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Gerry Mulligan-Chet Baker Quartet, 2002.
A discussion about the Gerry Mulligan-Chet Baker Quartet, which was one of the most influential jazz quartets of the 1950s and 1960s.
1,410 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper introduces, discusses and analyzes the topic of the Gerry Mulligan-Chet Baker Quartet. Specifically, it contains an artist profile, which focuses on the artist's primary contribution to their style of expression. It shows how the Gerry Mulligan-Chet Baker Quartet added the "smooth" to West Coast jazz, and created a new form of jazz entertainment that appealed to a wider audience.
From the Paper
"In fact, versatile musician Mulligan, who played baritone sax and clarinet, wrote and arranged songs, and created one of the first pianoless quartets, "would play an important role in developing cool jazz on the West Coast" (Gioia 283). In fact, Mulligan helped originate "cool jazz," along with such jazz institutions as Miles Davis. The sound originated in the east in the 1940s, and Mulligan was a driving force in the arrangements and orchestrations. Critics have called him an emotional and sensitive player who also had a great ear for arranging. "Gerry Mulligan, an artist of exquisite sensitivity, has to his credit above all the emotional impact of his solos, which are sometimes particularly successful melodically" (Hodeir 125). Mulligan took the cool jazz sound and redid it later in his career, literally bringing jazz to a much wider audience, bringing it into the realm of popular music."
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"Ninth Symphony", 2002.
A review of Beethoven's musical composition, the "Ninth Symphony".
1,372 words (approx. 5.5 pages), 10 sources, MLA, $ 45.95
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Abstract
This paper reviews Beethoven's classical musical piece the "Ninth Symphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.
From the Paper
"Today, we can only be grateful that Beethoven's music was spared the kind of criticism practised in the 21st century, "It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of 'bourgeois decadence' in the music of Rachmaninov." (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven's era seems liberal in comparison to today's standards-or perhaps it is only that criticism was not so advanced in his time."
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"8 Mile" and Eminem, 2002.
Reviews the movie "8 Mile" starring singer, Eminem.
951 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper reviews the movie "8 Mile", a fictionalized version of the Detroit rapper, Eminem's life, where the white hip-hop singer overcomes the black skeptics with his undeniable skills. The paper discusses how the movie tells about growing up, how people relate to their peers and finding ways out of seemingly hopeless situations. The paper shows that the movie is not so much about Eminem's rise to fame, but rather revolves around the quest for respect.
From the Paper
"David Elliot (2002) compares Eminem to a young James Dean. Elliot speaks well of Eminem's role by saying, " he has a laser stare and a smart, gravely centered presence, even if it's a stretch when he piles furiously into black guys double his size. Like Dean's, Eminem's rage and brooding is offset by tenderness." His honesty in dealing with people who make fun of him and criticize his efforts depicts how a person can overcome obstacles and ridicule by working hard and persevering. The movie held my interests as I enjoyed seeing how he battled controversy while engaging in loud verbal battles with various characters who continued to compare him to Vanilla Ice."
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Music Piracy, 2002.
Examining the new phenomenon of music piracy on the internet and methods to curb this occurance.
13,000 words (approx. 52.0 pages), 17 sources, MLA, $ 247.95
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Abstract
This paper presents an examination of music piracy on the internet. The writer explores the various views on its occurrence and what is being done to stop it. The writer also discusses the affects piracy has on the United States music industry including what various artists have been saying about its occurrence. The examination focuses on the affect the Internet is having on the piracy industry in the music field.
From the Paper
"The technological explosion of the last few decades has taken mankind to heights it never dreamed possible. Today, with the click of a mouse one can trade stocks, plan vacations and purchase the fares, chat with others around the world, play online games, research any topic they choose and many other things. The world of technology and the advent of the Internet have expanded the ability of knowledge, and self help beyond anything in history has done. It is an exciting time for those who use it and it is something that continues to improve with each passing year. The internet has opened doors that used to be only dreamed of, but the enlightenment the Internet provides comes with a price. Because it is so new to the world there are several areas of legal issue that have not been decided and are currently under fire. One of the most controversial topics of the internet debate is that of ownership. When one puts an idea out on the net who owns it? This question has created tension and turmoil in many fields including literature, litigation and music. Music has long since been at the forefront of controversy when it comes to the internet and its abilities because of the ease with which it allows in music piracy. Front page news accounts detail the rise and fall of companies such as Napster and others that made a huge profit on the willingness of consumers to commit music piracy. Music piracy on the internet has become a multi-million dollar venture and the artists, their agents and the attorneys they hire are constantly working to shut down its existence."
