| Papers [1-15] of 93 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "CHORAL ODE AGAMEMNON": |
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Choral Ode in "Agamemnon", 2006.
An analysis of the choral ode of the "Agamemnon" and its relevance to the play as a whole.
675 words (approx. 2.7 pages), 1 source, $ 26.95
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Abstract
"The choral odes in Greek tragedy serve to explain and promote the theme. The overall theme of the "Agamemnon" is a contradictory one, extreme hatred within a context of love. The choral ode analyzed in this paper is pure chorus and is an address to Clytemnestra which had commenced "My lady, no grave man could speak with better grace". The ode is therefore a challenge to male dominance. This choral ode is a continuation of the theme of male-female conflict begun in the first choral ode that also was addressed to Clytemnestra.
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Agamemnon, 2006.
A discussion on the theme of hate and love in Agamemnon.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper discusses how the choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. It explains that close familial bonds are interrelated with the tragedy in Agamemnon, as is observed in the relationship between Helen and her sister, Clytemnestra. It claims that the entire play follows the paradoxical theme of deep hate in a context of love.
From the Paper
"The choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. Close familial bonds are interrelated with the tragedy in Agamemnon as is observed in the relationship between Helen and her sister Clytemnestra. Helen instigated the Trojan War as well as Iphigenia's death, and the entire play follows the paradoxical theme of deep hate in a context of love. The choral ode to be examined (ll. 585-651) is not pure chorus but almost amounts to a conversation between the chorus, Clytemnestra, and the herald. "Early drama was choral, and the life of Attic tragedy ..."
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"Oedipus Rex", 2005.
An examination of the use of choral odes in Sophocles's "Oedipus Rex".
1,700 words (approx. 6.8 pages), 3 sources, APA, $ 55.95
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Abstract
This paper explains how the choral odes serve to both bring the gods into the play in terms of prayer and supplication and also to comment on the plot of the play as it progresses from the standpoint of the society represented by Oedipus, its king, who is involved in the horrible tragedy and disaster of his discovery.
From the Paper
"The chorus used to be a bigger part of Greek drama, but actors began to take most of the action of the play, and the chorus was relegated to a position that could be compared to the modern role of the reporter. The chorus is also a religious voice in the play, though, so this comparison could be modified to include the modern priest as well. The chorus does not necessarily provide a totally objective voice, since they are as wrapped up in the events of the play as any of the other charcacters."
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Ode, 2002.
A comaprison between 2 poems: "Ode to a Nightingale" and "Ode to a Mouse".
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper compares and contrasts the poems "Ode to a Nightingale" and "Ode to a Mouse" and presents their analysis.
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Agamemnon, 2002.
A comparison of Homer's character Agamemnon from the "Iliad" with the character of Agamemnon in Aeschylus' play "Agamemnon".
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper compares the character Agamemnon in Homer's "Iliad" with the character Agamemnon in Aeschylus' play of that name, and examines in what ways the Agamemnon of Homer is consistent with the Agamemnon of Aeschylus, and in what ways are they not consistent.
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Choral Music Education, 2005.
This paper discusses the psychological principles and methods for teaching choral music to senior high school students.
15,235 words (approx. 60.9 pages), 35 sources, MLA, $ 249.95
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Abstract
This paper explains that the music teacher is one of the few people in the teaching profession who is able to teach artistic expression and creativity to a whole group of students; the method in which the teacher prepares him or herself for this task makes him or her better at his or her job. The author points out that a common practice among the young singers is an attempt to 'create' clear and brilliant tone by pushing the voice rather instead than resorting to better breathing management to create the vocal sound by regulating the air flow. The paper relates that, with proper discipline and proper rehearsals, students of choral music can give choral music performances in an appreciable manner; the teacher also benefits from the independent and creative thinking of his or her students.
Table of Contents
Introduction
Adolescent Development and Vocal Production
Physiological, Mental and Emotional Processes
Stages of Female Voice Change
Stages of Male Voice Change
Knowledge of Adolescent Vocal Quality (9-12 Grades)
Adolescent and Choral Learning Environment
The Interaction of Choral Teacher with Students
Voice Classification in Senior High School
Integration of "Educational Standards" in the Choral Curriculum
Principles of Choral Pedagogy
Discipline and "Good Choral Habits"
Choral Techniques and Strategies
Rehearsal Procedures
Repertoire
Rehearsal and Concert Performance
Conclusion
The Role of Positive Choral Experience in Senior High School
From the Paper
"Most of the children can be taught of singing since it is considered to be a psychomotor skill. However, the children with physical impairments like thickened vocal cords are considered to be exceptions to this. The emotional portion of the teaching caters to the learning of intrinsic hearing that enables the children to hear 'on the inside' and acknowledge and tag that they hear. The motor part of the learning is associated with good pose, breathing and phonetic integration. The recent National Assessment of Educational Progress reveals that most of the children are not desirous of learning even singing a simple melody with exactness. The oral abuses in many children are noticed by the otolaryngologists, more particularly among the boys in their attempt to pushing down their voices with a view to sounding like man. Attempting to speak on cords gives rise to vocal abuse producing vocal nodules and an unhealthy voice. The boys and girls are required to be warned of the noisy and excessive screaming and resulting damage for the vocal cords. The music teachers are to be viewed as the oral teachers for singing as well as speaking."
