From the Paper "The purpose of this research is to examine the social effect of music. The plan of the research will be to set forth in general terms the context for looking at music from a sociological perspective and then to discuss the social effect of music, its relevance to an individual's life, its effects on people, such as an estimate of the number of people who may be directly affected by music, and the social consequences of that effect as well as possible bases for evaluating that effect, and possible approaches to evaluating the effect of music on the culture.
Statement of Social Effect
The social effect of music is that it supplies a mechanism of common experience of the social structure and indeed may help shape that structure. Music can be interpreted as exerting social effect.."
From the Paper "Ludwig van Beethoven is arguably one of the most original composers who ever lived. His composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, Berlioz and Chopin, among others. Although Beethoven is rightfully acknowledged as a brilliant innovator, he was not without his influences. The goal of this research is to establish the influence of a particular composer, the Italian pianist and composer Muzio Clementi, on Beethoven's keyboard compositions.
Clementi was Beethoven's contemporary; though he was born in.."
From the Paper "Franz Joseph Haydn (1732-1809) had the unusual distinction of preceding and following the career of Wolfgang Amadeus Mozart (1756-1791). In the course of Mozart's short life, the two composers became friends and Haydn was an important influence on the younger man. But Mozart, who began to compose at such an early age, ended by influencing Haydn as well. The degree of influence each composer exerted on the other has been elucidated by musicologists over many decades. But many of the most widely accepted ideas about the relationship are constantly subjected to scholarly reinterpretation. A brief outline of their relationship and several examples of their mutual influence will demonstrate how the two great composers of the late eighteenth century learned from each other.
Haydn and Mozart were very different kinds of men, from very.."
From the Paper "Anita O'Day is one of the most important and influential of all jazz singers. Her career began with the big bands of Gene Krupa and Stan Kenton. But she flourished as a solo performer when the bands went out of style. Despite her popularity, especially as an exponent of the Cool style of the late 1950s and early 1960s, O'Day suffered from emotional problems, became addicted to heroin, and nearly died. Following her recovery, however, she rebuilt her career. Though her voice had coarsened slightly, her style had always depended less on the beauty of her voice than on her musicianship. O'Day's immense improvisatory skills, her precise timing, her wonderful sense of rhythm, and her great wit as a performer had not been diminished and she flourished again.
O'Day was born Anita Belle Colson on October 18, 1919 in ..."
Discusses its origins in Seattle in the late 1980s, examples (Nirvana, Pearl Jam), rise and fall, musical and cultural styles, drugs and the role of the media.
1,575 words (approx. 6.3 pages), 18 sources, 1999, $ 55.95
From the Paper ""Grunge" was a musical scene that evolved in Seattle during the late 1980's and early 1990's. Although it quickly spread in popularity all over the nation, and to other parts of the world, as well, the genre is primarily associated with the Seattle bands Nirvana, Pearl Jam, and Soundgarden. With the death of Nirvana lead singer Kurt Cobain in 1994 and the breakup of Soundgarden in 1997, grunge came to the end of its history as well, for the most part. It had enjoyed a tremendous influence over fashion, over other media and art forms, and, in particular, over the attitudes of American youth.
It is not clear whether grunge was a bona fide phenomenon or one machinated by savvy entrepreneurs, but in any event the stars of the movement, Nirvana, Pearl Jam, and Soundgarden, all came from Seattle. They played in clubs like the Crocodile Caf? ("Why ..."
Abstract The song-cycle Winterreise [Winter Journey] by Franz Schubert (1797-1828) is considered one of the composer's supreme masterpieces. The songs, settings of a 24-poem cycle by Wilhelm M?ller, were among the last works of Schubert's short life and they represent one of the peaks in his development of the lied f
From the Paper "The song-cycle Winterreise [Winter Journey] by Franz Schubert (1797-1828) is considered one of the composer's supreme masterpieces. The songs, settings of a 24-poem cycle by Wilhelm M?ller, were among the last works of Schubert's short life and they represent one of the peaks in his development of the lied form. The Winterreise was also the second of Schubert's song-cycles--a form he was developing and which could have reached even greater heights if he had lived. Though the impact of the work is greater when it is considered as a whole--a whole which is truly greater than the sum of its parts--the individual songs demonstrate the great height to which Schubert had brought the art of setting texts to music. At the core of this art is the depth of feeling generated by the combination of words and music. A brief examination of two of the pieces will demonstrate how..."