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Romanticism in Music, 2002.
An introduction to the Romantic era in music, with a focus on Ludwig van Beethoven and Johan Brahms.
1,344 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the Romantic era of music which refers, in its broadest sense, to the hundred years of music from 1820 to 1920. Romanticism was the direct outcome of the French Revolution and believed in ideas of freedom and equal rights for all. The paper shows that romantic music was a reflection of massive changes that were taking place in all spheres of life in that period and, consequently, the events of that era had profound impact on the Romantic music. The paper also discusses two musicians who influenced romantic era music - Ludwig van Beethoven whose independence in style made him a model for future generation of Romantic composers; and Johannes Brahms, the man responsible for bringing Romanticism in music to an end.
From the Paper
"Beethoven moved away from such restrictions and conventions of Classicism and some of his symphonies were large, sometimes as big as the size of an epic. But the emotional depth that they contained was truly matchless. Beethoven 's Second Symphony has been described as "full of summer air and summer flowers." The third Symphony and probably his favorite were initially dedicated to Napoleon, the French ruler, as Beethoven left that he could free Europe from the monarchy marks the beginning of the middle-period work."
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Napster Inc. Shutdown, 2002.
Discussing the many legal and moral issues surrounding the shutdown of Napster Inc. - the software which enabled users to share music files online.
1,957 words (approx. 7.8 pages), 4 sources, MLA, $ 62.95
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Abstract
This paper is a semi-opinion paper about why the writer thinks it was irrational for Napster to be forced to close. It presents opinions on why the site was illegal and immoral to the music industry. However, the writer bases his arguments for the continuation of Napster as a simple music lover who enjoyed the freedom of the technology which this company provided him and many others. The issues of piracy and copyright are discussed in detail.
From the Paper
"For few years, Napster.com was every music lover's favorite site. This was where they could do download their favorite music and share MP3 files with other online users. Napster Inc. was the brainchild of a college dropout Shawn Fanning. Being highly ingenious, he utilized his computer skills to develop a file sharing software and named it Napster. This software enabled users to share music files with each other and thus for sometime they were glad to have found an economical way of listening to their favorite songs. Little did they know that this file sharing would lead to a major lawsuit against Napster, which would result in the closure of the company. Napster was nothing but great software, which made use of compression technique known as MP3, facilitating economical transfer of music files from one computer to another."
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European Music 1900-1960, 2002.
A review of the influence of various types of music in Europe from 1900 to 1960.
2,222 words (approx. 8.9 pages), 8 sources, MLA, $ 69.95
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Abstract
This paper discusses three different types of music, tango, big band and gospel. The effect each of these had in Europe during the first 60 years of the 20th century is examined. A brief history is provided of tango, big band music and gospel. The paper outlines the successful or unsuccessful introduction of each type of music to different parts of Europe.
Tango
Instrumentation
Big Band Music
Gospel
Works Referenced
From the Paper
"The Tango finds its origins in Argentina where culture was a mix of African, European, and Latin rhythms, sounds, and colors. At the turn of the last century, the Tango had become popular outside of the boundaries of Buenos Aires and became part of the repertoire of singers, piano players and bands from New York to London and Paris. By the 1920's, the dance had acquired a very sophisticated image as being cosmopolitan and elegant. It eventually gained a lyrical counterpart and the songs were as deep and meaningfully passionate as the dance. When the dance became formalized and the steps immediately recognized throughout the world, writers started adapting the songs and lyrics of the previous decade to the new rhythms which exploded the Tango into a movement. Hollywood glamorized the tango with Rudolph Valentino."
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RIAA vs. Napster, 2002.
A discussion of the case between the Recording Industry Association of America (RIAA) and Napster Inc. over copyright infringement.
2,285 words (approx. 9.1 pages), 12 sources, APA, $ 70.95
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Abstract
This paper examines the famous case of Napster being sued by the RIAA over copyright infringement by their technology that allowed individual users to share personal recordings across the Internet. It looks at the arguments from both sides against restraint, the legal position of both sides and the ethics of the whole episode. It evaluates how Napster's enterprise deprived artists of their rightful profit from their work even though it probabley was not the intent upon Napster's entry into the marketplace and whether Napster were really at fault since they posted the copyright rules on their web site.
From the Paper
"The RIAA claimed that Napster did not have any non-infringing uses that were commercially significant. The RIAA also claimed that copying off a television program is different than copying and distributing off a cd. Napster's position was that they were comparable to Sony because they are providing the directory that enables users to use it for non-infringing purposes. In this phase of the argument, both parties made reference to the Universal City Studios v. Sony case. Which determined that it was OK to videotape television shows for personal use. In Sony, why isn't it acceptable to copy music from the Internet for personal use?"