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Odes of Keats, 1993.
Lyricism (musicality, simplicity, tone & mood, subjectivity) in "Ode on a Grecian Urn," "Ode to a Nightingale" & three others.
3,150 words (approx. 12.6 pages), 15 sources, $ 111.95
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From the Paper
" Edward Bliss Reed has claimed that "the odes of Keats are not only the greatest lyric achievement, but they are the finest expression of his genius" (425). These works of John Keats are particularly notable for their fine sense of lyricism. Most definitions of lyricism include four aspects which are found in abundance in Keats' odes: musicality, simplicity of subject, emphasis on tone and mood, and subjectivity in thought and feeling. This paper will examine these elements as contained in five of Keats' odes: "Ode on Melancholy," "Ode on a Grecian Urn," "Ode to a Nightingale," "Ode to Psyche," and "To Autumn."
According to Schelling, one of the most important features of lyric poetry is the use of devices to create musicality. There are many possible devices for achieving this effect, such as: "Rhythm ordered with artistic variety on the basis of an organic.."
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The Chorale Cantata, 2002.
This paper discusses the Chorale Cantata.
2,400 words (approx. 9.6 pages), 10 sources, $ 89.95
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Abstract
This paper discusses the Chorale Cantata. The chorale cantata is a vocal composition through instrumental accompaniment. The cantata originated in the early 17th century, together with opera and oratorio, and was only religious before it also became secular. Tunder introduced the pure form of the chorale cantata; Buxtehude the mixed and elaborate form; and Bach the paraphrased form at the peak of success of the Baroque music era.
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The Finale of Beethoven?s Choral Symphony, 2006.
A look at how Beethoven's Choral Symphony helped shape the genre of the classical symphony.
910 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper examines the great impact that Beethoven's Choral Symphony had on the genre of the classical symphony. The paper explains how, despite of all the criticisms of the Choral Symphony that continue to this day, in writing it Beethoven helped the genre of classical symphony evolve, translating it from the Classical to the Romantic.
From the Paper
"In addition, recent studies on the sketches have been difficult, as some sketches were lost, sold, or found to be out of their original order (Levy 19). It is evident from what has been found and deciphered that Beethoven's original intention was to write two separate symphonies, and the Ninth is what resulted from his simultaneous work on both. Evidently, he intended his two symphonies to consist of a London symphony, which would be instrumental; and a German symphony, setting Schiller's "An die Freude" to a different tune than the one he finally used in the Ninth (Cook 13-14)."
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Aeschylus' "Agamemnon" and Homer's "Odyssey", 2006.
A paper comparing the homecoming stories of Aeschylus' "Agamemnon" and Homer's "Odyssey."
750 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper compares and contrasts the stories of two heroes returning from war, as expressed in Homer's Odyssey. The paper describes the differences in family life in the two stories. The paper explains that Agamemnon left for battle, sacrificing his daughter. As a result, Agamemnon's homecoming is a tragedy. His wife has been unfaithful and wants to avenge her daughter. By contrast, the paper explains, Odysseus goes through many trials and tribulations before he is able to return home. The author explains, though, that once he arrives at home, he finds a faithful wife with whom he is able to rebuild a good family life.
From the Paper
"Aeschylus and Homer portray two different versions of a post-war homecoming by the central protagonists of the texts "Agamemnon" and "The Odyssey." Agamemnon and Odysseus are both Greek generals who fought successfully in the Trojan War. Both men are kings. While the dramatist Aeschylus portrays an ungrateful homecoming on the part of the central protagonist's wife, and dramatizes a dark prophesy of death that is ultimately fulfilled, as well as stresses the inevitability of fate at the hands of vengeful women, Homer shows a far different possibility for a wartime homecoming. Homer shows how unexpected happy endings can occur, despite the persistent influence of the gods in human affairs. Homer depicts a loyal wife and son waiting for the main protagonist, upon Odysseus' return from the Trojan War. These different family portraits suggest that in Aeschylus' point of view, war destroys family alliances and a true post-war homecoming that recaptures the past is impossible, given the moral as well as territorial destruction of war. But Homer suggests, even though years may be lost, there is still a family bond that can be sustained, despite years of separation."
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The Role of Women in "Agamemnon" and "Antigone", 2006.
A comparison of the roles of women in "Agamemnon" and "Antigone" from the "Oedipus" trilogy.