Critiques this 1944 opera, compared to Georges Bizet's 1875 "Carmen". Examines settings, time, characters, plot, themes (sexuality, race and romance) and music.
2,700 words (approx. 10.8 pages), 9 sources, 1999, $ 95.95
Abstract "Carmen Jones (produced 1944) by Oscar Hammerstein II is a version of Georges Bizet's opera Carmen (produced 1875), one of the most widely-known and best-loved of all operas. In transforming Carmen by changing its time and place, rewriting the libretto in English, and replacing Bizet's characters with African Americans
From the Paper "Carmen Jones (produced 1944) by Oscar Hammerstein II is a version of Georges Bizet's opera Carmen (produced 1875), one of the most widely-known and best-loved of all operas. In transforming Carmen by changing its time and place, rewriting the libretto in English, and replacing Bizet's characters with African Americans Hammerstein was attempting to broaden the audience for opera in America. Although Hammerstein managed to create the popular success he wanted, many of his changes undermined the dramatic-musical synthesis on which the success of Bizet's opera rests. The principal flaw in Hammerstein's version is that while Bizet's, and the characters', exoticizing racism was essential to the dramatic and musical structure of Carmen, the later work eliminates this essential tension. Carmen Jones was left with the drama of romantic passion and an attempt to ..."
Abstract The musical was long a Hollywood staple, a genre that was used year after year. After the 1960s, however, the film musical all but disappeared, though it continued in a modified form as a Broadway staple, just as it had been throughout this century.
From the Paper "The musical was long a Hollywood staple, a genre that was used year after year. After the 1960s, however, the film musical all but disappeared, though it continued in a modified form as a Broadway staple, just as it had been throughout this century. Imitation drives the motion picture industry as it seeks material for films, but it also drives Broadway to a great extent. Broadway and Hollywood have taken turns in recent years in originating material which would then be taken over by the other so that stage plays like Grease and Evita are adapted to film, while recent films such as The Lion King and older films such as Sunset Boulevard have been adapted to the stage. Hollywood and Broadway have in many instances in recent years combined forces to develop material for the screen that would also be valuable on stage, or for the stage that would be worthwhile as a film. The ..."
Abstract The paper traces the history of baroque music which reached its peak in the 1700s with musicians such as Vivaldi and Bach. It then compares this music to the development of the rock music of the 1970s, identyfing the audience and the culture of both periods. The paper shows the similarity between the two time periods - in each of the two, music has been an instrument to cultural change. They were important to the audience because they could socially represent themselves or expressed their emotions through them.
From the Paper "Comparatively, in the modern era, the status of music has a different status quo. If one recall the period of the 1970s, the population of America especially experienced a period of "grotesqueness" as well. The culture of American population changed from discriminatory to one of extreme liberty. Different kind of music was experienced right from rock music to reggae. The resulting is an amalgamation of different cultural tunes. One could attribute the change of attitudes of the people towards music to the cultural trends prevailing at the time."
Abstract The paper argues against the cliche that contemporary music is without lasting significance. It shows that contemporary music is made up of a multitude of facets, including jazz, country-western and rock and roll. The paper discusses what constitutes good contemporary music, from its style to the source from which it springs. The paper also explores how one judges the cultural strength of a particular style of contemporary music. Finally, the paper looks at the inventive side of contemporary music, such as the use of instruments and lyrics.
From the Paper "A good example of contemporary music that served our culture well were the anthems and songs sung on 9/11/2001. A few songs were chosen again and again at ceremonies, gatherings, commemorations and fundraisers, and these songs had an even greater impact than the American flags that were waved in so many towns, in so many homes across the country. Although we have a national anthem, and a beautiful one, simpler songs often won the day. "God Bless America" could not be more homespun in its words and simple melody. Like a poem of the people, it inspires and reverberates through the cultural fabric. Another song that was almost always performed was ?America the Beautiful.? The melody is simple and memorable, the words evoke the majesty and myth that is America"her spacious skies, her amber waves of grain"and the song inspires emotions that very few Americans can resist."
Abstract This paper describes the ups and downs of Russian music throughout the Soviet Union's tumultuous history. The paper examines the impact that music has on Russians today. This paper also discusses the music during the pre-revolutionary years, post-revolutionary years, the Stalin years, the post-Stalin years, and Gorbachev's perestroika years.
