| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ZUCKERKANDL SOUND SYMBOL": |
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Zuckerkandl's "Sound and Symbol", 2006.
A review of Zuckerkandl's work "Sound and Symbol."
949 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
This book review examines Zuckerkandl's work entitled "Sound and Symbol." The nature of music is considered, from both the author's viewpoint and the work of Zuckerkadl. Also discussed are the different possible interpretations one has when listening to a piece of music. The paper concludes with how one should approach a piece of music as a listener, and the proper use of music therapy.
From the Paper
"Music therapy has the implications of being quite significant. However, I see there being a few problems in the structure of the theory. If it is so possible for there to be so many different interpretations in music, then it is only fair to say what music would work in therapy. Zuckerkandl also refers to how psychology and music are so far apart from each other; he reports that they look at the physical word from different points of view. Considering this allows one to see that here in itself is a flaw in the whole ideology of it all. How can you use something in a field for which you feel there is no significant, or correlation? There has to be a way to bring the two ideals together to make one working "machine." There also needs to be a clear understanding of the significance of music in therapy and how the effects of music can be used to benefit a "living organism." "
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Sound Reinforcement, 2004.
An overview of the role of the live sound engineer in implementing sound reinforcement.
1,813 words (approx. 7.3 pages), 12 sources, MLA, $ 58.95
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Abstract
This paper discusses how the term sound reinforcement refers to the strategic use of microphones and loudspeakers to project the sound of a band, theatre production or conference speaker across to an audience. It examines how it is necessary for a sound engineer, working in any area of sound reinforcement - from the front of house engineer in a large concert hall, to the stage manager at a theatre ? to have the confidence and knowledge required to problem solve quickly in the event of equipment failure, and keep the programme on track.
From the Paper
"The term impedance matching is used when concerning the interconnection of loudspeaker drivers and power amplifiers, to achieve maximum power transfer. At this stage in the signal chain, it is very important to appreciate that the load impedance of the speaker (the whole cabinet, not just the driver itself) must match closely the source impedance (the rated output impedance of the power amp). If the source impedance is significantly higher than that of the speaker, the amplifier could overheat, or its automatic protection circuitry could cause it to cut out. Neither of these conclusions would be much good during a live performance."
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The Anthropology of Sound, 2002.
The history and development of the understanding of sound from an anthropological perspective.
3,148 words (approx. 12.6 pages), 10 sources, MLA, $ 91.95
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Abstract
This paper discusses sound from an anthropological perspective and concentrates on the origin and the nature of sound. The paper also reviews on how the study and the development of sound progressed with technology. It also concentrates on the association of sound with language and culture and shows how the pronunciation of words have resulted in different sounds with the development made in the writing scripts. The paper also lays emphasis on the association of sound with memory called echoic memory.
From the Paper
"People love sound and sound today is ubiquitous; sound will continue to fascinate people for ages to come. The pleasures of sound flow from frequency, amplitude and harmonic constitution or waveform. Perhaps there is no other form of art where the pleasures of mere form are more marvelous in complexity, more intellectual in essence and purer in quality. Plato once suggested that the sensibility for sound might be the most civilizing of educational instruments. People and sound both belong to each other and both grow out of life."
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The Science of Sound in Music, 2003.
A scientific illustration of how sound is produced by several different instruments.
893 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper examines how music is composed of a mixture of sounds, or a single sound, which is pleasing to the sense of hearing. It discusses some different instruments used to create sound or music. It also shows how sound can be created by an infinite number of things and focuses on the guitar, the flute, the kettledrum, and the human singing voice.
From the Paper
"In order for sound to be produced, the muscles of the larynx contract and bring the vocal folds together. While the vocal folds are together, the diaphragm moves to a convex position causing the air pressure directly below the vocal folds to increase. When the air pressure below the vocal folds becomes greater than the pressure holding them together, a column of air breaks through the folds. As the air jets through the larynx, it makes a decrease in pressure that brings the vocal folds back together. When the pressure beneath the folds increases once again, the process repeats itself. Vibration is produced by the vocal folds opening and closing rapidly. Every time the vocal folds open a gush of air escapes."
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Image and Sound, 2004.
A look at how image and sound combine to create meaning and the other functions of sound in television and film.
2,187 words (approx. 8.7 pages), 7 sources, MLA, $ 68.95
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Abstract
This paper examines how motion pictures and television are audio-visual mediums and how they engage both our visual and aural senses. It looks at how the meaning and emotion of a piece is commonly thought to come from the image and that the sound at best just duplicates the meanings from the image. It explores how music combines with, adds to and enhances moving image in many ways and how it can heighten and refine emotion as well as meaning.
