Abstract This paper studies the life and works of the famous saxophonist, Sidney Bechet. It details the reasons for his being a soloist and gives an historical overview of his personal life. It details his hard but successful life as a musician. It examines the major players influenced by Bechet such as Bob Wilder and Johnny Hughes. It concludes with quotes of things said about Bechet by famousmusicians.
From the Paper "Sidney Bechet truly led the life of a jazz musician. He was a supporter of Dixieland Jazz who played the clarinet and was the first person to play Jazz on a Soprano Saxophone. Domineering is a word frequently used to express his music. Various fights showed he had a short temper that reflects in his music. His solos were often soaring and passionate, endlessly inventive, direct rather than ornate. Throughout his life, he never had the discipline needed to play in a regular band; he always preferred to be a soloist and worked in many different bands. "
Abstract In this article, the writer discusses that the history of music is replete with examples of musical suppression. The writer notes that in the days of the classical composers such as Mozart, Bach, and Beethoven these 'now famous' musicians were referred to as 'long hair' musicians and were shunned much in the way that the 'long hair' musicians of the 1960s and 1970s were shunned by proper aristocratic society. The writer points out that classical musicians such as those mentioned were completely dependent upon their patrons. Further, the writer notes that the musicians in today's world are not so hampered as those in earlier decades and centuries, however, there has always been a political and sociological force within the world that attempts to control music through legal means in what some believe is a form of protection and others believe is a form of domination. The writer concludes that while Max Weber views the control of music to be a form of protection, the view of the Marxist is that legal control of music is a strategy of the ruling social class to keep the lower classes under their thumb, stifling creative expression.
Outline:
Objective
Introduction
The Marxist View
The Shifting Cultural Perspective and Music
The Weberian View Contrasted to the Marxist View
Summary and Conclusion
From the Paper "The view of Marxism can be applied to the shift from the 'bee-bop' music of the 1950s to the Beatles rock of the 1960s, a shift which was helped along greatly by the pelvis gyration music of Elvis Presley in which the entire beat of the music changed and along with this came the music revolution that led to 'rock-and-roll' much despised by the controlling social class in that decade. Along with this new form of musical expression came expression of rebellion against the Vietnam War that was taking place in the songs of that time that spoke of revolution and played out in society by draft dodgers and flag burners protesting the war that was taking place in Vietnam."
Abstract This paper presents a detailed examination of the life of famed musician, Frank Zappa. The life and works of Zappa are explored, and reasons are presented as to why he should be labeled a 20th century genius in the field of music.
From the Paper "It used to be that the word genius only applied to a standardized IQ score on an Intelligence Quotient test. In more recent years the world has come to the understanding that there are many types of intelligence and that genius can be found in many areas of life. One area that has always escaped the watchful eye of genius identifiers has been that of the music world. While musicians were often referred to as talented or gifted, the word genius was rarely used. Today, with the new understanding that genius can come in many forms; artists from the past and present are being recognized for the true genius they possessed. One of the most talented geniuses in the field of music was famed artist Frank Zappa. Zappa will always be remembered as a 20th century genius because of his lifetime achievement and contributions to the world of music."
Tags: rock, and, roll, the, yellow, shark, joe's, garage, composing, audience, pop, plastic, people
Abstract This paper takes a look at various blind musicians and the contributions they have made to the music world. The paper discusses the life and work of Blind Tom, Stevie Wonder, Ray Charles and Blind Lemon Jefferson.
Outline:
Review and Discussion
Background and Overview
Contributions of Blind Musicians Conclusion
From the Paper "By the time he reached his majority, Blind Tom possessed a repertoire of hundreds of pieces, all contained in his memory alone. In would appear, that in this individual's case, the inability to see also accentuated his other auditory abilities: "Tom's memory extended to other auditory information besides music: he could repeat without error conversations of up to fifteen minutes that he had overheard. He could also sing back songs in French or German (which, of course, he could not understand) after only one hearing" (Winner, 1996, p. 134). While musical savants may be the rule rather than the exception when it comes to musical genius, there are some well-known examples of blind musical prodigies as well but these musicians have not received as much attention. According to Haroutounian (2000), musical prodigies in general typically reach an advanced stage of development quickly and are capable of pursuing professional careers at an early age; however, some musical prodigies tend to experience a sort of "mid-life crisis" when they reached adolescence: "What happens to the bird who sings and doesn't know how it sings? That's what happens to child prodigies. They wake up and ask themselves dangerous questions about how they do it -- and they have no answers" (Haroutounian, 2000, p. 3). Furthermore, Goldstein (1998) reports that most traditional colleges and universities are ill-prepared to address the special needs of musical prodigies in general and blind students in particular, so it is a wonder that there are any professional blind musicians at all, but some persevere and these individuals are discussed further below."
