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Music: A Connection to the Divine, 2007.
This paper discusses music as a connection to the Divine, by looking at "Paradise" by Aligheri Dante and "The River Sutra" by Gita Mehta.
2,120 words (approx. 8.5 pages), 3 sources, MLA, £ 45.95
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Abstract
In this article, the writer maintains that one could say that the written and spoken word describe the foreseen and that music describes the unforeseen. This relationship between music and spirituality is explored using two famous works. The first, Dante's "Paradise", is from Western culture and the other, "The River Sutra" by Gita Mehta, is from Eastern culture. The writer explains that both of these works describe a spiritual journey into the unknown. The writer notes that music is used to reference that which cannot be truly described using words alone. The essay supports the thesis that music is used as a means to connect the reader to the spiritual world in these two works. The writer concludes that one can learn much about the spiritual worlds of the East and West by examining the use of music in their works.
Outline:
Dante and Signaling the Eternal
The Boy Singer and the Path to Enlightenment
The Musician's Story
Transcendence
Works Cited
From the Paper
"Dante uses music to announce a holy event of great importance. The appearance of the divine is often signaled by music. One might notice that it is never Dante himself who is singing or making music, although in the opening Canto he does refer to his work as his song. Song and music are used to signal the appearance of the divine. Dante uses the imagery of music sparingly. Only a few of the heavenly beings that he encounters are heralded by song."
"Structurally, the appearance of music is carefully placed in such a way to give it an even greater meaning of importance. Paradise, like hell, is comprised of layers. Just as the layers in Hell become increasingly more evil, the three layers of heaven become more divine. One might notice that music is hardly mentioned in the first two Cantos, except when referring to his work as his song. When we examine the use of music in the remainder of the piece, this two may have been purposeful and an attempt to attach importance to the work itself."
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Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, £ 69.95
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Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
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The Multi-Cultural Connection of Dance, 2005.
This paper discusses the multi-cultural connection of dance presented through 'divine love' in Kathak, Middle Eastern and Flamenco dancing.
900 words (approx. 3.6 pages), 3 sources, £ 24.95
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Abstract
In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper
"This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
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Divine Light, 2007.
An analysis of the history and evolution of the concept of divine light, particularly within architecture.
3,601 words (approx. 14.4 pages), 8 sources, APA, £ 69.95
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Abstract
This paper discusses the concept of divine light. It investigates the origin of the concept and how it is integrated with social values and ideals of various times throughout history. The paper discusses the history of divine light and suggests that in these modern times, the concept of the divine has stretched and evolved to include a variety of principles, religions and lifestyles. The paper gives examples of its use and particularly focuses on the concept of divine light in architecture.
Table of Contents:
Introduction: Divine Light
Divine Light in Architecture
Greek Temples
Early Christian Architecture
Medieval Christian Churches
Baroque churches
Modern Churches
Conclusion
From the Paper
"Instead, Tadao Ando asserts that a universal spirituality is possible through the use of natural forces. This in turn is reminiscent of the enclosures around Greek Temples, where natural elements were used to connect the human spirit to the divine. Ando recognizes that the divine, if architecture is going to be truly universal, is largely undefined by the paradigms of modern society. We live in an integrated world. Ando therefore uses natural elements that appeal universally to the human spirit. This provides for a "divine light" that is flexible: human beings can use its effect to connect to any form of the divine that pleases them. In this integrated approach, Ando emphasizes the creative force, once assumed to be from exterior or supernatural forces, that comes from within the spirit. As such, his work is a true integration of modern social values."
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Divine Foreknowledge, 2008.
This paper discusses the concepts of divine foreknowledge and free will, concentrating on the beliefs of St. Augustine.
