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Reggae, 2007.
An analysis of the history of Jamaican music, particularly the development and sub-genres of reggae.
2,236 words (approx. 8.9 pages), 2 sources, MLA, $ 69.95
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Abstract
This paper discusses the history and development of the music genre, reggae. In order to understand reggae, the paper also describes other genres of Jamaican music. It then discusses the instrumental tracks and musical dynamics of reggae music. The paper finally looks at the three main categories that reggae drumbeats are grouped into and its two sub-genres.
From the Paper
"The supplementary subgenre of reggae is Dancehall, which is a type of Jamaican popular music that developed around 1980 through the likes of such artists as Yellowman, Super Cat, and Shabba Ranks (Chang, 30). Today, it is known to many as "Bashment". This style of reggae can be seen by a deejay singing and rapping or toasting over raw and danceable music riddims. The rhythm in dancehall is much faster than in reggae, whereas drum machines replaces acoustic sets. Dancehall as a musical genre, has been considered as the creation of Henry "Junjo" Lawes in 1979 and further refined by King Jammy in the early 80's during their transition from dub to dancehall and original attempts to digitize "hooks" to "toast" over by Jamaican deejays (pg. 30). . Dancehall also developed in Jamaica as a result of varying political and socio-economic factors when Jamaicans became dissatisfied with the socialist movement and the harsh economic realities of the time. As a result, neo-liberalist ideologies and materialism become a factor in society and a new entertainment form. Dancehall is an integral part of the Jamaican life and has become a foundation or culture in which music, dance and community vibes come together."
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"Subterranean Homesick Alien", 2006.
This paper provides an examination of Radiohead's song, "Subterranean Homesick Alien", placing it in perspective within its musical and historical context.
1,500 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
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Abstract
In this article the writer discusses the alternative rock song "Subterranean Homesick Alien" by Radiohead. The writer looks at other music of the 1990s. In this essay the writer reflects on the disaffection and marginalization of Generation X. The writer also discusses how Radiohead's song mirrors Bob Dylan's "Subterranean Homesick Blues". Further, the writer explores the irony present within the song, especially "They're uptight!" versus "I'm uptight". The writer concludes that "Subterranean Homesick Alien" is a picture of an apathetic generation unsure of its direction and too nervous to find that direction on its own.
From the Paper
"In the early 1990s, popular music began to abandon the bombastic heavy metal that had so dominated the 1980s. With the economies of Britain and the United States waning, the excess celebrated by '80s hair metal no longer seemed relevant or plausible for young rock fans. Bands such as Nirvana and the Smashing Pumpkins experienced unparalleled popularity despite their fascination with pessimistic themes of solitude and cynicism. "Subterranean Homesick Alien," the third song on Radiohead's 1997 album Ok Computer, deals very specifically with these themes as well. Though unmistakably alternative rock, the song combines a number of influences and ideas that make it wholly unique within the genre. The song is, however, representative lyrically and musically of the disaffected Generation X ethos that was so prominent during the early to 1990s."
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Military Music, 2007.
This paper discusses this history of military music and American military bands and patriotic music focusing on the four hymns of the armed forces, "The Star-Spangled Banner" and "God Bless America".
2,700 words (approx. 10.8 pages), 10 sources, MLA, $ 80.95
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Abstract
This paper explains that, although the earliest references to warfare music dates back to Biblical times, it was not until the mid-thirteenth century that musical instruments began to be used as an incentive to encourage the troops rather than only as a method of conveying signals. The author points out that musicians were included officially in the 1775 founding of the Continental Army because General George Washington, an accomplished flutist, was concerned about the poor quality of music within the army, which often rendered drills almost impossible. The paper relates that, in all the reviewed songs, the lyrics, which speak of the homeland, national identity and cultural pride, and the strong music, which flows from strength to strength, enable and reinforce patriotic feelings that produce national unity and a sense of purpose even within contemporary American society.
Table of Contents:
Introduction
Sounding the Trumpet
The United States Military Academy Band.
