| Papers [1-14] of 22 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "GREGORIAN CHANT": |
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The Gregorian Chant, 2005.
This paper discusses the Gregorian chant, sung as an act of worship in the Middle Ages.
1,340 words (approx. 5.4 pages), 6 sources, MLA, £ 32.95
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Abstract
This paper explains that the earliest form of known sacred music is the chant, a monophonic, single-line melody using free-verse rhythm. The author explains that the Gregorian chant was not arranged until the 11th and 12th centuries; therefore, it is difficult to reconstruct the exact music from Charlemagne?s court. The paper relates that the Gregorian chant is about the text; its roots are in the liturgical, sacred Latin texts being read aloud.
From the Paper
"During the rise of Charlemagne?s rule, learning, trade and the appreciation of culture took hold of Roman Empire. Charlemagne?s keen interest in music explains why certain monasteries of his reign became large centers for church music. Charlemagne brought monks from Rome to stabilize and reform the church music in his kingdom. St. Ambrose and St. Gregory have come to be named and honored in musical history. Ambrose was Archbishop of Milan from 374 to 397. He took a keen interest in church music, and did much for its advancement. He devised a general system of chanting known from his name as the Ambrosian Chant. When Ambrose died, church music again deteriorated."
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Catholic Church Music and Gregorian Chant, 2008.
A look at the development of the Gregorian chant and the important role it plays in church music.
1,390 words (approx. 5.6 pages), 11 sources, MLA, £ 33.95
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Abstract
This paper provides a historical background to the Gregorian chant, an important musical style that came to represent all holy occasions by putting poetry to music, and charts its development through the years. The paper then discusses and describes four hymns that are still used today: Stabat Mater Dolorosa or "Our Lady of Sorrows", Pange Lingua Gloriosi or "Sing, My Tongue, the Saviour's Glory", Victimae Paschali Laudes or "May you praise the Paschal Victim", and Veni Creator Spiritus or "Come Holy Spirit, Creator Blest".
From the Paper
"By the Sixth Century, when Gregory was a Monk, there were already many, many chants in use. He gathered and collected these. In those days monks often wrote their own hymns or adapted earlier versions they had heard in other monasteries. The result is that there was already many different kinds chant. For example in the 4th Century Mozarabic chant developed in Spain. We get Ambrosian chant for St. Ambrose in Milan and Gallican chant from "Gallic" France. There are even chants from Ethiopia in Africa. Over time many different styles of chants developed and found their way into daily mass and special services for festivals or holidays. (Hope, 2007) Sometimes this style was also used for non-church music as well. (Music-for-Church-Choirs.com)
"Gregorian chant is also known as "plainchant" from the French "plein chant" which means "full singing." (Music-for-Church-Choirs.com) By the time of Gregory different chants had been connected with or written for most all special events. We don't know the names of most of the early chant composers, but we do know that many intended for specific Sundays or feast days were composed between the 5th and 8th Centuries. (Ex. Introit, Gradual, Alleluia, Offertorio and Communio). Many of those commonly heard in mass today like the Kyrie, Gloria, Credo or Sanctus were composed later, between the 9th and 12th Centuries. (Hope, 2007)"
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Gregorian Chant, 1992.
Discusses its history and development since the Middle Ages and examines melody, its role in church and variations.
2,025 words (approx. 8.1 pages), 7 sources, £ 50.95
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From the Paper
"This paper will discuss the history and development of Gregorian chant, a type of music which predominated in the services of the medieval church. The Gregorian chant flourished between the seventh and fourteenth centuries A.D., and there are about 3,000 chants which have survived to the present day. The study of these chants is important to musicologists because "the Gregorian repertory is the first in the West to be preserved complete" (Crocker 118).
Gregorian chant was always based on the use of a single melody line. Thus, the music of the chant was monophonic and lacking in harmony. Gregorian chant was also lacking in the use of instrumental accompaniment. Thus, the melody line was sung either by a solo singer or a choir singing in unison. Gregorian chant was also distinguished by the use of free rhythm. In other ..."
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Chinese Buddhist Chant, 2005.
This paper discusses the chanting of Amitabha, which is a particular Chinese Buddhist chant.
675 words (approx. 2.7 pages), 6 sources, £ 18.95
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Abstract
This paper describes a particular Chinese Buddhist chant used for both individual and group practice, which is the repetition, through singing or chanting, of one of the names of Buddha - Amitabha. The author points out that Amitabha, which is an ancient chant, was written in the Sanskrit language before Buddhism was transmitted to China. The paper relates that the chanting is sometimes accompanied by percussion instruments.
From the Paper
"The Chinese Buddhist chant I have chosen to describe is, perhaps, one of the simplest and most ancient - the chanting of Amitabha. While some Chinese Buddhist chants were originally written in Chinese, this one predates the transmission of Buddhism to China and is therefore written in Sanskrit, the original language of Buddhism that comes from northern India. Amitabha is one of the names of Buddha, and the chant is associated with repentance and forgiveness. It is, in most cases, as simple repetition of the four-syllable word 'Amitabha', though in some cases other syllables are added to it. Buddhist thought values simplicity above all things."
