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Lunch with Copland, Brahms and Bach, 2007.
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
1,705 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper
"Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
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Joseph Brahms' "Symphony No.1", 2008.
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
1,185 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
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Brahms' Two Piano Concertos, 2002.
A study of Brahms' first and second piano concertos.
1,587 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
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Abstract
This paper examines the birth and development of Brahms' first and second piano concertos. The paper describes the poor reception to the first concerto and Brahms' subsequent reluctance to compose another concerto. Thus the writer explains the twenty year break between the first and second concerto. The paper provides a detailed musical description of these two concertos.
From the Paper
"Various compositions that are now highly praised as masterpieces were not predominantly triumphant in their early years, but few were greeted by actual hisses from the audience. Those that were had typically committed the sin of being too progressive for their day. One such example, the most notorious one, the First Piano Concerto by Brahms a fact which must have been shocking to this composer, who so little identified with progressives. It was one of his first, and most tender, encounters with the determination of the musical establishment. "
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Johannes Brahms?s ?Concerto for Violin and Orchestra in D?, 2002.
This paper describes each movement of Johannes Brahms?s ?Concerto for Violin and Orchestra in D?.
810 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper explains, by describing in detail each movement, that Brahms?s ?Violin Concerto? demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)
From the Paper
"Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."
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Bach the Unknown, 2006.
An examination of the contributions of Johann Sebastian Bach that are generally unknown.
1,854 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
Johann Sebastian Bach stands as the epitome of Western music. This paper explains that as a musician, Bach encompassed all of the musical styles that preceded him, such as those found in the medieval and Renaissance periods, and then rose to the highest peak of artistic and technical development beyond which it was, in many cases, impossible to go any further. The writer points out, however, that Bach also looked forward to the future of Western art and music and set the standards for the centuries to come. More conspicuously than any other composer of his day, Bach suggested and invented the technical devices and methods which, with the coming of other composers like Haydn, Mozart and Beethoven, were soon to open up new horizons for music.
From the Paper
"His special quality had much to do with how he used the resources of art in order to apply them to new purposes. His artistic powers and insight were so much higher than those who came before him that Western music, almost at once, evolved from the simplicities of the Medieval period and into full maturity. Bach wrote a library of music that is incomparable in regard to its extensiveness and artistic merit. It is indeed curious that this uniquely productive genius who wrote so much that was touched with immortality should have been neglected for almost a century after his death in 1750."
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Bach's B Minor Mass, 2005.
An overview of this work by Johann Sebastian Bach.
2,122 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
The paper asserts that the "Mass in B Minor" not only sums up Bach's own eclectic style, but also sums up the styles of previous periods as well. This paper first addresses some of the historical aspects surrounding the Mass. It then discusses controversial theories regarding Bach's purpose in writing such a work and finally acknowledges a small variety of those styles, i.e., stile antico, galant, that Bach assimilated into this monumental work.
From the Paper
"Throughout the Mass in B minor there are three clearly distinct styles of Baroque vocal writing that can be heard influencing this quite eclectic work. The first is the traditional stile antico or "church style," the somewhat plain and simple manner inherited from the Renaissance (prima practica). In this musical style the notation employs long note values, dissonance and melodic ornamentation are used cautiously, and the instruments are used primarily to double the choral parts. In contrast, the vibrant, sometimes harsh Baroque style displays an often lively rhythm, brilliant orchestration, expressive dissonance, and melodic lines that are highly ornamented. The third and final type is that of the arias and duets, derived predominately from the virtuosic solo writing of the opera and cantata."
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Aaron Copland, 2002.
A biography of the life and career of the composer Aaron Copland.
900 words (approx. 3.6 pages), 7 sources, $ 35.95
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Abstract
This paper looks at the works and life of Aaron Copland. The direct appeal and irresistible imagination of Aaron Copland's works make him one of the defining voices of American music. His musical works ranged from ballet and orchestral music to choral music and movie scores. For the better part of four decades Aaron Copland was considered the premier American composer.
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Johan Sebastian Bach, 2002.
A review of the works of the composer Johan Sebastian Bach.
2,619 words (approx. 10.5 pages), 0 sources, $ 78.95
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Abstract
This paper provides a biography of the life and music of Johan Sebastian Bach, considered to be one of the greatest composers of all time and is celebrated as the creator of the "Brandenburg Concertos", "The Well-Tempered Clavier", the "Mass in B Minor", as well as numerous other masterpieces of church and instrumental music. It discusses how Bach brought together and synthesized the principle styles, forms and national traditions of his age, picking the best of each, andby bringing them together enriched them all. It provides a detail analysis of "Third Brandenburg Concerto", by looking at such issues as instrumentation, texture, framing, phrasing and mood.
From the Paper
"In the Third Brandenburg Concerto, the strings act as an ensemble throughout the entire work, sometimes as a group, and at other times with one instrumental group, say the violins, are given emphasis. Throughout the entire piece, a heavy Italian influence is present. As may be guessed, the harmony is carried by the harpsichord, while the melodies are carried by the strings. In this case, the Bass and the three cello?s carry the lower, heavier part of the melody while the lighter, higher part of the melody is carried by the violins and the violas. Although the harmonies are somewhat different, they work in concert. One harmony will take the lead and the other will fall back or disappear. They also work in concert with each other, playing off each other and using the other to emphasize the statement of the music."
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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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Gershwin and Copland, 2002.
A discussion of the music of the American composers George Gershwin and Aaron Copland.
