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Def Jam Recordings: The Hip-Hop Mogul, 2008.
An analysis of the rise of Def Jam Recordings and the the hip-hop cultural movement.
1,756 words (approx. 7.0 pages), 4 sources, MLA, $ 56.95
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Abstract
This paper discusses how, through the analysis of hip-hop culture and its golden era, we can see the growth and influence of Def Jam Recordings, as well as the rise of the hip hop mogul'. The paper then looks at how the hip-hop mogul has transcended many societal boundaries such as class and has led to the shift in socio-cultural practices of hip-hop culture. In addition, the paper contends that the hip-hop mogul has been accepted by the dominant society that the hip-hop industry transformed the regular white middle aged male CEO into what we call today the hip-hop mogul.
From the Paper
"Hip hops golden era is very often perceived through the emergence and influential rise of Def Jam Recordings. From its very first recordings of LL Cool J's "I Need A Beat" along with the Beastie Boys "Rock Hard", Russell Simmons and Rick Rubin proved that hip hop was a genre that represented the single most significant development in pop culture since rock 'n' roll. These two individuals believed in the success of hip-hop and established a company, which defined and nationalized hip-hop culture. Along with the establishment of Def Jam defining the golden era, many would attribute the decline in graffiti and b-boying and the eventual move towards dance fads as another factor during the golden era in hip hop. "
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Different Perceptions of Music, 2008.
A discussion of human perception of music and the various effects of listening to music.
1,000 words (approx. 4.0 pages), 8 sources, APA, $ 35.95
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Abstract
This paper examines the different ways humans perceive music. The paper asserts that music may mean something different to everyone. It discusses the factors that influence how an individual perceives music such as biology and musical training. It also examines emotions evoked by music, and its therapeutic effects. The paper concludes that research the links between melody and the mind indicates that listening to and playing music can actually alter how our brains and our bodies function.
Outline:
Biology of Hearing
Musical Training
Musical Therapy
From the Paper
"Since music can affect our emotions, we have found ways to benefit from this such as music therapy. There are plenty of uses of music such as stress and anxiety relief, and also an intervention for pain perception (Richards , Johnson, Sparks, & Emerson, 2007)(Labbe, Schmidt, Babin, & Pharr, 2007). Studies have shown that listening to classical or self-selected relaxing music results in reductions of anxiety, anger, and sympathetic nervous system arousal and increased relaxation compared to those who sit in silence or listen to heavy metal music (Labbe et al.). On the contrary, it has been reported that 60% of adolescents who listen to heavy metal reported an improvement in their moods (Gross. 2006). This shows it may not matter the type of music one listens to as long as the individual enjoys it."
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"Hallelujah", 2008.
A discussion of the lyrics and themes of the 1984 song, "Hallelujah" by Leonard Cohen.
1,069 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
This paper discusses the song "Hallelujah," written by Leonard Cohen from the album Various Positions, which was released in December 1984. It describes the lyrics and the tone of the song, as well as the themes that it includes. The paper also mentions the various artists who have performed the song, as well as the movies that it has appeared in.
From the Paper
"Usually for Cohen, the lyrics, are multilayered, in addition to being metaphorical; one line refers to King David as "the baffled king", an indication to David's confusion, but also to his title "the Battle King". Another example of a biblical reference is the line "she broke your throne and she cut your hair" is likely referring to the story of Samson who delivered the Israelites from the Philistines. His hair is the source of his strength, this story is taken from the Book of Judges. You might say that these lines in the song depict specific gender roles for both men and women. For David, whose downfall was the beautiful Bathsheba and Samson whose ultimate downfall was his trust in Delilah and telling her, the secret of his strength. It is commonly known that Samson is something of a Herculean figure, who was granted incredible strength to combat his enemies and perform heroic feats unattainable by ordinary men: "wrestling a lion, slaying an entire army with nothing more than a donkey's jawbone, and tearing down an entire building" by pushing the pillars out from underneath it. This depicts Samson as having a specific gender role, as being a mighty warrior and David as being the "the Battle King"."
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Women Of Country Music, 2005.
This paper describes the lives of nine female country western singers and their contributions to the history of this musical genre.