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"Song of Myself": Chant 21, 2004.
This paper analyzes the basic themes and structure of Chant 21 of Walt Whitman's "Song of Myself".
1,545 words (approx. 6.2 pages), 3 sources, MLA, £ 35.95
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Abstract
This paper explains that the 21st chant of Walt Whitman's "Song of Myself" can be divided into four main parts: The first two lines function as an introduction of the basic themes, which are developed throughout the rest of the chant; the next three lines (line 3 to line 5) focus on the theme of the night, or rather the Night; lines 6 to 13 develop the theme of the Earth and, finally, the last two lines synthesise the whole in a notion of universal Love. The author points out that the first two lines of the chant take the form of a statement, which once again evokes the style and melody of Biblical poetry and especially the expression "I am he that...". The paper relates that Nature is seen from a cosmic point of view; the reader gets glimpses of the air, the water, the earth, as if the basic elements of the universe are uniting.
From the Paper
"The vision of the Night which has shrouded the Earth is maintained throughout the third part too but without actually mentioning the Night itself. We have the allusion to sleep as the trees are "slumbering", the poet also uses the expressions "departed sunset" and "misty-topt" mountains. We have a whole nightscape by the end of the third part with the image of the "full moon" and the "dark... tide of the river". He proceeds from a description of a landscape to the creation of a more imaginary one, of a poetic landscape ("liquid trees"). It is also intensely personal, we have the unclear vision of a dreamer, and it is partly surreal and distorted. The description is freed from control of reason and consciousness."
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Mariama Ba's "Un Chant ?Ecarlate" ("Scarlet Song"), 2005.
This paper discusses the intertwining themes of roots, racism, sexism and morality in Mariama Ba's "Un Chant 'Ecarlate" ("Scarlet Song").
2,530 words (approx. 10.1 pages), 0 sources, £ 54.95
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Abstract
This paper explains that Mariama Ba's "Un Chant 'Ecarlate" ("Scarlet Song") is about the failure of an interracial marriage between a young, poor man from Senegal and the daughter of a French diplomat, focusing on the difficulties of an interracial marriage, such as family opposition from both sides, the weaknesses of the husband and the culture shock of the wife. The author points out that Mariama Ba, born in 1929 in Senegal, was raised by her grandparents in a traditional Muslim household and, being a divorced mother of nine children, was no stranger to the trials and tribulations of marriage. The paper relates that this book makes no attempts at hiding the injustice of the Africans toward the white woman; like a Greek tragedy or a morality play, the lesson is for the people who hear and read the words of the author. Several long quotes.
From the Paper
"The men in the novel are, surprisingly, more sympathetic then the women of the novel. Strangely enough, it is Ousmane''s father, the Koranic scholar, who is the family member most accepting of his white daughter in law, though this is of little comfort as he calls the marriage "a necessary evil," (pg 66). While this may not sound like a ringing endorsement, it is considerably better then being an active force in his daughter-in-law's downfall. Ali, a close friend of Ousmane and the husband of Rosalie reproaches Ousmane for his treatment of his white bride. "How can you, Ousmane, betray trust? I hardly know you in your new guise.......besides, what do you reproach your wife with? Her Colour? Her mentality? The same grievances that her father had against you? Ridiculous! You are the racist now." (pg 138)"
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, £ 12.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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Music Therapy in Critical Care Units, 2001.
A look at the different methods of therapy available with music.
1,825 words (approx. 7.3 pages), 6 sources, £ 41.95
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Abstract
This paper provides a detailed account of the Music therapy method of treatment especially in the critical care units. It shows how modern scientists agree that many different kinds of music can be therapeutic. Some people respond well to reggae or jazz. Others are uplifted or in fact healed, when they listen to Gregorian chant, or heavy metal.
From the paper:
"Music Therapy is a form of sound wave therapy which includes several other different tools and methods. The music therapists or the sound therapists in general work with tuning forks, song pods, toning, and music. Tuning Forks produce pure sounds when tapped. The human bodies in actual acts like a resonating board to the pulses of the universe as the major part of the human body is water. The human cells resound with the vibrations of the sounds by which they are surrounded in the daily life. When tuning forks are being used the energy blocks can be released and the physical system can be brought back into alignment. The sounds can also balance the spiritual, emotional and mental bodies by creating sounds through the tuning fork that the nervous system and the whole body can harmonize to. The other tool is the song pods."
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Recording: "The Lily and the Lamb", 2008.
Reviews the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4.
790 words (approx. 3.2 pages), 4 sources, APA, £ 20.95
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Abstract
This paper explains that the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4, an all female quartet that specializes in medieval music is an excellent example of this period's chant and polyphony music. The author points out that the recording is composed of eighteen tracks that are divided up into six different types of songs: one antiphon, five conductuses, two hymns, two motets, one processional hymn and seven sequences. The paper concludes that this recording is helpful in learning about sacred medieval music.
