| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "UTAH SYMPHONY OPERA": |
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Utah Symphony and the Utah Opera, 2006.
A case study of the merger of the Utah Symphony and the Utah Opera.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
This paper discusses issues regarding merging separate arts institutions as described in a Harvard Business Case. The paper covers various related topics including the role of communications and the decision-models employed. The paper further addresses the likely stress points in the post merger environment management as well as the question of how the dissimilar business models and artistic product of the two institutions mesh or not mesh.
From the Paper
"Superficially at least the Utah Symphony and the Utah Opera have much in common. Both are performing arts non-profit institutions; both specialize in presenting forms of classical music and both operate in a part of the country far from the mainstream centers of such "high-brow" cultural activities. Peel back a layer or two, however, and it becomes immediately apparent that the two organizations have very different cultures. For starts, opera is as much a theatrical as it is a musical art form. Whereas a symphony gives a concert, an opera company stages a production in which instrumental music plays a major but by no means exclusive role. Indeed, opera is an electric, highly collaborative art form: scenery, costumes, makeup, stage movement, and acting are as instrumental to a production as singing and musical accompaniment. "
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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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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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20th Century American Symphony, 2005.
A study of modern American symphony.
1,015 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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Abstract
This is a short essay detailing modern American symphony from Howard Hanson to John Williams. It starts off by stating that the symphony originated from instrumental music and how that gradually led to a symphony orchestra.
From the Paper
"In his first symphony, Piston incorporates much of what he had learned in his life. He has hints of different styles, which is a good example of how broad his studies were. In the finale, there is an energetic rhythm that blends both tradition as well as American optimism. As for all of his symphonies, they end in a grand finale."
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Beethoven's 9th Symphony, 2002.
Analysis of Ludwig von Beethoven's Ninth Symphony in D Minor.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This six-page undergraduate paper offers a detailed analysis of Ludwig von Beethoven's Ninth Symphony in D Minor. An introduction and historical background to the work are included, and the symphony is placed within a broad cultural, philosophical, and historical framework. The paper concludes with a technical analysis, and some personal thoughts regarding the work. .
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"Ninth Symphony", 2002.
A review of Beethoven's musical composition, the "Ninth Symphony".
1,372 words (approx. 5.5 pages), 10 sources, MLA, $ 45.95
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Abstract
This paper reviews Beethoven's classical musical piece the "Ninth Symphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.
From the Paper
"Today, we can only be grateful that Beethoven?s music was spared the kind of criticism practised in the 21st century, ?It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of ?bourgeois decadence? in the music of Rachmaninov.? (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven?s era seems liberal in comparison to today?s standards?or perhaps it is only that criticism was not so advanced in his time."
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Toronto Symphony Orchestra, 2002.
A review of a performancy by the Toronto Symphony Orchestra.
1,900 words (approx. 7.6 pages), 3 sources, $ 71.95
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Abstract
This is a review of a classical concert performance and a critique of the programming of this concert by the Toronto Symphony Orchestra (February 16, 2002). This review indicates how the performance was characterized more by its diversity than by its stylistic or thematic unity. This review focuses on this aspect of the performance, and argues that while it is not essential to the success of a concert, the audience's understanding of the reasons behind the programming of a concert can contribute greatly to its success.
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Mozart's Symphony K-550, 1978.
This paper presents a detailed, technical analysis of all four movements of Mozart's Symphony K-550: Exposition, development, style, melody, form, phrasing. Extensive manuscript references.
1,800 words (approx. 7.2 pages), 0 sources, $ 63.95
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From the Paper
"First Movement: The movement is in sonata-allegro form, and characterized generally by the regular phrasing of its cut-time meter (in 2- and 4-bar groups). The exposition, development, and recapitulation sections are roughly balanced on a ratio of 4-3-5, and the textural qualities of the three sections are basically homophonic-contrapuntal-homophonic (with considerable quasi-contrapuntal decoration of the harmony). Orchestrally, the strings provide the foundation for most of the writing, although the winds are particularly important for their use in the major transitional points of the form. The beginning of the development section (ms. 102-105) and the retransition (ms. 160-166) are ... "
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Paul Hindemith and his Symphony, 2004.
Analysis and history of Hindemith's "Symphonic Metamorphosis".
2,023 words (approx. 8.1 pages), 4 sources, APA, $ 64.95
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Abstract
This paper examines the man behind the musical work, "Symphonic Metamorphosis". The life of Paul Hindemith is discussed, and the manner in which the music piece was compiled is analyzed. It concludes that "Symphonic Metamorphosis" is an example of the work that has made Hindemith one of the most masterful artisans in musical history.
From the Paper
"Paul Hindemith was born in Hanau, Germany on November 16, 1895. His father, Robert Rudolf, played the zither and was enthusiastic about music. Robert ran away from home at a young age because his father would not let him become a musician and as a result, he decided his own children should have the career he was not permitted to have. He subjected Paul, his brother, Rudolf, and his sister, Toni, to a strict routine of practice and training."
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Beethoven and his Symphonies, 2007.
This paper provides a discussion of Ludwig Van Beethoven's life and his famous nine symphonies.
1,734 words (approx. 6.9 pages), 7 sources, MLA, $ 56.95
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Abstract
The paper reveals that many consider Beethoven to be the greatest composer in the Western music tradition. The paper discusses Beethoven's earlier and later years and describes his famous nine symphonies.
