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Beethoven's String Quartet Opus 18/6.
This paper discusses the life of Ludwig Van Beethoven and describes his String Quartet Opus 18/6, published by T. Mollo et Comp in Vienna in 1801.
1,000 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper explains that Beethoven studied under Joseph Haydn, the "father of the string quartet," who inspired Beethoven's first six string quartets, including Opus 18/6, written for two violins, a viola, and a cello. The author points out that, because of his troubled personal life, his music often depicts a theme of struggle followed by triumph as is evident in Beethoven's first six string quartets, which were composed before he went deaf. The paper describes each of the four distinct movements of String Quartet Number 6, Opus 18/6: 1. Allegro con brio; 2. Adagio ma non troppo; 3. Scherzo: Allegro; and 4. La Malincona Adagio-Allegretto quasi Allegro. A listening chart for the First Movement is included.
From the Paper
"Beethoven began composing string quartets in his so-called "early period," the time of his musical career in which he was exploring different styles and primarily emulating his teacher Joseph Haydn. Moreover, Beethoven's "early period" is also the time before he began to go deaf, around age 30. When Beethoven began losing his hearing, his impending deafness led the musician into deep mental depression. His social life deteriorated and he became suicidal as well. Music written during Beethoven's "middle period" is characteristically grand, expressing "heroism and struggle.""
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The String Quartet, 2001.
Development; musical disputes. Vision & influence of composer/condoctor Louis Spohr.
1,575 words (approx. 6.3 pages), 10 sources, $ 55.95
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From the Paper
"Introduction
The development of the string quartet did not take place without controversy. In the nineteenth century, a dispute erupted as to the direction the string quartet should take, a dispute bound with different ideas about performance, the relationship of performance to composition, and the way certain instruments should be used in the quartet as in other types of composition. Composer and conductor Louis Spohr advocated virtuoso violin play in the quartet, while composers such as Schumann and Mendelssohn saw the string quartet not as a collection of pieces with differing performance requirements but as a cohesive whole, with the unity of the four instruments emphasized over any one instrument emerging even for only one movement or more."
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Mozart and Haydn, 1995.
Examines the similarities between Mozart's "Haydn Quartets" and string quartets of Haydn. Discusses styles, innovation, themes, balance and order. Includes an outline.
2,025 words (approx. 8.1 pages), 9 sources, $ 71.95
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From the Paper
"OUTLINE
THESIS: This paper will discuss the ways in which Mozart's
"Haydn Quartets" are similar to the string quartets of Haydn.
I. Introduction
II. The style of Haydn and Mozart
A. The classical style
1. Use of standardized forms
2. Balance and proportion
3. Lightness and elegance
B. Haydn was an innovator of the classical style
C. Mozart took Haydn's ideas and became a master of them
III. Haydn's Opus 33 for string quartet
A. Opus 33 is subtitled "Gli Scherzi" (The Jokes)
1. Uptempo rhythms ..."
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Maynard Solomon's "Beethoven", 2003.
A look at the one-sided nature of Maynard Solomon's portrayal of Ludwig van Beethoven's custody battle in "Beethoven".
1,548 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper critically examines Maynard Solomon's portrayal, in his biography "Beethoven", of Ludwig van Beethoven's battle for custody of his nephew Karl. It argues that although Solomon delves into Beethoven's psychology and his motives for pursuing custody, the author fails to objectively depict the custody battle. The paper explains that, instead, Solomon's coverage is uneven and his perspective skewed, and he glosses over certain facts that might have shown Beethoven in a more unfavorable light.