Abstract In this article, the writer maintains that the political song plays an important part in the politics of the United States. The writer discusses that a political son is not only an expression of ideas of the songwriter, it is also the message which ordinary people and politicians hear and interpret for themselves in different ways. The writer notes that the relationship between musicians, politics and audience is evident. The writer also points out that it does not matter that the musicians cannot stop the government to make the unwelcome decisions. What matters is that they are concerned. The writer concludes that music as a part of culture is involved in social and political life.
From the Paper "If there is a performing artist, there is an audience who will like what he does. This audience is the main reason for the artist to exist, to move on, and to create and develop the art. These people support and promote the artist by buying his or her records, going to the concerts, talking to other people. This audience consists of those people who can be called followers of the artist, who feel like sharing the same ideas and emotions. The same pattern can be seen in politics. There are politicians and those people who share the same ideas, who see the future of the country in the same specter. So, this people surely support the politicians they agree with. Now, how are these three parties connected? The hard relationships between them create something similar to the knot. If there are people who do not like somebody's music, they just do not listen to it. Of course they also may critique it, but there is no too much importance in this matter. The situation is more serious, when there are politicians in the head of the government, whose decisions do not satisfy people, and musicians in particular. So in the country of democracy and freedom of speech they have the ability to speak against the government out loud. In this case the connections are visible. That is why the most of the political music is seen as opposition to the politics of the country."
Abstract This paper discusses the Baroque period of 1600 - 1750. It discusses the role that patronage played in the lives of musicians and the repertoire that was composed or performed by them. It then examines three case studies in terms of their most significant musicians-in-residence, their socio-cultural environment, opportunities for performance and composition and their locally preferred musical styles.
Table of Contents:
Royal Patronage
Religious Patronage
Civic Patronage
Conclusions
From the Paper "Patronage in the period of glory for Baroque music greatly influences the portfolio of compositions. This happens, at least in part, depending on the composer and the role he is playing within the patron-composer relationship. In the case of Lully, for example, the influence was total, in the sense that Lully's works existed only within the framework defined for him by the absolute monarchy. Ranging from the ampleness of his operas, to the fact that he is one of the first to promote the idea of a French opera and to the machineries that are used to make grandiose spectacles - everything points out that the role of the composer is strictly determined by the patron."
Abstract It is the purpose of this paper to examine how the efforts of early black rock musicians led to the breaking down of racial barriers and to the overall success of the black music industry. The Rock Music industry introduced African Americans to the boardrooms of major American companies. The fact is that African Americans make up a significant portion of the business culture in American popular music, past and present. Artists like Chuck Berry, Chubby Checker, B.B. King, and Little Richard, have all brought significant influences into the American Music scene.
Abstract This paper argues that, despite arguments to the contrary, decadence was not the message that 1960s-era rock stars communicated to society; the message was acceptance of the equality of races and the legitimacy of the demands of the Civil Rights Movement.
Outline
Pre-1960s: Attitude Towards the American Blacks
History of the Blacks in America
Music and Civil Rights Movement
Black Musicians and Contributions
"Troubadours of Conscience"
Elvis Presley's Contribution
Baez and Dylan
From the Paper "When the Civil Rights Movement began, it did so in an atmosphere that very strongly believed that the Black person was extremely inferior to the White person, and music became the best means of changing the dominant attitudes towards the Blacks. Music contributed to the Civil Rights Movement's cause for equality in two main ways. First was through the songs and musical style of popular white singers such as Elvis Presley, Joan Baez, Janis Joplin and Bob Dylan. Second was through the popularity achieved by Black entertainers as the Supremes, Marvin Gaye, the Temptations and many others, among the White people themselves."
Abstract This paper explains that, although he died in a plane crash at the age of 22, Buddy Holly accomplished what some might only achieve in a lifetime; he is one of the greatest America musicians. The author relates that having met Elvis Presley in 1955, Buddy started writing songs like Elvis', Buddy started recording "Rock n' Roll", the new craze; his first hit was "That'll Be the Day", followed by the even bigger hit, "Peggy Sue". The paper concludes that, even in his short life, Buddy had written and sung over a 120 songs and influenced the British Music Invasion including the Beatles and the Hollies who sang his songs and copied his singing style.
From the Paper "Charles Hardin Holley was born on September 7, 1936, in Lubbock, Texas. His parents thought that it was too long a name for a child, so they nicknamed him Buddy. Buddy's interest in music started early at the age of eight when he started playing the violin, however, like his nine-month piano career this affliction did not last long. It was not until late the ninth year of his life that he took up the guitar, which he eventually played for the rest of his life. With his talent forming for the guitar at the age of thirteen, he moved to a new school and met Bob Montgomery in the fall of 1949. Bob Montgomery had a lot of the same interests that Buddy did, including music and they began a country and blues band."
Abstract This paper explains that Louis Armstrong started his career by blowing on a little tin horn, the kind with which people celebrate; he could mimic some of the music he heard around his home and the kids loved the sound of the little horn. The author points out that Armstrong, who lived in an area where he heard street musicians and steamboat bands, developed a perfect pitch and began teaching himself music. The paper relates that, in his teen years, having shot a borrowed pistol into the air, he got arrested and was sent to the city's Waif Home for Boys where he came under the very capable tutorship of Peter Davis, a brass band leader, who taught him how to play the cornet. Picture.
