| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "COVER SONGS": |
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Cover Songs, 2003.
A comparative analysis of Peter Gabriel's "Solsbury Hill" to Erasure's cover of it.
920 words (approx. 3.7 pages), 10 sources, MLA, £ 21.95
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Abstract
This paper is a comparison of Peter Gabriel's 1977 song "Solsbury Hill" to the group Erasure's cover with an discussion of what cover songs are. It includes a brief discussion about Erasure and an explanation of the history of the cover song.
From the Paper
"This paper will compare the song Solsbury Hill originally recorded in by Peter Gabriel to the recent release of Solsbury Hill as covered by the group Erasure. First however there will be a brief discussion about the background of the group Erasure followed .."
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"Songs of Innocence" and "Songs of Experience", 2003.
A discussion on how William Blake's "Songs of Innocence" and "Songs of Experience" can be considered both complex and simple.
1,698 words (approx. 6.8 pages), 4 sources, MLA, £ 37.95
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Abstract
Through the analysis of various poems such as "The Lamb" and "The Tyger" and "London", this paper contends that both the 'Songs of Innocence', and the 'Songs of Experience' are simple and complex. It looks at how they exist on a number of levels, having at once simple meaning, and complex analogy symbolism to further give expression to the poetry. The paper also examines how the conflicting simple and complex natures of the poetry gives rise to more thought on behalf of the reader.
From the Paper
"The innocent child who speaks in 'The Lamb' does so freely, however, seemingly the child's innocence prevents it from grasping correctly the allusion it has made. Although obviously in Christianity God has a connection with all living things, the child makes the connection with the lamb, and then compares it with "He" who became a little child. This is a reference to 'The Lamb of God', or Jesus Christ. The aforementioned innocence of the child blinds it from understanding that 'The Lamb of God' was a sacrifice, and so in making such a comparison he is stating both the lamb and himself are akin to a sacrifice. This meaning, taken from the further, more complex reading, may make the question of the first line, "Little Lamb, who made thee?" more poignant, in the face of whether or not the Christian God is so benevolent."
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"Songs of Innocence" and "Songs of Experience", 2008.
An analysis of the combination of William Blake's poems, "Songs of Innocence" and "Songs of Experience."
1,741 words (approx. 7.0 pages), 4 sources, MLA, £ 38.95
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Abstract
This paper focuses on William Blake's two poems, "Songs of Innocence" and "Songs of Experience." It aims to show how the two poems together form a seamless whole that aim to portray the world as seen by what Blake calls "the two contrasting states of the human soul." The paper analyzes the poems in the context of the mythology put forth in Blake's prophetic works. Illustrations of the poems are included with the paper.
From the Paper
"As the poems of Songs of Innocence and of Experience show, Blake's account of the Fall at work within the human soul is more descriptive than it is moralistically sentimental. His much more nuanced view is of innocence as a state of unification and creative power but a lack of agency, and of the fall to experience as the inevitable and necessary process of individuation, bringing with it subjectivity and its more varied perceptions. Interestingly enough, in this conception of the Fall, Blake anticipated, as Abrams notes, the "fall" that is the malaise of modern culture, essentially "a mode of psychic disintegration and of resultant alienation from oneself, one's world, and one's fellow human beings" (39). In this respect at least, Blake was indeed prophetic."
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?Songs of Innocence? and ?Songs of Experience?, 2002.
Examines these collections of poetry by William Blake.
838 words (approx. 3.4 pages), 4 sources, MLA, £ 20.95
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Abstract
William Blake's "Songs of Innocence" and "Songs of Experience" were written between 1788 and 1801 and contain a collection of nineteen individual poems and twenty seven poems, respectively. This paper looks at whether Blake's works could still be enjoyed and understood if the individual poems within the collections were read independently and not within the context of the collection. The paper uses evidence from the poems to show that ultimately, the poems should be read as part of the collection to be appreciated.
From the Paper
"The individual poems do not describe the whole of the human experience because they approach life from the perspective of either innocence or experience. In order to appreciate Blake's comment on the human condition, they must be read in the context of the collection as a whole. "Songs of Experience" is a retort to the "Songs of Innocence." Together they capture the loss of security each of us experiences as we move from childhood into adulthood, and the longing for the innocence we leave behind. Blake's treatment of this state of being endures because it a universal expression of our common nostalgia."
