The Industrial Revolution Essay Example for Free

The Industrial Revolution Essay Railroads should be considered one of the most revolutionary economic developments of the last quarter of the nineteenth century. Railroads needed to carry as much product as possible to make a profit. This lead to the construction of â€Å"feeder lines† that connected smaller cities to the main â€Å"trunk lines† that serviced the big cities. The growth of the railroads also increased steel production, coal mining, and technological breakthroughs like the air brake and Pullman sleeping car (Hawksworth, 2001). Unionization was one of the major social developments of the last quarter of the nineteenth century. Unions were the workers response to big corporations. Early labor leaders pushed for an eight hour work day, an end to child labor, equal pay, and safer working conditions. Unfortunately these labor unions were not very successful. Our text tells us that â€Å"Ultimately, it was the power of big business that prevented the workers from achieving their goals.† (Bowles, 2011). The government played both positive and negative roles in the social and economic developments of the last quarter of the nineteenth century. On the positive side it provided security from Native Americans as settlers moved west, it gave land grants to the railroads, it gave land to the settlers with the Homestead Act, and it aided higher education by establishing land grant colleges. On the negative side it did not impose any rules on big business regarding child labor, minimum wage, maximum hours, or working conditions. References Bowles, M. (2011). American history 1865–present: End of isolation. San Diego, CA: Bridgepoint Education, Inc. Hawksworth, R. (Producer). (2001). The American industrial revolution [Video]. United States: Media Rich LLC. Retrieved from http://digital.films.com/OnDemandEmbed.aspx?Token=47596aid=18596Plt=FODloid=0w=640h=480ref=