From the Paper
"In the chapter "Beethoven and his Nephew," Maynard Solomon makes insightful observations about Beethoven's motives for fighting to gain custody of his nephew Karl, and about Beethoven's feelings toward both Karl and his mother Johanna. He examines Beethoven's psychology in depth, and forms interesting connections between Beethoven's actions and previous events in his life. Overall, however, Solomon does not succeed in accurately depicting the conflict. Despite his thorough analysis of Beethoven's psyche, Solomon glosses over how Beethoven's extreme actions affected Karl's development. He rarely mentions Beethoven's cruelty toward Karl and does not treat the boy as a full-blown character in the saga. As if this omission weren't enough, Solomon also attempts to excuse Beethoven's cruel and unethical actions regarding Karl and Johanna. Because of these shortcomings, Solomon fails to appropriately convey the gravity of the conflict; he neglects to devote an appropriate amount of space to Karl himself, and tries to soften the harsh facts of Beethoven's cruelty."
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Gerry Mulligan-Chet Baker Quartet, 2002.
A discussion about the Gerry Mulligan-Chet Baker Quartet, which was one of the most influential jazz quartets of the 1950s and 1960s.
1,410 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper introduces, discusses and analyzes the topic of the Gerry Mulligan-Chet Baker Quartet. Specifically, it contains an artist profile, which focuses on the artist's primary contribution to their style of expression. It shows how the Gerry Mulligan-Chet Baker Quartet added the "smooth" to West Coast jazz, and created a new form of jazz entertainment that appealed to a wider audience.
From the Paper
"In fact, versatile musician Mulligan, who played baritone sax and clarinet, wrote and arranged songs, and created one of the first pianoless quartets, "would play an important role in developing cool jazz on the West Coast" (Gioia 283). In fact, Mulligan helped originate "cool jazz," along with such jazz institutions as Miles Davis. The sound originated in the east in the 1940s, and Mulligan was a driving force in the arrangements and orchestrations. Critics have called him an emotional and sensitive player who also had a great ear for arranging. "Gerry Mulligan, an artist of exquisite sensitivity, has to his credit above all the emotional impact of his solos, which are sometimes particularly successful melodically" (Hodeir 125). Mulligan took the cool jazz sound and redid it later in his career, literally bringing jazz to a much wider audience, bringing it into the realm of popular music."
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Beethoven's Music, 2004.
An analysis of Beethoven's music, focusing on the romantic aspect of the symphonies.
2,635 words (approx. 10.5 pages), 5 sources, MLA, $ 79.95
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Abstract
This paper defines romanticism and romantic music, describes Beethoven?s contribution to music and his innovations, and the ways in which his music linked with romanticism. Examples of some of his major works that depict romanticism are also discussed.
Contents
Romanticism
Beethoven and his Music
Early Music and Loss of Hearing
Early Influences
Different Phases of Beethoven?s Music
The Eroica - Beethoven?s Third Symphony
Beethoven?s Sixth Symphony
The Ninth Symphony
Conclusion
From the Paper
"Romanticism was an artistic and intellectual movement that originated in the late 18th century as a revolt against ?classicism? (and to a lesser extent against ?rationalism.?) It stressed strong emotion, feeling and imagination rather than correctness in form. Romanticism rejected order, calm, harmony, balance, idealization, and rationality that typified Classicism and the 18th century Neoclassicism. The movement took its inspiration in part from the libertarian and egalitarian ideals of the French Revolution. (?Romanticism?-Columbia Encyclopedia, 2000)
In Romantic Music emotion and expression of feelings is given more importance than formal balance and internal order. It became the dominant musical trend in classical music during the 19th century and period between 1800 and 1900 is often referred to as the Romantic Period. While Beethoven is thought to be the first romantic composer, other notable composers who used romanticism in their music include Chopin and Wagner."
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Eliot's "Four Quartets", 2005.
An in-depth analysis of the speech and language in T. S. Eliot's "Four Quartets".
7,300 words (approx. 29.2 pages), 34 sources, MLA, $ 161.95
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Abstract
The paper examines T.S. Eliot's use of voice and speech in the "Four Quartets" in the light of both his conception of the movement of words over time and the conception of language as an index of social change offered by the Bakhtinian circle. The paper discusses the way these concepts arise in 'Burnt Norton' before moving onto slightly briefer discussions of each of the other "Four Quartets." The paper concludes that Eliot's hierarchical presentation of voices throughout the "Four Quartets" effectively illustrates the inadequacy of any attempt to understand the world in purely intellectual, political, capitalistic or religious terms alone. Rather, the "Four Quartets" show, by means of their form and content, the necessity for taking on board and assimilating each of these separate discourses into one's own interior monologue, for it is only in relation to each other that each other that each of these discourses is meaningful.
