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The theme of death in music essay examples
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In the short thirty-nine years of the life of Harry Forster Chapin (1942-1981), he managed to distinguish himself as a creative genius in multiple fields, ultimately leaving a distinct mark on this world, though he received only moderate public recognition. Professionally, he was a musical performer and songwriter, a film editor, and a political activist and lobbyist, able to reach remarkable heights in all three fields. In the field of music, Chapin rose to stardom as a rock and roll performer and songwriter during the 1970's, introducing the world to a new style of music he created and popularized, the story-song. Within this new framework, Chapin was able to use his interest and proficiency in poetry to create song lyrics which told the story of a character or group of characters. He was able to weave wonderfully powerful tales of the lives of his characters in a few short stanzas, applying many traditional story-line techniques; a rising action which lead to a climax, followed by a falling action which usually revealed an unexpected twist, offering a recognizable message in the last few lyrics of the song. The subjects of these songs were generally based on Chapin's real life experiences and moods, and in this sense, he was able to express more honestly the feeling associated with the stories. Furthermore, Chapin went a step further by adding music to his stories, accentuating the changes in tone of the stories with musical accompaniments. His musical style contained many folk, rock and roll, jazz and blues elements, revealing his diverse musical background and familiarity with a variety of styles. The result was a remarkably popular style, which granted Chapin the ability to generate a strong connection to his audience during...
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...o Gardner, another major milestone taking place around 1976, with the completion of perhaps his most comprehensive piece, an autobiographical song called "There Only Was One Choice". In it, Chapin mysteriously foretold of his tragic death at a young age:
When I started this song I was still thirty-three.
The age that Mozart died and Sweet Jesus was set free,
Keats and Shelly, too soon finished, Charlie Parker would be
And I fanaticized a tragedy be soon curtailing me.
He also included in the song, the lyrics which have come to define his life more than any other:
Inexperience - it once accursed me,
but your youth is no handicap, it's what makes you thirsty.
(From "Danceband on the Titanic" 1977)
Bibliography:
Coan, Peter M. Taxi: The Harry Chapin Story. New York:Carol Publishing Group. C. 1990.
Http://www.littlejason.com/chapin/longbio.html
“Sonny’s Blues” is a short story in which James Baldwin, the author, presents an existential world where suffering characterizes a man’s basic state. The theme of tragedy and suffering can be transformed into a communal art form, such as blues music. Blues music serves as a catalyst for change because the narrator starts to understand not only the music but also himself and his relationship with Sonny. The narrator’s view of his brother begins to change; he understands that Sonny uses music as an outlet for his suffering and pain. This story illustrates a wide critical examination.
Horowitz, Mark Eden. "The Craft Of Making Art: The Creative Processes Of Eight Musical Theatre Songwriters." Studies In Musical Theatre 7.2 (2013): 261-283.Humanities Full Text (H.W. Wilson). Web. 23 Mar. 2014.
Music can be traced back into human history to prehistoric eras. To this day archeologists uncover fragments of ancient instruments as well as tablets with carved lyrics buried alongside prominent leaders and highly influential people. This serves as a testament to the importance and power of music, as well as its influence in society. Over its many years of existence, music’s powerful invocation of feelings has allowed it to evolve and serve many purposes, one being inspiring change. American journalist and author Hunter S. Thompson once said, “Music has always been a matter of energy to me, a question of fuel. Sentimental people call it inspiration, but what they really mean is fuel.” This fuel is the very things that powers the influence of Rock ‘n’ Roll on American society, that author Glenn C. Altschuler writes about in his book, “All Shook Up – How Rock ‘n’ Roll Changed America.” Between 1945 and 1965 Rock ‘n’ Roll transformed American society and culture by helping to ease racial integration and launch a sexual revolution while most importantly developing an intergenerational identity.
Short stories are temporary portals to another world; there is a plethora of knowledge to learn from the scenario, and lies on top of that knowledge are simple morals. Langston Hughes writes in “Thank You Ma’m” the timeline of a single night in a slum neighborhood of an anonymous city. This “timeline” tells of the unfolding generosities that begin when a teenage boy fails an attempted robbery of Mrs. Jones. An annoyed bachelor on a British train listens to three children their aunt converse rather obnoxiously in Saki’s tale, “The Storyteller”. After a failed story attempt, the bachelor tries his hand at storytelling and gives a wonderfully satisfying, inappropriate story. These stories are laden with humor, but have, like all other stories, an underlying theme. Both themes of these stories are “implied,” and provide an excellent stage to compare and contrast a story on.
“It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness of pain: of strength and freedom. The beauty of disappointment and never-satisfied love. The cruel beauty of nature and everlasting beauty of monotony.” –Benjamin Britten music is powerful to all; it affects everyone differently, whether that is positively or negatively. We reminisce on past events through melodies and lyrics. Music has the ability to intensify pleasure and plaster despondency. All musicians have had the ability to impact the history of music and the future implications of music through a personalized method. Not only did the Yardbirds, as a whole, change musical history but also the individual members created an enormous impact on other musicians of their time period, and the way future generations view music in general.
