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Music and Dance in Russia and Japan, 2002.
Music and dance/drama compared and contrasted between the western-influenced Russia, and the eastern ancient Japan.
1,534 words (approx. 6.1 pages), 4 sources, MLA, £ 34.95
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Abstract
This paper shows how music has been combined with drama and dance throughout history and across cultures. The writers takes Tchaikovsky's western-influenced ballets and compares them to the very dissimilar traditional Japanese Kabuki music. Some similarities are drawn that show how different cultures appreciate and embody the inherent drama in music. The paper includes backgrounds of Tchaikovsky, Japanese Kabuki in an historical setting, as well as full descriptions of the music. The last paragraph compares/contrasts the two, while drawing overarching conclusions about the universality of music.
From the Paper
"Since its birth, music has never been segregated out as ?pure music? as the modern term now implies, with no implications attached to the sounds themselves. More often than not, there is always some sort of abstract connection made to the music, whether it is an evocation of a program, a tool for communication, a symbol of power, or a means of connecting with the spirit or the supernatural. Often, music will be used to tell a story, because of its ability to create atmosphere, manipulate moods, and even imitate concrete sounds. This ability leads to the creation of music in many categories?namely music with drama, and programmatic music. Drama and music have been combined since ancient times, in the form of accompaniment or incidental music to theatrical works, or as in Western Europe, operas and ballets. Wagner himself termed his operas ?music dramas?, but his was definitely not the first, nor the last great marriage of the two arts. For instance, since before the seventeenth century in Japan, an art combining music, acting and dance called Kabuki has flourished. Kabuki stems from other Japanese forms called Noh and Bunraku, but whereas these two forms combine music and drama of sorts, Kabuki is by far the most lavish, and is a combination of these other two forms. Besides exhibiting far greater orchestral forces, there is also a strong emphasis on the dance. Likewise, across the continent at about the same time an art of schooled dance began in the courts in France, culminating to what we now know as ballet. Ballet itself was often found in segments of operas, and in the eighteenth and nineteenth century it became fashionable to create full-length story ballets, consisting of purely music and dancers telling a story. A prime example of the apotheosis of the ballet genre would be Tchaikovsky?s popular ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker. Thus, the idea of music supporting dramatic action can be evidenced in both Japanese Kabuki, and Tchaikovsky?s ballets, although both display as many striking differences as similarities."
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The Roots of Indian Music and Dance, 2001.
A look at the history of Indian music and dance.
3,985 words (approx. 15.9 pages), 9 sources, £ 75.95
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Abstract
A look at the origins of Indian culture with emphasis on Indian music and dance. The author examines the roots of music and dance from legends, myths and ancient scripts and provides an understanding of the historical foundation of Indian music and dance.
From the Paper
"The history of Indian music and dance is one of the oldest unbroken artistic traditions in the world. It is said that the origins of this system go back to the Vedas, the ancient scripts of the Hindus. Numerous legends have grown up concerning the origins and development of Indian classical music and dance. Such legends illustrate the importance both that music and dance have had in defining Indian culture, especially from a religious perspective. This investigation is meant to explore the historical foundation of Indian music to ascertain a better understanding of the classical form."
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Topic Music and Dance in Indian Films, 2002.
An overview of the Indian film industry with focus on music and dance in these movies.
2,388 words (approx. 9.6 pages), 11 sources, MLA, £ 50.95
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Abstract
This paper examines the importance of music and dance in the extremely successful film industry in India. It explains that because Indian films are made predominantly for semi-literate audiences, they contain numerous action scenes (fights), elaborate song and dance sequences, a fair dose of slapstick comedy and an obligatory love story. This paper discusses why this industry is so successful and the role music and dance play in its success.
From the Paper
"In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. But the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages other than Urdu, and that every film would be a musical."
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Agricultural Produce in Inter-war Russia, India and Japan, 2007.
This paper looks at trends and changes relating to agricultural produce in Russia, India and Japan during the inter-war period.
1,452 words (approx. 5.8 pages), 5 sources, MLA, £ 33.95
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Abstract
In this article the writer outlines the main trends in agricultural produce in the three economies of Russia, India and Japan in the inter-war period. The writer discusses how far changes in output and prices affected the standard of living of the agricultural population and notes that, during the inter-war period (1914-39), Russia, Japan and India experienced similar but at times varied fluctuations in how much produce they cultivated agriculturally. Generally-speaking, Japan and India maintained outwardly stable, but far from spectacular levels of production, while Russia and later the Soviet Union witnessed greater disparities in what she produced for the commercial market. The writer concludes that what is clear from all three cases is the extent to which change in agricultural output and prices invariably failed to benefit the rural population - and, in the case of the Soviet Union, change in fact proved to be catastrophic.
