Robert Spano's Argumentative Analysis

The civil war did reduce sectional antagonist a huge amount but it also made the United states One Nation. The war was a test for the nation or in this case ANY nation for those dedicated to see if they could endure and a final resting place for those who died and for the nation to live. There was division between the north and the south which eventually brought upon the Brutal Civil War. In president Andrew John’s Amnesty proclamation, the Union forgave the confederate and made them swear on an oath to faithfully support, protect, and defend the constitution of the United States. “The union eventually showed that they had no “antagonist” against the south which made the United States One nation once again. The soldiers that risked their lives

There had always been differences between the northern states and southern states before nullification and secession. This came down to differences in the core drivers of their economies. The south was more oriented towards Agriculture while the north was driven by industrialization. What this meant was that the south was more reserved on the consistent calls by abolitionists in the north. Abolition of slave trade would mean an almost complete collapse of the economy in the South.

In 2011, Jennifer Connell was attending her nephew, Sean, 8th birthday party, Connell walks into the backyard and upon seeing his aunt, Sean runs and jumps to hug her. Causing Connell to fall backwards landing on the ground and breaking her wrist in the process. Instead of doing something rash, like, accepting he is eight and it was an accident since the laws of physics are not clear to him yet, she did the rational thing. She filed a lawsuit - against the nephew. She claimed that the nephew had been "careless" and wanted $127,000 for emotional suffering and medical bills. In her claim she stated that she had recently attended a party and her inability to hold her "hors d'oeuvres plate was distressing and embarrassing. Deliberation lasted a mere twenty minutes. The jury awarded Jennifer Connell nothing.

Ever since the beginning, slavery has always been a growing conflict in the United States. However in the 1800s, it became such a problem that it nearly separated the whole country. Those that lived in southern states believed that they had the rights to own slaves. They argued that the slavery made up a fairly large part of their economy because slaves labor was cheap. This is why many of the big time planters were rich. Also, they felt African Americans were unfit to survive on their own. Northern citizens felt that there was no need for slavery and that it was wrong. But who is right regarding this situation. It all depends on the individual. The back and forth arguing between the north and south was intense, neither backing down from the

In the year of 1890 the Bureau of the Census proclaimed that the frontier was officially closed. For many people finding out that the Golden West was no longer an achievable dream it put many people into a state of depression. A historian of this time named Frederick Jackson Turner, about how important the Frontier was in American history, it was published in the year of 1894 under the title of “The Significance of the Frontier in American History” (282). His argument was that the expansion of the New World was much different from the development of the Old World because “the existence of an area of free land, its continuous recession, and the advance of American settlement westward” (282). Also that the frontier made it possible of the

On the seventh day of the Scopes trial, the argument between Darrow and Bryan began to shake the people’s belief in creationism. Darrow asked Bryan a variety of questions regarding miracles such as the creation of Earth in six days, the exact time that God had created Earth, or the time period and the logic of the Flood. Instead of answering those questions with biblical contexts and clear explanations, Bryan repeatedly said “I don’t know,” or “I think there maybe” in between his answers. Despite of his assertion of the fact that human should not further doubt the validation of the Word of God, his answers for Darrow made him appeared as an unsure and flustered person. This image of Bryan, though unintentional, altered the public view of Christianity.

Intro: Power goes out on a typical American street, shortly after a strange craft is spotted overheard. An enormous argument about who caused it ensues, shortly after a boy named Tommy tells the people that it could be aliens that look like humans. The whole street is plunged into chaos, each person suspecting another of being an alien. If it weren’t for the involvement of Tommy, a great deal of conflict and irrationality could have been avoided.

Essay Question: The definition of what is deemed ‘authentic’ varies according to each popular music genre. Authenticity and what makes a performer, sound and look real, has been contested for almost as long as music has existed as an industry. Audiences who hold a certain genre near and dear to their hearts want to feel that the people who align themselves with that genre are representing the core values and aesthetics in the most ‘true’ or ‘pure’ sense possible. However, these values and aesthetics differ from genre to genre.

Questioning the correlation of commercial success and true artistry began in the light of mainstream music. Mainstream music has been given a negative connotation due to the supposed lack of originality of the artists. Repetitive chord progressions and meaningless lyrics compose the majority of “mainstream music,” making each song sound like the next . Despite these patterns in music, artists still ventured outside of what was societally normal and created music that was unheard of. Despite the potential risks in being an individual in the music industry, several groups achieved high success and maintain the popularity in the present. Creativity and commercial success can definitely exist alongside one another, and this paper will prove that through the music of the Beatles, the performance styles of David Bowie, and the grunge movement in Seattle which was fueled by Nirvana.

