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Jazz, 2004.
A description of the musical form known as jazz.
1,220 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
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Abstract
This paper explores the origins and history of jazz music from its early beginnings in New Orleans to the more well-known and popular forms we hear today. The paper explains how the earlier forms, known as ragtime and Dixieland, started in the late 1800's and were well formed by the early 1920's. The paper also shows the development of jazz into what we know as blues music today.
From the Paper
"One theory about how Jazz began to coalesce into a recognizable music style relates to the end of the Spanish-American War in 1898. Some historians note that military bands came to New Orleans to be decommissioned, and many of the band instruments were sold to African-Americans and others. Most of these people taught themselves to play (Morgan, 2003), so from the very beginning, jazz did not have strong ties to European styles of musical sound, form, instrumentalization, rhythm and melody. Because of New Orleans' ethnic mix of Spanish, French, Creole and others in addition to Caucasian and African-American (Morgan, 2003), New Orleans was in a position to meld many influences together into a new form."
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The Musical Genius of Frank Zappa, 2004.
Looks at the life, career, and contributions to the music world of famous musician, Frank Zappa.
1,042 words (approx. 4.2 pages), 5 sources, MLA, $ 36.95
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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."
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Teaching Music to the Blind, 2004.
Discusses some of the resources, tools, and techniques available to teach music to the blind.
1,437 words (approx. 5.7 pages), 10 sources, APA, $ 47.95
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Abstract
This paper asks and attempts to answer the question, "how does a blind person begin a career in music?". It addresses this question by reviewing and explaining music Braille as opposed to literary Braille and its auxiliary technologies, by citing several resources available that offer Braille music or offer information and referral services for visually impaired students who wish to study music, and by explaining some of the technology available to assist blind students in their music studies.
From the Paper
"The first names that come to mind when one thinks of successful blind musical luminaries, are likely to be: Ray Charles, Ronnie Milsap, Teddy Pendergrass, Jose Feliciano, and of course, Stevie Wonder, among others. And in the jazz and blues genre, there are a number of blind artists, such as George Shearing, Roland Kirk, and Rev. Gary Davis, to name a few. And, meantime, for the blind person who is not already competent at the task of performing or writing music, and who respects those famous blind musicians mentioned above - and even views them as role models - how does that blind person begin a career in music? How does a novice learn?"
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"Reservation Blues", 2003.
The role of music in the novel, "Reservation Blues", by Sherman Alexie.
1,425 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
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Abstract
This paper examines Alexie's novel, in which the blues comprise more than an appearance of disaster entrenched in African-American understanding. This paper looks at the role of blues music in the African-American lifestyle as presented in "Reservation Blues".
From the Paper
"The blues articulate chronicles that, as of the usual point of view, instigate in the practices of Africans in America. However, customarily the blues go beyond diverse, inflexible cultural boundaries. Ralph Ellison's well-known classifications of the blues propose a liberal view; one partial, no more than, by the speaker's capability to "lyrically" articulate his or her "autobiographical chronicle of personal catastrophe" (Ralph, 78)."
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Blues, 2004.
A overview of blues music, discussing the history of this popular music style.
3,621 words (approx. 14.5 pages), 6 sources, MLA, $ 100.95
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Abstract
A paper on the evolution of the blues in its present form, with the history of the music juxtaposed with the social and cultural history of the United States. It begins by looking at the humble start of blues music and then discusses development of the instruments. Famous singers are then introduced, and the paper concludes with an explanation of how blues is representative of the struggles of African Americans.
From the Paper
"Born in the exuberantly warm climes of their African homeland, carried with the first waves of the slaved people in their head and forged in the pain of their suffering as an escape from the tyranny of their bonded life, the blues have emerged as the collective consciousness of an entire people through the centuries. The blues, essentially the original rhythm and beat of the African musical roots combining with the field calls and ballads of their workaday lives and the church music taught to them by their evangelically inclined new masters, evolved into a unique art form in its own right."
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Handel's "Messiah", 2004.
A review of the musical piece, "Messiah", by Georg Handel.
2,047 words (approx. 8.2 pages), 5 sources, MLA, $ 64.95
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Abstract
This paper offers a review of Handel's "Messiah", beginning with a description of the writer's life. The author shows how Handel's life and upbringing are reflected in this great piece of music through his family history, musical background, and the influence of his father. The paper then explores some of the other musical pieces written by Handel.
