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Music Style Comparison, 2006.
A comparison of the music styles of Joni Mitchell and Hector Berlioz.
1,105 words (approx. 4.4 pages), 3 sources, APA, $ 38.95
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Abstract
Joni Mitchell and Hector Berlioz lived in different parts of the world at different times. Berlioz died in 1869 almost eighty years before Mitchell's birth in 1944. This paper explains that Berlioz worked in the milieu of the symphonic orchestra and the complexity of classical music of the nineteenth century, while Mitchell accompanied herself with a guitar in the revival of traditional folk music that was occurring in the 1960s. The writer shows how neither was educated formally in music, but both became established as composers of their own works which were marked by genius. It concludes that both artists were considered by contemporaries to be in the avant-garde of the musical movement of the times.
From the Paper
"Berlioz was raised by prosperous parents in Paris, and was expected by his father, a physician, to enter medical school. The thought of a musical career was not given a great deal of respect by Berlioz's father, and he felt that the boy's future could only be secured by preparation to enter into a lucrative field like the practice of medicine.
But Berlioz was repelled by his first experience in an anatomy lab and left his medial studies as a result. The romantic movement was just beginning in France, and its rich palette of orchestral expression was being called "The Music of the Future." In 1825 Berlioz assembled an orchestra of 150, and he dreamed of an ensemble 467 instruments, with a chorus of 360."
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African-American Music, 2006.
A study of the influences on contemporary African-American music.
1,100 words (approx. 4.4 pages), 3 sources, APA, $ 38.95
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Abstract
This paper studies contemporary African-American music, calling it an amalgam of several music styles of our time. The author explains that with its roots in jazz, African-American music today is taking elements from all over the world to create a tapestry of styles united by one ineffable ingredient: rhythm. That rhythm is being immeasurably influenced by technology -- namely electronic music. However, the author is careful to point out that electronics do not preclude the use of traditional African instruments, but rather enhance their sound.
From the Paper
"Electronic Music is how electronic musical instruments can be used to produce music. The types of instruments this refers to include electronic keyboards, synthesizers, samplers and any other musical instrument, which is largely electric or electronic in nature. This is not however a complete list of the equipment which is used in electronic music as the complete process of generating music electronically also includes the process of recording the music and the processing of sounds using signal processors (effects processors) to produce the required effect."
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Eric Clapton, 2006.
A review of the life and music of singer Eric Clapton.
2,850 words (approx. 11.4 pages), 2 sources, APA, $ 84.95
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Abstract
This paper studies the life and music of Eric Clapton, beginning with his early and endearing love for the blues. The author details Clapton's development as an artist, while attributing many of his musical shifts to milestone events in his personal life. From drug and alcohol addiction to suicidal depression, Clapton's struggles and his ability to overcome them are chronicled by this paper. The author concludes that his triumphs over obstacles are a repeated theme, not only in his song's lyrics, but also in their stylings.
From the Paper
"From the time he heard his first blues, he listened to the best blues players he could find. In 1962, the club scene in London was primarily a home for commercial music and good time rock and roll like the Beatles played. But, clubs were opening up to blues players and the Ealing Club joined the Barrelhouse Club, the Flamingo and the Marquee in presenting some of the best local talent in jazz, blues and rhythm and blues. Veteran blues players Alexix Korner and Cyril Davies joined the younger Georgie Fame to found Blues Incorporated, the Cyril Davies All Stars and the Blue Flames. Eric Clapton began to make the rounds, non yet a confident singer, but possessed of a repertoire of exemplary blues gems learned from the recordings of Jesse Fuler, Big Bill Broonzy and Bessie Smith. He found early success and was able to keep working steadily."
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John Lennon as Warrior, 2006.
An analysis of the Beatles John Lennon, using the twelve archetypes described in the Carol Pearson book "Awakening the Heroes Within".
2,600 words (approx. 10.4 pages), 6 sources, MLA, $ 78.95
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Abstract
This paper studies John Lennon, the former Beatles, from the perspective of the twelve archetypes outlined in the book "Awakening the Heroes Within" by Carol Pearson. By tracing the musician's life story -- from his humble beginnings as an orphan through his meteoric rise as a Beatles to his disillusion with fame -- the paper illuminates how Lennon embodied each of the archetypes at different points in his life. However, the author concludes that Lennon was most predominantly the "warrior" type. As the author says, Lennon's personal and professional life caused him a pain so deep that he either had to succumb to the pain or overcome it. By choosing to overcome it, he became a warrior.