1,339 words (approx. 5.4 pages), 5 sources, MLA, £ 30.95
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Abstract
This paper examines the differing role of divine foreknowledge within the philosophy of St. Augustine. First an overview on the general concept of divine foreknowledge is given in order to understand its influential role during these times. Then the paper examines its role as applied to the philosophy of St. Augustine. The writer also looks at the theory that humans have the free will to make their own decisions. The writer concludes that what makes St. Augustine's work so important and successful, in both religious and philosophical circles, is its ability to understand the conflict and the importance of reconciling these concepts in order to preserve both the sanctity of divine foreknowledge and human will.
Outline:
Introduction
Divine Foreknowledge vs. Freewill
St. Augustine
Conclusion
From the Paper
"According to the theory of divine foreknowledge, god is omniscient and therefore holds knowledge of everything: past, present and future. In other words, divine foreknowledge is god's ability to know everything about all things. Further, since god has knowledge of everything, everything that god knows is necessarily a truth. For example, if god knows that X will go and do Y, then it is true that X will do Y, even if X has not yet done Y. Further, since it is a truth that X will do Y, it is also impossible that X will not do Y. In other words, in a pure system of divine foreknowledge, humans have no freewill. The two cannot co-exist.
"However, some theorists, including St. Augustine, have developed a non-pure system of divine foreknowledge and instead believe that although god has divine foreknowledge, he is not all knowing in a traditional sense."
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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, £ 11.95
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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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African Music's Influence on Pop Music Culture, 2005.
An ethno-musicological study of African music's influence on western society's popular music culture.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
The paper by examines various western artists, such as Paul Simon and David Byrne, and shows how African music plays an important part in how popular music is interwoven within the western musical tradition. The paper concludes that western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent.
From the Paper
"This ethno musicological study will examine the various African music influences that have become imbued within western pop music culture. By examining various western artists, such as Paul Simon and David Byrne, one can realize how African music plays an important part in how pop music is interwoven within the western musical tradition. In essence, western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent."
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Relationship between the Human and the Divine, 2006.
A paper looking at the relationship between the human and the divine in Greek, Hebrew and Roman cultures.
949 words (approx. 3.8 pages), 10 sources, MLA, £ 23.95
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Abstract
This paper examines the doctrine of divine illumination, prevalent in most ancient cultures. The paper explains that the doctrine of divine illumination holds that human beings require a special divine assistance in their ordinary cognitive activities. The paper then takes a look at how this doctrine manifested itself in ancient Greek, Hebrew and Roman cultures.
From the Paper
"Furthermore, some of the cultures believed in the intermingling of the gods with humans. Not only did the gods interact in the lives of humans, but they also fathered children by humans. Therefore, humanity could only be understood as a relative concept, "relative to the sub-human (animal) and the super-human (divine)" (Flint-Hamilton). In fact, in some societies, there was practically no separation between the concept of human and divine."
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Concept Of Divine Justice, 2002.
Analysis of Dante's "The Divine Comedy" in relation to justice.
1,800 words (approx. 7.2 pages), 3 sources, £ 43.95
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Abstract
Analysis of Dante's THE DIVINE COMEDY in relation to justice. Role of God and Christ. Purgatory section as a scene of self-realization. Inferno (Hell) section with divine justice meted out to sinners. Paradise section and love as as aspect of divine justice. Dante's complex theory related to his times.
From the Paper
"DANTE AND DIVINE JUSTICE
Justice is not a political or legal question in "The Divine Comedy. Instead, Dante takes his cue from Aristotle who said that "Justice is not part of virtue, but virtue entire" (Hutchins, 1952, p.856). In Purgatory, for example, when "the shade" begins to talk. It says "Of the purity the will alone gives proof, which surprises the soul wholly free to change its company. It wills from the first indeed, but the desire- which, contrary to the will Divine Justice sets to the torment as it had been to the sin- allows it not" (Dante, 1952, p. 85). Divine Justice, therefore, is the final arbiter of sin and virtue. Divine Justice is also, so it seems, a means of starting over, of eliminating sin and desire. In fact, "The world is renewed. Justice returns, and the primeval time of man, and a new progeny descends from heaven" ..."
