spite, or some might say because of his difficult life, he became one of the greatest composers of the Western European music tradition. "He is one of the few artists who genuinely may be considered revolutionary" ("Ludwig van Beethoven," The Columbia Encyclopedia, 2008)."
| |
|
"The Life and Legend of Leadbelly", 2009.
A review of the book "The Life and Legend of Leadbelly" by Charles Wolfe and Kip Lornell.
1,265 words (approx. 5.1 pages), 3 sources, APA, $ 42.95
»
Click here to show/hide summary
Abstract
The paper examines "The Life and Legend of Leadbelly" that tells the story of Huddie "Leadbelly" Ledbetter who was incarcerated in the notorious Louisiana prison but given a second chance by historian and musicologist John Lomax. The paper offers a summary and analysis of the book and discusses how Louisiana has now switched from retribution to a philosophy of restorative justice.
Outline:
Introduction
Summary
Analysis
Reaction
From the Paper
"While it is often said that America loves to give people a second chance, there was perhaps no more unlikely 'second chance' than that of the blues and folk singer, the master of the 12-string guitar, known as Leadbelly. In 1934, Leadbelly was incarcerated in the notorious Louisiana prison of Angola for stabbing a white man. In 1935, despite the fact it was the height of the Great Depression, the African-American guitar player was in New York, living the life of a celebrity musician, the toast of the town, and the guest of some of the most prestigious (white) academics. This sudden shift in fortune was due to the fact that during his time in prison historian and musicologist John Lomax went to the Southern state prison with the interest of recording and collecting traditional African-American songs for the Library of Congress."
| |
|
Aboriginal Music, 2009.
This paper provides a broad view of Aboriginal music and looks at its purpose amongst the Aboriginal people of Australia.
1,831 words (approx. 7.3 pages), 5 sources, MLA, $ 58.95
»
Click here to show/hide summary
Abstract
In this article, the writer explores the music of the Aboriginal people of Australia. The writer discusses that Aboriginal music has significant meaning and tells the story of a people throughout history. The writer demonstrates that Aboriginal music is extremely important to Aboriginal Australians regardless of which tribe they belong to. At times the music is sacred and at other times entertaining. The writer concludes that it is apparent that music serves as an anchor for the Aboriginal people by connecting them to their past while moving forward in the present.
Outline:
Introduction
History of Aboriginal Music
Musical Instruments
Summary
Works Cited
From the Paper
"The authors further explain that clan songs are usually song openly for the purpose of entertainment alone. However cult songs are inclusive of songs for rain making, love magic and love stopping. The cult songs are meant for the purposes of either healing r harming. The authors assert that these songs are extremely powerful and only those individuals that have been initiated are allowed to sing them. In addition, individually owned songs were songs that were song by certain individuals and often were believed to possess more power when song by a particular individual.
"According to an internet article entitled "Australia Aboriginal Music", the music of aboriginal people is very much tied to their ancestors. To understand the music one must have some understanding of aboriginal beliefs."
| |
|
Baroque Vs. Classical Music, 2009.
This paper compares and contrasts Baroque and Classical music.
1,481 words (approx. 5.9 pages), 8 sources, MLA, $ 48.95
»
Click here to show/hide summary
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."
| |
|
"Amadeus", 2009.
An analysis of the contrast between the characters of Wolfgang Amadeus Mozart and Antonio Salieri in Peter Shaffer's movie "Amadeus".
971 words (approx. 3.9 pages), 5 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper examines how, in his 1980 movie "Amadeus," Peter Shaffer took it upon himself to tackle the ambitious characterization on stage of Wolfgang Amadeus Mozart. It looks at how "Amadeus" suggests that the young Mozart disdained not simply all musical forms, but also all societal standards of correct behavior, unlike that of his contemporary, more respected musician Antonio Salieri. It discusses how the contrast between Mozart and Salieri is that one man strives to be true to his art, while the other man cares less about art and more about bolstering his own sense of self-worth.
From the Paper
"Mozart's sense of loyalty to art rather than institutions is shown when he openly defies the Emperor Joseph II who does not understand "The Marriage of Figaro," one of Mozart's greatest musical creations. The emperor protests that the classic comic operetta has 'too many notes,' and Mozart refuses to alter his vision to suit the needs of a powerful ruler and patron. Unlike Salieri, who is diplomatic and can easily show a false face to survive politically in the court, Mozart places loyalty to his artistic vision above all else, in contrast Salieri, who can diplomatically and skillfully navigate the world of the Viennese Court, securing patrons, but although Salieri is constantly and profoundly aware that the work he produces is not sublime, but mediocre at best because it serves the artistic demands of the times, not of the ages."
|
|
|