From the Paper "As an infant, his grandmother Josephine Armstrong raised Louis because his father abandoned him and his mother around the time of birth. He began his life struggling in the slums of New Orleans. He grew up in a bad area know as "The Battlefield" were gun and knife fights were not uncommon. At the age of seven he moved back with his mother and sister in Stormville where he worked for Jewish families for money. Now Stormville consisted of dance halls, brothels and honky tonks, it was an entertainment district where music was all around him, so he could hear music from outside his house when he woke up in the morning and when he went to bed at night."
Abstract This paper is written about famous women and immigrants. From the beginning of American history women have played an active role in seeking rights for immigrants, African Americans, and their own rights.
Abstract This paper takes a look at James Joyce's "Ulysses" which was transformed from a novel into an opera. It analyzes the impact that each of these art forms has on the work and how the format changes. It provides a background of James Joyce's life and the background to his writing the novel. Within the novel itself, the "Siren Song" chapter is analyzed.
From the paper:
"Historians with idle time on their hands occasionally may indulge in moments of wishful revisionism. ?What if,? they say, "That young dreamer named Adolph Hitler had been accepted into art school" Wouldn"t the world be different"? History is littered with celebrities who, for better or worse, had as youngsters fervently wished to be doing something different than their allotted role. Among them was one James Joyce, who, as it so happened, wanted to be a musician. If Hitler had been an artist instead, he probably would have been drawing propaganda posters for a second World War that would have persisted without his figure head. If James Joyce has been a musician, would he still have created Ulysses? At first glance, of course one must say not. This book is, after all, celebrated as one of the best modern examples of the novel -- not an opera. However, if what we look for in Ulysses is not its obviously visible shape, but rather, its messages, its rhythms and stories and symbolisms, then it is entirely possible that it would be the same creation if it were suddenly transmutated into music."
Abstract This paper discusses how Michelangelo Merisi da Caravaggio was known for portraying insolent boys and rough looking peasants within the masquerade of Roman gods and Christian saints. The paper describes and analyzes some of his more famous works such as "The Musicians", "Sick Bacchus" and "Boy Peeling a Fruit" and concludes that there was a feeling and sense of imminent terror in many of Caravaggio's works.
From the Paper "Boy Peeling a Fruit is oftentimes associated with genre paintings however, it is different from a genre painting in the sense that the boy in the painting seems to be more refined and in control. A characteristic of this painting, as well, would be the absence of a rustic or disheveled individual (something that is characteristic of Caravaggio's paintings). Again, these are Caravaggio's secular paintings and the fact that the boy is peeling a less desirable looking piece of fruit while they are more spectacular looking pieces of fruit laid out in front of him, it suggests that there might be a moralizing theme here, though not necessarily religious: the resisting of seductive temptations. "
Abstract The paper introduces the famous names in musical arrangement history. It provides a brief look at the musician's childhood and then mentions important milestones and works in his career. Several arrangers mentioned are Claus Ogerman ("Fiddler on the Roof"), Duke Ellington ("Crescendo in Blue") and Quincy Jones (Michael Jackson's "Thriller" and "The Color Purple").
From the Paper "Quincy Jones is one of the most famous arrangers in the world. He is also a producer, conductor, instrumentalist and record company executive. His credits include the production of Michael Jackson's Thriller album, which has sold more copies than any other album in the history of music. Quincy Jones is also famous for his ability to work with artists from a myriad of musical genres. Jones has worked with a range of artist from Count Bassie to Queen Latifah. Among his most notable accomplishments was his co-production of the film The Color Purple which was granted 11 academy awards."
Abstract This paper presents an overview of the life of Omar Khayyam, born on 18 May 1048 at Nishapur, the provincial capital of Khurasan. The writer explores all aspects of his amazing life, as painter, mathematician, musician, writer and philosopher. The paper begins with his early life in Persia through to his death in Nishapur on 4th December 1131. The writer believes that Omar Khayyam was an outstanding astronomer and astrologer and his contributions to this field are invaluable still today. The paper includes a number of drawings of the man and examples of his writing.
From the Paper "Omar Khayyam was well known as a poet, philosopher, mathematician, astronomer and physician. His full name was Ghiyath al-Din Abu?l-Fath Omar ibn Ibrahim Al-Nishapuri al-Khayyami. A literal translation of the name al-Khayyami means "tent maker" which maybe derived from his father's trade or he may have practiced this skill at one time. Khayyam played on the meaning of his own name when he wrote; ?Khayyam, who stitched the tents of science, Has fallen in grief's furnace and been suddenly burned, The shears of Fate have cut the tent ropes of his life, And the broker of Hope has sold him for nothing!?."