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The Human and Divine Relationship in Homer?s "Iliad" and Herodotus? "Histories", 2001.
Examination of human and divine relationships as seen in such ancient Greek literature as Homer?s "Iliad" and Herodotus? "Histories".
2,795 words (approx. 11.2 pages), 5 sources, MLA, £ 57.95
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Abstract
This paper discusses how throughout Greek history the relationship between human beings and divine figures is a noticeable and predominant one, evident in myth, and especially literature. The author examines such literature of the time, in particular, Homer?s Iliad and Herodotus? Histories, to better understand this unique and extraordinary relationship between humans and divine powers in the ancient Greek world.
From the Paper
"Throughout Greek history the relationship between human beings and divine figures is a noticeable and predominant one. Evidence of this relationship exists in many forms, such as architecture, art, myth, and especially literature. By examining the literature of the time, we as historians, philosophers and archaeologists, among others, can better understand this unique and extraordinary relationship between humans and divine powers in the ancient Greek world. The "Iliad" of Homer demonstrates many principles of this relationship through the story of the Trojan War. The characters, their actions and the events that take place demonstrate the interaction of humans and gods, the individual relationships, the authority of divine power, and the helplessness of humans. We also see the treachery and deceit of the gods towards humans. We can look at other later literary works such as Herodotus? Histories to examine the human and divine relationship as well."
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The Divine Comedy and Carl Jung, 2008.
This paper discusses Dante's 'The Divine Comedy' as it relates to Jungian archetypal theory.
1,740 words (approx. 7.0 pages), 4 sources, MLA, £ 39.95
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Abstract
In this article, the writer notes that the development of Dante's 'Divine Comedy' is a development of self. This individual travels from shallow to more authentic experiences as he or she travels through the different worlds or levels of hell. The writer points out that similarly Jungian archetypal theory demonstrates the same sort of idea. The individual travels through a traditional set of concepts that range in depth from very shallow to much deeper and more authentic, until one becomes what is considered the true self which is steeped in the concept of the old soul and is the mythic combined with the human. The writer maintains that the archetypes associated with Jungian theory are clearly and concisely illuminated in the depths of the 'Divine Comedy'. The writer concludes that each archetype is given its appropriate time and due character while Dante the pilgrim seeks to entertain how he above others can more closely live the life of the wise old man, who he assumed was Virgil but was really himself.
From the Paper
"The shadow coincides with early Dante, when he is drawn by sin and temptation and on the verge of suicide. He is in need of intervention, in this case Virgil (the wise old man) to accompany him and give him guidance as he does not know himself or his place in the world. He is also in need of Beatrice, his lost love to come to him and explain the virtue of the journey and to introduce him to his guide, the wise old man a concept illuminated later that will lead us between the acceptance of the feminine Animus within himself as nothing to fear. For Dante the shadow is really his grief, as he wanders about the world trying to do and say the right thing but not knowing himself well enough to known what the right or wrong thing for him is."
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Divine Justice vs. Human Nature, 2002.
Takes a look at how Dante and Boccaccio make opposing arguments on the issue of divine justice versus human nature.
1,575 words (approx. 6.3 pages), 2 sources, £ 35.95
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Abstract
This paper demonstrates Dante?s and Boccaccio?s opposing views concerning whether the importance of God?s divine justice outweighs the innate human qualities present in all peoples. Using the example of how each portrays members of the clergy in their works, Dante?s preference of divine justice emerges, as does Boccaccio?s preference of human nature.
