Examples Of Ethos Pathos Logos

Music has a dynamic ability of influencing emotions, from mood regulation to rumination and self-expression. The presence of political and social messages in popular music is frequently seen across cultures, in particular focusing on social issues and racism (Back, 2000, 127). This paper attempted to explore the political and social messages in popular music, more specifically it investigated the relationship between Soul music and civil rights movements in the United States.

With every aspect of our lives we are making a point, arguing a belief, or refuting some other aspect of our existence. Aesthetic pieces, most avidly poems and songs, argue a message both in the lyrics and in the meaning posed between the lines. “American Pie,” in a multitude of ways, argues that American lives and memories are closely intertwined with the music of the time period. Not only does “American Pie” argue a message it also pulls many generations together. Today, thirty years after the initial release, “American Pie” still has an effect in our music and continues to be popular with all age groups. Don McLean accomplishes this task through using the context of the time period, placement of words, the words

Since the Constitution of the United States was written, Americans have practiced their right to freedom of speech as a way to express their point of view on issues facing the country. Over time, voicing one’s opinion went from outspoken newspaper articles to large rallies, and during the Vietnam War, music was a prevalent tool in aiding the protests. Allowing political messages to be shared nationally, the music had touched the lives of the younger generation. Author Jerome L. Rodnitzky explains in his journal, “The Sixties between the Microgrooves: Using Folk and Protest Music to Understand American History, 1963-1973”, how music was “trying to be all things

Robert Altman’s movie Nashville is based on the political, social, and personal problems that our country has to deal with. These problems are rooted in the battle between the need to create some false image of success and the need for truth which is the struggle that exists in every character of this film (except Jeff Goldbloom). To show this Robert Altman takes us through Nashville’s Country Music using political commentary, music and realistically portrayed dialogue to tell the story.

Country Music’s Rich Kienzle felt the album took Diffie “further into that idiom where he shows the gutsiness that many younger singers never quite catch. It’s New Traditionalism without compromise, but music that fans of certain more modern-sounding singers can enjoy as well.” Attitude sported up-tempo numbers worthy of lively line dances, “a modern take on hillbilly boogie of the 1940s and 50s,” and “sensitive, evocative and totally believable” ballads and “story songs.” Kienzle praised Diffie’s wit and sharp imagery throughout his critique and concluded, “Diffie’s found a focus and a strength here .... and if this is the direction he chooses to go in the future, it’s easy to anticipate more albums as good as this

Rhetoric is the idea of persuasion. Its basic idea is to influence someone to believe in our idea or help understand the message we are trying to deliver. In our daily life we use rhetoric in many places. This includes verbal communication as well as non-verbal communication such as body language and facial expression. In the workplace it can be used to communicate with people effectively.

In Kerry Dirk’s informal article “Navigating Genres,” originally published in Writing Spaces in 2010, Dirk states that genres are rhetorical responses to reoccurring situations. He begins by defining genre at its most basic form, as well as in a rhetoric context. He refers to popular culture, including country music, to further his discussion from scholars to personal experience to make students aware of how to view writing rhetorically. He also explains that students are often familiar with many genres without even knowing it. They participate in these genres through everyday activities like emails and texting. Dirk also states all genres are important because they shape our everyday lives. There are also rules that are associated with genres,

In Will Wilkinson's Country Music, Openness to Experience, and the Psychology of Culture War, he argues that country music itself is an ideology. He achieves this by explaining how country music's supporters and listeners are primarily conservative individuals whose happiness comes from the “enchantment of everyday life” lives depend on and is a “bulwark against cultural change’.

In today’s day and age when people think of country music they imagine the classics, Johnny Cash, Willie Nelson, George Strait and many more. When people think of a redneck, they imagine a diehard country boy, who loves his country with a confederate flag in one hand and a beer in the other. But that is our generations take on these two words. The real question here is what did those two words mean to the people who came up with them and defined them. It couldn’t have been easy. It was no surprise that people were still recovering from the Great Depression and the more recent recession. Families were left destitute, men were working factory jobs for less than minimum wage, if that, and people had just about given up hope. In the time of

What is the purpose of music in society? Foremost, in layman terms, music is just sounds. However, individuals then use these sounds as a medium in order to spread certain ideas and emotions across society. Naturally over time different types of music become associated with different communities; thus, this identification creates an overgeneralized interpretation of who these communities are and what they stand for. One prime example is the stereotype that jazz and swing was the music of the African Americans in 20th century Los Angeles. Even though it may be true, the stereotype does not give an answer as to why or how jazz and swing became to be known as “black music”. In order to answer these questions, it is imperative to know what conditions

The folk singer Josh Tillman exemplifies the power of culture on the cultivation of an artist. Exploring the persona and myth of his alter ego, Father John Misty, I recognize Raymond Williams’ established parallels to his three definitions of culture. This essay outlines how Williams’ theory of the ideal, the documentary, and the social, correlate with Tillman’s expression of music through his ideas, values, and experience, which define his albums and achieve what he perceives as perfectionism. In addition, I examine the historical and societal influences behind his material, and how his image and aesthetic impact his audience.

Abstract: This essay explores the way white trash identity is performed through country music. In particular, the focus is on the way the film O Brother, Where Art Thou? (Joel Coen, 2001) uses a soundtrack of 'old-timey' country music from the 1920s and 30s to aurally assist the film's white trash aesthetic. Various cultural critics (Barbara Ching) and music historians (Richard Peterson) have already documented the way country music is white trash music. Such histories are drawn upon to demonstrate the way country music is used to authenticate white trash as rural, impoverished, simple-minded and sweet. The authenticity of white trash often depends on an authentic performance of country

Meaning in music is derived from parenthetical analysis of several technical aspects including lyrics, form, historical context, emotional content, and personal connection. A hermeneutical approach to the Star-Spangled Banner can yield only interpretational results. Therefore, we must examine the more concrete details of the work, and how the music relates to the meaning of the protests as stated by Colin Kaepernick in August of 2016.

Music is hard to avoid; it’s on the radio, in stores, and can get stuck in our head. Living in a world filled with sound all the time, music has a tendency to go through one ear and out the other. We don’t tend to ever pay attention to the lyrics, as if they mean nothing, or as if we can’t relate. But that’s the only reason why the song was made in the first place. Music tells a story, whether it has lyrics or not, it’s intended to grip us as humans. Some songs may even share the values as us with their relatable lyrics and captivating tunes. The song ‘Helplessness Blues’ by Fleet Foxes supports my values of loyalty, variety, and wisdom, by telling a story of a man in search of hope for more than a ordinary life.

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.