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Song of Songs, 2008.
A discussion on the reasons for the inclusion of the Song of Solomon in the Bible.
1,999 words (approx. 8.0 pages), 7 sources, APA, £ 43.95
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Abstract
This paper comments that the "The Song of Solomon" is one of the most controversial pieces in the Old Testament due to its erotic nature and references to sexuality. The paper then relates that many believe the Song of Songs does not belong in the Bible, and certain faiths refuse to include it, while others believe it is an essential part of the Bible with an important message. The paper also relates that still others feel it is essential as a sexual primer for a committed, married, heterosexual couple. The paper then examines arguments for including the Song of Songs in Holy Scripture, but acknowledges that the reasons are varied and yet all are valid to the people who support them.
Outline:
Classifying the Books of the Bible
Song of Solomon as Allegory
Song of Solomon as a Message of Love
The Song of Solomon and Symbolism in Literature
The Denial of Desire
Conclusion
From the Paper
"Why is the Song of Solomon included as scripture? One conjecture is that, purportedly embarrassed by the frank sensuality in the Song of Songs, "many (ancient) commentators have labeled the work an allegory - a fictional narrative in which characters, objects, and actions symbolize some higher truth. To Jews, the Song became an allegory of Yahweh's love for Israel; to Christians, it became an expression of Christ's love for his "bride," the church" (Harris, 2007, p. 263). These labels indicate that the erotic nature of the poem is actually a spiritual, rather than physical, element. The "higher purpose" the ancient commentators placed on the Song of Songs belies the frank sexual nature of the poems (the Songs are a collection of poems)."
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CD: "Disney Songs the Satchmo Way", 2005.
This paper reviews the compact disk "Disney Songs the Satchmo Way" on which Louis Armstrong presents Disney songs in his jazz style.
915 words (approx. 3.7 pages), 0 sources, £ 22.95
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Abstract
This paper explains that, on "Disney Songs the Satchmo Way", Louis Armstrong re-interprets the music of very familiar songs associated with Disney by adding a jazz flair to each song resulting in a more enjoyable sound than in their original format. The author points out that the new style actually makes the songs a much mellower flavor, which flows along nicely instead of being choppy in places as in the original Disney style. The paper analyzes the songs "Chim Chim Cher-ee", "Bibbidi-Bobbidi-Boo", "The Ballad of Davy Crockett" and "When You Wish upon a Star", all of which definitely have that New Orleans flavor with trumpets, trombones and various brass instruments playing Disney tunes.
From the Paper
"Another aspect that struck me was my attitude towards the kind of songs being performed. I had always thought of these tunes as children's songs, just funny, cartoon type lyrics and music. The way, in which these tunes were performed by Louis Armstrong, I could actually see some of them making it onto the charts. Even though they are suppose to be fun songs, the new format somehow gave them a little more seriousness. "
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The Book of Songs, 2005.
An in-depth analysis of the ancient Chinese "Book of Songs".
1,350 words (approx. 5.4 pages), 3 sources, £ 36.95
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Abstract
The paper discusses the ancient Chinese "Book of Songs," a book of poems each of which is set to music so it can be sung. The book consists of 305 poems categorized into folk songs, ceremonial songs, and sacrificial songs, based on their content and the style of the music. The paper examines the various styles of songs that make up the book and how these songs were used to celebrate many occasions.
From the Paper
"Chinese literature has a long history that begins with Shi Jing, or the Book of Songs. The original title of the work was Shi (Poems) and later Shi Sanbai (Three Hundred Poems). Each of the poems was set to music so it could be sung. The book finally consisted of 305 poems categorized into folk songs, ceremonial songs, and sacrificial songs, based on their content and the style of the music. Folk songs were popular among the people and made up the best part of the book. Ceremonial songs and sacrificial songs were sung primarily on sacrificial or ceremonial occasions as a means of eulogizing the merits and virtues of the Son of Heaven and of his forefathers (Churchill paras. 1-2). Shi Jing is one of the seminal works of Chinese Civilization, serving this role along with the Book of Changes (Yi Jing), the Book of History (Shu Jing),.."
