Abstract This paper examines the famous case of Napster being sued by the RIAA over copyright infringement by their technology that allowed individual users to share personal recordings across the Internet. It looks at the arguments from both sides against restraint, the legal position of both sides and the ethics of the whole episode. It evaluates how Napster's enterprise deprived artists of their rightful profit from their work even though it probabley was not the intent upon Napster's entry into the marketplace and whether Napster were really at fault since they posted the copyright rules on their web site.
From the Paper "The RIAA claimed that Napster did not have any non-infringing uses that were commercially significant. The RIAA also claimed that copying off a television program is different than copying and distributing off a cd. Napster's position was that they were comparable to Sony because they are providing the directory that enables users to use it for non-infringing purposes. In this phase of the argument, both parties made reference to the Universal City Studios v. Sony case. Which determined that it was OK to videotape television shows for personal use. In Sony, why isn't it acceptable to copy music from the Internet for personal use?"
Abstract This essay examines the statement that rock and roll has closed the American mind and is complete lifeless dribble with no contribution to society. The rock and roll artist, Pink Floyd, is examined in order to refute this statement. The paper illustrates how Pink Floyd demonstrates with its down-to-earth lyrics that rock and roll can indeed make a significant contribution to culture and society.
From the Paper "Beginning in the 1950's and extending into the 1960?s, a new wave of music swept through the United States and Europe. This movement away from musical standards became known as rock ?n roll. By the end of the 1960's rock had gained a strong foothold in the music industry. From its early days, critics have claimed rock ?n roll lacks substance and intellect. In his book, The Closing of the American Mind, Allan Bloom asserts that rock music is nothing more than "junk food for the soul" (77). Although there may be some substance to Bloom's argument, it is inaccurate to deem all rock music as garbage. Pink Floyd, a British band defies many of the rock ?n roll stereotypes outlined by Bloom. Though Bloom would clearly find the band questionable, their lyrics and behavior do serve to add a positive influence to society. This social significance is evident in their use of intellectual lyrics, their lack of sexual content, and their music's connection to more classical styles."
Abstract Discusses several research studies on the effect of music therapy programs in schools. Focus is on students with learning disabilities and/or adolescents with emotional disturbances. Indication of studies that music therapy can improve classroom behaviors of students with special needs. Improved learning experience. Various types of music therapy.
From the Paper "The Effect of Music on Adolescent Classroom Behavior
Since the implementation of Public Law No. 94-142 and its subsequent reauthorization as Public Law No. 104-476, the Individuals with Disabilities Education Act of 1990 (IDEA), many behaviorally or otherwise disabled adolescents are being placed in inclusive educational environments in which they receive a free and appropriate public education in the least restrictive setting (Smith, & Hairston, 1999). Currently, only 6.5 percent of all children and youth with disabilities who require special education are educated in either separate schools or residential facilities. Of the 94 percent who are in regular schools, nearly two-thirds receive much or all of their education in the regular classroom with their peers (Smith & Hairston, 1999).
This paradigm shift has resulted in inclusive practices that in ..."
Abstract This paper begins by discussing how Mississippi Delta was the birthplace of the Blues movement and introduces the first musicians of this form of music. It then discusses how the Blues movement developed into a form of community bonding and how it benefited the community. It mentions landmark institutions which developed from the Delta Blues. These include the Delta Blues Museum and the The Delta Blues Education Program, The Delta Blues Hall of Fame and The Mississippi Delta Blues Society.
From the Paper "The Mississippi Delta is not a large area geographically, yet writer Robert Palmer argues that it has contributed more to American music than any other region (Palmer, 1993, p. 11). Famous Delta blues musicians include Robert Johnson, Charley Patton, B.B. King, Sonny Boy Williamson, Muddy Waters, Floyd Jones and Howlin' Wolf. And even though Delta natives such as Albert King and John Lee Hooker left for more promising opportunities elsewhere, hundreds of other artists stayed behind and kept the blues tradition alive at home where today it is played at weddings, house parties, fish fries, juke joints and festivals (Clarksdale, 1999)."
Tags: society, fame, museum, education, institution, music, jazz
Abstract This paper reviews Beethoven's classical musical piece the "Ninth Symphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.
From the Paper "Today, we can only be grateful that Beethoven's music was spared the kind of criticism practised in the 21st century, ?It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of "bourgeois decadence" in the music of Rachmaninov.? (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven's era seems liberal in comparison to today's standards?or perhaps it is only that criticism was not so advanced in his time."
