«Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks. Like the sightseers searching for the Grand Canyon pictured on the poster in a...» Document abstract
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5 word format
Language : english
arts and art history
school essay
date published
19/10/2007
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level : Advanced
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Summary Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks. Like the sightseers searching for the Grand Canyon pictured on the poster in a local travel agency, humans are such experts on past experiences and expectations that they cannot help but attribute perfection to recreation of the old (Percy 589). Therefore, the easiest route to fame for a musician is to remind the audience of a musician who already found his or her route to fame. But where there is an easy route, there is also a hard route, a route that many bands, like Sonata Arctica, choose to follow. And when it comes to establishing sovereignty through authenticity, this band succeeds where others fail. Nothing modern can ever perfectly replicate something old. Sonata Arctica does not try to attain authenticity by imitating the bands that have come before them; instead, the band produces a voice that remains authentic to itself, a voice that generates its own sovereignty instead of borrowing from the past. A voice is only truly authentic when it seeks its authenticity through creation instead of through emulation.
Table of Contents
- Humanity is nostalgic. There is no other way in which to explain the strips of antique malls in the Midwest or the string of collector shows on the shop-at-home networks.
- The essence of music is embedded in voice.
- Even the simplest form of compact disc marketing forms a dichotomy.
- Sonata Arctica is a Finnish band, and any time something foreign is mixed with native flavor, any ground for comparison is lost.
- Sonata Arctica may impact their listeners more through their mistakes and narrow vocabulary than they would by being grammatically correct or verbose.
- And this is where Sonata Arctica blends the genres; this is where Sonata Arctica earns their authenticity.
- This exercise in character development and the authenticity derived from it is best understood by looking at Sonata Arctica's use of covers.
- Over the years, a large percentage of songs on each album have been dedicated to a man's pursuit of a girl named Dana.
- Like all musicians, Sonata Arctica is thrust into numerous exercises of categorization.
«The room is silent, black, yet complete in its created emptiness. You cannot see the person sitting next to you, the face that looks back in the darkness. Suddenly, from nowhere, a few shaky piano notes fill the air. A melody so simple yet so...» Document abstract
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2 word format
Language : english
arts and art history
school essay
date published
19/10/2007
review : not yet assessed
level : Advanced
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SummaryThe room is silent, black, yet complete in its created emptiness. You cannot see the person sitting next to you, the face that looks back in the darkness. Suddenly, from nowhere, a few shaky piano notes fill the air. A melody so simple yet so memorable, it pulls you away from your metal seat and thrusts you into another existence. You float around in this reverie, content, happy, until all is shattered by a fatal wrong chord. And you fall back to earth, back to your chair, back to the not always so wonderful world of student run drama.
It is said that theatre is best appreciated for the first time as the first time. Prior knowledge and conceptions hinder the experience and can alter any perception of the play itself. However, sometimes a point of comparison can be helpful when analyzing the production elements themselves. We were able to combine this familiarity with first time impression to completely break down the mechanics of Buffy the Vampire Slayer: Once More with Feeling and honestly question when and when not the musical delivered its message. The purpose of the play is to serve as a rude awakening, an almost moral reminder. No matter how hard one tries to prevent it, the truth will always show through, and in the end, the unsuccessful lies hurt more. This is a common theme, but the surprising twist is to have the truth forced through song via a spell cast on the characters. A unique idea, and more entertaining than simply spoken word, but it is also the source for most, if not all of the problems that lead to this point not being communicated to the audience.
It is said that theatre is best appreciated for the first time as the first time. Prior knowledge and conceptions hinder the experience and can alter any perception of the play itself. However, sometimes a point of comparison can be helpful when analyzing the production elements themselves. We were able to combine this familiarity with first time impression to completely break down the mechanics of Buffy the Vampire Slayer: Once More with Feeling and honestly question when and when not the musical delivered its message. The purpose of the play is to serve as a rude awakening, an almost moral reminder. No matter how hard one tries to prevent it, the truth will always show through, and in the end, the unsuccessful lies hurt more. This is a common theme, but the surprising twist is to have the truth forced through song via a spell cast on the characters. A unique idea, and more entertaining than simply spoken word, but it is also the source for most, if not all of the problems that lead to this point not being communicated to the audience.
Table of Contents
- The room is silent, black, yet complete in its created emptiness.
- It is said that theatre is best appreciated for the first time as the first time.
- This is where earlier contact with the production proves very helpful.
- Beyond the music, the few portions of the play that are spoken dialogue are somewhat satisfactory.
