Compareand Contrast Chinese and Japanese Mythology- Chinese and Japanese Mythology in Life Classic Chinese andexemplary Japanese mythology are entirely comparative, actually, theyhave a larger number of shared characteristics than contrasts. Asillustrations, one can look into the two mythologies as far ascharacters, frame and structure, creation myths, and mythology'spertinence to life.
Compareand Contrast Criminological Theories- Criminological hypotheses translate the contending standards ofHuman Nature, Social Order, Definition of Crime, Extent andDistribution of Crime, Causes of Crime, and Policy, in an unexpectedway. Despite the fact that these hypotheses have added to socialorders comprehension of criminal conduct, all have been not ableclarify why discipline or treatment of guilty parties can't forestalldeviancy, and in this way are incapable strategies for control.
Compareand Contrast Europe and Africa- Europe and Africa have been connected together in assessing thestate development process. Both districts have likenesses, qualities,shortcomings, and opportunity to get better. Right up 'til today bothareas are a long way from great. Some light can be shed on thissubject, by assessing Europe and Africa's state development process,assessing what party benefits, and quickly clarifying two financialoutcomes of European expansionism in Africa.
Compare and contrastessays are an essential aspect that is taught in college. In additionto the ease of teaching and understanding the format, comparing andcontrasting helps students build their critical analysis skills andthese classes make academic learning interesting and fun.
Compareand Contrast the Three Faces of Power- Some scholars trust that 'force is all over: not on account of itgrasps everything, but rather in light of the fact that it originatesfrom all around… force is not an organization, nor a structure, norownership. It is the name we provide for a complex key circumstancein a specific culture.
As you would expect, Horenstein hardly intervenes in the phrasing of the slow movement. If he does it's the lightest of hands on the rudder. As so often, he chooses at the outset a tempo that suits the music and let's it speak for itself. However, such simplicity of utterance is also strength of utterance for what we have is more towards the repose Mahler is asking for, I believe. There is at the start a cool beauty that refreshes. This more cerebral/ intellectual approach needs time and repeated hearings to make its effect, but those passages of greater drama, of pain and yearning grow from this sustained opening and gain from the comparison. After this, Margaret Price is a very creamy-toned soprano who pouts a little too much for my liking. But she's as good in this as most sopranos and her contribution rounds off as performance I cannot recommend too highly especially at the super-bargain price. It is, as with Horenstein’s recordings of Mahler’s Third, one of the finest Mahler performances ever committed to tape. The sound is showing its age when compared with the best of the most recent but the performance more than compensates.
Rafael Kubelik's recording with the Bavarian Radio Symphony Orchestra can be found singly on a Deutsche Gramophon Eloquence release (469 6372), otherwise it's in the boxed set of his complete cycle. As always Kubelik's tempi are on the quicker side compared with others, but this is never at the expense of inner detail, quite the opposite in fact. Early in the first movement notice the solo clarinet chugging away around the strings and listen also to how Kubelik sours the music in the Development. He has a great line in the grotesque with the bassoon especially memorable and, as the central crisis approaches, notice too the squeals of flutes and oboes. In fact at this point Kubelik is perhaps the most harsh and most abrasive of all. Kubelik is another conductor who realises this symphony needs a particular treatment, a light touch in front of the grotesques for them to make a more distinctive mark. The climax on the dissonance is superb with the bass line especially accentuated by the sharp recording against the piquant woodwind. Then, when the music resumes, the effect is like that of a day dream passing, which seems to me to be what Mahler intended. The second movement follows on from the kind of mood Kubelik is trying to portray in the first with the solo violin balanced forward to make its "out of tune" effect well. Then the Trios strike a very four-square pose with clipped woodwind contributions attended to in a performance that radiates attention to detail right down to really malevolent clarinets at the close. A fine prelude to the lovely performance of the slow movement where Kubelik maintains the same kind of singing line as Walter. He even brings in the movement at around the same overall timing as Klemperer but by speeding up more in the faster sections gives himself that little more space in the lyrical passages. So his handling of the surprisingly many tempo changes, some of them quite drastic, in a movement too often referred to as the "slow" movement is one of its most remarkable features. Not least the passage between 222 and 282 we noticed under Klemperer where Kubelik is even more convincing in handling the step-by-step increase in tempo. I also want to draw attention to the way Kubelik treats the sound of woodwind against strings in this movement and how they are reproduced in the recording. One early commentator dubbed this delicate sound ("Tone-colour Melody"), a term used later by Schoenberg and that link between these two great Viennese composers never seemed more significant in these passages as interpreted by Kubelik. Again the soprano in this work, Elsie Morrison, fails to really deliver a childlike response in the last movement, but she sings with great meaning and Kubelik seems more anxious than most to mark the relationship between aspects of this last movement and the second. The faster sections also are very impish and the work is rounded of beautifully.
This is the only complete Mahler symphony where we can compare and contrast recordings by the two conductors most closely associated with Mahler's work in his lifetime: Willem Mengelberg and Bruno Walter. Mengelberg sat in the audience in Amsterdam in 1904 to hear Mahler conduct the symphony with the Concertgebouw Orchestra twice in the same concert. He also attended the rehearsals, discussed the work with Mahler, and made copious notes in his score with Mahler's co-operation. Mahler in turn had a very high opinion of Mengelberg's conducting of his music so any recording by the Dutchman must carry a degree of authenticity but with the caveats that need to be applied to that word in this context. Whether what we hear in the "live" concert recording from November 1939 (Archipel ARPCD006) can be said to represent Mahler's own wishes is another question. I would only point out that by this time twenty-eight years had passed since Mahler's death and Mengelberg, a conductor known for a very expressive style, must have developed his interpretation in those years however much it may have been influenced by Mahler to start with. However, I think we can say this recording gives us a window into the way the generation nearest to the composer saw and performed his works.
It has been said, "Not all learning takes place in the classroom." Compare and contrast knowledge gained from personal experience with knowledge gained from classroom instruction.
No matter what thetopic, the process of writing a compare and contrast essay remainsmore or less the same. Arrive the points of similarities; arrive atthe points of differences; present them in an orderly manner; arriveat your own personal opinion/conclusion.