From the Paper
"Before his life had even begun, John had been deserted twice, both times by his own parents. This factor in itself would create an overwhelming tendency for most of us to develop our "innocent" archetypes. An innocent archetype wants to remain in a safe place or situation and has an overwhelming fear of being abandoned. But in John's case, these early childhood experiences seemed to have toughened him up and prepared him for the future failures and fame he was to experience."
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African-American Folk Music, 2005.
This paper discusses the concept of taking a journey in the African-American spiritual and folk music.
830 words (approx. 3.3 pages), 4 sources, MLA, $ 29.95
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Abstract
This paper explains that the African-American song genre, developed largely among slaves, describes the inevitable escape from toil and bondage and serves to strengthen the faith of the people by reminding them of a universal God, who would bring justice to his followers. The author points out that, in "Bound for Canaan Land", the "land of Canaan" is a metaphor for heaven and for the North, a land of freedom. The paper reveals that the author Harriet Tubman used spirituals such as "Follow the Drinking Gourd", which meant following the Big Dipper to the Ohio River, as a communication device to convey the possibilities of physical freedom.
From the Paper
"Biblical themes also evoke the image of crossing rivers, and many of the best spirituals were created and practiced by slaves who worked as sailors and boatmen on rowboats and ships of the Ohio River. "The Old Ship of Zion" is an inversion of the original ships that brought the slaves to America, and its singers wonder "Do you think that she is able/ For to carry us all home?" She promises deliverance having already "landed many a thousand," but being "loaded down with angels", her final destination is not necessarily a return to Africa, but a welcome to paradise."
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Joe Satriani: A Guitar Hero, 2006.
A review of the life and music of guitarist Joe Satriani.
1,350 words (approx. 5.4 pages), 4 sources, APA, $ 45.95
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Abstract
This paper studies the musical stylings of guitarist Joe Satriani, whom Entertainment Weekly has called "a guitar hero". By critiquing Satriani's various records, as well as examining the personal and professional milestones of his life, the paper provides a well-rounded insight into the man and his music.
From the Paper
"In these first years of his career, Satriani was entirely self-taught. It wasn't until 1974 that he began taking lessons in Queens and Glen Cove, New York, with Lennie Tristano and Billy Bauer, respectively. [2] Once he outgrew that scene, Satriani moved to Berkeley, California, where he began teaching guitar at a studio called Second Hand Guitars. Here he also instructed other notable guitarists such as David Bryson from Counting Crows, Metallica's famous guitar shredder Kirk Hammet, Primus' Larry LaLonde, Alex Skolnick of Megadeth, Slayer and Judas Priest, as well as the upstart jazz guitarist Charlie Hunter. [3] This teaching stint occupied another ten years of Satriani's life and was a critical time of development and learning."
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Heart: The Wilson Sisters, 2006.
A review of the careers, music and stylings of Ann and Nancy Wilson, the sisters behind the women's rock band, Heart.
900 words (approx. 3.6 pages), 6 sources, MLA, $ 31.95
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Abstract
This paper studies the lives of Ann and Nancy Wilson, sisters who started their musical careers with a folk background but became leading figures in the rock world with their band Heart. The author traces the women's meteoric careers through a review of their albums. The paper also discusses the band's influences and their influence on the music industry as a whole.
From the Paper
"The band was founded in 1963 by the group's bassist, Steve Fossen, and by brothers Roger and Mike Fisher from Vancouver, British Columbia. Originally named "the Army," the band later changed its title to "White Heart" and then simply to "Heart" in the early 70s. A romantic involvement between Ann Wilson and Roger Fisher brought the former member into the group. Her sister, Nancy, followed in 1974, through a romantic relationship with Mike Fisher, who at that time was the band's primary sound engineer. Later, Howard Leese and Michael Derosier joined the band as keyboardist and drummer, respectively."