From the Paper "The years before the Russian Revolution of 1905 and the Russian revolution of 1917 are considered the pre-revolutionary years. The Russian Revolution of 1905 was an unsuccessful attempt to topple the ruling czar and it all started with the Bloody Sunday Massacre. The Russian revolution of 1917 succeeded in overthrowing the imperial government and replacing them with the Bolsheviks. The pre-revolutionary years, in Russia, were filled with Byzantium liturgical chants, nationalistic folk songs, operas, and symphonies. In 988, Prince Vladimir of Kiev decided that Russian's national religion would be Byzantine Orthodoxy and that's how the Byzantium liturgical chants ended up in Russia. However, after the Russians created their own style of liturgical chants, it was called znammeny chants. This type of music was entirely vocal and there were no musical instruments accompanying the chants."
Abstract This paper examines the story of "Don Giovanni," a morality tale of what occurs when a man does wrong and evil is punished, told through Mozart's opera of the same name. When the Don's castle is in ruins, the surviving revelers weave in and out of the ruins and sing ?such is the fate of a wrong doer.? It discusses how the contrast of irony and melodrama in the final scene, suggests a far more nuanced moral vision of Mozart in his opera. It describes how at the end, as the Don is engulfed by flames, the music sweeps up into a more religious, reverent tone and the chorus takes over, rather than individual voices. Although this is supposed to be pious and the Don only gets what he deserves, there is a sense of loss at very end.
From the Paper "The scene being referenced is, of course, the ending deus ex machina of the opera, where the murdered father of a woman Don Giovanni has raped, the Commendatore, comes back from the dead in the form of a living, breathing, animated statue. The depiction of this phenomenon is alone a theatrical marvel and a challenge in and of itself. However, the Don's apparent casualness in the face of this event makes the striking nature of the Commendatore, even more astonishing. When the statute, who was unwillingly invited by the Don's surprised servant Lepordello to the Don's banquet, arrives, he pounds on the door of the Don's castle with great clashing blows, an entrance that is underscored by ominous music. He solemnly informs the Don that his time has come."
Tags: castle, rape, statue, commendatore, chorus, music
Abstract The paper examines the cultural underpinnings and history of one of the most popular dance and music styles in Brazil - Samba. The importance of this music in daily life is emphasized, as well as the religious and popular overtones, such as the annual Carnival. The paper also includes an interview with Jon Agasse, a guitarist and percussionist with a samba ensemble living in Los Angeles.
From the Paper "The crowd of almost one hundred thousand is restless. The night is moist, hot, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba."
Tags: african, black, jazz, mamba, merengue, rhumba, rio
Abstract This paper compares Brazilian and Egyptian music. A brief history of the two cultures illustrates the development of their music. The paper outlines the primarily European influence on Egyptian music, and the African and European influences on Brazilian music. The Portugeuse influences on early Brazilian music is also discussed. The paper contrasts Brazilian and Egyptian music through their use of instruments, theory, and artists. A brief overview of the development of modern Egyptian and Brazilian music is presented in the paper.
From the Paper "Traditional Brazilian and Egyptian culture date back centuries, even millennia when considering Egypt's rich past. Many aspects of their cultures such as dress, language, and government have changed and evolved from their genesis. Two major elements of both these cultures that have been a major part of life are the music and dance. Yet, despite their deep native roots, Brazilian and Egyptian music and dance have been greatly influenced by European and African cultures, thereby creating the blend of today's modern styles."
This paper discusses tje outer, inner, rhythmic structure and style of the first movement of Mozart's "Sonata In F Major" ( K#322 ) and ilustrates how it outlines the classical sonata form.
1,350 words (approx. 5.4 pages), 0 sources, 1971, $ 47.95
From the Paper "The first movement of this sonata in F major, allegro, outlines classical sonata form. The exposition contains two main themes: the first one is in the tonic, and the second in the dominant. There is some slight development, or variation, on the second theme, ambiguously for a few bars, and then it changes back to the dominant again. The exposition ends in a codetta.
The development section starts by elaboration on a lesser theme from the exposition, and then proceeds to lengthen a more interesting syncopated motive. The development section is in the dominant and returns quite quickly to the tonic and the first theme for the recapitulation. The transitional material in the exposition is now used as interesting material for contrast in ... "