Outline:
Early Life
First Works
Leaves for Vienna
Struggles with Deafness
Last Days
Symphony No. 1
Symphony No. 2
Symphony No. 3
Symphony No. 4
Symphony No. 5
Symphony No. 6
Symphony No. 7
Symphony No. 8
Symphony No. 9
From the Paper
"Beethoven (1770-1827) is considered by many as the greatest composer in the Western music tradition. His stature among music composers is such that his name is familiar even to people who do not listen to classical music, while he is also held in the highest esteem by the most discerning connoisseurs of Western classical music. The wide range of his music composition encompasses a variety of genres, including symphonies, concertos, sonatas, string quartets, chamber music and opera, forming a bridge between the classical and romantic eras of musical history."
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Geography of Utah, 2007.
A review of the state of Utah and it's natural geographical beauty.
2,250 words (approx. 9.0 pages), 20 sources, MLA, $ 69.95
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Abstract
This paper discusses the unique geography of the state of Utah. The paper reviews the different types of geology, landscapes and recreational opportunities in Utah as well as Utah's national parks.
Contents:
Introduction
About Utah's Landscape
Utah Heritage and Culture
Mormon History and Heritage
The Weather of Utah
National Parks Of Utah
Zion National Park
Bryce Canyon National Park
Arches National Park
Canyon lands National Park
Capitol Reef National Park
Ashley National Forest
Utah Fishing
Utah Hunting
Utah Camping
Boating in Utah
Utah Skiing
Utah Snowmobiling
Rock Hounding Utah
The Winter Olympic- 2002
From the Paper
"Another exciting and well known outdoor activity is trout fishing, in high mountain lakes and streams. Seldom know that the state also offers a wide variety of other exciting fishing opportunities such as trophy lake trout. The trout alone weighs at over 40 pounds. In addition, ferocious tiger muskie, striped bass so abundant that they have removed the limit, exclusive and hard-fighting wipers, as well as quality waters for walleye, perch, smallmouth, channel catfish, largemouth, crappie, white bass, and several other species are all to be fond in fishing. Fishing is open throughout the year on most waters. However, all visitors have to follow certain rules of fishing, which are available at all Wildlife Resources offices and also at most local stores and visitor information outlets. "
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Italian Opera, 2001.
This paper examines, in brief, the history of Italian opera, focusing on opera in the 19th century, and the ways in which opera has become a part of American culture and influenced American music.
1,235 words (approx. 4.9 pages), 4 sources, MLA, $ 42.95
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Abstract
The following paper examines the history of Italian opera focusing particularly on how Italian singers and composers helped to transform opera in the United States from an art form that was something that only the elite followed to something approaching a truly popular art.
From the Paper
"Opera is simply the Italian word for work and describes a piece of drama set to music, distinguished from plays in which music is merely incidental. Although there are certainly distant antecedents to opera in the music of Greek tragedy and Medieval European miracle-plays, it begins as a distinct art form (as dramas that were set to music in order to be produced as musical works of art) at the beginning of the 17th century. Kimbell, 1994, p. 11)."
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Politics and Brecht in "The Threepenny Opera", 2002.
A look at how communism and politics are reflected in the opera, "The Threepenny Opera" by Bertolt Brecht.
725 words (approx. 2.9 pages), 0 sources, $ 25.95
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Abstract
The paper discusses Bertolt Brecht?s political opera, "The Threepenny Opera" which was first performed in 1928. The paper shows that during this period of time, three distinct and separate political and economical philosophies were on a collision course in Germany: fascism, socialism and communism. It shows that while Brecht was struggling to write this opera, Hitler?s first attempt attempt to grab control of the government occurred in 1923 and communism was becoming popular. The paper discusses how communism is reflected in two ways: Brecht mocks both class differences and belief in God.
From the Paper
"Brecht reflects elements of both socialism and communism in some points in the play, such as when Peachum is giving out licenses to beg. That the needs of the poor could be so easily corrupted seems to be a condemnation of a government that would allow people to survive by begging. Peachum uses Filch?s need to be allowed to bed as a platform to criticize society?s apathy toward the poor. He describes five types of human misery. Each example is a beggar harmed by something the middle and upper classes view as progress in one way or another: one is in an auto accident while another is wounded in war."
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Tchaikovsky's Symphonies Five and Six, 2008.
This paper analyzes and compares the fifth and sixth symphonies composed by the Russian romantic composer, Peter Il'yich Tchaikovsky.
2,350 words (approx. 9.4 pages), 8 sources, MLA, $ 72.95
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Abstract
This paper explains that Tchaikovsky's "Symphony Five" and "Symphony Six" ("Pathetique Symphony") are mature compositions, showing the full flowering of the composer's romanticism and his musical ability. The author presents, for both symphonies, the background, organization, stylistic developments, orchestration and themes and progressions of each movement. The paper relates that the plan for the most of Tchaikovsky's symphonies begins with a pessimistic first movement, a second that is sad and peaceful, a third with an allegro movement in dance form and a fourth that is vigorous. The author points out that the "Sixth Symphony" does not follow this pattern in that the last movement is slow and mournful, giving rise to the idea of it being prophetic because of the death of the composer soon after it was premiered.
From the Paper
"Garden states that the Fifth Symphony is more operatic even than the Fourth Symphony, using highly colored orchestration and a vivid presentation of ideas as did the Fourth, but also using operatic crescendos and more frequent alterations in tempo. This is particularly true in the slow movement, which makes use at the outset of the operatic aria in the Andante cantabile, con alcuna licenza, and with the licenza marked in the score. Garden also cites the way Tchaikovsky seeks contrasts with contrasting blocks of similar instruments."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, $ 133.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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