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Randy Weston: "Uhuru Africa", 2006.
A review of Randy Weston's African-inspired jazz album "Uhuru Africa".
850 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper examines the "Uhuru Africa" album by Randy Weston. Inspired by jazz legend Duke Ellington, Weston spent most of his career combining the rich music of the African continent with the African-American tradition of jazz. The author dissects Weston's "Africa" album -- which he calls a tribute to Ellington -- from its thematic and metaphoric perspectives, such as nature, animals, liberation, the past and the future. The author concludes by praising "Uhuru Africa" as Weston's jazz paean to Afro-American heritage and to Africa.
From the Paper
"This style inspired Randy Weston, whose use of both hands separately on the keyboard parallels a drummer's control of separate rhythms with each hand. Randy Weston spent most of his career combining the rich music of the African continent with the African American tradition of jazz, mixing the rhythms and melodies of both continents. Uhuru Africa is a tribute to Ellington, most particularly in the second movement, African Lady, a metaphor for Africa and the drum, which Ellington identified with a woman."
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"Brother Cane", 1995.
A review of the popular 90's band, "Brother Cane".
1,173 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper discusses the music of the band, "Brother Cane". It gives a history of the band and the band members. The author offers insight into the band's personal and musical philosophies. The paper further discusses the band on tour and their relationship with the fans. In conclusion the author offers a personal opinion on the band.
From the Paper
"Damon credits the fans as their strongest foundation and what has helped push the group to the forefront. Their strongest following has been around their hometown in the southeastern United States. The band has plans for a "Homecoming Show" on April 2nd. They're all "really excited" about getting back to Birmingham, not in the least because they'll get to see family and friends that they haven't seen since December. Damon has a "very special female" in his life as do a couple of the other guys in the band. Along with lots of other brothers, sisters, and kinfolk rooting them on. "Our families couldn't be happier with our success. It's been their support that has helped us get through the last three or four months. Although we got some pretty insanely ridiculous phone bills.""
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Hip Hop, 2005.
Explores the origins of the form of music called hip hop.
3,249 words (approx. 13.0 pages), 8 sources, MLA, $ 93.95
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Abstract
Unlike any other sub-culture in American history, the hip hop culture has transcended ethnic boundaries. The paper shows that, even if the beginnings were determined by the realities of a segregated American society, subject to the pressures of a cultural diversity which triggered numerous ethnic and social tensions, nowadays it represents an opportunity to mend and build ethnic relations.
From the Paper
"Notwithstanding, they deliver the same idea. Messages range from social issues such as hate crimes against Asians to relationships between blacks and Koreans. Another example is that of white rappers such as The Beastie Boys, 3rd Bass, and Vanilla Ice who, despite the lack of tradition in approaching the hip hop style, have related to its messages and thus have also enjoyed success in the industry. Cypress Hill, Fat Joe, and Big Punisher, are Latino artists who have impacted the hip hop culture (Perkins, 1996). The reason may be that the overall message of this music is the same."
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CD: "Disney Songs the Satchmo Way", 2005.
This paper reviews the compact disk "Disney Songs the Satchmo Way" on which Louis Armstrong presents Disney songs in his jazz style.
915 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper explains that, on "Disney Songs the Satchmo Way", Louis Armstrong re-interprets the music of very familiar songs associated with Disney by adding a jazz flair to each song resulting in a more enjoyable sound than in their original format. The author points out that the new style actually makes the songs a much mellower flavor, which flows along nicely instead of being choppy in places as in the original Disney style. The paper analyzes the songs "Chim Chim Cher-ee", "Bibbidi-Bobbidi-Boo", "The Ballad of Davy Crockett" and "When You Wish upon a Star", all of which definitely have that New Orleans flavor with trumpets, trombones and various brass instruments playing Disney tunes.
From the Paper
"Another aspect that struck me was my attitude towards the kind of songs being performed. I had always thought of these tunes as children's songs, just funny, cartoon type lyrics and music. The way, in which these tunes were performed by Louis Armstrong, I could actually see some of them making it onto the charts. Even though they are suppose to be fun songs, the new format somehow gave them a little more seriousness. "
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Napster, Inc.,, 2006.