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Bob Marley's Songs, 2005.
An examination of how reggae music in general and Bob Marley's songs in particular, are expressions of protest.
2,325 words (approx. 9.3 pages), 2346 sources, MLA, £ 48.95
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Abstract
This paper discusses two of Marley's songs: "Redemption Song" and "Get Up, Stand Up" and examines the protest behind the songs. Additionally, the paper focuses on why Marley chose to present his protests against the political system, racism and social inequality through his music and how Marley's unique style characterizes his works. Finally, the paper discusses how Marley's songs altered the conventional ideas of reggae style and the religious movement known as Rastafari and discusses how Marley's music was able to inspire a nation and her people.
From the Paper
"Throughout history, expressions of protest have come from a variety of sources and through a vast plethora of mediums. From paintings to poetry, protest works have helped to shape many causes, and have in many cases even influenced the outcome of the cause for the protest. This type of influence and the ability to affect masses of people simultaneously is perhaps best shown in the world of music."
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Spiritual Messages in Songs, 2002.
Discussion of three songs that contain spiritually healing messages.
900 words (approx. 3.6 pages), 3 sources, £ 24.95
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Abstract
Songs often contain spiritual messages that can help those who are either victims of unpleasant circumstances or lack the courage to overcome misfortunes. The lyrics of many such songs urge people to face life with a cheerful and positive attitude. This paper discusses three such songs, which contain substance because they transcend any particular space or time and thus carry a universal message of wisdom and courage. The paper also focuses on such things as tone of the song, its central theme, rhyming, significance of oft-repeated lines etc.
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Songs versus Sonnets, 2008.
Compares songs and sonnets using examples from William Shakespeare and Elizabeth Barrett Browning.
1,525 words (approx. 6.1 pages), 4 sources, MLA, £ 34.95
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Abstract
This paper explains that both the poetic forms of songs and sonnets are common ways that individuals throughout the ages have expressed their thoughts and feelings, quite often but not exclusively about romantic love. While songs often have some form, such as a refrain, a repeating phrase or a melody, sonnets must adhere to a very specific structure. The author presents the history and construction of songs and sonnets. The paper relates that the fact that a song occurs during a play means that the audience likely wants to listen to something actively rather than take time to meditate on a few lines' meaning as they would for a sonnet.
From the Paper
"In the second rhymed stanza, the poet thinks about how the sun shines too hot, dimming the gold complexion of the beloved. He is worried that chance or simply time can rob even a beloved of physical beauty. This is not merely a celebration of love, because the lover understands with foresight the transience of all love, all mortal existence, and realizes that earthly love is not for 'all time,' even though many songs celebrate the sensation that love will last forever. It is also abstract--the poet is not afraid simply that the beloved will leave him, but the fact that everything mortal fades and dies."
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African-American Songs, 2007.
An interpretation of the hidden meaning behind songs sung by African- American slaves.
2,586 words (approx. 10.3 pages), 10 sources, APA, £ 53.95
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Abstract
This paper discusses songs sung by African-Americans during the time of slavery. It interprets the meanings behind the songs "Follow the Drinking Gourd", "Wade in the Water"," Hoe Emma Hoe", "Swing Low, Sweet Chariot" and "Roll, Jordan, Roll". The paper concludes that some songs were used to communicate during the time of the underground railroad, while others were coded and allowed the slaves to talk to one another and voice their opinions about the way that they were being treated without being punished.
Table of Contents:
Introduction
"Follow the Drinking Gourd"
"Wade in the Water"
"Hoe Emma Hoe"
"Swing Low, Sweet Chariot"
"Roll, Jordan, Roll"
Conclusion
From the Paper
"According to Greenway this particular song is actually a map for the local branch of the Underground Railroad which led slaves from Alabama and Mississippi into freedom in the North. According to the official website for the history of the Underground Railroad, the first line of the song, "When the sun comes back and the first quail calls" refers to winter and the southern migration of quail. The article explains that because most of the slaves coming from the south had to cross the Ohio River which was difficult to do most of the year, the leaders of the Underground Railroad found that it was easier to cross in winter. The winter crossing was easier because the river was frozen and people could walk across as opposed to having to swim."