Patriotic Music in Contemporary America
From the Paper
"While all national and patriotic music generally tends to be popular music, in many ways it can be classified apart because its expansion is mainly due to the presence or threat of war. Throughout the world, people from every nationality are moved to either song or speech by their emotions when faced with national danger. The love of the homeland, cultural pride and national identity unconsciously smolders in the breast of every individual until the winds of war fan it into a blaze of fervor that expresses itself in speech and song. Such is the birth of all patriotic music."
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Jazz Appreciation, 2005.
An analysis of the history of jazz music and how it can be used in urban-area education.
3,273 words (approx. 13.1 pages), 11 sources, MLA, $ 93.95
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Abstract
This paper discusses the importance of jazz appreciation. It begins by discussing the history of jazz music and how its popularity has changed over time. The paper defines jazz music and discusses jazz musicians. It then goes on to discuss how music, in general, can be used in education and how jazz music, in particular, can be used as a vehicle for urban-area education.
From the Paper
"Anyone in today's world can turn on the radio and find almost every genre of music, except for one: jazz. Jazz was a music form that dominated the billboard charts fifty to sixty years ago, and has slowly faded away, leaving the music industry as a money-interest only business, not very concerned about the music itself. Jazz as a whole today can be found in very few places such as small jazz clubs in big cities, private parties, and unfortunately, elevators. When music is restricted only to certain venues, it is bound to die out soon. Today's music world has pop and rap genres dominating. What many music followers fail to realize is that the roots of their "popular" music evolved from jazz. Jazz music is on a definite decline due to a lack of appreciation and media attention. The music of jazz brings along many positive aspects, most importantly, a vehicle for urban-area education. Through the different stages of the jazz period, and the influences that made a milestone in that period, this classic genre has made a landmark in our world's history."
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Rap Music and Pop Culture, 2007.
A look at the history of rap music and its impact on pop culture.
1,138 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
Rap Music has a great effect on our pop culture and race today. In fact, since the music of Elvis, various forms of music have pushed the limits of tolerance and decency in pop culture. According to some critics, rap has done this to an extent that cannot be disregarded in terms of social standards. This paper reviews the rap music genre, while also taking into consideration the impact it has on pop culture. The paper asserts that, while it is true that some rap artists have broken rules and norms not only in their music, but also in their lifestyles, it is also true that other rap musicians attempt to use their art for social uplift in pop culture.
From the Paper
"During the 1920s, urban street jive was a form of speech developed in Chicago ("Getting"). According to some historians, this is the tradition at the root of rap music as it exists today. In its current form, rap music emerged in New York City, courtesy of a Jamaican immigrant, Clive Campbell, or DJ Kool Herc, as he is also known. During the 1970's, Campbell developed this art form by mixing music from two records on two separate turntables. The beat created in this manner was accompanied by Campbell speaking to match the rhythm of the music. The first hit in this genre was created by the Sugarhill Gang in 1979, and entitled "Rappers Delight.""
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Revivals of Dixieland and The Blues, 2006.
A review of the history of two revivals in Jazz music - Dixieland and the Blues.
2,433 words (approx. 9.7 pages), 11 sources, MLA, $ 74.95
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Abstract
This essay explores the history of two different periods of Jazz: the Dixieland revival of the late 1930s and the Blues revival of the 1960s. It looks at the influential people, places and events for the two time periods. The essay also discusses the racial implications of these different periods as historically black music was "revived" by white audiences. It also explores the appropriate place of black music in white culture.
From the Paper
"Music brings us into a place where we can experience a society or time period as if we were actually there, in a way that no history book could ever describe with words. Music is a reflection of society. Jazz music has taken on many faces throughout American history, from early slave work songs deeply rooted in African tradition all the way to our modern-jazz sound we hear on the radio today. Jazz has morphed into all kinds of different sounds admired by diverse audiences. At times, certain brands of jazz already past their height of popularity experience a "revival" as a new audience sees something beautiful and different in them that they had never identified before. These revivals bring about a renewed look (or "listen") at the music, giving wider exposure to new audiences and conserving its history for future listeners. Both Dixieland and the Blues are two forms of jazz that experienced similar revivals: Dixieland's in the late '30's and the Blues' in the '60's. Previously overlooked by white Americans and Europeans during their original peak of popularity, these revivals exposed jazz to new audiences and gave more necessary credit to the established "greats." In the following pages we will explore how both the Dixieland and Blues revivals celebrated and preserved jazz music while also examining the implications of race as whites "revive" established black music."
