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Bob Dylan and Eminem, 2002.
The paper discusses the impact of the music of Bob Dylan and Eminem on their respective generations.
1,434 words (approx. 5.7 pages), 6 sources, MLA, $ 47.95
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Abstract
The paper traces the lives and careers of both artists, focusing on the influence their lyrics and music have had and still have on their fans.
The paper explores the way Dylan's music embodied the civil rights movement of the Sixties, especially the popularity of the folk anthem "Blowin' in the Wind". The paper looks at the impact Dylan's music has had on successive popular musicians. The paper also analyzes the popularity of the controversial rap music of Eminem with its violent lyrics and asks whether he will also be regarded as a music icon in years to come like Dylan.
From the Paper
"Every generation has its own musical sound that defines who they are and where they are on the time line both politically and socially. When one hears the sounds of Tommy Dorsy or Benny Goodman, one immediately recalls the 1930's and 1940's generation with visions of chiffon dresses and double breasted suits gliding on the dance floors. Mozart brings up images of powdered wigs and corseted gowns. The bobby-sox generation of the 1950's held cooed to such artists as Frank Sinatra and Tony Bennet. Each generation is defined by its music, whether the balladeers of the Victorian Era or the hip hop rappers of today. Moreover, each era expresses the mood of that particular generation. Mozart wrote for royalty, balladeers put poetry or folk lores to music, Goodman played jazzy dance music and Sinatra sang to lovers. Each era had artists that seemed to express the generation more than others, that led the way for future artists. Two such artists are Bob Dylan and Eminem. Though their lyrics may sound dramatic to the naive, both Eminem and Bob Dylan have paired painfully truthful lyrics with song."
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Early Music, 2002.
A review of Renaissance and Baroque period music styles.
1,863 words (approx. 7.5 pages), 5 sources, APA, $ 59.95
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Abstract
This paper reviews the the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of Johann Sebastian Bach in 1750. In regard to the Renaissance style, the music was generally quite uniform in structure and depended to a great degree on polyphony in which two or more independent melodies are juxtaposed in harmony. The music of the Baroque period was stylistically varied, especially within particular pieces such as J.S. Bach.
From the Paper
"Generally considered as "Early Music," the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of Johann Sebastian Bach in 1750, share numerous musical traits which according to Steven Bentham revolve around "the application of stable harmony, polyphony and the progressive movement towards humanistic orientation" 1 in contrast to the musical style of the earlier Medieval period which was dominated by liturgical chant repertories. These traits are based on specific musical structures and methods which originated with the composers of the Renaissance period and were later adopted by musicians in the Baroque era. Certain Baroque composers continued to practice the Renaissance style well."
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Gershwin and Copland, 2002.
A discussion of the music of the American composers George Gershwin and Aaron Copland.
1,279 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
This paper introduces two composers, George Gershwin and Aaron Copland, who both worked in the early 20th century. Specifically, it discusses opinion about their music and evaluates why these two composers are so quintessentially American. It looks at how George Gershwin wrote popular music and how early in his career was dismissed because he was not a "classical" composer, although his music is both classical and popular. It shows how Aaron Copland, on the other hand, also wrote popular music, especially for films but how he is better known for his classical compositions and American ballets.
From the Paper
"Listening to Gershwin's compositions is always a treat because I hear something different each time I listen. "Rhapsody in Blue" has so many melodies and themes going on, that all come together in the recognizable theme that winds its way through the music, that I can listen to it a hundred times and still smile as it comes to a climatic close. The alternating orchestrations and beats, the lyrical and romantic qualities of the music, and the pictures it conjures up are all pleasurable and enduring, just like the music itself. While "Rhapsody" may be his most enduring piece, certainly many others embody his graceful and lyrical style. The "Concerto in F for Piano and Orchestra" is a darker piece, which seems to evoke more images of the night in it, and a stronger, even more vital rhythm and beat than "Rhapsody," but it is clear the two pieces were written by the same composer. They share the same lyrical and lilting piano style, staccato trumpet solos, and that same slightly jazzy style which brings up pictures of a busy New York street on a Saturday night. Gershwin is a joy to listen to because his pieces are uplifting and make you want to listen to more."