2,090 words (approx. 8.4 pages), 10 sources, MLA, $ 65.95
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Abstract
This paper explains that country western historically has been primarily a male-dominated industry but there are women that have been responsible for the major changes in this industry. The paper discuses some of the women that are responsible for these changes: Louise Massey, Rose Maddox, Dolly and Mille Good, Patsy Montana, Patsy Cline, Dolly Parton, Shania Twain and The Dixie Chicks. The paper relates that Louise Massey, who formed a band in 1918 with her father, husband and two brothers, are called the 'original rhinestone cowboys' because of the flashy clothing they introduced into the country music society. Blazing the hillbilly and rockabilly trails and still thriving in 1995, at the age of 70, when she received the Grammy nomination in the Bluegrass Category, Rose Maddox had a major influence on Loretta Lynn, Dolly Parton, and Janis Joplin.
From the Paper
""Come on Over" came out two and half years after her last release of "The Woman in Me". "The Woman in Me" is a nine time platinum album and spent over 140 weeks on the Billboard Country Albums chart. Shania was born in Timmons, Ontario and her name was Eileen. She started singing at a young age, being pulled out of bed to sing at midnight at a local bar. At 21, Shania lost her parents in a car accident and took on the responsibility of raising her three younger siblings. During this time she performed at Ontario's Deerhurst Resort, learning the ins and outs of theatrical performances."
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Rhythm and Blues, 2005.
An overview of the history of jazz and its connection to blues music.
760 words (approx. 3.0 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper looks at how the 1920s was a huge decade for "jazz" and how due to the closing of the seaport in New Orleans, musicians were forced to travel up the Mississippi to find work. It also discusses the four major types of jazz: boogie-woogie, Chicago jazz, urban blues, and society dance bands and explains the difference between jazz chords and blues chords.
From the Paper
"To clarify the chord structure between Jazz chords and blues chords, you must first understand that a chord is built on the first, third, and the fifth with an added seventh. A blues song is always centered on three chords, the first chord, the fourth chord, and the fifth chord example, in the key of C the one chord is CEG based on the C scale. The fourth chord is FAC based on the F scale. The five chord is GBD based on the G scale with the added seventh making the chord GBDF. Blues is much more simple because a blues song consist of only three chords. "
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Bob Dylan, 2008.
A literary reflection on Bob Dylan: poet, lyricist and author.
2,540 words (approx. 10.2 pages), 3 sources, APA, $ 76.95
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Abstract
This paper considers three published written works of Bob Dylan - the 1971 published poetry anthology "Tarantula", the 2004 published autobiographical meta-fiction, "Chronicles, Vol. 1" which offers vignettes from the author's life, and its printed companion and the 2004 published collection of Dylan's song lyrics, "Lyrics: 1962-2001". The paper discusses how Dylan's sense of defiance and his probing exploration of himself, both played out against each other in the lyrical, poetic and literary output of his career, constitutes a body of work with great cultural and social import to the period in which it was conceived and in posterity, where this writer will surely be afforded retrospective deference.
From the Paper
"In his autobiography, he rattles off the names of authors upon his whose influence his work had evolved, with among the numerous referenced, Lord Byron, William Faulkner and Jack Kerouac standing out to demonstrate the diversity of his priming. This hybrid is apparent in some of his most important lyrics which, like the man himself, appear to suggest a volatility in the rift between privacy and the artist's quest for self-knowledge. The romantic period's impulse for articulation of the emotional self meshes with the existential cynicism of Faulkner's meditations and the rambling fluidity of Kerouac's stream-of-consciousness in order to produce a singular identity in Bob Dylan's lyrics."
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Chamber Music Society, 2008.
This paper offers a brief look at the Chamber Music Society, New York City.
942 words (approx. 3.8 pages), 3 sources, APA, $ 33.95
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Abstract
This paper discusses the Chamber Music Society's mission that proposes a multifaceted devotion to perpetuating and extending awareness and appreciation of chamber music. The paper looks at the operating costs and their targeted audience. The paper also shows how the Chamber Music Society uses its hall as a forum for the preservation of the cultural lifestyle enjoyed by New York's academic, intellectual and artistic communities.
From the Paper
"In 1969, the combined efforts of performance arts enthusiasts and philanthropists led to the founding of the Chamber Music Society at Lincoln Center in New York City. Its mission proposed a multifaceted devotion to perpetuating and extending awareness and appreciation of chamber music. This would be accomplished by a set of initiatives designed to bring the public into contact with live performances as channeled through the Society's orchestra. In addition, the CMS pledged in its formative statement to make accessible to the public a preserved record of chamber music's history through the availability of recordings and the display of artifacts. Education and the commission of new compositions within the framework of the chamber music discipline would also be central to the future of the Society. In its acknowledgment of its history, the CMS assesses that its founding was intended to make it a vital contribution to the continuation of cultural evolution in the United States."
