Discrimination is a social issue that has plagued humanity for centuries, and continues to be a significant problem in modern society. There are numerous forms of discrimination that can be studied, including racial, gender, sexual orientation, age, disability, and religious discrimination. The following are some potential research topics that could be explored in the field of discrimination:
The impact of discrimination on mental health: Discrimination can have a severe impact on an individual's mental health and well-being. Research could focus on the ways in which discrimination affects mental health outcomes, such as depression, anxiety, and self-esteem. Additionally, research could explore the effectiveness of interventions, such as therapy or support groups, in helping individuals cope with the negative effects of discrimination.
The intersectionality of discrimination: Discrimination often intersects with multiple identities, such as race, gender, and sexual orientation. Research could explore the ways in which discrimination affects individuals who are part of multiple marginalized groups, and how this intersecting discrimination can compound the negative effects on mental health and other outcomes.
The impact of discrimination on employment and income: Discrimination in the workplace can limit opportunities for advancement and lead to wage disparities. Research could examine the ways in which discrimination affects employment and income outcomes, as well as the effectiveness of policies and interventions designed to combat discrimination in the workplace.
The role of social media in discrimination: Social media platforms have become a major source of information and communication, and have also been used to spread hate and discrimination. Research could explore the ways in which social media contributes to discrimination, as well as the effectiveness of efforts to combat online hate and discrimination.
The impact of discrimination on education: Discrimination in education can limit opportunities for students and lead to disparities in academic outcomes. Research could examine the ways in which discrimination affects education, as well as the effectiveness of interventions designed to combat discrimination in schools and higher education.
Overall, discrimination is a complex and multifaceted issue that requires continued research to better understand the ways in which it impacts individuals and society as a whole. By studying discrimination and developing interventions to combat it, we can work towards creating a more inclusive and equitable society.
typemoon.org
He, too, became ill, and figured he was also going to die. The introduction is marked initially by dotted rhythms to give the stately feel. Here now are all of his known chorales in an easy to read spiral bound format. However, this can be a very time consuming process. His style is known as feminine because it is a dated expression of Bachian geometry: the shortest path from A to B is a spiral curve. There are enough other sources that can support with that. This concept was extended by Bach in his chorale prelude, Nun Danket Alle Gott.
It is certainly worth the cost. If I could create something equal in quality to what Bach had accomplished, and in the same style, I would not be considered as a great composer like Bach. Bach This site is devoted to the bach—chorales. To Seventh Or Not To Seventh: That Is The Chord Question The seventh chord in your music is useful but not always recommended. Join the many satisfied customers in such places as Argentina, Australia, Austria, Belgium, Brazil, Canada, China, Croatia, Denmark, Dominican Republic, Estonia, Finland, France, Germany, Greece, Hong Kong, Hungary, India, Ireland, Israel, Italy, Japan, Mexico, Netherlands, Norway, Puerto Rico, Portugal, South Korea, Spain, Switzerland, United Kingdom, and throughout the United States who now own this unique and eye-opening edition of the Bach chorales.
The Inventions and Sinfonias provided an excellent example of improvised ornamentation, as illustrated by repeated revisions to their manuscripts. In Measure 42, a vi7 chord is followed by an iiV-V chord, resulting in the same music sequence heard in Measure 4-6 and 25-27 in the key of E. Here is a simple way to break out of that common problem: Study with a master musician. You can see that unlike BWV 668, the second chorale phrase is introduced by fugal treatment of primarily the first chorale phrase. Commercial use is expressly prohibited. There is plenty of emphasis on it leading up to its entry as the cantus firmus. Perhaps it is a modulating fugal subject, beginning in D major and ending in the dominant key of A major.
The apparent key is D major, but due to the sparse texture, the fact that the melody seemingly begins on the third scale degree, and the fact that the subject answer is real, the tonality is a little unclear. To play, one melody is placed against another, as in polyphony, but in reality, it is derived from the first. The cantus firmus canon comes in with the final chorale melody phrase and a coda ensues. Other musicians may find this type of chord progression to be a little bland. The first movement, Adagio, begins in C sharp minor, with a fairly constant bass that keeps repeating its rhythmic pattern. The G in the melody forms a secondary dominant. Meanwhile, the rest of the voices continue to sing variations of the subject and countersubjects.
The Bach Choir of Bethlehem gives him all he could have wanted. The offered normal, not exact search function is used to find chorales by entering choral title keywords. The 186 chorales listed below made with the music notation software Finale are sorted in ascending order by BWV numbers. Joseph Spina gives a thorough review of J. This becomes the countersubject. However, Bach has deliberately utilised a real answer to retain the fifth with its tonicising quality and imply modulation to A major—and yet, because it is, indeed, a real answer, instead of modulating back to D major as is typical practice with a modulating subject, the subject again ends with an added sharp: this time, D. The answer enters in E minor, the subdominant contrasting typical fugal tonic—dominant motion, but the likes of which is still occasionally found, such as in Cp.
The music then modulates back to D major in anticipation of the cantus firmus of the fourth chorale phrase. He is known to have taught his own students the principles of music by making them study and write chorales. Unfortunately, this is not always possible for many people. It makes the sight reading of these little gems a pleasure. This way, the congregation can join in the singing as his composition concludes. I have told several of my musician friends about this resource.
What do they do in the context of the piece? Bach does not use the tonic chord at all, instead moving quickly from a Viv-iv to a v chord in measure 61. The Asus4 model is A. This time it starts in the basses, accompanied by cello and harpsichord but not doubled. The chorale later enters in measure 17 in long tones in the sopranos, while the lower voices enhance and ornament the texture. Do me and yourself a small favor and listen with headphones on please. Like before, the second chorale phrase then comes in as the canonic cantus firmus entries in the oboes and continuo.
Ornament execution was often varied from country to country, as it was for each composer and composer. More voices are added and interwoven into the texture as the music expands, resulting in a greater sense of wealth of musical expression. It is a tonal answer, because the melody is modified slightly to avoid the dominant key of A major. Accordingly, my favourite part of that A-Level was the weekly session spent analysing Bach chorale harmonisations. After this repeat, a new fugal exposition begins using a decorated version of the third phrase of the chorale. Note, also, how the melody gravitates towards the note D instead of E; the answer ends on A—D, as opposed to B—E which would have been a direct transposition of the original subject.
There are a few ways to approach this analysis. The fourth entry, in the altos, is actually the answer from the original exposition—the tonal answer which, as we discussed, is explicitly in the key of D major. I won't allow that and would consider it abuse of all my effort and hard work. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. As previously discussed, this leap of a fifth would typically be modified to a fourth, A to D, to retain an overall key of D major.
Bach puts down a tonic pedal, but introduces C-naturals to delay the final resolution to D major—something he does very often. This version of the Bach Chorales is the most helpful edition available on the market as the it contains instant access into the musical language of this great master. With the exception of the chorale BWV 253, the download of all other chorales with functional harmonic analysis is subject to charge 3. To compare with other numbering-systems please look The chorales here are listed alphabetically by melody scroll down! Just what I was looking for. It begins with a dignified, stately orchestral introduction, which takes the place of a prelude.