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Janis Joplin and the Counterculture, 2002.
A brief biography of Janis Joplin, the blues artist and activist and the counter-culture movement.
1,027 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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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."
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Russell Simmons and the Hip Hop Scene, 2002.
This paper discusses black music entrepreneur Russell Simmons who is moving the black hip hop scene into the American mainstream.
3,095 words (approx. 12.4 pages), 11 sources, APA, $ 90.95
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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."
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Music on the Internet, 2002.
A discussion of the issues regarding shared music on the internet.
1,930 words (approx. 7.7 pages), 8 sources, MLA, $ 61.95
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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."
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Hip Hop Culture, 2002.
An essay discussing how hip hop has changed society and culture.
1,987 words (approx. 7.9 pages), 6 sources, MLA, $ 63.95
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Abstract
A review of the manner in which hip hop's influence is evident in almost every corner of American culture, music, film, art, television, dance, fashion and language. It discusses some of the music's primary artists, their styles and their contribution to hip hop's success.
From the Paper
"Many believe hip hop to be merely the voice of rap music, however, as Nelson George explains in his book "Hip Hop America," "hip hop also embraces deejaying, artistic graffiti, break dancing, and a certain street style and swagger" (Hip B4). Moreover, hip hop has become a part of the American landscape. This became evident in 1999, when Lauryn Hill was nominated for the most Grammy Awards ever as well as winning the most female artists awards and adorning the cover of Time magazine. When rap's popularity began to rise in the late 1970's with songs such as 'Rapper's Delight' and 'Apache' by the Sugarhill Gang and Grandmaster Flash's 'The Message,' most major record labels ignored the genre, believing it to be just a fad and trend and that it would soon pass. However, that is not what happened. Hip hop now permeates the fabric of Black culture and has had a tremendous impact on the entire country and has profoundly effected American society (Book 4E). At one point during the 1992 presidential campaign, Bill Clinton even involved Sistah Souljah in his campaign strategy (Book 4E). "
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Orientalism in Western Art and Music, 2002.
This paper discusses the use of orientalism, the influence of the culture of the Middle and Far East, on Western art and music.
1,650 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
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Abstract
This paper stresses that, even though Western artists are looking for new ideas when they seek Oriental input, they can only interrupt the Orient through their own Western culture. The author explains that French painter Eugene Delacroix' "Death of Sardanapalus" and Austrian artist Leopold Carl Muller's "The Market in Cairo" are examples of orientalism in Western art. The author states that the Beatles, seeking the teachings of India's gurus, brought orientalism into modern pop culture.
From the Paper
"The Western World that Delacroix knew lay on the brink of the Victorian age. Painted in 1827, the Death of Sardanapalus speaks to a people already grown accustomed to the strictures of middle-class morality. As older and wilder days ended, North Americans and Europeans were already entering into a new era of strong religious devotion, clean living, and sexual repression. The wanton abandoning of oneself to pleasure like Sardanapalus seemed to be something that was still possible only within the hidden corridors of the seraglio, a place where leering, bearded despots sought freely to satisfy their carnal lusts. The fact that Sardanapalus's world is about to be consumed in fire is but a fitting moral judgment. Though he can gape at the writhing, sensuous forms of the King's doomed attendants, the European or North American man can only dream of what he cannot have - the pleasures of the flesh are condemned hellfire."
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The Life and Works of Robert Schumann (1810-1856), 2002.
The paper analyzes the character and music of Robert Schumann, based on the book by Peter Ostwald, "Schumann: The Inner Voices of a Musical Genius".
1,272 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
The paper discusses the fact that the two primary influences in Schumann's life were both women; his mother and later his wife, Clara. The paper traces Schumann's entry into and influence on the world of music and focuses on the type of compositions that he wrote at different stages in his life, from Lieder to symphonies to piano concertos. The paper also touches on the periods of depression that plagued Schumann's life.