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Anger Management, 2008.
This paper explores anger management in young learners.
1,104 words (approx. 4.4 pages), 2 sources, APA, $ 38.95
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Abstract
The paper relates that it is essential that instructors be able to proactively approach a strategy of anger management education, noting how this can be especially helpful in music classes for young learners. The paper further relates that prevention should be the core premise in anger management instruction. The paper goes on to discuss the introduction and reinforcement of anger management techniques and explains that it is best to ensure that students are equipped with the personal resources to address anger as it approaches, not while consumed by it. The paper reveals that an approach to anger-management and to education in general should be the understanding that the teacher and the classmates are allies in their learning experience.
From the Paper
"There is little that is more rewarding than the development of musical skills. The ability to play a musical instrument can be revelatory and therapeutic for learners at all levels. But it can also be very challenging and very frustrating. This is especially true for adolescent learners, many of whom are only just developing the dexterity and intellectual sophistication to attend the complexities of instrumental music. Though it would seem an unlikely setting for such, the instrumental music class can actually be a source of anger for struggling 7th and 8th grade students. A sense of futility or disenchantment may accompany this experience of struggling, and consequently, students may become angry and even disruptive. It is therefore essential, as an instructor, to proactively approach a strategy of anger management education."
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Music is The Fruit of All Creation, 2007.
This paper studies 'The Silmarillion' by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett focusing on the issue of music.
1,235 words (approx. 4.9 pages), 3 sources, MLA, $ 42.95
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Abstract
In this article, the writer notes that music has been a constant fascination to man learning new ways to portray thoughts and emotions. The writer compares the work 'The Silmarillion' written by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett, noting that the main tool of creation in both is music. The writer points out that 'Silmarillion' is one story that uses music as a tool of God, Iluvatar to create existence. In the 'Spider Woman Stories', Spider Woman and Tawa used their song to create the creatures that inhabit the earth and the song of life to change them from clay into living beings. The writer concludes that given Jung's definition and the shared commonalities of music in vastly separated cultures, it can be argued that the similarity between 'Spider Woman Stories' and the 'The Silmarillion' is the result of an archetype that has spanned cultures and ages.
From the Paper
"The Silmarillion written by J.R.R. Tolkien is one story that uses music as a tool of God, Iluvatar to create existence. In the story of Ainulindale, Iluvatar created the Ainur and thought them themes of music and they sang to him, at first alone or in a small group because each song represented a part of Iluvatar's mind. While the rest listened they were able to slowly learn about their fellow Ainur and comprehend more and more of Iluvatar's mind. Eventually, they were able to sing in harmony and Iluvatar presented them with a great theme declaring that together they will be able to make the most beautiful thought come to "life" through song. As they sang, Melkor, the most powerful of the Ainur brought in his own thoughts and created discord in the music singing more powerfully than the rest, until all the Ainur fell silent and Iluvatar stood up and created a new theme in the song, and it was beautiful but Melkor felt he could contend with it and brought his music in an uproar, and so on for three themes until all fell silent. Iluvatar led the Ainur into the Void and said behold what your music has created and showed them a vision of the world, streaming with the thoughts of each Ainur, and improved by the wisdom of Iluvatar."
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Zydeco Music, 2001.
This paper describes zydeco music and dancing, popularized by Creole French speaking people of African decent living on the prairies of south-central and southwest Louisiana.
2,860 words (approx. 11.4 pages), 6 sources, MLA, $ 84.95
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Abstract
This paper explains that zydeco music, a form of dance music, is characterized by a syncopation or a shift of accent in a passage or composition that occurs when a normally weak beat is stressed. The author points out that the accordion and keyrub board, (also know as the washboard, scrub board or a froittoir) are essential parts of the zydeco sound, but there are no fiddles as in Cajun music. The paper relates that traditional zydeco dancing was done subtly, smoothly and upright by couples in a closed position; however, zydeco dancing appears to be evolving from a couples dance to individual free-style. The author relates that Clifton Chenier, who brought the zydeco genre to international attention, reigned as the "King of Zydeco" with a career lasting 30 years, and earned a Grammy award in 1984.
From the Paper
"The changes that have taken place in zydeco music can be tracked by the type of accordion that is used. There were four different models of accordions that have been widely used in the zydeco musical genre, each type varying in the number of rows, and consequently the number of keys. The accordions were sturdy and could be easily heard in big crowds of people. Today, there are diatomic models as well as chromatic models. The diatomic models only play the full-step intervals found in major scales, while the chromatic "piano" accordions encompass half-step intervals..."
