Baroque Music Characteristics - 537 Words

Baroque Period (1600-1750) Baroque Music Characteristics 2 Rhythm †¢Most baroque music has an easily recognizable strong, steady pulse, and continuity of rhythm. †¢Patterns of rhythmic sequences permeate much of Baroque music. †¢Rapid changes in harmony often makes the pieces feel more rhythmic. †¢Dance rhythms were frequently used in multi-movement form pieces. †¢Dotted rhythms were widely used. Harmony †¢Figured Bass—a system of numbers placed under the music—was developed to indicate clearly the harmonies that should be played with each note indicated in the bass line. The figured bass was typically realized—performed—by the harpsichord. †¢The use of the basso continuo, also known as thoroughbass, is a bass line running†¦show more content†¦This developed the concept of tonality. Texture †¢Monophonic, texture evolved to homophonic texture in opera and solo arias, influencing both sacred and secular music. Many instrumental compositions were also homophonic. †¢The soprano and bass lines are usually more important than the inner voices. †¢Imitation between the voices is common. †¢Counterpoint—a very complex and rule-bound type of polyphony in which the resulting harmony provides the tonal organization for the music—is used extensively. †¢In the late Baroque, polyphony, as a result of counterpoint, was used in all sorts of compositions, especially the fugue. †¢There was an increased emphasis on contrasting textures; for example, large groups of instruments play one section and a small group plays another, or groups of instruments take turns playing the main theme(s). Timbre †¢Most of the instruments commonly used today were in use during the Baroque era. †¢The violin family was refined and perfected. †¢The beginning of musical phrases are usually highlighted by a change of timbre. †¢There wasnt a fixed, standard orchestral group. Ensembles were usually composed of strings, a few woodwinds, percussion, and the harpsichord providing the basso continuo. †¢The Baroque pipe organ, which has a very soft, mellow tone, was used extensively. †¢Use of brass instruments and percussion to denote pageantry, solemnity, ceremony, and splendor was a common trend.Show MoreRelatedThe And Powerful During The Baroque Period843 Words   |  4 Pagesrich and powerful during the Baroque period. It is called age of absolutism because of the high power of the aristocracy. They use luxury entertainments to show their power. On the other hand, the religious institutions, which is divided into Catholic and Protestant, also compete their power with their baroque style in churches. And the middle-class also distribute the development of Baroque style as well. 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Do-Not-Resuscitate Legal and Ethical Issues Essay

Do-Not-Resuscitate: Legal and Ethical Issues Most cultures value life and bringing persons back from the dead is a popular subject of many fictional books. However, as technology evolves and the story of Frankenstein reborn with a bolt of lighting has come true with the external or implanted defibrillators, the natural process of death slows as much of society gains the knowledge to live longer than nature intended. The Red Cross Association taught many organizations like the girl and boy scouts the methods of mouth-to-mouth resuscitation and Cardiopulmonary resuscitation or CPR, a manual manipulation of the heart, as life saving methods for drowning, electrocution or heart attacks. First aid for laypersons to save lives as well as†¦show more content†¦Autonomy can override beneficence when life-support is withdrawn (Prozgar, 2010). In addition, when a physician takes the position of withdrawing life-supporting equipment, the principle of non-maleficence is severed. S ince helping patients die violates the physician’s virtue of duty to save lives,† distributed justice is served by releasing a room in the intensive care unit for a patient who has a higher chance of resolving their medical problems (Pozgar, G. 2010). There are so many inflict fuzzy gray areas and ideas about conflicting DNR policies that political disputes had to go to the courts to sort out the issues legally. Though ethics committees have been helpful, scores of physician-patient disagreements end up in the U.S. court system with inconsistent results. The states adopted individual â€Å"statutes regulating DNR orders and their provisions vary in analysis throughout the U.S.† (Bishop, Brothers, Perry amp; Ahmad, 2010). One ethical dilemma that is constant in emergency rooms, the intensive care unit and terminally ill persons is a futility of treatment. In the case of CPR/DNR, New York State wanted to enact a law that describes the decisive responsibilities of the patient, and the family or surrogate, and physician. â€Å"In April 2003, the New-York Attorney General asserted that the DNR law would require a physician to obtain a consent of the patient’s health care surrogate before entering a DNR order, even when the physicianShow MoreRelatedEthical and Legal Concerns for Emergency Room Physicians Essay1153 Words   |  5 PagesThere are unique ethical and legal obligat ions of the Emergency Room Physician. Commonly faced issues include patient â€Å"dumping†, organ donation, and Do-Not Resuscitate orders. These issues have ethical and legal considerations for the Emergency Room Physician in regards to their responsibilities and actions. 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Don Quixote Free Essays

Joseph Andrews is Fielding’s first novel. It is a classical example of a literary work which started as a parody and ended as an excellent work of art in its own right. The work Fielding intended to parody was Richardson’s first novel Pamela, or Virtue Rewarded which had taken England by storm in the years following 1740 when it was first published. We will write a custom essay sample on Don Quixote or any similar topic only for you Order Now In his novel Fielding intended in the beginning to show how Lady Booby (aunt of â€Å"Lord B. † in Richardson’s novel) attempts the virginity of Joseph Andrews, described as the virtuous Pamela’s brother but in the end discovered to be different. The whole intention was comic. But after Chapter IX Joseph Andrews seems to break away completely from the original intention. Parson Adams, who has no counterpart in Pamela, runs away with the novel. He â€Å"is one of the most living, lovable, comical bundles of wisdom and simplicity in all literature. † In the words of Edmund Gosse, â€Å"Parson Abraham Adams, alone, would be a contribution to English letters. † He indeed is the hero of the novel, and not Joseph Andrews. Fielding was aware of giving a new literary form with Joseph Andrews which he called â€Å"a comic epic in prose. † Fielding is a great master of the art of characterization also. Fielding’s broad human sympathy coupled with his keen observation of even the faintest element of hypocrisy in a person is his basic asset as a master of characterization. He laughs and makes us laugh at many of his characters, but he is never cynical or misanthropic. He is a pleasant satirist, sans malice, sans harshness. He gives no evidence of being angry at the foibles of his characters or of holding a lash in readiness. His comic creations resemble those of Chaucer and Shakespeare. Parson Trulliber and Falstaff, if they were to meet, would have immediately recognized each other! Fielding is one of the greatest humorists in English literature. The same comic spirit which permeates his plays is also evident in his novels. As he informs us, the author upon whom he modeled himself was Cervantes; it is not surprising, therefore, that comedy should be his method. Fielding’s humor is wide in range. It rises from the coarsest farce to the astonishing heights of the subtlest irony. On one side is his zestful description of various fights and, on the other, the grim irony of Jonathan Wild. Higher! than both is that ineffable, pleasant, and ironic humor that may be found everywhere in Tom Jones but is at its best in Joseph Andrews where it plays like summer lightning around the figure of Parson Adams-an English cousin of Don Quixote. Fielding’s very definition of the novel as â€Å"a comic epic in prose† is indicative of the place of humor and comedy in his novels and, later, those of many of his followers. It may be pointed out here that Richardson had no sense of humor; he was an unsmiling moralist and sentimentalist. Comparing the two, Coleridge says: â€Å"There is a cheerful, sunshiny, breezy spirit that prevails everywhere strongly contrasted with the close, hot, tfay-dreamy continuity of Richardson. † Fielding’s humor is sometimes of the satiric kind, but he is never harsh or excessively cynical. How to cite Don Quixote, Papers