- Where a lot of plays will develop a complicated idea and come short, not because of amateur mistakes, but due to the heavy weight of the message, The Buffy Musical
«Concerning the use of musical rhythm as a sadhana, a path to liberation, one preliminary distinction to make is between the tantric means of rasa and the yogic means of bhakti; The mythological tradition inherited by Hindustani music distinguishes...» Document abstract
$4.95
5 word format
Language : english
arts and art history
school essay
date published
04/11/2007
review : not yet assessed
level : Advanced
requested 1 times
SummaryConcerning the use of musical rhythm as a sadhana, a path to liberation, one preliminary distinction to make is between the tantric means of rasa and the yogic means of bhakti; The mythological tradition inherited by Hindustani music distinguishes between gana (music for pleasure) and gandharva (music for devotional ritual). While the former does not accrue to the performer the spiritual merit (adrsta) of ritual offering, it does create the occasion for the rasa that is explained by the tantra of Abhinavagupta to be a means to the ‘taste of the divine’ (brahmasvada).
Table of Contents
- The Indian Aesthetic tradition was canonized by the Natyasastra, dating from the 7th century C.E.. Its author, Bharatamuni, begins this text with an interior myth to authenticate his writings:
- In the Hindustani genealogy of celestial music, Lord Brahma himself is born from the Nada, primordial sound.
- The musical traditions of India are noteworthy as inheritors of canonical texts that guide their theory, practice, and performance.
- Gandharva-Sangeet is defined in the Natyasastra as 'the embodiment of tone, rhythmic cycle, and verbal structure.
- The music of the tabla is construed in terms of language. In the Natyasastra, a chapter on Avanaddha instruments details the aksaras (syllables) and their corresponding hand positions (mudras).
- The musical range of the tabla is due, as the Natyasastra describes, to the range of distinct pitches available and to the combination of the tones of the tabla's two drums.
- The differentiation of time in Hindustani music progresses in a hierarchy from pulse, to count, to grouping, to tala, and then to a theka.
- One symbolic relationship between cosmic time and musical tala is found in the Puranic cosmology of the world-ages, which describes 'cycles of manifestation that devolve through time.
- The mythological leader of the Gandharvas is Tumburu, 'a great devotee of Siva.?
«The Egyptian culture consistently maintained a powerful belief in the afterlife. As a result, tombs were lavished with clothing, furniture, and paintings to nourish the Ka or soul. Most importantly, statues were erected should anything happen to the...» Document abstract
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2 pages word
Language : english
arts and art history
school essay
date published
27/11/2007
review : not yet assessed
level : General public
requested 1 times
SummaryThe Egyptian culture consistently maintained a powerful belief in the afterlife. As a result, tombs were lavished with clothing, furniture, and paintings to nourish the Ka or soul. Most importantly, statues were erected should anything happen to the body in which the soul must inhabit. The physical representation of these statues was not nearly as important as the symbolic meaning of them. Although the Greek art culture was partially influenced by Egyptian drawings and sculptures, individual Greek artists began to break away from the limitations of Ancient Egypt and develop their own figural compositions and techniques as they progressed forward into history. By the Late Classical period, the Greeks were capturing fully-developed, accurate, and proportional images that were stunningly realistic, resulting from personal decisions. Consequently, the difference in artwork produced by both civilizations can be traced back to and explained by their cultural belief disparities.
Table of Contents
- The granite statue of the goddess Sekhmet, originally located in the temple of Mut, represents the Egyptian goddess of war and pestilence. Her head resembles that of a lion's and body that of a female?s.
- Using the method of subtracting or chipping away of rock, the artist creates distinctive planes and underdeveloped details that form the unrealistic features of the lion goddess.
- Where as the Sekhmet goddess reveals an unsettling rigidness, Aphrodite bears a sensuous presence in her seated pose distinctive of the Greek Late Classical Period.
«The knowledge gained by practicing the North Indian tabla drums situates the musician within two spiritual modes of the Hindu tradition: the tantric, via rasa, and the yogic, via bhakti. Is there a limit to the spiritual efficacy of such musical...» Document abstract
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3 word format
Language : english
arts and art history
research papers
date published
30/11/2007
review : not yet assessed
level : Advanced
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SummaryThe knowledge gained by practicing the North Indian tabla drums situates the musician within two spiritual modes of the Hindu tradition: the tantric, via rasa, and the yogic, via bhakti. Is there a limit to the spiritual efficacy of such musical practice? Citing the lack of “common measure between the ends to which riyaz and yoga are used as a means,” one scholar contends that riyaz is primarily a “means to acquiring an artistic skill.” However, he concludes that musical “riyaz essentially reflects the spiritual modality of bhakti.”