Abstract This paper examines how for the last several years, the recording industry has been battling to stop on-line music-swapping. It looks at how the battle began over Napster and has expanded to take on Napster's descendants. It evaluates how despite the abundance of evidence suggesting that on-line music-swapping actually boosts record sales, the recording industry feels that this practice robs them of potential profits. It looks at how client-to-client file-swapping software already exists and how in many cases it is open source. It shows that shutting down individual sites is only a temporary set-back to the overall music-swapping community, which can quickly move on to another site with the same basic code. It discusses how the battle for control continues because the recording industry continues to attempt to control what it sees as its rightful domain (recorded music) without realizing that it is mistakenly battling for control of the uncontrollable (the advance of technology in general and the internet in specific).
From the Paper "However, the recording industry quickly found that killing Napster did it precious little good. The time they had spent in court, and the apparent impending demise of Napster had already spawned numerous look-alikes such as AudioGalaxy. The recording industry began to go after those as well. However, not all of them were susceptible to the sort of lawsuits that brought down Napster. Napster had functioned through a centralized server that catalogued the MP3 collections of its users, and then put them in contact with other users who wish to copy something from that collection. However, many of Napster's descendants were either decentralized or less centralized file-swapping programs. Gnutella, for example, does not keep a centralized library, but rather maintains a spiderweb of networks through which a request is sent by individual users to individual users. Programs such as this, which have no centralized "command" and are not affiliated with a single company are almost impossible to sue or shut down."
Abstract This paper explains that Russell saw the reality of black, urban hip hop music as a style with a message and unique delivery that would reach beyond the inner city and built an empire to reach that worldwide marketplace. The paper discusses the early history of the minstrel shows. The author believes that, at the time the music business had stagnated, Simmons' vision was to take everything that was inner city black culture and identity and present it to the mass market as acceptable, unique and valuable on its own merits.
Table of Contents
What is American Culture?
What is Black American Culture?
Definition of Success
Russell Simmons Success
Conclusion
From the Paper "Others, such as Bakari Kitwana, former editor of the hip-hop magazine the Source, give a sobering read on his generation and its cultural byproduct. Acting as tour guide and, in some instances, spokesperson, Kitwana examines the crisis facing African-American culture, especially involving those "African Americans born between 1965 and 1984." Kitwana presents the socio-political dilemmas of his generation as they relate to the achievements -- and failures -- of their parents' struggles.
Although a slightly dry read, with text weighed down by statistics and preachiness, The Hip Hop Generation is most engaging when discussing the extraneous variables that shape the lives of young African Americans. "More and more Black youth are turning to rap music, music videos . . . popular black films, and television programs for values and identity," Kitwana writes before demonstrating how the global corporate structure, which provided the financial and mass media platform for hip-hop's growth, has been "the driving force" behind his generation's plight. Kitwana passionately presents his case on how globalization has contributed to such critical problems as the lack of employment opportunity, unequal policing and imprisonment, the growing, hostile divide between the sexes, and the loss of leverage within the political mainstream."
Abstract This first part of this paper looks at Joplin's road from a small Texas town to the counter-culture center in San Francisco, California. In the second part, the paper examines her contributions to the counterculture of the 1960s, particularly towards ideas relating to race and gender.
From the Paper The life of Janis Joplin is a study in contrasts. She cultivated a bad-girl image but was deeply hurt by her status as a social outcast. She fought for recognition in the male-dominated recording industry but eschewed the feminist movement. She was a white girl from a conservative family in Texas who embraced the civil rights movement and blues music. An icon of the 1960s counterculture movement, Joplin is also widely regarded as one of the movement's most tragic members."
Abstract This paper compares 19th century African-American cultural forms, such as Minstrel Shows, with contemporary "black" music as a way to reveal how racism continues to be maintained through cultural appropriation.
Abstract This essay explains how the Russian composer Igor Stravinsky reflected, and at times did not reflect, the particular historical and cultural environment of his native Russia. The author integrates relevant biographical material into his discussion of the music, and considers questions such as what the identifying characteristics of the composer's music were, and how they were shown in the composition of "The Firebird". The author also analyzes what the identifying characteristics of Stravinsky's music were, how they were related to the folk music of Russia at the beginning of the twentieth century, and how they meshed and influenced one another.
Abstract This essay will discuss the various considerations that go into the design of a room or concert hall with the aim of producing acoustically enhanced sound and music quality. In general, the sound levels that can be heard by the human ear is between the range of 20 to 20,000 Hz.
Abstract This paper discusses the special characteristics of the Baroque era and makes a comparison of Bernini's sculpture of St. Teresa with Bach's Sonata 2.