The severity of an indivual’s asthma is based on many factors, including the prescence and epistatic interactions of the asthma susceptibility genes; even if the genes are present, if the complementary miRNA strand is actively synthesized, the genes won’t cause asthma. Genetic and miRNA expression can then be altered by environmental exposures through methylation and acetylation. The genetic and environmental contributions discussed here to the expression of asthma are a small fraction of the known factors. Due to the complicated intertwined relationship of the abundant factors contributing toward asthmatic phenotypes that have been discovered in approximately the last twenty years, the currently known complexity of asthma could very well be simple in relation to the verity of asthma’s genetic and environmental labyrinthe.
sex, race, or country does not matter. Asthma affects a large percent of the global
His life was overwhelmed with too many assault cases and shootings to say that he believed every lyric that he wrote. From his sexual assault case to the shootings he was involved with, almost every part of his personal life contradicted his professional life and what he was promoting in his music.
Research suggests that genetic factors may increase the risk of developing the disorder. Children with a family history of asthma are more likely to develop asthma than other children. Despite this apparent genetic link, many people without a family history of asthma develop the disorder, and scientists continue to investigate additional causes.
For many years, American musical theatre was defined as being mere entertainment for the people. It ranged from operetta, burlesque, vaudeville, and more. If there is one towering figure in the history of American Musical Theater, that person is Oscar Hammerstein II. He was a lyricist-librettist, as well as a distinguished poet and director. For over forty years, as the theatre’s forms of entertainment shifted, he helped merge everything into the art form known today as the musical. Born twenty-three years after Hammerstein, came Alan Jay Lerner. Idolizing Hammerstein’s work, he would grow to become another distinguished lyricist-librettist in musical theatre history. In this paper, we will look deeper at who these lyricists are and their writing style. Then we will examine one of each of their works and factors that fueled their creation.
"God help, I'm so lost!" If you listen carefully, this is a common thought that is heard throughout many schools in the nation. Is this thought appropriate? The following statement clearly shows that the law allows students and adults to practice religion, but at the same time be respective of others and their beliefs even if they do believe or if they don't. "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, or to petition the government for a redress of grievances." (First Amendment, The Constitution of the United States). Prayer is not normally permitted as a scheduled part of classroom activities, because it would result in the violation of the principle of church-state separation, which has been defined by court interpretations of the 1st Amendment to the U.S, Constitution. The separation principle is extended to Public school as an arm of the government, with an exception which can be permitted if, during the school year, a mixture of prayers, statements, etc are delivered, using material derived from a number of different religions and secular sources. So far, this has never been tried in a school or ruled upon by a court (Religion in Public).
Rytell, David. “Music Worthy of a Riot.” David Rytell’s Home Page. 1989. Web. 17 September 2011.
Throughout the twentieth century, the United States Supreme Court has protected students’ rights to practice their religious beliefs, so long as they are not “disruptive, discriminatory, or coercive to peers who may not share those same beliefs” (Education Weekly, 2003, para. 3). In 1943, the Supreme Court ruling in West Virginia State Board of Education v. Barnette stated that students could not be “forced to salute the flag or say the pledge of allegiance if it violates the individual’s conscience” (First Amendment Cyber Tribune, 2002). The 1963 decision in Engel v. Vitale made school prayer unconstitutional, and similarly found school prayer at graduation ceremonies in its 1992 Lee v. Weisman decision (First Amendment Cyber Tribune, 2002). Student-led prayer at public school football games was found unconstitutional in 2000 with the Santa Fe Independent School District v. Doe (First Amendment C...
The position that women have in religious scripture has given them a lesser spot in society. When God created a man it made sense to create his partner, the female. Because the man is created first and then the women from his rib, the female gender in religious scripture has been discriminated on. This is shown in the various books of the Old and New Testaments, teachings of Jesus Christ, and the Qur’an. First, the Old Testament illustrates women as the corrupter of men. Next, the teachings of Jesus show more equality among genders even though the New Testament does not. Finally, the Qur’an depicts women as having a subservient role to men allowing men to take advantage.
Eileen Baldeshwiler’s “The Lyric Short Story” discusses the two different branches of short story—the “epical” and the “lyrical” (231). Baldeshwiler highlights the separate functions of the forms by focusing on their stylistic differences. The epical short story, according to Baldeshwiler, relies heavily on “external action” that is “fabricated mainly to forward plot, culminating in a decisive ending that sometimes affords a universal insight” (231). Further, the plot and characters are “expressed in the serviceably inconspicuous language of prose realism” (Baldeshwiler 231). In other words, the characters, plot, and overall tone of the piece adhere to reality. In opposition to this style, Baldeshwiler explains that the lyrical short story “concentrates o...