Overview Of Beethoven And Mozart Music Essay

Overview Of Beethoven And Mozart Music Essay According to Mozarts Magic Flute and Beethoven (2004), During the XVIII century in some countries (Italy, Germany, Austria, France) results the formation of new genres and forms of instrumental music, was finally formed and reached its climax in the so-called Viennese classical school. Viennese classical school, organically absorbed the advanced achievements of the national musical culture, was itself deeply national phenomenon, rooted in the democratic culture of the Austrian people.  Representatives of the artistic direction have been V.A.  Mozart and L. van Beethoven.  Each of them was a bright personality.  Mozarts style was more typical lyric-dramatic start.  The style of Beethoven was the embodiment of heroic pathos of struggle.  However, along with the differences which result in unique individuality of each of these composers, their combined realism, life-affirming and democratic beginning. Art of Viennese classics made into world music a powerful jet of realistic and democratic, based on the wealth of folk art, and because it has preserved for us all of its value and artistic significance. Creativity of Mozart occupies a special place in the Viennese Classical School.  In his classic works of rigor and clarity of form united with deep emotion.  Music composer is close to the directions in the culture of the second half of the XVIII century. Also, there were converted to human feelings Storm and Stress, part sentimentalism, and by Mozart was first shown the contradictory inner world of the individual. According to SolomonHYPERLINK http://en.wikipedia.org/wiki/Maynard_Solomon HYPERLINK http://en.wikipedia.org/wiki/Maynard_SolomonMaynard  (1995), Wolfgang Amadeus Mozart was born in Salzburg (Austria).  With a phenomenal musical ear and memory, he was already in his early childhood, he learned to play the harpsichord, and in five years, wrote the first essay.  First teacher of the future composer was his father, Leopold Mozart Orchestra Musician Archbishop of Salzburg.  Mozart brilliantly mastered not only the harpsichord, but also organ and violin, and was famous as a brilliant improviser.  When he was six years old, he toured Europe.  At eleven, he created the first opera Apollo et Hyacinthus, and fourteen had already conducted in a theater in Milan at the premiere of his own opera Mitridate, King of Pontus. Around the same time, he was elected a member of the Philharmonic Academy of Bologna. Like many musicians of that era, Mozart was on the court service (1769-1781) he was the accompanist and organist for the Archbishop of Salzburg.  However, the independent character of the wizard causes a sharp displeasure with the archbishop, and Mozart chose to leave the service.  Of the outstanding composers of the past he was the first who chose to live as a free artist.  In 178,1  Mozart moved to Vienna, where he had a family.  He earned rare editions of his own, piano lessons and performances. Particular attention is paid to Mozart opera.  His works are an epoch in the development of this kind of music.  Opera has attracted the composer by the opportunity to show the relationship of people, their feelings and aspirations. Mozart did not try to create a new operatic form novel itself was his music.  In the mature works of the composer abandoned the strict demarcation of the opera on a serious and comic there was music and drama performance in which these elements are intertwined.  As a consequence, in the operas of Mozart has not unambiguously positive and negative characters, the characters are vibrant and multifaceted, not bound by the role. Mozart often turned to literary sources.  So the opera Le Nozze di Figaro (1786) was written on the play by French playwright Beaumarchais Crazy Day or The Marriage of Figaro, which was banned by the censor.  The main theme of the opera is love, which, however, can be said of all the works of Mozart.  However, there is in the product and the social implications: Figaro and his beloved Susanna are smart and energetic, but they are of humble origin. They were only servants in the house of Count Almaviva.  Their opposition to master (stupid and fooled aristocrat) elicits the sympathy of the author it is clear that he was on the side of love. In the opera Don Giovanni (1787), he received his musical incarnation of the medieval story of the seducer.  Energetic, temperamental, capricious and free of all moral norms, the hero confronts in the face of a Commander of a higher power, a symbol of reasonable order.  Philosophical generalization neighbors here with amorous intrigues and genre and household items.  Tragic and the comic form an indissoluble unity.  It would seem that justice prevails in the final sin (Don Giovanni) punished. But the music of the opera is thinner and harder this simplified understanding of the product: it gives the listener sympathy for the hero, remains true to herself even in the face of death. Philosophical tale The Magic Flute (1791) was written in the zingshpil genre.  The main idea of the work the inevitable victory of good over evil, calls for fortitude, to love, to understand its ultimate meaning.  Heroes of the opera are serious tests (silence, fire, water), but worthy of overcoming them and reach a realm of beauty and harmony. As a representative of the Viennese Classical School,  Mozart attached great importance to the genre of the symphony.  Especially popular are the last three symphonies Thirty-ninth, fortieth and forty-first (Jupiter), created in 1788.  Works of this genre finally anchored four-part cycle, and the rules of the sonata form. Symphonies by Mozart include a variety of subtle emotional nuances.  Topics are often uneven in nature, challenging the rhythm, sometimes accompanied by sharp run harmonies, but the music remains honed, clear form. According to SolomonHYPERLINK http://en.wikipedia.org/wiki/Maynard_Solomon HYPERLINK http://en.wikipedia.org/wiki/Maynard_SolomonMaynard  (1995), Mozart also became one of the founders of the genre of classical concert.  