From the Paper
"When one takes the example of rice production - the main staple - as the chief indicator of agricultural output, with reference to Japan and India, and that of wheat production for Russia, one can observe the following. By 1914, Japan quickly reached production levels of 8.5 millions tonnes, levels that remained pretty much constant during subsequent years. Some twenty years later, in 1933, she reached a peak of 10.6 million tonnes, ending with a modest 10.3 million tonnes of rice in 1939. During the post-war era, India similarly witnessed marked increases in production. By 1914 she saw 42 million tonnes of rice harvested nationwide. But production proved erratic thereafter. During six of the following fifteen years output did exceed the 50 million tonne threshold; but the trend nevertheless was downwards, so that, by 1932, production dipped below the 40 million mark, only struggling to transcend this figure in two of the remaining seven years. What heavily contrasts with the case of India and Japan is that of Russia which witnessed not a levelling-off but a massive reduction in her wheat production following the First World War. By contrast to 28 million tonnes, which was recorded in 1913, the amount for 1921 plummeted to a mere 5.6 million tonnes. By 1925, however, production kicked back quickly to normal levels, with the Soviet Union reporting that 20.8 million tonnes of wheat had been harvested."
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Dance and Music in Islam, 2006.
A discussion regarding the important role that dance and music play in Islam.
894 words (approx. 3.6 pages), 3 sources, APA, £ 21.95
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Abstract
This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper
"More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
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Dance In Japan, 1999.
Examines dance as a divine activity. Discusses the Shinto influence, forms (Noh and Butoh), origins and characters.
1,125 words (approx. 4.5 pages), 6 sources, £ 27.95
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Abstract
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia.
From the Paper
"Gods Who Dance
Introduction
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia. In Japan, for example, the rising of the sun had been saved because Ume performed a dance and lured the goddess Amaterasu out of her cave (Shawn 4). Thus, in Japan, dance is considered to have a sacred, divine, origin."
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Northern Politics - Japan's New Russia Policy, 2001.
A look at the Japanese foreign policy and the changes taking place.
5,500 words (approx. 22.0 pages), 22 sources, £ 93.95
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Abstract
The primary focus of this essay is to note the changes taking place within the Japanese decision-making process. The author argues that Japan's foreign policy is no longer hostage to domestic and economic issues.
From the Paper
"The geopolitical situation in Northeast Asia is undergoing tremendous change, politically, economically, and militarily. The major debates underway today concern the rise of China, the impending collapse of North Korea, the economic dilemmas of Japan, South Korea and Southeast Asia, and the Sino-Russian ?strategic partnership.? One emerging issue, which has drawn little attention, however, is the evolving rapprochement between Japan and the former Soviet Union. There are clear signs that the two nations are ready to move past the differences, which have divided them for over half a century."
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Music, Culture and Hip Hop Dance, 2007.
This paper examines hip hop dance and its place in music and culture.
861 words (approx. 3.4 pages), 3 sources, APA, £ 20.95
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Abstract
This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper
"The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
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Zydeco Music, 2001.
This paper describes zydeco music and dancing, popularized by Creole French speaking people of African decent living on the prairies of south-central and southwest Louisiana.
2,860 words (approx. 11.4 pages), 6 sources, MLA, £ 58.95
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Abstract
This paper explains that zydeco music, a form of dance music, is characterized by a syncopation or a shift of accent in a passage or composition that occurs when a normally weak beat is stressed. The author points out that the accordion and keyrub board, (also know as the washboard, scrub board or a froittoir) are essential parts of the zydeco sound, but there are no fiddles as in Cajun music. The paper relates that traditional zydeco dancing was done subtly, smoothly and upright by couples in a closed position; however, zydeco dancing appears to be evolving from a couples dance to individual free-style. The author relates that Clifton Chenier, who brought the zydeco genre to international attention, reigned as the "King of Zydeco" with a career lasting 30 years, and earned a Grammy award in 1984.
From the Paper
"The changes that have taken place in zydeco music can be tracked by the type of accordion that is used. There were four different models of accordions that have been widely used in the zydeco musical genre, each type varying in the number of rows, and consequently the number of keys. The accordions were sturdy and could be easily heard in big crowds of people. Today, there are diatomic models as well as chromatic models. The diatomic models only play the full-step intervals found in major scales, while the chromatic "piano" accordions encompass half-step intervals..."
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Dance, 2007.