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Maynard Solomon's "Beethoven", 2003.
A look at the one-sided nature of Maynard Solomon's portrayal of Ludwig van Beethoven's custody battle in "Beethoven".
1,548 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper critically examines Maynard Solomon's portrayal, in his biography "Beethoven", of Ludwig van Beethoven's battle for custody of his nephew Karl. It argues that although Solomon delves into Beethoven's psychology and his motives for pursuing custody, the author fails to objectively depict the custody battle. The paper explains that, instead, Solomon's coverage is uneven and his perspective skewed, and he glosses over certain facts that might have shown Beethoven in a more unfavorable light.
From the Paper
"In the chapter "Beethoven and his Nephew," Maynard Solomon makes insightful observations about Beethoven's motives for fighting to gain custody of his nephew Karl, and about Beethoven's feelings toward both Karl and his mother Johanna. He examines Beethoven's psychology in depth, and forms interesting connections between Beethoven's actions and previous events in his life. Overall, however, Solomon does not succeed in accurately depicting the conflict. Despite his thorough analysis of Beethoven's psyche, Solomon glosses over how Beethoven's extreme actions affected Karl's development. He rarely mentions Beethoven's cruelty toward Karl and does not treat the boy as a full-blown character in the saga. As if this omission weren't enough, Solomon also attempts to excuse Beethoven's cruel and unethical actions regarding Karl and Johanna. Because of these shortcomings, Solomon fails to appropriately convey the gravity of the conflict; he neglects to devote an appropriate amount of space to Karl himself, and tries to soften the harsh facts of Beethoven's cruelty."
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Resistance vs. Revolution: The Blues in "Dutchman", 2005.
Examines the role of the blues in Amiri Baraka's "Dutchman."
2,243 words (approx. 9.0 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper interprets the role played by the blues in the play "Dutchman" by Amiri Baraka, using close readings and other textual analysis. It examines the potential significance of the blues as an African-American art form in "Dutchman", framing this concept with a broader discussion of Baraka's and Ron Karenga's differing attempts to define 'authentically' African-American art. In "Black Cultural Nationalism," Karenga insists that African-American art must necessarily be revolutionary in purpose. However, Baraka's criteria in "The Myth of a Negro Literature" are less stringent, accepting as 'valid' art that is borne of and/or promotes any resistance to white oppression, not only that which can be considered revolutionary. The paper looks at how the blues, as portrayed in "Dutchman," fits into this debate, asking whether Baraka's stance in his play remains consistent with his earlier position, or whether he comes to align himself more with Karenga.
From the Paper
"According to Baraka, music is the only artistic sphere in which African Americans have made a valid contribution, because this music "drew its strengths and beauties out of the depth of the black man's soul" (165). Unlike black middle class art, the blues and jazz can be high art, because they express legitimate African American experiences. Significantly, he attributes this "authentic" art to lower class blacks, writing that "it was shunned by blacks ambitious of 'waking up white'" - i.e., middle class blacks - "as low and degrading" (167). He implies that valid black culture is a lower class culture, and that middle class blacks are too preoccupied with fitting in to white America to contribute significantly to African American art."
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Children Under the Influence, 2006.
An analysis of the influence of contemporary music videos and their stars on the youth of today.
3,099 words (approx. 12.4 pages), 13 sources, MLA, $ 90.95
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Abstract
The paper describes and analyzes the role of contemporary music videos in influencing children and their behaviors. It describes the history of music videos, their origins, modern music stars and the dangers of the themes in music videos. Specifically, the paper discusses music video stars as role models and the power of videos to sell and promote products.