From the Paper
"Eliot thus, in this single statement, emphatically declares both the importance of vocalised speech to his poetry and, perhaps more significantly, a marked disinterest in the communication of any precise meaning to his readership. Eliot, here, seems to conceive of words, the very material of his poetry, not as a connection between poet and reader or, indeed, a means of conveying thoughts from the mind of one man to the mind of another. Rather, he presents words as 'autonomous' objects which, 'might function with no clear connection' or meaning imbued by their 'human source'."
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Beethoven vs. J.S. Bach, 2007.
A comparison of Ludwig van Beethoven's "Symphony No.5" and Johann Sebastian Bach's "Brandenburg Concert No. 5".
1,615 words (approx. 6.5 pages), 6 sources, MLA, $ 52.95
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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."
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Beethoven and Van Gogh, 2008.
A comparative analysis of the psychology behind the works of Ludwig Van Beethoven and Vincent Van Gogh.
936 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.
From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."
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Heart Disease in Adult Males Aged 18-35, 2006.
This paper discusses incidents of heart disease in adult males aged 18-35 in the United States.
800 words (approx. 3.2 pages), 7 sources, MLA, $ 28.95
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Abstract
The writer focuses this research on the fact that adult males between the ages of 18-35 in inner city areas of the United States appear to be at a greater risk for heart disease than their male counterparts in other areas of the country such as those living in areas bordering the cities such as suburban areas and rural communities. This paper investigates the multiple factors that influence the heart health and well-being of adult males aged 18-35 in low-income inner-city areas of the United States. This article further researches and explores stated health statistics and influencing social factors. Finally, the writer makes recommendations as to the alleviation of the heart disease in adult males aged 18-35.
From the Paper
"Heart disease is stated to have caused 3.4% of death in males ages 15-19, 3.6% in males ages 20-24; 7.9% in males ages 25-34; 15.2% in males ages 35-44. 3.2 male adults ages 15.24 per 100,000 population die each year from heart disease as compared to 2.1 percent for females. 9.6 percent of male adults ages 25-34 per 100,000 population die each year from heart disease as compared to 5.2% of females. Risk factors in heart disease are stated to include: age, high blood pressure, high blood cholesterol, high LDL cholesterol, family history of early heart disease, diabetes, Type 1 diabetes, Type 2 diabetes, obesity, smoking, physical inactivity, apple-shaped body, high blood homocysteine, atherosclerosis. The estimated age-adjusted prevalence of angina in women age 20 and older were 3.5 percent for non-Hispanic white women, 4.7 percent for non-Hispanic black women and 2.2 percent for Mexican-American women. Rates for men in these three groups were 4.5, 3.1 and 2.4 percent, respectively. Among American adults age 20 and older, the estimated age-adjusted prevalence of coronary heart disease for non-Hispanic whites is 8.9 percent for men and 5.4 percent for women; for non-Hispanic blacks, 7.4 percent for men and 7.5 percent for women; and for Mexican-Americans, 5.6 percent for men and 4.3 percent for women."
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Ludwig van Beethoven, 2007.
An analysis of the tragic life and musical development of Ludwig van Beethoven.
1,538 words (approx. 6.2 pages), 8 sources, MLA, $ 50.95
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Abstract
This paper discusses the life of musician, Ludwig van Beethoven. It discusses his family background, his childhood and his development as a musician. It describes where he studied music and his relationships with his family and his teachers. The paper specifically focuses on the aspects of Beethoven's tragic life and the torment of losing his hearing.