An analysis of jazz, ballet and studio dancing, as well as the requirements for professional dancing.
1,809 words (approx. 7.2 pages), 7 sources, MLA, £ 40.95
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Abstract
This paper discusses various mediums of dance. It looks at jazz, ballet and studio dancing and discusses the discipline, rhythm and music used in each form of dance. The paper also discusses professional dancing and describes the training that is necessary, salaries that dancers can expect and the challenges of professional dancing life, such as expenses and injuries.
Table of Contents:
Jazz
Ballet
Studio Dancers And Dance Teams
Professional Dancers
From the Paper
"The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5)."
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Hip Hop Dance History, 2006.
The history of Hip hop dance and its effects on society.
4,296 words (approx. 17.2 pages), 7 sources, MLA, £ 78.95
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Abstract
The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.
From the Paper
"Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"
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Philadelphia Dance Company, 2006.
This paper discusses the Philadelphia Dance Company, which is also known as Philadanco.
1,006 words (approx. 4.0 pages), 8 sources, MLA, £ 24.95
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Abstract
In this article, the writer looks at the Philadelphia Dance Company, which was founded in 1970 by Joan Myers Brown and has become a leading American dance company since. The writer discusses the history of the Philadelphia Dance Company and examines the philosophy of the dance group. Further, the writer examines the techniques and teachings of this dance company. The inspiration of this dance troupe upon other companies is also mentioned. The writer concludes by explaining that the troupe has always promoted harmony and racial acceptance, but it has done so first by promoting the value of the dance and by bringing in the many different musical and ritualistic elements that make up the dance.
From the Paper
"The company was the pilot dance company to be part of the State of Pennsylvania, Comprehensive Education Training Act, arts training program and was one of the first companies to hire dancers on a 52 week salary as well as the first to own housing for the dancers and the first to own a debt-free facility. The company also founded the International Conference of Black Dance Companies and International Association of Blacks in Dance to address the special needs of the African American dance community.
In addition to the operation of the non-profit as a school, the organization sees its mission to present the highest quality professional dance performances and has been recognized as a mainstream modern dance company and not merely an African-American dance company."
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Modern Dance, 2004.
An overview of the history of modern dance.
1,117 words (approx. 4.5 pages), 3 sources, MLA, £ 26.95
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Abstract
This paper examines how European and American theatrical dance had always centered on ballet until the early 20th century, when it became fashionable in dance circles to rebel against the strictures of tradition. It looks at how modern dance, which resembles modern art and music in that it is experimental and iconoclastic, developed primarily in the United States and Germany. It discusses how, in the beginning, modern dance was often misunderstood by audiences and how, by the 1950s, modern dance was firmly established in the dance world. It also shows how modern dance is said to be based on the four principles of substance, dynamism, metakinesis, and form, and how, due to the creative efforts of the modern dance pioneers, dancers today use a broader range of techniques, styles, and source materials than ever before.
From the Paper
"The first American dancers to break from classical ballet were Isadora Duncan, Loie Fuller, and Ruth St. Denis (Modern pp). Although their styles differed, their unconventional approaches opened the door to a new era in dance history, namely the American modern dance movement of the 1920?s (Modern pp). Those involved in this movement based their works on personal experience, using their bodies as instruments to express emotions such as passion, fear, grief or joy (Modern pp). The dancer created form as an outgrowth of his or her own communicative impulses, rather than adhering to the set form and limited range of gestures of ballet (Modern pp)."
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"Teaching Children Dance", 2008.
This paper provides a book review of "Teaching Children Dance" by Theresa Purcell Cone and Stephen L. Cone.
913 words (approx. 3.7 pages), 1 source, MLA, £ 22.95
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Abstract
The paper examines the book, "Teaching Children Dance", which advises teachers of children from kindergarten to fifth grade how to teach dance in a meaningful and educational way. The paper relates that the text contains dance lessons that are simple enough to teach children, but still contains an overview and a philosophical belief in the value of dance as an art form. The paper maintains that this book should be read by all elementary school teachers anxious for practical advice on incorporating dance into their lesson plans, creating dances and explaining the need for dance to parents and administrators.
From the Paper
""I can't dance." How many times have you heard an adult say this, at a party or even at a family function like a wedding? Probably many times. How many times have you heard a child say this? Probably never. How do we lose this fluidity of motion and love of our own physical capabilities? Some might say that it is lost because school forces children to sit all day in their seats in an unnatural posture, and hems in their natural, human love of movement. One solution to this dancing dilemma is provided by the engaging, practical and informative text Teaching Children Dance."
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