From the Paper
"Handel composed Messiah to the libretto (lyrics) of Charles Jennens, who also wrote libretto for Handel's Saul as well as works for other composers. Peter Jacobi describes Jennens' libretto as "a deft weaving of spiritual thoughts...that led Handel to a clarity of vocal and instrumental line," (1982, p. 33). Once the composer received Jennens' libretto, he completed Messiah in just over three weeks, between August and September of 1741. This "burst of energy" was supposedly typical for Handel (Barber, 1994, p. 45). However, the completely original composition was not; "Handel was a plagiarist," like many musicians in his time, and he frequently borrowed whole sections of music from other composers."
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Jazz: The American Heritage, 2002.
Looks at the origins, history, and composition of American jazz.
1,774 words (approx. 7.1 pages), 8 sources, MLA, $ 57.95
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Abstract
This paper delves into the indigenous, American creation of jazz music. It looks at the relationship between the origins of jazz and the history of African-Americans, the main characteristics of jazz music, and the instruments originally used for playing jazz. The beginning of jazz music in New Orleans is discussed, as well as some of the influences on the music and the different types of jazz that evolved over time. Famous jazz musicians and singers are also mentioned.
From the Paper
"A significant relationship exists between the origins of jazz and the history of African-Americans. To entertain themselves and get through the grueling days, plantation slaves would perform music that would remind them of their African homeland. Their songs, sounds and compositions would be on the wide variety of singing, rhythms and melodies that ranged throughout the continent."
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Johannes Brahms's "Concerto for Violin and Orchestra in D", 2002.
This paper describes each movement of Johannes Brahms's "Concerto for Violin and Orchestra in D".
810 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper explains, by describing in detail each movement, that Brahms's "Violin Concerto" demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)
From the Paper
"Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."
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"Reverie", 2002.
A comparative analysis of Claude Debussy's "Reverie" and Billy Joel's version.
890 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper reviews Claude Debussy's musical masterpiece, "Reverie," which was written during the late 19th century. It discusses how the tone and feel of Debussy's "Reverie" is different from that experienced by the listener upon hearing Billy Joel's "Reverie," part of his album, "Fantasies and Delusions," which was released in 2001. It shows how it is Joel's attempt at paying homage to a classical artist whose works he admired and who had influenced him early on in his training as a musician and how the song, reminiscent of Debussy's piece, has a different melody and is stronger in tone and louder than Debussy's work.
From the Paper
"The music moves slowly and deliberately, and yet with a rhythm that brings to mind water flowing and bubbling in a fountain. As the song continues, the music becomes more wavelike in tone. The way the music -while still remaining soft and tranquil - moves back and forth in a slight crescendo only to die away again can't help but make the listener think of waves. However, these are not the crashing waves of a beach, but rather the waves that might lap the shores of a small lake. This is not a piece that lends itself well to lyrics. Instead, it urges the listener to do what is suggested by the title and simply drift away, letting one's thoughts move off where they will like clouds blowing across the sky."
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Jivaro Music, 2002.
Examines the use of music by the Jivaro people to cure disease.
1,276 words (approx. 5.1 pages), 6 sources, APA, $ 43.95
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Abstract
This paper explores the the use of curing songs by the shamans of the Jivaro people of Ecuador. It begins by providing some background information about the culture and society of the Jivaro people and then describes the cultural reasons for the belief in the curative powers of the shaman's whistling song.
From the Paper
"We have all, of course, heard the claim that music hath charms to soothe savagery. But few us have heard - or would believe - that music can cure disease. But many people do believe that music has the power to counterbalance illness, especially in the hands of trained healers. This paper looks at one specific example of such healing through the power of music, the use of curing songs by the shamans of the Jivaro people of Ecuador."
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The Musical Experience of "2001: A Space Odyssey", 2002.
Examines the film version of "2001: A Space Odyssey" as not only a visual experience, but a musical one as well.
1,007 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
Describes and analyzes the score used in the Stanley Kubrick's adaptation of "2001: A Space Odyssey". The paper provides descriptions of scenes in the movie and the accompanying music and explains the images that the music attempts to project through the use of sound, voice, and silence.