From the Paper
"Schumann's music is out of the Romantic period and expresses that era's dedication to personal expression and freedom from the strict rules of classical form. As noted, he had a literary inclination in his music and would hide names spelled in notes in his works. For instance, he wrote a collection of short piano pieces called Carnaval, and two of these pieces are named "Florestan" and "Eusebius." which were pseudonyms Schumann used when he wrote in his journal. Each name and each piece reflects a different aspect of his personality--"Florestan" is flamboyant "Eusebius" is more sedate. He also often made reference to literary works or characters in titles and in the music itself."
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Computer Piracy On Campus, 2002.
A discussion about whether institutes of higher learning have the right to censor or limit materials which are downloaded by students on the campus computers.
1,378 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
Focusing on the issue of music piracy, this paper examines whether universities and other academic institutions have the constitutional right to restrict the use of their computers. It questions whether schools should prohibit students from downloading music and videos when using school property and whether such prohibitions result in freedom of information violations.
From the Paper
"The outcry from recording labels and bigwig musicians has been equally boisterous. Music labels fear such file sharing will hurt sales, and argue that the copyright infringement inherent in such activities should be punished and appropriately addressed by academic institutions. Academic Institutions such as the Naval Academy, have seized the opportunity to free up slow servers and punish students. However, realistically students and non-students will continue to express their free will and download material whether on campus or off. Are such actions as those taken by Academy officials a violation of free will? Perhaps the only realistic solution to the problem is a compromise between students and music industry officials."
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Mozart and da Ponte, 2002.
A discussion of the collaboration of the composer Wolfgang Amadeus Mozart with librettist Lorenzo da Ponte.
1,421 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper provides a brief biography of the lives of the composer composer Wolfgang Amadeus Mozart and the librettist Lorenzo da Ponte. It examines how da Ponte composed for Mozart the librettos of the operas "The Marriage of Figaro", "Don Giovanni" and "Cosi Fan Tutte" and analyzes how most of their work has the reoccurring theme of class conflict. It looks at how in "Don Giovanni," there is clearly a delineation of social classes whereas "The Marriage of Figaro" portrays aristocracy as a decadent, lustful, useless class.
From the Paper
"Their next collaboration was "Don Giovanni," which appeared in 1787, and followed by Cosi fan tutte, in 1790. It premiered at the National Theater in Prague. Based on the legends of Don Juan, it is set in mid-17th century Seville and uses the folklore surrounding Don Juan to create a story full of social conflict. According to Critic Ernest Newman, Don Giovanni, "crystallized into a working formula for opera purposes -- the hero-villain and his rascally buffoon of a servant; a dignified victim of Don Juan's sensuality, her aristocratic lover; a lady of somewhat lower social rank, who had been previously seduced and deserted by Juan; a group of peasants with a bride and bridegroom; and, of course, a murdered father , who reappears as the avenging instrument of heaven in the form of a statue in the final scene" (Quoted in Ardoin)."
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Tango, 2002.
An examination of the history of this dance style and its impact on the Argentinian culture.
2,259 words (approx. 9.0 pages), 10 sources, MLA, $ 69.95
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Abstract
This paper shows that although Tango music symbolizes the idealized sophistication of high society, with men in trendy suits and women in sparkling gowns, its origin lies within the dark corners of Argentine society. It discusses its overwhelming impact on Argentina's cultural identity, society, and economy is irrefutable; and explains how it is used to channel artistic expression and to share cultural customs.
From the Paper
"Music historians have traced the word 'Tango' to European lineage; it is allegedly "from the Spanish 'Tanir', or a deformation of the word 'tambo' used by the (Spanish) colonizers." Some believe the word was borrowed from the Portuguese "and that it would have reappeared at the slave plantations." (http://www.traveltango.com.ar/) Pronunciation of Tango is said to have an African origin. It "is a phonetic deformation of the name Shango, black God of the tempets who eats fire, wears lightening bolts and speaks with thunder." (http://www.traveltango.com.ar/)
In the Nigerian language of Nago, "the name of that God is written Sango. The 'S' sound is not as the French CH or the English SH. Opposite to what it is usually assumed, it is similar to a Spanish S, whistling sound, so that the articulation from SANGO to TANGO is made with a minimum degree of difficulty." (http://www.traveltango.com.ar/)
While there is no definitive birth of Tango music, there are many theories about its beginnings. It is speculated that Tango began in turn-of-the-century brothels. Valente suggests its origins lie in the dances and music of the African slave communities in the Rio de la Plata region. (Valente)"
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The Sound of Innovation, 2002.