From the Paper
""A music video is a short film or video that accompanies a complete piece of music, most commonly a song" (Wikipedia).
The power of audio and visual media in collaboration is a force which can't be denied. The origin of music videos itself was born as a means of promotion. Music videos were originally dubbed "promos," because of the nature of their intent to advertise an artist, a brand, or both. The manufacture of music videos was a result of economic necessity when bands from the UK and Australia wanted to reach an audience in the United States; in an effort to maximize exposure and minimize expense they began sending pop clips to the Western world. The pop clips or mini-movies were a creative strategy for marketing and gaining recognition. "David Bowie was the first artist to combine all the elements of a modern music video with his promotional clip for the song The Jean Genie in 1972" (Wikipedia)."
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Balinese Music and Religion, 2006.
A review of balinese music and the role it plays in religious practices.
1,125 words (approx. 4.5 pages), 4 sources, $ 44.95
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Abstract
This paper discusses Gamelan, a generic term for orchestras of tuned percussion instruments found in Bali (and Java). The components of the gamelan come in many combinations, tuning and sizes, depending on its specific function. Typically, they feature Eastern counterparts of metallophones, xylophones, drums and gongs. There are over 25 distinct types of gamelan in Bali as well as thousands of ensembles that range from four to forty instrument players. The paper further discusses how some gamelans are more common then others, like the Gamelan gong kebyar that can be found by the hundreds all over the island.
From the Paper
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Wolfgang Amadeus Mozart, 2006.
A review of the life and accomplishments of Wolfgang Amadeus Mozart.
1,125 words (approx. 4.5 pages), 5 sources, $ 44.95
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Abstract
This paper considers the life and works of Wolfgang Amadeus Mozart and how they fit with his era, showing the nature of the time in which he lived and how he affected music in that period. The paper notes how Mozart was always dependent on the largesse of patrons meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers.
From the Paper
"Wolfgang Amadeus Mozart left behind a large body of work in spite of his death at a relatively young age. He stands with Bach and Beethoven as one of the giants of music, in his case from the Classical era in the eighteenth century, an era marking a change from the earlier Baroque era and leading later to the beginning of the Romantic era. Mozart's work demonstrates many of the intellectual forces of his time and also shows the political influences on music and on the artist in that era. Mozart was always dependent on the largesse of patrons, meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers."
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Prince, 2006.
An examination of the file sharing era and a music business prospectus on the recording artist, Prince.
2,700 words (approx. 10.8 pages), 6 sources, $ 106.95
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Abstract
This paper studies the recording artist Prince, or the Artist formerly known as Prince, in regards to the marketing and sales of a recorded product. The paper discusses how often scandalous standards set by the recording industry towards many artists are now under attack within the business community. Many artists since the nineties including Prince have been seeking ways to get a just return on their creative output.
From the Paper
"The musical career of the recording artist (formerly known as) Prince has been a central factor in understanding the power of music file sharing with the advent of Napster in the late nineties. This study will examine the success of Prince prior to the turn of the century, and why his success has slowly declined with changing technologies. By defining and understanding the technology associated with business profits and losses in regards to file sharing, Prince has played a part in his post Napster years in forging a new way for artists to sell their material online."
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'Peking Opera and Politics in Taiwan', 2006.
A review of the book 'Peking Opera and Politics in Taiwan' by Nancy Guy.
1,800 words (approx. 7.2 pages), 0 sources, $ 71.95
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Abstract
This paper discusses the focus of Nancy Guy's book the 'Peking Opera and Politics in Taiwan' and its connection to the political realm of Taiwan is an important study of a nation that has been affected in every manner by political ideologies. The book not only provides a look into how the performing arts can be altered by a country's leaders, it speaks to how an entire nation be enticed to alter individual opinions and shape public beliefs.
From the Paper
" This is an important work in relation to music, as it reinforces the knowledge that music not only speaks through melodies and words, but through its association with societal histories that continually influence change. Summary Peking Opera and Politics in Taiwan reflects Nancy Guy's research and insight into the evolution of this type of musical performance, which was impacted by political regimes throughout history."