From the Paper
"The tone of music can be used to create meaning and generate mood in a scene or in a production as a whole. In The Empire Strikes Back the rebels attempt to flee from the empire. During this sequence Darth Vader's and the rebels leitmotif is heard. Vader's motif is played at an increased tempo and higher pitch to normal. The function of this change is to show the imminent danger of the empire and Vader's likely success in capturing the rebels. The rebels leitmotif is played but does not contain the opening and perhaps most identifiable phase. The tone is slightly deeper, the pace slightly slower and is mixed up in and slightly drown out by other sound effects. The function of this use of sound is to put the out come of the situation in doubt and make the rebels attempt at escaping unlikely. When the rebels do escape the distinctive opening to their motif is played at normal pitch and tempo and without the distraction of other sounds. This functions to signal their success but also the finality of the scene. The leitmotifs and the tone of the motifs are used to guide the spectator through narrative change."
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The Film: "The Sound Of Music", 1991.
This paper reviews the film "The Sound of Music", directed by Robert Wise, starred Julie Andrews and Christopher Plummer: Theme, imagery, shot composition, camera techniques, editing, sound, acting and directing of the 1965 film.
900 words (approx. 3.6 pages), 1 source, $ 31.95
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From the Paper
""The Sound of Music" was directed by Robert Wise, and it starred Julie Andrews and Christopher Plummer. The movie won the Academy Award in 1965 for Best Picture. By examining the key theme of the Von Trapp family being re-integrated through the healing force of love (as seen in the Julie Andrews character), it is possible to see why the film has such a satisfying momentum.
This theme is brought out in eight different areas: The director uses each area to develop Plummer's character as the head of the Von Trapp family, who finds new love in Andrews' governess. This theme is set against the backdrop of the advent of World War II, the Nazis' entry into Austria, and the Von Trapps' escape from the German evil.
1. There is recurring imagery that suggests that Father Von ... "
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The Nantucket Sound Wind Farm Proposal, 2006.
This paper discusses the Nantucket Sound wind farm proposal, and it's value to the USA.
675 words (approx. 2.7 pages), 5 sources, $ 26.95
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Abstract
This paper discusses the issues of should the Nantucket Sound wind farm be allowed to proceed and do the apparent benefits outweigh the risks that opponents have outlined? In a word: yes. According to the paper, the Nantucket Sound wind farm proposal should move forward in its development. It represents a renewable source of clean electricity that has minimal impact upon the region--both environmentally and economically. The coming years will see ever-increasing costs for nonrenewable sources of electricity such as coal and natural gas. The Nantucket Sound region has the ability to produce much of its own electricity, cheaply and efficiently. The region should take advantage of that resource.
From the Paper
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Sound Editing in "Amadeus", 2002.
The use of sound and music as an artistic tool in this movie.
880 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses sound editing in the movie "Amadeus". Background sounds and music are shown to be used to signal shifts in time or location, or to help guide the viewer?s attention to the most important feature of the scene. The absence of sound is used as well. Examples from the film are given to demonstrate these tools.
From the Paper
"The movie opens with the sounds of Antonio Salieri?s attempted suicide, after he shouts his confession that he contrived to make Mozart die. The suicide attempt is experienced auditorally only ? his confession, his scream, his fall to the floor. This pivotal opening action in the movie occurs only by sound effects. This is a foreshadow of just how important sound effects will be in this movie.
"In a scene shortly following that one, a priest enters the madhouse. As he moves through, the piano can barely be heard, gradually becoming louder, under the sounds of the inmates. The sound of the piano, which plays ordinary and pedantic music compared to Mozart?s, demonstrates Salieri?s frustration at his comparative lack of talent, and sets up the scene with the priest where Salieri tries to get the priest to recognize at least one of his pieces."
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Propagation of Sound in Concert Halls and Rooms, 2002.
An analysis of the factors that need to be considered in designing an acoustically sound room.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This essay will discuss the various considerations that go into the design of a room or concert hall with the aim of producing acoustically enhanced sound and music quality. In general, the sound levels that can be heard by the human ear is between the range of 20 to 20,000 Hz.
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"The Sound and the Fury", 2006.
A review of William Faulkner's 1929 literary masterpiece "The Sound and the Fury".
1,200 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
This paper studies the usage of time as a literary element in "The Sound and the Fury" by William Faulkner. The paper explains that Faulkner employed stream of consciousness in this novel, a groundbreaking development in literature. The paper shows how this style enabled Faulkner to explain his story through four sets of eyes, causing the reader to experience the events in a new way each time. The paper also demonstrates how "The Sound and the Fury" relies heavily on a time motif and the impermanence of time. The paper relates to each of the novel's separate time sequences: one spanning three days, from April 6, 1928 to April 8, 1928, the other spanning thirty years, from 1898 to 1928. The paper concludes with a positive review of Faulkner's effective sequences of the passage of time.
