Final Exam Essay Example | Topics and Well Written Essays - 1000 words - 3

Final Exam - Essay Example Like men make no effort to prevent war and genocide, people need to increase public understanding (Cooper 2009). It is primarily because of men’s effort that war deaths declined so dramatically in the second half of the last century. Similarly, in her book The Girl with the Brown Crayon Vivian Paley represents black child, five year aged Reeny, and has the last say on what is good. In this light, there are important lessons that we discover from Paley’s pedagogy of equality when the reality that children along with teacher do not look alike introduces an obstacle to effectual instruction or an opportunity for teacher development. Paley clearly admires and teaches from Lillian Tully, an African American teacher, whose childhood stories in the segregated South form the core of her pedagogical approach. Any examination of Vivian Paley’s pedagogy of equality must give a well-known responsibility to her compositions as either a black children or white teacher, reflect ing the time Paley spent. Live The most Romantic Music Art chronicle that continues and discontinues from the classical to Romantic styles in art and music are found in live. As in the case in point, live describes how issues associated with romanticism, nationalism and environmentalism, have continued to be part of contemporary Western civilization’s intellectual heritage (Cooper 2009). Classical, romantic and contemporary music was a living organism both dynamic and diverse. Furthermore, music stretched from work songs and spirituals to protest commercial hillbilly and race recordings. Those who engaged in the art, therefore, believed in recording music that transformed access to authentic folk song. Part of a set of folklore is breathing, developing and changing thing, and a folk song sang through words and tunes, only symbolizes its exceptionally static fashion of a myriad-voiced reality of individual songs. It brought out a people’s way of life. The basement activ ities in which bands and crews were killing resulted in the most fascinating pieces of art. In fact, in the course of their preparation time, they thought that nobody will be concerned with hearing what they had prepared, but they were amazed to hear people singing part of their songs in holding hands and acting as the motivator for their freedoms (Cooper 2009). What individuals could hear, within this context, were the songs as they exist on the lips of the folk singers. Even as, Frederic Chopin promoted classical, romantic, and contemporary music as an ever-evolving genre, the entertainers insisted at the same time on the goal of authenticity. In performance style that meant the painstaking mastery of the skills displayed by the little-known geniuses on his library of congress recordings, but it also implied a level of commitment, an emotional investment. In my opinion, Frederic Chopin performing these pieces saw music as a living organism both dynamic and diverse. Furthermore, mu sic stretched from work songs and spirituals to protest commercial hillbilly and race recordings. The entertainers, with regard to the subject matter, believed in recording music that transformed access to dependable songs. At a quick glance, it appears that the Enlightenment, with its emphasis on rationalism, and Romanticism, with its stress on emotions, is