The basis of competition concert soloist and orchestra, and this process is always subject to strict logic.  Composer has written twenty-seven concerts for piano and orchestra, and seven for violin and orchestra.  In some works of listeners struck a masterly skill, festivity, in other dramatic and emotional contrasts. Mozart piano works include nineteen sonatas, in which he continued to develop the sonata form, as well as essays in the genre of fantasy (of music based on improvisation and free form).  The composer refused harpsichord and clavichord, in comparison with the piano softer, but weak sound.  Mozart piano style was a clear, elegant, with well crafted melodies and accompaniment. Mozart composed the music very easily, sometimes without drafts, creating works, unsurpassed in artistic beauty and harmony.  Musicians, contemporaries appreciated talents of Mozart, but most of the aristocratic audience did not understand his work, and in recent years, the composers life did not take at all.  Mozart died in poverty and was buried in Vienna in a common grave. Music should strike a light from the human breast a word of German composer Ludwig van Beethoven, whose works belong to the highest achievements of musical culture. Beethovens worldview evolved under the influence of the Enlightenment ideals of freedom and the French Revolution.  The music of his work on the one hand, continued the tradition of Viennese classicism, on the other depicted features of the new romantic art.  From classicism in the works of Beethoven upland content, excellent possession musical forms, genres appeal to the symphonies and sonatas.  From Romanticism is depicted bold experimentation in the field of these genres, the interest in vocal and piano miniatures. According to Peter J.  Davies (2002), Ludwig van Beethoven was born in Bonn (Germany) in a family court musician.  He began studying music since childhood under the guidance of his father.  However, the present mentor, Beethoven was a composer, conductor and organist.  He taught the young musician of composition, taught to play the clavier and organ.  With eleven years of Beethoven served as assistant organist at the church, then the court organist, accompanist to the opera house in Bonn.  At eighteen he entered the University of Bonn in the Department of Philosophy, but did not finish it. In 1792,  Beethoven moved to Vienna.  He took music lessons from Haydn, Albrechtsberger, Salieri (the biggest musicians of the era). Beethoven soon began giving concerts, became popular.  He wrote a lot: he wrote sonatas, concertos for piano and orchestra, symphonies. For a long time, no one guessed that Beethoven was struck with a serious illness he began losing hearing.  Convinced of the incurable illness, the composer decided to retire from life and in 1802  prepared a will, which explained the reasons for his decision. However, Beethoven was able to overcome despair and found the strength to write music on.  Exit from the crisis was the third (Eroica) Symphony. In 1803-1808  composer also worked on the creation of the sonatas, in particular the Ninth for violin and piano (1803), Twenty-Three for piano, Fifth and Sixth Symphonies (both of 1808). Sixth (Pastoral) Symphony is subtitled Memoirs of rural life.  This work paints a different state of the human soul, suspended for the time of the inner experiences and struggles.  It was symphony of the feelings arising from contact with the natural world and rural life.  Its unusual structure had five parts instead of four.  In the symphony there are elements of fine art, onomatopoeia (birds singing, thunder, etc.).  Beethovens findings were subsequently used by many Romantic composers. Premiere of the symphony took place in 1825  at the Vienna Opera House.  To implement the authors intention theater orchestra was not enough, we had to invite fans: Twenty-four violins, ten violas, twelve cellos and basses.  For the Viennese classical orchestra, such a train, it was unusually powerful.  In addition, each choir parts (bass, tenor, alto and soprano) include twenty four singers, which also exceeded the conventional norm. During the life of Beethovens Ninth Symphony for many remains unclear, she admired only by those who knew him closely the composer and his students and educated in music listeners.  Over time, the symphony began to include in its repertoire the best orchestras of the world, and it has found new life. According to Peter J.  Davies (2002), Works of the late period was characterized by restraint of the senses and the philosophical depth that distinguishes them from the passionate and dramatic early writings.  During his life, Beethoven wrote 9 symphonies, 32 sonatas, 16 string quartets, the opera Fidelio, Missa Solemnis, 5 piano concertos and one for violin and orchestra, the overture, the individual pieces for different instruments. Surprisingly, many works (including the Ninth Symphony), the composer wrote when he was already completely deaf.  However, his recent works sonatas for piano and the quartet are great masterpieces of chamber music. Thus, I would like to say that Beethoven and Mozart affected classical music dramatically. It is difficult to overestimate their contribution and influence on the development of classical music.  Masters of this style sought to clear and strict forms, harmonious patterns, and the embodiment of high moral ideals. Higher, the finest examples of art works they considered an ancient art, so that worked out ancient stories and images. Vertex in the development of musical classicism was the work of Wolfgang Amadeus Mozart and Ludwig van Beethoven, who worked mainly in Vienna and formed a line in the musical culture of the second half of XVIII early XIX century the Viennese Classical School. The composers of the Viennese classical school have created a very harmonious and logical system of rules of construction works.  Thanks to this system, the most complex feelings donned in a clear and perfect form.  Suffering and joy have become the subject of reflection for the composer, rather than experience.  The art of the Viennese classics has great value and artistic significance for all mankind.