Examines the influence of the Javanese Gamelan on the music of Achille-Claude Debussy.
2,068 words (approx. 8.3 pages), 6 sources, MLA, $ 65.95
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Abstract
This paper discusses the history and origins of the Javanese Gamelan, its debut at the Exposition Universelle that was held in Paris in 1889, and the lasting impact the Javanese Gamelan's performance had on the music of Debussy.
From the Paper
"Thus, Achille-Claude Debussy emerges as one of the most innovative of modern, Western composers. His exploration and adaptation of Oriental musical forms, those of gamelan in particular, broadened the horizons of European music and opened up opportunities for a whole a range of new methods of expression. Rather than adhering to strict rules of tonality, and harmony, composers were now free to use forms that more closely matched human emotions, and the raw power of natural forces. Debussy's adoption of Javanese and other Oriental techniques was an essential part of the whole larger movement, then current, that favored looking beyond Europe, and out into the wider world for inspiration."
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The MM Cult and Los Angeles, 2002.
This paper discusses the relationship of the cult group based on the Marilyn Manson (MM) rock band and the bandleader Brian Warner and Los Angeles.
2,500 words (approx. 10.0 pages), 8 sources, MLA, $ 75.95
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Abstract
This paper discusses the rock group Marilyn Madson (MM), whose name is a combination of the sex icon Marilyn Monroe and a mass killer Charles Manson, and who are seen as a curse on America's moral fabric. The author believes that Marilyn Manson, synonymous with everything bizarre, defiant and in opposition with mainline culture and beliefs, is a cult. The author explains that the close proximity to Hollywood and its bizarre culture is probably the biggest reason why cults prosper in Southern California.
From the Paper
"Some experts also have blamed the city's structure for the rapid increase in cult followings. These views shed light on possible reasons why MM is more successful in this region. Mike Davis in his book, 'Ecology of Fear' maintains that cults prosper in LA for the same reason natural disasters hit this city more frequently than other parts of the United States. He blames the city's lack of common sense and rising ethnic tension for all its problems. Davis feels that cults and other ethno-sociological problems also are the result of Los Angeles' totalitarian system. He writes, "Paranoia about nature, of course, distracts attention from the obvious fact that Los Angeles has deliberately put itself in harm's way. For generations, market-driven urbanization has transgressed environmental common sense... As a result, Southern California has reaped flood, fire, and earthquake tragedies that were as avoidable, as unnatural as the beating of Rodney King and the subsequent explosion in the streets."(9)"
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Music in "The Crying of Lot 49", 2002.
Discusses how Thomas Pynchon incorporates themes and images of classic and popular music in his work, especially "The Crying of Lot 49".
1,540 words (approx. 6.2 pages), 5 sources, MLA, $ 50.95
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Abstract
This paper shows how Pynchon's use of music is not limited to just one of his novels but makes a profound impact on all his works, most noticeably "Gravity's Rainbow" and the book selected for this paper, "The Crying of Lot 49". It is Pynchon's love for sounds that made him comment on 'modern and unreal' classical and popular music into his books including the most accessible of his works, 'The Crying of Lot 49'.
From the Paper
"The way music is presented in this novel can be understood from the following lines taken from Gravity's Rainbow, "Imagine this very elaborate scientific lie: that sound cannot travel through outer space. Well, but suppose it can. Suppose They don't want us to know there is a medium there, what used to be called an "aether," which can carry sound to every part of the Earth. The Soniferous Aether." - Gravity's Rainbow, p. 695. Pynchon urges us to ask ourselves what if music similarly is not really what it appears to be on the surface? What if the bands and their popular music are just manifestations of something more solid but obscure? What if music as we know is only as fragile in substance as the reality that we encounter each day? Complex as they may sound, these are the questions that Pynchon poses when he discusses music in his novel, 'The Crying of Lot 49'."
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