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Wolfgang Mozart, 2002.
A biography of the life and the theories behind the death of the composer Wolfgang Mozart.
2,136 words (approx. 8.5 pages), 12 sources, MLA, $ 66.95
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Abstract
This examines the life, works and death of the famous music composer Wolfgang Mozart, who died in 1791 at the age of thirty five. It concentrates on the theories that have been put together regarding what may have killed the composer. He was one of the most prolific and talented composers in history and his fame at such a young age touched the chord of envy in many. It discusses how modern science has been trying to determine the exact cause of death but it will probably never be resolved and how other theories include a cheating wife, a jealous peer and plain old bad pork.
From the Paper
"Today rheumatic fever is rare but in the composer's life it was a common ailment(Sleuth, 2000). He died during a historically noted epidemic of the illness around Europe and scientist believe this is what killed the music genius. Because it is known that Mozart had the disease several times as a child it does not surprise the advocates of this theory that scientists have opened the possibility of the disease damaging his heart and then later in his life being the cause of his death. This theory sounds plausible based on the rash and the fever for rheumatic fever and the swollen limbs which point to a commonly known byproduct of heart failure."
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The Theme of Seduction in "Madame Butterfly", 2002.
An exploration of the key relationship in "Madame Butterfly" with a focus on the theme of seduction.
1,324 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper focuses on the theme of seduction in the play "Madame Butterfly". The writer concentrates on the complicated relationship between Gallimard and Song. The author indicates that while it appears to be the story of a man being tricked by a woman, it later becomes known that Song is actually a man trying to save himself from the new Chinese communist government. The paper concludes by highlighting how the themes of seduction could be accentuated in a production of the play, through the set, lighting and music.
From the Paper
"In the play the character Gallimard, is seduced by both Song and by his own idea of Song. The seduction of Gallimard is a seduction perpetrated by his own stereotyped ideal of what an Asian woman is and can be for a white man mainly, submissive and by his actual seduction by Song the actor. In the very beginning of the interaction between Gallimard and Song there is the hint of a deception. Song laughs at him when he tells her that she made a convincing butterfly. "Convincing as a Japanese Women?" she says. (Hwang, 1988 17) Yet, Gallimard must have given her some real indication that he believed that she was a woman, or she was just desperate to win the favor of someone who could give her the information that she needed to save herself".
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Mozart and Schumann, 2002.
A review of two classical music pieces, Mozart's Symphony no. 39 in E-flat and Schumann's Quartet in A-minor, op 41, no1.
633 words (approx. 2.5 pages), 2 sources, APA, $ 22.95
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Abstract
This paper is in two sections. The first part examines Mozart's Symphony no. 39 in E-flat and the second, Schumann's Quartet in A-minor, op 41, no 1. It discusses how Mozart's music was reflective of his life and his friendships and interwoven in this symphony are chords that resonate harmony and plays on the dynamics of sound to create a musical piece that slowly marches into a series of discords. In contrast it shows how Robert Schumann's music has often been identified with his love of poetry, painting and indicative of his personal moods and how many of his compositions mention characters or refer to scenes from poems, novels and plays.
From the Paper
"E-flat was a one of his favorite keys. As in the rites of the opera, three solemn knocks on the portal of truth are evoked in the commanding chords upon which the Adagio introduction opens the symphony. Certain musical details of this exalted work have been viewed as Masonic elements: parallel thirds, symbolizing fraternity; the striking role of the clarinet, then a newcomer to the symphonic ensemble but commonly heard at Masonic gatherings and in the opera house; and even slurred notes, whose ties suggest friendship."
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Randall Thompson, 2002.
A biography of the life and works of the composer Randall Thompson.
968 words (approx. 3.9 pages), 3 sources, MLA, $ 34.95
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Abstract
This paper presents an examination of the life and times of the American choral composer Randall Thompson. It documents his life story and discusses how Thompson composed many types of music including symphonies, instrumental works and many songs. He also was well known for his composition of various operas, but he was best known for his choral compositions. It shows how he was a lover of learning, a lover of teaching but most of all he was a lover of music, the universal language.
From the Paper
"When he first began to compose music his style was varied and not something that had its own voice. By 1922 however he had begun to study at the American Academy located in Rome. It was here that he began to develop his personal musical style. The musical style eventually led him along the path of success until he became one of the famed composers of the world. At the forefront of the American choral composers his name is always listed as one of the best, and it was about his steady study and practice that took him to that position."