Comparing A Worn Path by Eudora Welty and A Rose For Emily by William F

Comparing A Worn Path by Eudora Welty and A Rose For Emily by William Faulkner In the pages of the short stories, A Worn Path and A Rose For Emily we are able to see a similar side and connection between the two. As we look at the theme, tone, and morals we are able to better grasp the conflict in these two stories, while detecting whether the two protagonists, Miss Emily and Phoenix Jackson are mentally crazy. The main moral in A Worn Path is the love, and life of Phoenix Jackson. The path she travels across interrupts her life. Her love is the love and affection she has for her grandson. If we read the story closer then it may lead us to the conclusion that Phoenix really does not have a Grandson. Phoenix complains to the doctor that her Grandson has had a sore throat for an extremely long time. This may cause the reader to believe that she used to have a Grandson but he became so sick he died. Yet, at the same time Phoenix also shows her intellect by seeing the money fall out of the hunter's jacket from a far off distance. In A Rose For Emily the main moral is...

The Modern Renaissance Essay -- Renaissance Time Period

Modern science, philosophy, religion, and art. These were all affected by the Renaissance. It changed the lifestyles and thoughts of most people. One of the major influences of these changes was the idea of natural law. The idea came from the Humanists, who believed in the power of the mind.. People started referring to the ancient Greeks' and Latins' ways of thinking. They believed these philosophers' ideas and beliefs were all one needed to live an effective and moral life. Soon, the children were being taught about the Greek philosophies and ways. These new teachings sparked a new intellectual era. A new way of life was here. It involved independent thinking, constant improvement, and a more realistic approach. Art was transformed. This new art was realistic, it looked thre...

Beach Burial Essay -- English Literature

Beach Burial Beach Burial says only that men die and are buried. Is this a fair evaluation of the poem? Beach Burial is a poem which deals with many issues, not only about men dying and being buried. This is by no means a fair evaluation of the poem. The poem in actual fact deals with the problems in war, and it encases a hidden meaning, which is equality. This poem dwells heavily on the problems in war. It describes how high the death toll is for both sides. Slessor uses â€Å"convoys of dead sailors† to show that all these dead body’s are very much alike, with their movements and feelings being the same. It also outlines a major problem in war, being able to identify and bury they dead properly. "And each cross, the driven stake of tide-wood, bears the last signature of m...

Cosi HSC practice essay Essay

Discuss how Nowra’s perspective on personal relationships is conveyed in Cosi. The play Cosi by Louis Nowra is an emotional portrayal of personal relationships in a Melbourne mental institution ostracised by society. Throughout the play Nowra’s perspective on personal relationships develops and changes through character relationships and development, especially the development of the main protagonist Lewis. Nowra conveys his perspective on personal relationships through themes such as the importance of love and fidelity, the empowerment of women and learning and self-development. Techniques such as symbolism, intertextuality and contrast are also used to further highlight Nowra’s perspective. Nowra’s perspective on personal relationships is primarily shown through the character Lewis and his personal relationships with other characters in the play, especially in his relationship with his girlfriend Lucy. Act Two, Scene Two which features a confrontation between Lewis and Lucy on their relationship is significant in showing this. In this scene, Lucy comes to pick Lewis up to take him to the moratorium meeting and Lewis must decide between staying for the play and going with Lucy. Nowra’s belief on the importance of the existence of love and fidelity in a relationship is shown when Lewis says to Lucy â€Å"It’s about important things like love and fidelity†. Intertextuality is used here through Lewis’ character development and change of values that is evident in this line. This change occurred through his participation in the production of Cosi Fan Tutte with the patients and his exposure to the themes in the play. The women in both Cosi Fan Tutte and Cosi are often compared with the Arabian Phoenix which acts a symbol for a woman’s constancy or fidelity. â€Å"A woman’s constancy is like the Arabian Phoenix. Everyone swears it exists, but no one has seen it.† This is quoted by Lewis to Lucy to further convey Nowra’s belief in the importance of love and fidelity in a relationship. As Cosi was written in a time where a huge social change was occurring and women were beginning to have more sexual freedom with the invention he birth control pill, a lot of aspects of the play focus on the empowerment of women and the double standards that exist between and women in society especially when it comes to fidelity. This is shown in Nowra’s contrast of Act Two, Scene One and Act Two, Scene, Two. In Scene One, Lewis is unfaithful as he kisses Julie but in Act Two he reprimands Lucy for sleeping with Nick  failing to mention his own infidelities. Intertextuality is used in this scene when Lewis claims that a woman’s constancy is like the Arabian Phoenix, revealing his hypocrisy. Through Lewis’ condemnation, Nowra demonstrates that, although modern society has become more sexually lenient, there are still double standards that occur which condone men’s fidelity but condemn women’s fidelity. It is revealed that Nowra believes that men and women should be equal not only in relationships but in society too. Julie articulates the message at the beginning of the play when she says that men â€Å"want women to deceive them because it will prove their worst thoughts about women† which in contrast is confirmed by Lewis’ attitude towards Lucy’s infidelities.