Table of Contents
- The student is the prime auditor of the ustad to whom his bhakti is devoted. Within the music tradition this union is known as ilm-basina, the musical knowledge (ilm) stored within the body of the disciple.
- Abhinavagupta's tantric philosophy draws a connection between aesthetic experience and Brahmasvada, the tactile experience of divinity.
- It is a paradox that tranquility should be a means toward liberation via mastery of tabla drumming, a practice of apparently frenetic activity.
- Jivanmukti is the yogic ideal in which 'the physical life of the free person is carried on without any connection to the atman, which has found its meaning in itself.?
- The practice of music is effective as a sadhana through such devotional surrender.
- The practice of tabla is in itself nothing special. It need not be anything liberative or yogic.
- It is possible that the tabla could be a tantric method towards moksa.
«While monumental figure erecting was hindered during the Middle Ages, illuminated manuscripts and mural paintings were given momentum as a result. Both media allowed for mass productions, many of which have lasted to this day. A fine example of a...» Document abstract
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2 pages word
Language : english
arts and art history
research papers
date published
03/01/2008
review : not yet assessed
level : General public
requested 2 times
SummaryWhile monumental figure erecting was hindered during the Middle Ages, illuminated manuscripts and mural paintings were given momentum as a result. Both media allowed for mass productions, many of which have lasted to this day. A fine example of a mural fresco from the Romanesque Period, originally located in a Spanish Chapel, Santa Maria de Mur, is the Christ in Majesty of the twelfth century (Kleiner and Mamiya, 350). A product of the Romanesque time period, the piece is representational of wondrous Christian icons used to persuade and consequently control entire societies.
Table of Contents
- The three registers of Christ in Majesty.
- Style.
- The upper section of Christ in Majesty.
- Conclusion.
«Kool DJ Herc is a Jamaican American musician and producer, who is credited as a pioneer of hip-hop during the 1970s as a result of his trendsetting musical technique and influence on hip-hop culture as a whole. He was born in Kingston, Jamaica in...» Document abstract
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3 word format
Language : english
arts and art history
research papers
date published
01/02/2008
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SummaryKool DJ Herc is a Jamaican American musician and producer, who is credited as a pioneer of hip-hop during the 1970s as a result of his trendsetting musical technique and influence on hip-hop culture as a whole. He was born in Kingston, Jamaica in 1955 as Clive Campbell and he immigrated to the Bronx in 1967 when he was 12 years old. He used this dichotomy of his two cultures to create a syncretism of African Diaspora with music. He mixed his native Caribbean culture with that of black American natives. This constant flux between hip-hop and dancehall reggae is in fact still seen today. While attending Alfred E. Smith High School he spent a lot of time in the weight room. That fact coupled with his height spurned the other kids to call him Hercules—and he indeed transcended the common man. Herc was the originator of break-beat deejaying, wherein the breaks of funk songs—being the most danceable part—were isolated and repeated for the purpose of all-night dance parties. His "breaks" were symbolic in a sense, for the youthful dancing audience—“b-boys” and "b-girls”—were allowed a release of tension from the gang violence that permeated their environment. Kool Herc provided them with a vehicle for freedom of expression and creativity. Furthermore, his confidence and swagger initially put his live performance above his contemporaries; however, his inability to keep up with new musical advances and commercialization was the root of his demise. In the 1980s, later DJs, such as Grandmaster Flash, refined and developed the use of break beats. Kool Herc’s input, nevertheless, has been essential for the hip-hop genre, and can be referenced in the controversy over the use of sampling in the present day.
Table of Contents
- Herc was the originator of break-beat deejaying.
- 1960s, it was uniquely 'Jamaican' to hold out-door block parties.
- Kool Herc is most known for his technical advancement.
- Herc and Bambaataa are truly known for their musical choices.
- Instead of playing drums, musicians use drum machines.
- Conclusion.
«A young boy is standing in a dark, subway tunnel with a can of spray paint in his hand. His intentions are clear. Instead of being traditional and painting at home, he is using the world as his canvas. Vandal or not, he is still an artist. Even...» Document abstract
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4 word format
Language : english
arts and art history
research papers
date published
06/02/2008
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SummaryA young boy is standing in a dark, subway tunnel with a can of spray paint in his hand. His intentions are clear. Instead of being traditional and painting at home, he is using the world as his canvas. Vandal or not, he is still an artist. Even though he may just paint his name on the wall, it is still art to some degree.