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Bach, Beethoven and Chopin, 2002.
This paper discusses the composers Bach, Beethoven and Chopin, the great masters of the Baroque, Classical and Romantic periods, respectively.
1,575 words (approx. 6.3 pages), 2 sources, MLA, $ 51.95
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Abstract
The paper explains and illustrates that each composer supplied the musical paradigms for their distinctive eras. This paper discusses that Johann Sebastian Bach (1685-1750) is considered as the culminating influence of the Baroque period. The author believes that Ludwig Van Beethoven (1770-1827) is the supreme pianist of the Classical period. The paper states that Frederic Francois Chopin (1810-1849) is one of the most original and influential musicians of the nineteenth century.
From the Paper
"As early as 1831, Chopin expressed his wish to create a new musical world characterized by musical poetry of an extraordinary elegant nature, mostly represented by his piano pieces, such as his Polonaises (Adante spianato and Grande Polonaise Brilliante Op. 22 and Polonaise in Ab Heroic Op. 53). Chopin's harmonic language was also completely original, symbolized by complex chromatic harmonies mingled with the drones of fifths and modal scales of traditional Polish folk music. His fifty-five Mazurkas displayed all the intricacies of his style. It has often been compared to the virtuosity of Bach's Well-Tempered Clavier."
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Double Conscience in Blues Music, 2002.
A paper which examines the underlying meanings in African-American blues music.
1,627 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
Blues music has been considered an important and popular music genre in the history of American music. The paper discusses one of the most important and significant characteristics of blues music - the fact that it illustrates double conscience, wherein an underlying meaning can be found explicitly or implicitly in the song's lyrics. Examples of themes are the social and personal experiences of the African-Americans in their lives as slaves of the white American society and as laborers in most Southern cotton plantations. The paper examines how the social and personal relevance of blues music to the black Americans is evident in many works of literature depicting black American slavery such as Frederick Douglass' , "Narrative of the Life of Frederick Douglass, An American Slave." The paper also analyzes three Blues songs to show how the theme of double conscience - "Strange Fruit" by Billie Holiday, "No Education" by Lightnin' Hopkins, and "Black, Brown, and White" by Big Bill Broonzy.
From the Paper
"Meanwhile, "Black, Brown, and White" by Big Bill Broonzy is a song that generally discusses certain issues about discrimination among people who have different physical colors: the Blacks, Whites, and Browns (or the mulattos, as they are commonly called). Broonzy's song utilizes colors as the primary aspect that distinguishes the privileges that an individual should have. All throughout the song, the line, "... if you is white/ You's alright/ If you's brown/ Stick around/ But if you's black/ Hmm, hmm, brother/ Get back, get back, get back" is repeated after every stanza, to further reinforce the fact that among the physical differences of people in the world, the Blacks are considered the most unfortunate of all, denied the opportunity to obtain a good job, to receive a high salary, and to enjoy the simple leisure and joys of life. Once again, the song utilizes narrative description as a way to illustrate and extend the message of discrimination to black Americans because of physical appearance and the issue of injustice and unequal treatment among people of their race (African-American)".
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"Sonny's Blues", 2002.
The important image of blues music in James Baldwin's short story "Sonny's Blues".
1,876 words (approx. 7.5 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper introduces, discusses and analyzes "Sonny's Blues" by James Baldwin, a short story set in New York City's Harlem. Specifically, the the paper discusses the role the blues plays in the story. The paper shows that "Sonny's Blues" is about being lost, and trying to be found, within the context of being a black man in this society; and of finding oneself as so many black men have, through the blues-both as music, and as storytelling.
From the Paper
"But if blacks recognize each other in the rarefied smoky atmosphere of the jazz clubs, black society at large often doesn't even honor its own. It's sometimes impossible to earn a living as a musician--something the narrator warned Sonny about after their mother died. The narrator doesn't even know who Charlie Parker is-perhaps the greatest jazz musician of all time. If blacks themselves can't recognize the geniuses among them, what chance does Sonny have? "You'll have to be patient with me. Now. Who's this Parker character?" the narrator asks Sonny, who becomes sullen and turns his back. "He's just one of the greatest jazz musicians alive." Sonny, too, will turn out to be a creative genius. For the black man, this means spontaneous improvisation: "Baldwin's bastardized characters must legitimize self through endless improvisation...[they] begin with memory, then bursts out into improvised song." (Tsomondo, p. 197)"
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