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The Jazz Revolution within American Culture, 2006.
A musical study that analyzes the various aspects of the "jazz revolution" that had changed the cultural fabric of the United States during the 1920s
2,250 words (approx. 9.0 pages), 5 sources, $ 89.95
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Abstract
This paper examines the musical innovation of jazz and how it helped to define the African-American community in America during the 1920s. The paper looks at how, for the most part, European and African music were united to create a new genre of music that was highly influential on all aspects of American culture. The paper also looks at how racism played a large part in how black jazz musicians were not able to thrive in the South and so were invariably driven to migrate toward northern urban environments that would allow them to play their music.
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'Paul Robeson: A Biography', 2006.
An analysis of Martin Bauml Duberman's book about the famous African-American singer, Paul Robeson.
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
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Abstract
This paper reports on "Paul Robeson: A Biography" by Martin Bauml Duberman, which tells about the man who made a name as one of the most famous black singers and actors of the twentieth century. He achieved his success at a time when racism and discrimination were prevalent and he fought against these ills and became an activist on these and similar issues. He further ran afoul of the political forces of the time because of his communist leanings and this reduced his ability to work in his later years. The paper explains that, in this book, Duberman provides a detailed account of Robeson's life, an in-depth biography that covers Robeson's life and work, including material from his letters and other writings as well as interviews, newspaper and magazine articles, and so on.
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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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The Music Recording Industry, 2006.
A review of the global music recording industry (MRI).
3,600 words (approx. 14.4 pages), 4 sources, $ 142.95
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Abstract
This paper discusses the global music recording industry (MRI). According to the paper, the industry is massive and deeply entrenched, making it one of the most culturally powerful but fractured industries in existence. The MRI, while being concentrated around just a few large entertainment conglomerates, is fractured in the sense that it is currently undergoing a sea change that has yet to fully play out. Globally the MRI is worth in excess of $40 billion annually and the United States' (US) percentage of this revenue stream is approximately 13-14% (Research pars.1-3). The paper further discusses how the various constituents of this industry include singers, musicians, producers, sound engineers, promoters, retail operators, advertisers, and a host of others.
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Utah Symphony and the Utah Opera, 2006.
A case study of the merger of the Utah Symphony and the Utah Opera.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
This paper discusses issues regarding merging separate arts institutions as described in a Harvard Business Case. The paper covers various related topics including the role of communications and the decision-models employed. The paper further addresses the likely stress points in the post merger environment management as well as the question of how the dissimilar business models and artistic product of the two institutions mesh or not mesh.
From the Paper
"Superficially at least the Utah Symphony and the Utah Opera have much in common. Both are performing arts non-profit institutions; both specialize in presenting forms of classical music and both operate in a part of the country far from the mainstream centers of such "high-brow" cultural activities. Peel back a layer or two, however, and it becomes immediately apparent that the two organizations have very different cultures. For starts, opera is as much a theatrical as it is a musical art form. Whereas a symphony gives a concert, an opera company stages a production in which instrumental music plays a major but by no means exclusive role. Indeed, opera is an electric, highly collaborative art form: scenery, costumes, makeup, stage movement, and acting are as instrumental to a production as singing and musical accompaniment. "
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The Cornetto, 2006.
A discussion regarding the cornetto in the Renaissance and in modern interpretations of music.
2,250 words (approx. 9.0 pages), 10 sources, $ 89.95
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Abstract
This paper discusses the renaissance period and how it was reflected in the expression of society through music and art in a manner that allowed the world to comprehend the manner in which society was changing. According to the paper, in music there was a need to create beautiful pieces that were filled with rich sound and that required a mastery of the instrument itself. The cornetto was an instrument that was included in composition, but that was often difficult to provide in performance because of the rarity of musicians that had mastered the ability to play it. Yet, when it was used in performance it was noted in choral selections, religious pieces, theatrical performances, and as "waltz" music that served to set the mood for public displays.
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