From the Paper
"The film is not only a visual experience; it is also a musical journey. Filmed at a slow pace, the opening scene is an image shot from behind earth's moon with the sun rising over the earth's crescent shape in the blackness of space. This scene shows the earth, moon, and sun in a vertical alignment. Richard Strauss's Thus Spake Zarathustra is playing in the background. This scene is striking and beautiful and Strauss's piece sets the mood for what must be the majestic experience of outer space."
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Authenticity in Music, 2002.
A brief discussion of the importance of authenticity in the music industry.
1,155 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explores the issue of authentic music, stating that many people believe rock music to be more real or authentic than pop music. The paper explains that pop music is more synthetic and without the help of computers, would not sound like it does while rock music is the pure raw authentic talent of the musician. The paper focuses on the music of Eric Clapton to explain its theories.
From the Paper
"Authenticity is a major issue in discourses on popular music, and seems to be the bedrock of the distinction between 'pop' and 'rock', i.e., whether musicians can be trusted ('rock') or not ('pop'), which comes down to the distinction of whether musicians are 'authentic' or 'commercial' (Moore, 2002). In these discourses, authenticity is assumed to mean 'true to its origins'."
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Topic Music and Dance in Indian Films, 2002.
An overview of the Indian film industry with focus on music and dance in these movies.
2,388 words (approx. 9.6 pages), 11 sources, MLA, $ 73.95
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Abstract
This paper examines the importance of music and dance in the extremely successful film industry in India. It explains that because Indian films are made predominantly for semi-literate audiences, they contain numerous action scenes (fights), elaborate song and dance sequences, a fair dose of slapstick comedy and an obligatory love story. This paper discusses why this industry is so successful and the role music and dance play in its success.
From the Paper
"In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. But the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages other than Urdu, and that every film would be a musical."
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"Puff The Magic Dragon", 2002.
An analysis of this famous sixties song by the band, 'Peter, Paul and Mary'.
807 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
During the 1960s, one of the revolutionary developments that changed the landscape of American culture and history was the establishment of the Hippie Movement. The paper shows that besides rock music, traditional folk music came into being once again, only this time, a mixture of rock influence was infused with traditional folk music. This type of music was played by bands such 'Peter, Paul and Mary' which received acclaim and popularity because of the liberal ideas they incorporated into their songs. This paper analyzes one of the band's songs, the famous children's rhyme entitled, "Puff (the Magic Dragon)." The paper looks at how the song can be interpreted in two ways - the loss of innocence of children as they embark into the real world and the issue of drug addiction.
From the Paper
"Symbolism is used to connote the themes of lost childhood and drug addiction in the song. The dragon symbolizes the child/ drug addict, while Little Jackie Paper represents the lost childhood/ drug addiction of the 'dragon' in the song. Also, Honah Lee is said to represent more than the land where magic and fantasy becomes a reality; what the place really stood for is symbolic of Hanalei, a Hawaiian village wherein marijuana plants are dominantly cultivated (Mikkelson 2001). Rhyming is utilized to create the childish tone and theme that the song assumes, while the audience the song aims at is the adult audience."
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"Oklahoma!", 2002.
An analysis of the song "I'm Just a Girl who Can't Say No," from the musical "Oklahoma!"
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
This paper introduces, discusses and analyzes the songs from the musical "Oklahoma!" Specifically, it includes an analysis of "I'm Just a Girl who can't Say No." It asks how the song provides a transition from the text and what the song does for the musical. It also examines what the words and music reveal about the character.
From the Paper
""I'm Just a Girl Who Can't Say No" is one of the most humorous songs in the musical "Oklahoma!" In it, Ado Annie, a kind of sad character who does not seem to have much chance of catching a man, talks about how she cannot say "no" to kisses and romance. "Other girls are coy an' hard to catch / But other girls ain't havin' any fun! / Ev'ry time I lose a wrastlin' match / I have a funny feelin' that I won!" (Oklahoma!). Annie recognizes that she may not be the most attractive of the girls, but she is a little more adventuresome, and so, she probably will have more fun in the end. Of course, she wants to get married just like the other girls, but she is more forward, so she has more problems catching a guy. When she sings to Ali Hakim, the traveling peddler, in his buggy, she is letting him know she is ready for romance, but not necessarily with him. She is really trying to make her boyfriend Will jealous, and it works, because she ends up marrying Will, so she becomes a girl who can say "yes." "
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