Free music essays at Nature | BRAINETHICS

Category 1: Language Category 2: Culture and Society BECAUSE......

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Literature A: essays of a socio-cultural nature with an impact on the language

The essay should be an analysis of a cultural nature that describes the impact of a particular issue on the form or use of the language.
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Use of Language of "The Latin Kings" as an Evidence of Cultural Interference in Latin -Americans Living in USA B: essays of a general cultural nature based on specific cultural artifacts
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"Muslim Women Outfit and Discriminatory Characteristics in American Schools"
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"The Hidden Intentions of 1891’s Fire in Chicago" Category 3: Literature The essay should be an analysis of a literary type, based on a specific work or works of literature exclusively from the target language.

Music in Nature Essay Example for Free - …

Essays of a general cultural nature must be based on specific cultural artifacts.

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Though most philosophers appeal to typical experience and empiricaldata to reject the plausibility of Kivy’s position, they admitthe problem that motivates it, namely, the conceptual tension betweenthe nature of music and the nature of the emotions we feel in responseto it. To elaborate, there is some consensus that emotions arecognitive, in the sense that they take intentional objects—theyare about things—and that the nature of a givenemotion’s intentional object is constrained. For instance, inorder to feel fear, one must believe that there is somethingthat is threatening (the “intentional object” ofthe emotion). When one listens to a sad piece of music, however, oneknows there is nothing literally feeling an emotion of sadness, andthus it is puzzling that one should be made sad by the experience.

Essay on Nature for Children and Students

Stephen Davies (1994: 316–20) argues that the kinds of solutionsgiven above construe the problem too narrowly. Though he agrees thatwe accept the negative responses some music elicits because we areinterested in understanding it, he points out that this gives rise tothe further question of why we should be so interested inunderstanding something that brings us pain. His short answer is“We are just like that” (1994: 317) and he begs off givingthe long answer, since it seems to be the equivalent of giving anaccount of human nature or the meaning of life. However, he points outthat human life is suffused with activities that people willinglyengage in despite, or indeed partially because of, the difficultiesthey bring about. Many things, from watching the news, throughmountain-climbing, to raising children, are fraught with well-knowndifficulties, including negative emotional responses. Yet weenthusiastically engage in such activities because that is the kind ofcreature we are.

We cover inspi­ra­tional feats and fig­ures, beau­ti­ful spaces, honest-to-goodness adven­tures, and dis­cov­er­ies of all sorts.
The essay should be an analysis of a more general cultural nature but specific to a country or community where the language is spoken.

Essay on Music for Children and Students

Idealists hold that musical works are mental entities. Collingwood(1938) and Sartre (1940) respectively take musical (and other) worksto be imaginary objects and experiences. The most serious objectionsto this kind of view are that (i) it fails to make worksintersubjectively accessible, since the number of works going underthe name The Rite of Spring will be as multifarious as theimaginative experiences people have at performances with that name,and (ii) it makes the medium of the work irrelevant to anunderstanding of it. One might have the same imaginative experience inresponse to both a live performance and a recording of The Rite ofSpring, yet it seems an open question whether the two media areaesthetically equivalent. But see Cox 1986, and Cray & Mathesonforthcoming, for recent attempts to revive idealism.

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Papers & Essays: Nature Vs Nurture Essay Conclusion …

Animals can hear music in a sense—your dog might be frightenedby the loud noise emitted by your stereo. But we do not hear music inthis way; we can listen to it with understanding. Whatconstitutes this experience of understanding music? To use an analogy,while the mere sound of a piece of music might be representedby a sonogram, our experience of it as music is betterrepresented by something like a marked-up score. We hear individualnotes that make up distinct melodies, harmonies, rhythms, sections,and so on, and the interaction between these elements. Such musicalunderstanding comes in degrees along a number of dimensions. Yourunderstanding of a given piece or style may be deeper than mine, whilethe reverse is true for another piece or style. I may hear more in aparticular piece than you do, but my understanding of it may beinaccurate. My general musical understanding may be narrow, in thesense that I only understand one kind of music, while you understandmany different kinds (Budd 1985b: 233–5; S. Davies 2011c:88–95). Moreover, different pieces or kinds of pieces may callon different abilities, since some music has no harmony to speak of,some no melody, and so on. Many argue that, in addition to purelymusical features, understanding the emotions expressed in a piece isessential to adequately understanding it (e.g., Ridley 1993; S. Davies1994; Levinson 1990d: 30; Scruton 1997; Robinson 2005: 348–78).(We have seen, in the previous section, the role this claim plays insome explanations of why we seek out music that elicits negativeemotional responses.)

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When we think of beauty in nature, ..

Many types of creative work(e.g., research in theoretical physics, writing books, composing music, etc.)require minimal physical resources, so such creative activities can beaccomplished in one's personal time at nights, weekends, and holidays.