That Fleeing Year Through The Lens Of Theodor Adorno

Throughout all the anti-war protests and marches during the Vietnam War, it is interesting to note the changes in the music of that time. From the beginning of the war, where support and loyalty from Americans was present in songs, to the end of the war, where anger and distrust was evident in musical lyrics, American’s opinion changed about the war. This change in opinion was easily recognized by the altering of musical lyrics about the war when Americans grew tired of the constant sending of U.S. troops to Vietnam. The growing dissatisfaction with the Vietnam War led to increasing levels of anger and hostility in the popular music of the time.

Music is sound organized by humans; audible statement that mirrors a way of life or a way of thinking; a language spoken directly, without translation, between people who understand. In this class we studied liberal arts, and how it uses general intellectual development rather than opposed training, to develop a musical analysis of music such as “The Ballad of Gregorio Cortez”. To develop an analysis, we group the organization of music into five musical elements rhythm, melody, harmony, texture, and form, and we find some type of organization or order in these pieces like pulse and background instruments to help identify these elements.

Richard Taruskin is one of the many American musicologists and historians whose interest is in the theory of music performance. The author of many literary works such as No Ear for Music: The Scary Purity of John Cage is mainly interested in Russian folk literature where he analyzes the historical trends behind every story. The American author is also well-renowned for his famous articles written in The New York Times, for instance, ‘The Danger of Music and other Anti-Utopian Essays’ and others with a strong relation to social, cultural and political issues in the essays. This essay is a response to Taruskin’s No Ear for Music: The Scary Purity of John Cage. The essay will focus on analyzing its critical argument in an attempt to really

Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.

More often than naught protest music is often associated with war and politics and a little less with the social norms of the current society and culture. The most iconic artist that did challenge and changed the social norms was Elvis, even though at the time he was not aware of doing so.

In this essay I will attempt to underscore and celebrate Simone’s activist efforts through song and demonstrate the messages in the music about race, gender, and class.

“There are a number of different lyrics used in songs that have been derived from poetry” (Kumar). Poetry is an older form of art and song lyrics have evolved from the art. However, it is a great debacle over which one can be considered the higher art form. The underlying question is if song lyrics have evolved past poetry, or has poetry remained artistic and intellectual. Despite bearing some superficial similarities, the differences between “To a Daughter Leaving Home” and “Never Grow Up” in imagery, message, and point of view are prevalent causing poetry to be considered a higher form of art.

The purpose of this paper is to analyze the song “Hey There Delilah” by the Plain White T’s. This paper will identify the message and tone of the song, as well as the artist’s appeal to the audience by analyzing the organization of the song, and the specific rhetorical strategies the artist used to connect to the audience. The song’s organization, style, figurative language, and hyperboles in the lyrics will also be analyzed to connect the artist’s intention back to the audience. In this song, the artist’s main point and thesis, is that he is head over heels in love with a girl named Delilah. He wants to tell the world, and Delilah herself, how much he loves her, and how their love conquers the distance between them.

In this essay we will analyze two modern musical pieces. These pieces are namely Sonata V from John Cage’s Sonatas and Interludes, and Caballito Negro by George Crumb. Composed in mid twentieth century, both pieces made a great success and they are worth examining in terms of the historical and subjective values affecting their achievements.

Poems and songs may have strength in literary terms, but have you ever wondered what makes them powerful? In this essay, there will be analyzed two poems “The Boy Died in my Alley” and “Daddy”, as well as the song “Firework” in which theme, metaphor, and repetition are the literary devices that make them powerful.

Mo Tzu’s Against Music is not against Music: How Mo Tzu critiques early Chinese Class based society in their Musical Practices

Scholars consider Mandarin popular songs as “the first kind of modern popular music developed in China” (Lau 106). These Mandarin pop songs were developed in Shanghai in the 1920s. In Shanghai, the “trendy Chinese in Shanghai mimicked the lifestyle of the city's foreigners, engaging in pastimes brought in from the West, and this was also

So why would the band choose to illustrate such a serious stage of personal development with the nursery rhyme-like style of the song's chorus? Before we get to that, the song's emotional and psychological message must first be examined.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

What is the ultimate form of a tragic love? For Wong, it is neither denial nor acceptance, but an eternal state of longing and waiting. Among Wong Kar Wei’s internationally acclaimed productions, Days of Being Wilde (1990), In the Mood for Love (2000), and 2046 (2004) are loosely counted as a trilogy of love. In the end chapter of his trilogy 2046, Wong continues to focus on Chou-Mu-Yun, a sentimental yet callous writer and womanizer. Revolving around the affairs of Chou, 2046 presents to its audience three pathways that love could possibly offer: to unite in happiness, to move on after the denial from the loved one, and to linger upon the unanswered love in perpetuity. Chou is undoubtedly chosen to be the bearer of the last pathway. As the