An analysis of the economic effect of Napster, Inc. on the music industry.
1,496 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
Napster is a computer application that enables users to copy music files that are stored on the hard drives of other users or via the internet. This paper examines how because the service is free and no money changes hands; not between the user and Napster, Inc., and also not between the internet site, the major record labels assert that they are losing a substantial amount of money.
From the Paper
"The introduction of Napster has destroyed the monopoly that was prominent in the industry structure before last year. Until last August, the record label companies controlled the quantity and destiny of music under their labels. Compact disks were available only from stores, catalogs and online sites, and sold at a price that covers production, marketing, distribution, and royalties to the artist and a generous markup for the record company and retailer. As long as the only way to get that music was through those channels, a pure monopoly existed."
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Jazz CD: "Kind of Blue" by Miles Davis, 2005.
This paper reviews the jazz collection of five works by Miles Davis on the CD "Kind of Blue" in which he is joined by legendary players on piano, drums, bass, alto and tenor saxophone.
910 words (approx. 3.6 pages), 0 sources, $ 32.95
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Abstract
This paper explains that the pieces in Miles Davis' jazz CD "Kind of Blue" are loosely composed, consisting of improvisation within a musical framework, which produces a feeling of freedom without the clutter of a larger ensemble. The author points out that, when the listener focuses on just hearing the music, he or she can discover the structure behind the melodies and appreciate each instrument and its player individually. The paper relates that the favorite piece on the CD is "Blue in Green", which is the most melodic piece in the collection; Bill Evans creates a lush and romantic mood and his playing invites the listener to put down whatever he is doing and just listen.
From the Paper
"Bill Evans's piano solos gave a languid feeling with an unhurried, soft touch that was romantic and contemplative. Between the two saxophonists, I preferred the work of John Coltrane, who has a dusky sound that broadens as it gains volume. Cannonball Adderly's alto sax brought the energy level up and made me feel like getting up off the couch and moving around. I was struck by the contrast of these two players and, although alto and tenor saxes play in different registers, the difference in their sound is attributable to more than this. It is a matter of individual style and each musician's approach. This switch in mood makes the CD more interesting and eliminated any possibility of monotony or of boredom on the part of the listener."
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Modern Broadway Musicals, 2006.
A paper looking at why the modern Broadway musical genre is not faring as well as older musicals and revivals of shows.
3,356 words (approx. 13.4 pages), 10 sources, MLA, $ 95.95
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Abstract
This paper takes a look at the changes that Broadway, as a physical place, as well as a genre, has undergone since its inception, in an attempt to understand why modern Broadway musicals are not doing as well as they had in earlier years. The paper concludes that the diminishing popularity of Broadway today is due to both financial reasons and audience-motivated reasons.
From the Paper
"Currently, according to Mayor Rudolph Giuliani, at least one fourth of the 30 million visitors to New York each year still come to see a Broadway play (Kroll 64), making it one of the top reasons tourists travel to New York. However, while there indeed seems to be a resurgence of interest in Broadway, there is a great disparity in profits for older musicals and revivals of shows from earlier decades and the more current modern musicals."
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History of Jazz, 2006.
A discussion of the history of jazz and some characteristics of this music form.
2,015 words (approx. 8.1 pages), 5 sources, MLA, $ 63.95
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Abstract
Over the past century, various influences have worked to shape jazz into a complex structure of styles, rhythms and techniques which are difficult to lump under the same banner. This paper explains that most forms of jazz have a few peculiar features in common which differentiate them from other types of music. It explains that in order to conduct a survey of the history of jazz, the paper also highlights some of the musical form's commonalities.
From the Paper
"Jazz also makes common use of scales that have been derived from West African traditions. These scales are not generally found in European-based musical styles, although the combination of European and West African scales has become more popular. Similarly, jazz instrumentation has grown out of the military orchestra and so emphasizes brass and woodwind instruments above strings. Unlike the European tradition of voice and instrument usage, which aims for a "pure" sound for each instrument, jazz has developed around ordinary and untrained voices and has employed its instruments as if they were voices like these. Thus, jazz lends itself to exploration and experimentation in sound, derivative of the fact that most pioneer jazz musicians were completely self-taught."
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