958 words (approx. 3.8 pages), 1 source, MLA, $ 34.95
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Abstract
In this paper the author looks at the role of women in "Agamemnon" and "Antigone" from the Oedipus trilogy. He compares the characters of the main women in the both books, Clytaemestra and Antigone, looking at the way they deal with certain circumstances. For example, how Clytaemestra is devious and plans to murder her husband, Agamemnon, out of fury over his sacrifice of their daughter, Iphigenia. Whereas Antigone defies an edict by insisting on the burial of her brother, Polynices because she is acting out of a sense of duty to fulfill a promise made to him before his death. The author concludes that Clytaemestra and Antigone can be seen as personification of woman's most extreme emotions and conflicts. The values that in Antigone are good and true become distorted into hatred and violence in Clytaemestra.
From the Paper
"The strength of Clytemaestra's personality is evident in her first speech, which follows immediately after the scene in which the sacrifice of Iphigenia takes place. She is majestic in her wrath and dominates the entire work from this scene on. She personifies the theme of the conflict between ethics and principles and human emotions. She easily convinces the elders of her story of the fall of Troy. She impresses them with her intellect by which she arranged a complex system of beacons to relay the news. She is audacious and proud, even hinting subtly of her plans, almost inviting the wrath of the gods."
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Agamemnon, 2007.
A discussion of the legal issues involved in the murder of Agamemnon.
1,539 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
The paper is written in the form of a legal argument by the prosecuting counsel. The writer argues that, when her trial began, there was no question that Clytemnestra was guilty of the murder of her husband Agamemnon and the slave Cassandra. The paper discusses how not only was she seen holding the murder weapon by the Chorus, but the prophet Cassandra indicated that Clytemnestra was killing Agamemnon and would be the instrument of Cassandra's death. In addition, Clytemnestra freely admitted that she committed both murders. The paper shows how Clytemnestra deserves the highest penalty possible: the death penalty.
From the Paper
"On the surface, Clytemnestra's argument that she murdered Agamemnon for the good of Argos has some appeal; it is unquestioned that he led Argos in war against Troy. However, a deeper investigation of the argument reveals its weaknesses. The first weakness is that the Argonauts supported the war. They believed that Paris had abused Menelaus' hospitality by seducing Helen. In addition, they believed that Paris abused their state hospitality by doing so. The argument's second weakness is that, even if the Argonauts had not supported the war, Clytemnestra's actions did nothing to reduce either the duration or the severity of the war."
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Ode to Human Passion, 2002.
Analyzes Keats's use of literary devices and imagery in "Ode on a Grecian Urn".
802 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper provides a history and an analysis of Keats's poem, "Ode on a Grecian Urn". Examples of Keats's use of metaphor, personification, and imagery are provided, and the qualities that characterize him as a Romantic are discussed.
From the Paper
"Perhaps his most prolific work, Keats? ?Ode on a Grecian Urn? aesthetically articulates the archaic beauty of a simple urn while simultaneously capturing a sense of ideal beauty in the world. While the reader might first be deceived by the simplistic fa?ade of the poem, the work stands as a complex piece succeeding in deriving poetic bliss from that which lacks letters. In true Romantic fashion, Keats culminates with the declaration ?Beauty is truth, truth beauty? (line 49)?an ambiguous aphorism that encapsulates the essence of the poem. In the end, Keats? effective use of literary devices and poignant imagery combine to reveal human passion as ?Beauty.?
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"Ode: on the Death of a Favorite Cat?, 2002.
This paper is a feminist critique of Thomas Gray's poem, "Ode: on the Death of a Favorite Cat, Drowned in a Tub of Goldfishes".
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper discusses the troubling symbolisms in Thomas Gray's "Ode: on the Death of a Favorite Cat, Drowned in a Tub of Goldfishes".
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"Ode to the West Wind", 2002.
A brief examination of the poem "Ode to the West Wind" by Percy Bysshe Shelley.
868 words (approx. 3.5 pages), 0 sources, $ 30.95
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Abstract
An analysis of the use of the death motif in Shelley's poem "Ode to the West Wind". It tells us not to grieve at the coming of winter because we must have winter to have the joy of the return of spring. The writer states that in this explanation of death, Shelley reflects the common religious belief that our life on Earth is simply short preparation for the joy of life eternal after we pass on. He uses vivid imagery not only to describe the despair of death but the reasons to rejoice in its final outcome.
From the Paper
"The poem uses the ?wild west wind (line 1) as his first metaphor for death. All other images of death in the poem refer to the west wind, providing multiple layers of metaphor. He describes it as driving the dead leaves, and describes the dead leaves of fleeing from the wind. In this way he draws a distinction between humans, who can have the joy of life after death, and non-sentient objects such as leaves who simply die and are gone forever. Leaves would flee Death where people should not. The poem?s topic becomes particularly poignant from the very beginning because Shelley died at the young age of 30."
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