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John Dowland's Songs of Darkness, 2008.
An analysis of the article "New Light on John Dowland's Songs of Darkness" by Anthony Rooley.
777 words (approx. 3.1 pages), 3 sources, APA, £ 18.95
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Abstract
The paper discuses Anthony Rooley's thesis in "New Light on John Dowland's Songs of Darkness" that although John Dowland wrote many songs about melancholy, tears and despair, it is not necessarily a reflection of his own soul. The paper maintains that Rooley did an excellent job proving that Dowland's compositions do not have to be a reflection of his persona.
From the Paper
"Throughout many of his musical pieces, John Dowland composed with a theme of melancholy and despair. During his time, this theme of despair was a big movement in England. In order to achieve this theme, composers such as Dowland used a descending tetrachord that was associated with melancholy and despair.
"Through his article, Anthony Rooley's main thesis is that even though John Dowland wrote many songs about melancholy and despair, that fact does not necessarily mean that it is a reflection of his own soul. Rooley states, "I hope to show that he carefully constructed and maintained an artistic 'persona' which suited his considered intentions. He was consciously posturing and his highly mannered art elaborated his 'impresa'" (Rooley, 6)."
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"Songs of Innocence and of Experience", 2006.
An analysis of the function and importance of illustrations in William Blake's poem, "Songs of Innocence and of Experience."
2,068 words (approx. 8.3 pages), 0 sources, MLA, £ 44.95
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Abstract
This paper discusses and analyzes William Blake's poem, "Songs of Innocence and of Experience." The paper focuses on the extent to which the nature of illustration affords greater subversive power than text in Blake's poem. The paper describes the content of the poem and suggests that in "Songs of Innocence and of Experience," the text illuminates the illustrations.
From the Paper
"Readers today tend to feel that Blake's words could stand alone and still have complete meaning. Indeed, many publishers today include few or none of the prints in their editions of the Songs. However, illustrated books always rely on illustration to varying degrees to add something important to their meaning. Images can also be subversive in more striking and emotive ways than most text, while simultaneously being subtler. Moreover, Blake wrote at a time when the illustrated book was widely respected as a serious genre of literature, unlike today. Blake's readers would have been much more accustomed to interpreting images in complex ways, and familiar with the use of religious allegory and political imagery at the time. Therefore, in Blake's own time, although the words crystallised the meanings of the illustrations, the images would have had subversive meaning for the reader without the need for text. Blake plays with the relation between word and image in his work. Indeed, although he refers to his own work as an 'illuminated manuscript', Blake even subverts the idea of the medieval illuminated manuscript itself, by challenging the idea that the illustrations 'illuminate' the text. The idea implies that the text has meanings that the illustrations simply reflect and clarify. In Songs of Innocence and of Experience, the text illuminates the illustrations."
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John Dowland Songs for Tenor and Lute, 2008.
Reviews the CD recording "John Dowland Songs for Tenor and Lute" with Paul O'Dette performing on the lute.
790 words (approx. 3.2 pages), 3 sources, APA, £ 19.95
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Abstract
This paper describes the CD recording "John Dowland Songs for Tenor and Lute", and notes that the tenor voice is the fundamental part and focal point while the lute acts as a background instrument, which adds variety and frills to the compositional piece. The paper also points out the similar sound of the historical lute to that of the contemporary Spanish guitar. The paper also points out that the performer of the lute in this recording is Paul O'Dette, born in 1954, who is both a musician and composer specializing in playing the lute and early music. In addition, the paper describes the various tracks, many of which sing of love, and the song "When Phoebus First Did Daphne Love". The writer believes that this recording is authentic recording and offers many insights into the music of its time period.
From the Paper
"In this CD, almost every single track is set up the exact same way. The tenor is the only voice and is the main compositional piece of the music. The lute is there to add some background to the tenor voice. I also noticed that there is very little set rhythm through each piece. Each song on this recording is a song about love. Even though the recording is performed in English, the performer sings in way that makes it extremely difficult to understand and discern the words that he is actually singing. Out of 20 tracks, fifteen of the track's titles have to do with love."
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