From the Paper
"Dante and Boccaccio disagree on the issue of divine justice versus human nature. In The Divine Comedy: Inferno, Dante employs Fortune to prove the importance of divine justice. As a creation of God, Fortune operates strictly within the will of God, enhancing Dante?s depiction of God?s omnipotence. Dante also illustrates the importance of God?s divine justice through the various people the pilgrim meets in the circles of the Inferno, specifically members of the clergy. In sentencing these men to hell, Dante demonstrates the fair and impartial manner in which God judges all people. He points out that God does not favor the clergymen because of their church titles, but judges all people according to the same moral and religious standards. Boccaccio, on the other hand, utilizes the same constructions in The Decameron, but uses them to contradict the previously accepted philosophies set forth in the Inferno. Boccaccio presents Fortune as God?s enemy, a power that provides earth with more than it needs."
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St. Augustine: Divine Grace and Free Will, 2007.
An in-depth look at the major doctrinal dispute between divine grace and free will, focusing on the teaching of St. Augustine.
5,814 words (approx. 23.3 pages), 11 sources, APA, £ 96.95
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Abstract
This paper reviews, discusses and analyzes the teachings of St. Augustine. The paper reports that the teachings of St. Augustine expounded upon the relationship between the Divine Grace and human free will and the influence both have on the achievement of individual human salvation. According to the paper, Pelagius was St. Augustine's biggest rival, teaching that Divine Grace was not the sole necessity for achieving salvation.
From the Paper
"God has decreed that we are all sinners, but even this condition is a result of a free choice made by Adam and Eve when they committed the original sin. In choosing to sin, the first man and first woman were undertaking truly momentous decision. Rather than accept that which was freely given to them - a beautiful and eternal paradise - they chose to question, and therefore to sin against God. By their choice in the beginning, all humanity was condemned to a life outside Eden, one that necessarily entailed sin. It is like the case of a man who chooses to emigrate from the country of his birth knowing that, once his decision is made, he can never return. He makes his choice, takes with him his wife, and goes to another country. The two have children in that country, and forever afterwards, their descendents are now citizens of that place. Those descendents can, of course, choose to change their habitations at some future date, even possibly deciding to return to the land from which they originally came, but they can never pick up from where their ancestors left off. It is possible, in fact, that the land, or nation, from which their forebears emigrated might no longer exist. At the very least, the position of their family in that country would have changed. It is the same with humankind and the Paradise that was Eden.
"Augustine viewed his own personal conversion as an act of Free Will. All his life, he had been faced with real choices in regard to his thoughts and actions. Throughout his youth, he had chosen to ignore the Path of God, and to follow false philosophies and indulge the pleasures of the flesh. The other choice - to accept Christ's teachings - was always open to him yet, until he consciously made it, could not possibly furnish any stimulus for change in his way of living. St. Augustine explains his discovery in Against the Manicheans"
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Divine Justice in Dante Alighieri's "Inferno", 2005.
An examination of Dante Alighieri's journey to the acceptance of Divine judgment in his work, "The Inferno."
1,179 words (approx. 4.7 pages), 4 sources, MLA, £ 27.95
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Abstract
This paper discusses Dante Alighieri's allegorical tale, "The Inferno." It describes the concept of Divine justice within the work and discusses how the work can be seen as a journey to one man's acceptance of Divine judgment, as part of the objective will of God. The paper discusses the journey that Dante goes through and how it affects him.
From the Paper
"Even to the very monsters of hell does Dante Alighieri extend his belief in divine justice, as is seen in the wood of the suicides. He describes the woods as "the nesting place of the foul Harpies." (Dante, Cant. 13), who, according to ancient Greek lore, were "fierce, filthy, winged monsters, with the faces of women, bodies of vultures, and sharp claws who served as ministers of divine vengeance, and punished criminals." (Harpies, Par. 3). Undoubtedly, the Harpies are most appropriate guardians of the wood of the suicides, as they are ministers of divine justice, and, in addition, there exists a strong contrast between the Harpies who are prophetic, and the suicides who believed themselves to be prophetical in assuming that there was nothing left to live for in their futures, furthering the idea of contrapasso in The Inferno, and providing a delicate and profound example of divine justice."
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