From the Paper
"A sequence is a category of Medieval Latin chant and is also known as prose. It is part of the liturgy and comes after the Alleluia. It usually begins with an introductory phrase of the form "aa." Then phrases are paired together until the concluding phrase "n." The total form of a sequence usually written as: "aabbccddeeff...n." There are seven sequences in this recording and they range in length from a little over a minute to over eight minutes long. While listening to the sequences in this recording, I noticed that they all seemed to follow the same pattern with the voices."
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Chinese Buddhism, 2005.
This page discusses the chanting rituals at the heart of Chinese Buddhism.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
This paper describes the daily invocations and chanting, which comprise one part of Buddhist practice. The author points out that, contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere formulated exercises. The paper explains that these chants are , sophisticated rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being.
From the Paper
"This brief essay is a review of the sonorous and seemingly inscrutable chanting that informs Chinese Buddhism. Contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere "external exercises, carried out in prescribed order" (Welch, 80-81). They are, rather, sophisticated and significant rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being - chanting of the Buddhist liturgy being of especial importance. With that in mind, this brief essay examines the chanting of Chinese Buddhist monks in greater detail for it is only through such inquiry that true understanding can emerge."
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The History of the Calendar, 2007.
A detailed history of the Gregorian calendar.
1,335 words (approx. 5.3 pages), 5 sources, MLA, £ 31.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the topic of the modern calendar. Specifically the paper discusses how the Gregorian calendar came into being and the many changes it has undergone during its history. The paper examines how timekeeping has evolved from early, much more complicated methods. The paper concludes that the calendar may not be perfect, but it serves a vital purpose, and will probably remain constant for centuries to come.
From the Paper
"One aspect of calendar history is quite surprising. While it would seem the Gregorian calendar that is the most common would be the universal calendar used around the world today, it is not. Historian Doggett continues, "According to a recent estimate, there are about forty calendars used in the world today" (Doggett, 2004). Some of these other calendars include the Hebrew calendar (used in Israel), the Islamic calendar (used throughout the Muslim world), the Chinese calendar (used throughout China), and the Indian calendar (used in India). Most of these calendar variations are used in specific localities and cultures, and there have been some attempts to coordinate them with the Gregorian calendar (Doggett, 2004)."
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Poems from China's Sung Dynasty, 1995.
This paper compares two poems from China's Sung Dynasty, "Li Po Chanting A Poem" by Liang K'ai and "Mother Monkey and Child" by Mu-ch'i: Poets, styles, visual & content analyses and themes.
1,575 words (approx. 6.3 pages), 4 sources, £ 39.95
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From the Paper
"Two important works of art representing different styles from the same period of time in China are "Li Po chanting a Poem" and "Mother Monkey and Child." A comparison of the two will show the wide range of styles and expression in the Sung Dynasty and the similarities between the two artists. The works actually derive from similar impulses on the part of the artists but try to reach their goals through different methods. The works will be considered in terms of formal visual and content analyses, with some background on the artists, their circumstances, and their reason for producing these works.
"Li Po chanting a Poem" is a hanging scroll produced as ink on paper in the mid-thirteenth century, during the Sung Dynasty, by Liang K'ai. It is presently in Tokyo in the commission for the Protection of Cultural Properties Collection. ... "
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The Navajo Indians & Their Religion, 1973.
This paper discusses the myths, legends and religious chants of the Navajo Indians.
2,250 words (approx. 9.0 pages), 4 sources, £ 56.95
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From the Paper
"The Navajo Indians are perhaps one of the most fascinating of the American Indian groups to study. Their courage, stamina and perseverence as a people speak highly for the psychological and even physical unity which their religion supplies.
The Navajos did not appear in the southwest United States until 1000 - 200 A.D. They had probably come from across the Bering Strait and down along the west coast of the United States although there is some evidence from religious ideas from the Plains Indians woven into their ideas, that they might have first come south along the east side of the Rocky Mountains and then filtered into the southwest.
Once in the southwest the Navajos took advantage of the Hopi ... "
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The Motet, 1980.
This paper discusses the composition form of the motet in England from the late 12th Century to the early 15th Century: Relgious andsecular uses in England; eclectic nature; uses by composers in Gothic & Gregorian forms.
1,350 words (approx. 5.4 pages), 5 sources, £ 33.95
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From the Paper
"The following research is on the subject of the motet in England from the late 12th Century to the early 15th Century. The motet was a French form of the 13th Century and an isorhythmic form of the 14th and 15th centuries, but after that time it took on a broader meaning. Originally, however, a motet was a composition on a liturgical text for use in church. By the latter 13th century the term was applied to works with secular texts as well, including even those which used a secular melody as a tenor cantus firmus. In the isorhythmic motets of the 14th and 15th centuries the tenors were usually Gregorian melodies, and those motets retained the traditional characteristics of a liturgical cantus firmus, multiple texts, and strongly contrapuntal texture. The isorhythmic motet was a conservative form, and the general evolution of musical style during the late ... "
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