From the Paper
"'The Sound and the Fury' is written in four voices each one with a different view of the events which transpire. The first section, commonly referred to as the 'Benjy section,' is written from the perspective of thirty-three year old Benjy, who suffers from a mental handicap. This section rapidly jumps through scenes without regard to time, showing us Benjy's lack of acknowledgement of time and presenting a formidable challenge in comprehension when read. The second section, known as the 'Quentin section' is written from the perspective of the Benjy's oldest brother, Quentin, who is an extremely moral and virtuous man, believing in the purity of youth and struggles to maintain it, or the illusion thereof. The 'Jason section' follows, and is from the perspective of the middle Compson boy, Jason, a lover of money and immorality. The last section is Faulkner's explanation of the story. Using the character of Dilsey, the Compson family's black house servant, to present an outside view of the family's saga, Faulkner explains the novel in his own narrative voice."
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Architecture, Acoustics and Reflected Sound, 2002.
How acoustics and reflected sound and used to the maximum in architecture.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper examines architecture, acoustics and reflected sound. It explains how rooms and concert halls are designed to minimize reflected noise and enhance sound quality
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The Sound of Music, 2008.
This paper studies the film 'The Sound of Music', focusing on the them and music featured in the movie.
1,200 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
In this article, the writer introduces, discusses and analyzes the film 'The Sound of Music'. Specifically it discusses the music and theme of the film. The writer notes that 'The Sound of Music' is one of classic Hollywood's classic musicals and is still a family favorite today, even though it was first released in 1965 to movie theaters. The writer explains that it is a heartwarming story that tells the story of the rise of Nazi power in Austria in the 1930s, and how one family coped with the historic and frightening events swirling around them. The writer looks at the storyline and notes that the story is essentially true, but the film took fictional license with much of the truth involved. The writer discusses that the story would not be the same without all the music, and this indicates that it works in the film, making it more magical and charming than it would have been without all the wonderful songs.
From the Paper
"The overarching film theme is the theme of love transforming a dysfunctional family, something that is purely an invention for the film. While the Captain was strict, he was not as strict as the film portrays, and in reality, Maria went to the family home to act as a nurse, more than a governess. The couple did fall in love, however, and did marry. In the film, Maria is the catalyst that brings the family together and helps the Captain see how much he loves his family. She nurtures the children and gets the Captain to open up and be much more loving and open with his family, and brings the entire family together. The family in the film is dysfunctional, because the Captain is so strict and so unable to warm up to his children, and they need a woman's touch to get past this feeling of domination and fear that permeates the children. They are not allowed to just be "children" until Maria comes, and that transforms the family and turns it into a "real" loving and caring unit."
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The Use of Sound in "Apocalypse Now", 2002.
An analysis of the use of sound and music in the film "Apocalypse Now" by Francis Ford Coppola.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
The paper describes how the film shows the insanity of war and the madness that goes along with it. The author shows how "Apocalypse Now" uses narration, sound effects, music, and dialogue to portray its message. The paper focuses on Coppola?s use of sound effects to reinforce the films theme of the horror and uncertainty of war.
From the Paper
"Apocalypse Now begins by showing a scene with helicopters dropping napalm all over the jungle. The audience is treated to ?The End? by Jim Morrison and the Doors. We hear: ?This is the end?? mixed with the chopping of helicopters passing overhead. From the very beginning, Coppola lets the audience know that they are in for a journey of madness. The sound and music have a lot to do with the success of this scene (Dirks). It will not be the last time we hear the sound of the helicopters overhead."
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?The Sound and the Fury?, 2002.
This paper reviews William Faulkner's ?The Sound and the Fury?.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper analyzes the factors that influenced William Faulkner's ?The Sound and the Fury?. The author also evaluates ways in which this novel itself influenced other modernist writers.
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Mother Figures in "The Sound and the Fury", 2006.
A comparison of Caroline Compson and Dilsey Gibson as mother figures in William Faulkner's "The Sound and the Fury".
839 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
This essay compares and contrasts Caroline Compson and Dilsey Gibson as mother figures within the novel "The Sound and the Fury" by William Faulkner. This paper is written within the terms of their relative positive and negative influence on the Compson family, and the Compson children in particular. Throughout the novel Caroline Compson, the children's real mother, is lacking as either a mother figure or a positive influence of any kind, while Dilsey Gibson admirably fulfills both roles. Faulkner, though, implies hope for the Compsons, and, by association, post-Reconstruction South itself. The conclusion allows that in reflecting on the relative strengths and weaknesses of Caroline and Dilsey, it is clear that Dilsey Gibson, not Caroline Compson, finally exerts more influence over the Compson family.
From the Paper
"Both Caroline Compson and her husband, Jason Compson III, are neglectfully detached from their children. It is Caroline's chronic self-absorption, however (at her children's expense) that, as Faulkner implies, is more hurtful and damaging to them. Caroline seems interested in two things only. The first is her own self, and her numerous personal needs, rather these are imaginary or real. The second is her family's declining social importance within Jefferson. Caroline is in fact so obsessed with the latter that when it becomes clear that the child originally named Maury, after Caroline's brother Maury Bascomb is severely mentally retarded, Caroline changes his name to Benjamin ("Benjy"), so as not to reflect badly on the older Maury, or her family name. Clearly, from that example alone, we recognize that Caroline's first affections and loyalties are not to her children."
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