When a genre of music becomes mainstream, its creation is no longer dictated by art and the need to create art, but instead, for commercial gain. Thus the music loses its originality, it loses its authenticity, and worst of all it loses its culture, without culture, the music can be likened to a BLT sandwich without bacon, for no matter how skillfully prepared, it lacks an integral part of itself, and cannot possibly be whole. This is exactly the phenomenon I observed when I attended the Miami University Jazz Ensemble’s concert for my ethnographic research. This phenomenon is evident in the way the musicians interacted with one another and their audience, the demographic of the audience, and the manner in which the show flowed. Before attending the concert, I anticipated a powerful performance guided by a deep culture cultivated over the ages by the likes of Cab Calloway and Dizzy Gillespie; I expected the culture to coat each note and the history to pierce each chord. But instead, I was met with a vapid, yet skillful performance of well-known Jazz pieces from different styles of Jazz ranging from classic blues to Latin jazz.

Milton Babbitt’s and Evan Ziporyn’s articles share a key similarity and a key difference. Comparing the two articles, one can see they both carry a discussion about the concern with the direction of contemporary music. Where the two articles differ is in the approach they take to combat the demise of musical progression. Babbitt felt that populism threatened his expansion of progressive/contemporary music, and that the last beacon of hope was in the solitude of his “musical lab” at the university (it is doubtful that this would hold true today due to a lack of tenure in most states). In contrast, Ziporyn believes that to ensure contemporary music’s longevity, that it would be necessary to reach out to other cultures, their music, their artist,

Many artists from the organization came to make their mark on postmodernism as their work reflected a breakdown of styles into their constituent elements, sometimes focusing on one isolated aspect while at other times combining the pieces into surprising new wholes (359). Artists such as Wynton Marsalis took the spotlight in the supplemental reading for the thirteenth week. The article “The Wynton Marsalis Phenomenon”, elaborated upon just how he truly was a role model to musicians. This was not only through his

Furthermore, studying history, which entails encompassing ideologies, has caused additional confusion in regard to the parameters of individual terms. Although a comprehensive focus to detail is produced from periodization, important factors are left unidentified leading to crucial links missing from the timeline of music history. The social, political and economical aspects associated with these musical periods are often broad and neglect the occasional shifts in these factors. Period terms produces additional difficulty when analysing a particular composer with regard to determine individuality. These overlooked shifts are concealed by the generalised notions of the societal discourse present within a certain period. Ralph Cohen states that "change and development in literary texts ought to be analysed in terms of their genre over a period of time, the duration of which is, in turn, determined by identifiable changes in the texts belonging to that particular genre." Similarly, Mattix expands on this point and indicates that it would be more beneficial to think of history in regard to changes within genres rather than in arbitrary period terms. Therefore, both Mattix and Cohen advocate this method as a substitute focal point as opposed to a focus on the period. This perception when studying music history will effectively assist in contrasting the characteristics of the composers and compositions as well as build a greater understanding of the music, composers and sociological factors. This, consequently, creates a gap in the transformation of music and divides these segments of time even further. Further confusion is created between historians and, an authors credibility can become undone as the result. Therefore, music history should not be limited to confined segmentations so as to allow historians to explored purposely without the

Furthermore, numerous musicians struggle to obtain public support because most individuals are interested in listening to artists that bring distinctive aspects to our ever changing culture. Likewise, several musical performers strive to create a certain style of their work such as a mix of contrasting types of genres and constructing diverse, assorted

The following proposal will be an overview of a short documentary project that will analyze and discuss how social media shapes musical identities. To do this I will use Instagram, YouTube, and Facebook to consider the interactions that happen through these mediums and also look into how this relationship can form musical identities. Thus, I will use interview subjects who I will film interviews with myself and I will also interview and use videos of fellow students on Mike Johnston’s online student page. I will use Jimmie Manning’s chapter in the book, Beyond New Media by Herbig, Herrmann, and Tyma to discuss the intricate nature of identity throughout this proposal to identify some of the areas of focus such as public music identity and social mediated music identity. I will also use things like Mcgee’s theory of fragmentation and Megan Foley’s sound bites to explain how subjects subsume their social mediated music identities.