after his arrival in Leipzig, and cantatas became an important part of life for the people of the 17th century. Meine Seel erhebt den Herren is part of a second annual cycle of 40 church cantatas composed for the choristers of the Thomaskirche. Meine Seele erhebt den Herren was a vocal composition with an instrumental accompaniment, typically in several movements, which were sung by professional musicians accompanied by the choir. Cantatas were religious text messages, language, and final blessings that
discovered at a young age, which developed into an extensive musical career. Furthermore, Schütz’s compositions can be seen to have the influence of Giovanni Gabrieli and Monteverdi, and a focus on sacred music. Moreover, Heinrich Schütz’s piece “Miene Seele Erhebt Den Herren” really exposes his type of style and uniqueness as a composer. Heinrich Schütz’s musical talents have been unveiled at a young age, and developed into an extensive musical career. Arbor (1990, par.2) states (Arbor 1990) that, “At
The Montessori Method (Word count includes Annotated Bibliography) The Montessori method began in the early 1900's by the first female doctor in Italy, Dr. Mary Montessori, as a way of educating mentally disabled children. Her ideas were so successful with these children that she began to apply her understanding of learning to study the potential of normally functioning children (Oalf, 2001). Dr. Montessori's approach to education stresses the importance of learning styles, independence and
The films Entre les Murs(The Class) and Angst Essen Seele Auf(Ali: Fear Eats the Soul) both address the insincerity of social conformity and the systemic failure which results in physical, mental, and intellectual suffering of those deemed to be outsiders. Within this system even the best intentioned actors take part in social violence against the Other. Both the teacher M. Marin, in Entre Les Murs, and Emmi, in Ali, exhibit the best of all possible intentions, yet they succumb to the the roles of
Ludwig Van Beethoven 9th Symphony Symphony number nine in D minor, Op.125, the "Choral" is the outstanding piece accompanied with a vocal chorus. Beethoven began concentrated work on the piece in 1822. It occupied him throughout 1823, and he completed it in February 1824. The first performance took place at the Karntnertor Theater in Vienna on May 7, 1824. The deaf composer stood on stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf. The
Lawyers’ Role in Dispute Resolution Modern American culture provides an inconsistent vision of the role of lawyers in dispute resolution. Lawyers are alternately portrayed as greedy, corrupt people without morals or as necessary and competent allies in protecting individuals against larger and better-funded opponents. In reality, while lawyers have the definite capability to change the outcome of a dispute in a negative way, they ultimately have a positive effect by allowing citizens access
languages describes ‘uncanny’ as ‘daemonic’ (Freud 221), which speaks for itself. In primitive cultures during the animistic stage of development both producing and eradicating of ‘demons’ or any other form of the evil force required magic or occult technique. Just as magic requires technique, so does the notion of art. ‘Every art and every inquiry, and similarly every action and choice, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all
... ... – Die Tugend kleidet nicht schlecht, aber es gehören imposante Figuren hinein. E: Uns schlottert sie noch um die Glieder. – Ich wäre nicht ruhig geworden, wenn ich dich nicht getroffen hätte. – Ich liebe dich, Hänschen, wie ich nie eine Seele geliebt habe... H: Laß uns nicht traurig sein! – Wenn wir in dreißig Jahren zurückdenken, spotten wir ja vielleicht! – Und jetzt ist alles so schön! (Wedekind 68; act III, sc. VI).” Sigmund Freud and Frank Wedekind were active during the turn of the
three are virtually complete; the remaining two are either lost or unable to be attributed to Bach. Bach's second year in Leipzig is considered his most prolific. On the 14th Sunday after Trinity during 1724, Bach premiered Bwv. 78, Jesu, der du meine Seele. Utilizing the chorale melody and hymn text written by Johann Rist in 1641, Bach incorporated the entirety of the first and twelfth stanza within the cantata's first and seventh movements. Additionally, Bach paraphrased portions of Rist's poetry in
One of the most famous German composers of the romantic erra was Johannes Brahms. Brahms mastered in composing both concert and recital literature. Though he was a very self-critical composer, and he took longer to complete some his most ambitious pieces, he created beautiful literature for a variety of instruments. For voice, Brahms is believed to have composed over 100 German lieder songs. Some standard lieder songs that are often performed by vocalist today are “Vergebliches Ständchen” “Wie Melodien
Taruskin, "Facing Up, Finally, to Bach's Dark Vision," Text and Act: Essays on Music and Performance (New York: Oxford Press, 1995) p. 310. * Please use MCD 560, Das Kautatenwerk vol. 20 (Bach's Cantata's volume 20), kantate 78, "Jesu, der meine Seele," CD 2.
The Role of Tacit Knowledge in Religion ABSTRACT: Clarity concerning what kind of knowledge a religious person possesses is of the utmost importance. For one thing, J. Whittaker remarks that believers must have some knowledge that enables them to make the distinction between literal and non-literal descriptions of God. (1) In the believer's perception 'God is a rock', but not really a rock. God however really is love. Whittaker suggests that making this distinction requires knowledge that cannot
Philosophy of Time and Media with Jacques Derrida and Richard Rorty ABSTRACT: This paper is divided into four sections. The first provides a survey of some significant developments which today determine philosophical dealings with the subject of 'time.' In the second part it is shown how the question of time and the question of media are linked with one another in the views of two contemporary philosophers: Jacques Derrida and Richard Rorty. In section three, the temporal implications of cultural