Syllabus for African Dance

Syllabus for African Dance MPADE-UE 1542. 002 Spring 2013 Contact hours: Wednesday, 1:30-3:30pm, studio 304 Education building Department of Music and Performing Arts Professions, Program in Dance Education New York University Instructor: Alfdaniels Mabingo Phone: 917-679-8119 E-mail: Consultation: By appointment —————————————– A survey course in East African dance with accompanying songs, music, and cultural contexts in which these dances originate. The course specifically offers knowledge and performance skills of traditional dance forms East Africa and methods for teaching these dances.It offers critical analysis of how these dances interact with cultural, social, occupational, and religious aspects that contribute to creating them. Besides critical understanding and performance of these dances, the course equips students with skills to perform the music that accompanies them. Learni ng outcomes 1. Students will demonstrate proficiency in performing ethnic dances from selected cultures in East Africa. 2. Students will learn and perform vocal and instrumental music that accompanies ethnic dances from cultures in Uganda. 3.Students will demonstrate techniques and methods of teaching ethnic dances from Ugandan cultures. 4. Students will acquire fundamental knowledge into critical analysis of how dances in East Africa interact with cultural aspects that participate in creating them. 5. Students will learn various techniques that are related to performance of various ethnic dances from cultures in Uganda. Students are expected to: a. Finish and present the assignments within the stipulated time. b. Actively participate in practical sessions and class discussion. Focus of selected readings and visual recordings ) Understanding the author’s message and use it as a point of departure for supplementary inquiries b) Establishing connections between the readings and visual recordings and the student’s class/practical experience c) Inspire students to learn the various dances Other important readings Adinku, W. O. (1995). African Dance Education in Ghana, Ghana, Accra: Universities Press. Aduonum, M. (2011). West African Dance in the United States University Curriculum, LAP Lambert Academic Publishing Nannyonga-Tamusuza, S. (2005. Baakisimba: Gender in Music and Dance of the Baganda People of Uganda.London and New York: Routledge. Tieron, A. (1992). Doople: Eternal Law of African Dance – Choreography & Dance Studies, New York: Routledge * * Welsh, A. K. (1996). African Dance: An Artistic, Historical and Philosophical Inquiry, Trenton, NJ: Africa World Press. Welsh, A. K. (2003). Umfundalai: An African Dance Technique, Trenton, NJ: Africa World Press Policies: * Assignment Formats: All assignments must be typewritten with at least a normal 12 pt font and double-spaced. Use a header and page numbers. Please hand in hard copies of as signments without folders.Do not email them; Emailed copies will not be accepted. * Attendance: You are expected to attend every session of the course. One excused absence is permitted with a doctor’s note or other acceptable evidence. If you are going to be absent please send an email to the instructor. Additional absences will decrease the cumulative grade by one letter grade increment. An unexcused absence will decrease the cumulative grade by one letter grade increment. Please make arrangements with a peer to collect course materials for you and contact the peer after the session for updates on the session activities and assignments. Late arrivals/Early departures: Being on time and staying throughout the duration of the course is to be expected. Three late arrivals, three early departures, or any three combinations of late arrivals and/or early departures to/from class will equate to an absence. A late arrival or early departure of more than 15 minutes will be counted as an absence. * Late Assignments: Late assignments are reduced in letter grade increment. Assignments may be handed in up to one week late. Late assignments may not receive significant feedback.Any assignments that are not complete at this time (one week late) will not receive a grade and will negatively affect your cumulative course grade. * Assignments Class attendance and participation20% Midterm paper25% Midterm performance25% Final performance30% Note: See the rubric for details about the requirements for each area of assignment * Grading: Letter Grade| Number Grade| Legend| A| 94-100| Exceptional| A-| 90-93| Excellent| B+| 87-89| Extremely Good| B| 84-86| Very Good| B-| 80-83| Good| C+| 77-79| Satisfactory| C| 74-76| Satisfactory| C-| 70-73| Nearing Satisfactory| D+| 67-69| Minimum Passing Grade|D| 65-66| Minimum Passing Grade| F| 0-64| Failure| * Incomplete Grading: Incomplete grades are not a grading option. Under exceptional circumstances, such as those with a serious illnes s or other emergency, and at the discretion of the course instructor, an incomplete grade may be granted, based on the student's performance throughout the course of the semester. * E-mail Communication with Instructor(s): Please keep your e-mails as succinct as possible. If you predict you will need to write more than one paragraph, it is an indication that you probably need to schedule a meeting rather than writing an e-mail. Special Accommodations: Any student attending NYU who needs an accommodation due to a chronic, psychological, visual, mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the Moses Center for Students with Disabilities located at 726 Broadway, phone: 212. 998. 4980, or website address: www. nyu. edu/csd. * Please refrain from all cell phone use during class. * Please clean up after any food or drink. * Dress appropriately for the classes * Academic Integrity: Please be familiar with NYU Steinhardt policies: http://steinhardt . nyu. edu/policies/academic_integrity.