From the Paper
"At the end of the premiere of his Ninth Symphony, he had to be turned around to see the monstrous applause, hearing nothing. Realizing the extent of his hearing problem, he began to cry. Beethoven made many attempts to heal his deafness. Seeking help from numerous doctors, he received many different treatments. Much of what the doctors told him would be considered nonsense today. Unable to cure his hearing, Ludwig had no choice but to adapt. He used a rod attached to the sound board of his piano which he bit to feel the vibrations of the instrument. By the year 1814, Beethoven was fully deaf, though in his last year he felt as though he could sometimes slightly hear things."
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Military Service for 18-Year-Olds, 2004.
An examination of the arguments for and against the raising of the Army conscription age from 18 to 21.
1,178 words (approx. 4.7 pages), 5 sources, MLA, $ 40.95
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Abstract
This paper argues that military registration needs to be a choice open to all young men, starting at age 18. It discusses the attitudes prevalent in American society today, which call for the raising of the age to 21. The paper argues, however, that if, at 18, they are legally recognized as adults, then they should be allowed to make the decision regarding conscription themselves.
From the Paper
"The system of Selective Service strives to balance the country?s need for an active pool of reserves and the rights of individual citizens who oppose military conscription. An 18-year old is legally recognized as an adult who could make decisions regarding his vote, career decisions, his ability to consent to marriage and sexual activity and his culpability in the commission of crime. It therefore stands to reason that an 18-year old could make an informed decision regarding serving the country in the military as well."
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Beethoven, 2002.
An analysis of the genius of the early works of Beethoven.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper will examine the early musical works of Ludwig van Beethoven. By realizing the concepts of these early musical works, we can see why he wrote them, and how they were constructed in this period of time. By analyzing the period from 1790 to 1810, the affects of Beethoven's music was generally getting off the ground, but the genius was coming through at a tremendous rate.
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Trisomy 18 Syndrome, 2002.
An explanation of the disease Trisomy 18 as well as a personal account from a sufferer of the syndrome.
2,356 words (approx. 9.4 pages), 13 sources, MLA, $ 72.95
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Abstract
The purpose of this paper is to discuss the author's personal reaction to the condition of Trisomy 18 Syndrome. To this end, the paper begins with factual information about the disorder followed by a discussion of some personal thoughts, feelings, and general perspective concerning the condition. The paper states that Trisomy 18 is often called Edward's Syndrome and is a genetic condition in which there are three copies of the 18th chromosome.
From the Paper
"The primary characteristics of the disorder are listed on a facts-sheet for Trisomy 18 developed by the Pediatric Database (PEDBASE, 1993). This fact sheet states that the condition is typically characterized by specific dysmorphic features and organ malformations. The most common of these include: a prominent back of the head, short eyelid fissures, a small mouth and jaw, episcanthal folds, low set malformed ears, cleft lip/palate, finger deformities, club or rocker-bottom feet, webbed fingers and a host of congenital anomalies of the lung, diaphragm and kidneys."
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Beethoven and the French Revolution, 2008.
This paper explores the influence of the French Revolution on Beethoven's music.
893 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
The paper describes how Beethoven lived in a European society that was undergoing profound economic turbulence, political upheaval and violent warfare. The paper compares Beethoven to Franz Joseph Haydn and Wolfgang Amadeus Mozart and then discusses his difficult background and personal tragic events in his life that affected his music. The paper then shows how the French Revolution caused turbulent inner passions that were reflected in his music.
From the Paper
"The French Revolution had a profound impact on the music of Beethoven. It is difficult for us in 2006 to imagine what life was like in Europe under the Ancien Regime, and the economic and social conditions in which Beethoven emerged. What is crucially important to understand is that throughout his musical career Beethoven lived in a European society that was undergoing profound economic turbulence, political upheaval and violent warfare. No understanding of his music is possible without an appreciation of these basic facts. It is useful in analyzing Beethoven's life and music to compare him briefly with Haydn and Mozart, two other musical giants who were born within fifty years of Beethoven's time, and who shared his Central European environment in the vicinity of Vienna."
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