Graffiti has been classified as a form of vandalism and not as an art for several decades. Rebellion against authority and public exposure of their works are reasons why teenagers and adolescents are attracted to the art, from gawking at it to taking up the art themselves. However, the reputation given to this “street art” has never been a positive one. When graffiti does not deface public property, could it not be just as fine as any other art? Graffiti artists use all the elements of art that painting, sculpture, and other art mediums do and the different styles and techniques associated with graffiti would easily classify it as a form of art.
Graffiti has been classified as a form of vandalism and not as an art for several decades. Rebellion against authority and public exposure of their works are reasons why teenagers and adolescents are attracted to the art, from gawking at it to taking up the art themselves. However, the reputation given to this “street art” has never been a positive one. When graffiti does not deface public property, could it not be just as fine as any other art? Graffiti artists use all the elements of art that painting, sculpture, and other art mediums do and the different styles and techniques associated with graffiti would easily classify it as a form of art.
Table of Contents
- Graffiti has been classified as a form of vandalism.
- The many forms of graffiti that exist.
- It fits the criteria of a form of art.
- Feelings such as hate or happiness and joy are all displayed.
- The beginner artists.
- The only problem with graffiti being exhibited in galleries.
- Billions of dollars are spent each year towards cleaning the streets.
«Jonathan Demme's 1991 film The Silence of the Lambs centers on a young FBI trainee’s attempts to catch a deranged serial killer before he kills again. Clarice Starling is a young woman determined to rise through the ranks of the male FBI. Already at...» Document abstract
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5 word format
Language : english
arts and art history
presentation
date published
09/02/2008
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level : General public
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SummaryJonathan Demme's 1991 film The Silence of the Lambs centers on a young FBI trainee’s attempts to catch a deranged serial killer before he kills again. Clarice Starling is a young woman determined to rise through the ranks of the male FBI. Already at a social disadvantage due to her sex, she must push against the glass ceiling while simultaneously searching for an elusive serial killer who steals the skin of his victims. Jame Gumb, the serial killer Buffalo Bill, is a sexually confused male who appropriates the skins of women so that he can wear them, in essence becoming a woman. Not surprisingly given these thematics, the film brings gender roles heavily into question. In order for Clarice to be taken seriously as an FBI agent, and for that matter to catch Gumb, she must exude masculine professionalism and toughness. This creates a degree of confusion within the male gaze. It is usual for the woman in film to be the object of the male spectator’s gaze: it is also standard for men to identify with a male protagonist. But in this film the audience is given neither a solid male role to identify with nor a solid female role to gaze at. What we are presented with instead are two theoretical transvestites, and a consequent confusion of whom the subject is and who is the object of the film. By the end of the film, Jame Gumb and Clarice Starling have both been sexually inverted, and the audience identifies with the female-turned-male role of Clarice over the male-turned-female role of Gumb. The true confusion lies within the character of Jame Gumb and his own literal grapple with sexuality.
Table of Contents
- The first thing the audience sees of the elusive Buffalo Bill killer is his eyes.
- In a typical slasher film, scenes of the actual act of murders are represented.
- The opening credits of the film feature Clarice Starling running an obstacle course at the FBI training center.
- In the course of the film, Clarice Starling's sexual identity is not only concealed.
- It is also a shared masculinity, materialized in ‘all those phallic symbols?.
«Appalachian music. Usually paired with the image of hicks on a dilapidated porch in West Virginia. To some Americans, Appalachian music could seem to be a genre of simple minded folk songs from a poor town in the southern mountains of North America....» Document abstract
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10 word format
Language : english
arts and art history
research papers
date published
19/02/2008
review : not yet assessed
level : General public
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SummaryAppalachian music. Usually paired with the image of hicks on a dilapidated porch in West Virginia. To some Americans, Appalachian music could seem to be a genre of simple minded folk songs from a poor town in the southern mountains of North America. Some people may simply think of the Deliverance theme song, met by the image of a handicapped child playing his banjo in the trails of Appalachia. What most people do not think about is the significance that Appalachian music plays in most of the music America listens to today. This music has influenced many other genres, including Rock & Roll, Classical and even Punk, and especially what we know today as urban folk.
Table of Contents
- Where is Appalachia?
- History.
- How music was used within Appalachian culture.
- Characteristics od Appalachian music.
- Instruments.
- Notables of the genre - past and mordern day contributors.
- How Appalachian music is relevant to our American culture then and now.
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