1,279 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
This paper introduces two composers, George Gershwin and Aaron Copland, who both worked in the early 20th century. Specifically, it discusses opinion about their music and evaluates why these two composers are so quintessentially American. It looks at how George Gershwin wrote popular music and how early in his career was dismissed because he was not a "classical" composer, although his music is both classical and popular. It shows how Aaron Copland, on the other hand, also wrote popular music, especially for films but how he is better known for his classical compositions and American ballets.
From the Paper
"Listening to Gershwin's compositions is always a treat because I hear something different each time I listen. "Rhapsody in Blue" has so many melodies and themes going on, that all come together in the recognizable theme that winds its way through the music, that I can listen to it a hundred times and still smile as it comes to a climatic close. The alternating orchestrations and beats, the lyrical and romantic qualities of the music, and the pictures it conjures up are all pleasurable and enduring, just like the music itself. While "Rhapsody" may be his most enduring piece, certainly many others embody his graceful and lyrical style. The "Concerto in F for Piano and Orchestra" is a darker piece, which seems to evoke more images of the night in it, and a stronger, even more vital rhythm and beat than "Rhapsody," but it is clear the two pieces were written by the same composer. They share the same lyrical and lilting piano style, staccato trumpet solos, and that same slightly jazzy style which brings up pictures of a busy New York street on a Saturday night. Gershwin is a joy to listen to because his pieces are uplifting and make you want to listen to more."
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Bach's First Brandenburg Concerto, 2004.
A discussion on elements and form in Bach's First Brandenburg Concerto.
690 words (approx. 2.8 pages), 3 sources, MLA, $ 23.95
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Abstract
This paper looks at Bach's First Brandenburg Concerto in F major. It examines the formal elements of the opening movement and the minuet and polacca at the end of the concerto.
From the Paper
"Johann Sebastian Bach achieved eminence first as a keyboard virtuoso and later as a prolific master composer in nearly all the musical forms and genres of the high Baroque. "
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Childhood Obesity and School Lunches: A Letter, 2008.
A letter to a legislator regarding school lunch programs as a contributing factor to childhood obesity.
728 words (approx. 2.9 pages), 3 sources, MLA, $ 25.95
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Abstract
The paper presents a letter in regard to the issue of childhood obesity and, in particular, how lunch programs in children's schools are contributing to this problem. The letter recommends increasing the number of physical education classes in schools and switching school milk supplies to organic milk to avoid the genetically engineered growth hormones in cows and beef cattle.
From the Paper
"In recent decades, increases in levels of obesity in children have reached the scale of a major public heath problem in Western countries. In Canada, for example, rates of overweight/obese children have more than doubled in the past twenty years, with estimates suggesting as many as 30% of Canadian children are obese (Veugelers and Fitzgerald 607). The numbers from the United States over the same time period are very similar (Whitmore). It is widely acknowledged in the scholarly literature on children and nutrition that the two primary mechanisms contributing to recent increase in obesity levels among children are poor nutrition and a lack of adequate exercise (Veugelers and Fitzgerald 607)."
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"Lunch at the 5 & 10", 2004.
A review of the book, "Lunch at the 5 & 10 The Greensboro Sit-Ins: A Contemporary History" by Miles Wolff.
1,000 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
This paper analyzes the book, "Lunch at the 5 & 10 The Greensboro Sit-Ins: A Contemporary History" by Miles Wolff. Specifically, the paper discusses the positive and negative role of white Americans during the Greensboro sit-ins. The paper examines why some people supported change, and others resisted it. Additionally, the paper addresses how the movement changed the African-American community in Greensboro.
From the Paper
"The Greensboro sit-ins occurred during a time of strife and turbulence in the South. Black Americans were attempting to gain rights long denied them, and white Americans were not sure exactly what to do with Negroes who suddenly refused to follow the established rules. Some of the whites supported their efforts, because they felt all people should be equal. Some of them did not, because they felt Negroes were inferior and should stay that way. White shop owner Ralph Johns was instrumental in the sit-in; he provided support and funds for the first four young men who started the sit-in. The four young men participating in the sit-in were Ezell Blair, Jr., Franklin McCain, Joseph McNeil, and David Richmond."
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Bach's Organ Music, 2007.
A description and analysis of four of Johann Sebastian Bach's compositions of organ music.
2,246 words (approx. 9.0 pages), 11 sources, MLA, $ 69.95
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Abstract
This paper discusses four works that Bach composed to be played on the organ (which he himself played). It discusses the Toccata and Fugue in D minor, BWV 565; the Fantasia and Fugue in G minor, BWV 542 "Great G minor"; the Passacaglia and Fugue in C minor, BWV 582; and the Concerto for Organ solo in A minor, BWV 593 (after Vivaldi). The paper looks at each work and then describes how these works influenced many later composers in the process.
Table of Contents:
Introduction
Toccata and Fugue in D minor, BWV 565
Fantasia and Fugue in G minor
Passacaglia and Fugue in C minor
Concerto for Organ solo in A minor
Conclusion
From the Paper
"Bach wrote a variety of organ music, much of it requiring considerable skill on the part of the organist, presumably so he could demonstrate his own skill with the organ. This is reminiscent of similar ways of demonstrating skill on the violin for Paganini, or on the piano by Liszt. Bach extended the reach of the organ in these works and influenced many later composers in the process. Many of his organ works were from an early period in his career, in keeping with his role as church composer and organist in various venues."
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J.S. Bach, 2002.
A review of Bach's musical achievements.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This paper describes the Mass in B Minor by Bach as a musical achievement of the western World.
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