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Punk as a Deviant Subculture, 2007.
An analysis of the characteristics of punk that may be considered deviant.
2,947 words (approx. 11.8 pages), 15 sources, APA, $ 87.95
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Abstract
This paper begins with a brief look at the history of punk music and its formation as a subculture. It then addresses individual aspects of punk subculture and offers explanations as to why these characteristics may be considered 'deviant', as opposed to 'normal'. It addresses the norms, values and revolutionary nature of punk culture in light of the strain theory of deviance and the appearance, style and behaviour of punks from a labelling perspective of deviance. Through this analysis, the paper examines why punk subculture has generated a consistent social reaction for the last three decades that has led to its classification as a 'deviant' subculture.
Table of Contents:
History of Punk Music
Strain Theory
Labelling Theory
Labelling Theory and Punk Style
From the Paper
"The labelling theory proposes that no act is inherently deviant. In applying this premise to punk fashion, it can be argued that punk fashion itself was not deviant. However, as has been explored by Becker, it is argued that things become deviant only when it is labelled as such. Whilst punk may pride itself on its values of free will and autonomy from the status quo, many theorists argue that the punk subculture could not possibly exist without the status quo (Traber 2001, p. 33). This is because if there were no status quo, there would be no one to label punk subculture as 'deviant'. Whilst the punk style was revolutionary when it first appeared, even as early as the 1980s punk style had filtered into the mainstream. Black clothes, leather, and the signature Doc Marten shoes all became integrated into the mainstream fashion (Cox 1994, p. 10). This is a clear example of the ability held by some to label and define others as deviant. When punk clothing and fashion first emerged it was generally at large classed as deviant. However, the filtering of punk fashion into mainstream culture put a whole new interpretation to punk style. This example illustrates the power of the dominant culture to change labels to suit its own needs, and as such determine what is classed as 'normal' and 'deviant'."
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Comparative Concert Review, 2007.
A comparison of two performances, "Stomp" and "Live Earth Concert".
3,430 words (approx. 13.7 pages), 11 sources, APA, $ 97.95
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Abstract
This paper examines the functional, operative and practical aspects of "Stomp" (a physical theatre and musical performance) and "Live Earth Concert" (a series of worldwide concerts held on the same day). It explains and compares different facets of these two performances, including the venue; atmosphere; musical aspects; lighting and sound enforcement. The writer reflects on the overall performances and notes that most people who attended both performances enjoyed "Stomp" (the relatively low budget unique creation) more. The writer concludes that both events were worth the price of the tickets, as "Live Earth Concert" was a great opportunity to see several artists performing on one stage and "Stomp" was a purely entertaining and exclusive show.
Table of Contents:
Preface
Introduction
Concert Summaries
Venue
The Performances
Sound and Acoustics
Music Aspects
Instruments and Equipment
Stage Lighting
Conclusion
From the Paper
"A concert or as some colloquially call it a 'gig' or 'show' is a performance, that has music as the central entertaining premise. The performers and entertainers such as solo artists or bands, aim to generate a vigour, power and energy that in a sentence leave their audiences in rapturous admiration and awe at the vertical depth and wide coverage that they are able to generate in just a short space of time. The musical masterpiece 'Stomp' which is currently being staged at Vaudeville Theatre in London; and the benevolent global 'Live Earth Concert', which was held on the 7th of July 2007 and had Wembley Stadium London as one of its many venues; model two such concert performances."
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The Evolving World of Music, 2008.
This paper looks at Neil Strauss' article "A Land with Rhythm and Beats for All" and offers a personal view on today's mixing of music styles.
702 words (approx. 2.8 pages), 1 source, MLA, $ 25.95
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Abstract
The writer discusses how artists are joining together to produce a music style that integrates many different types of music. The writer examines Neil Strauss' "A Land with Rhythm and Beats for All," agreeing with Strauss' argument that hip-hop has a sound for everyone. The paper explains Strauss' assertion that artists are singing about their lives and personal situations, expressing the pain they have experienced in their lives. The writer disagrees, however, with Strauss' contention that the best hip-hop performers will always be black.
From the Paper
"Today's music has become rather evolved, mixing different sounds and styles together to create new forms of music. It has become rather difficult to find just one sound or type of music on a radio station these days. Neil Strauss, author of "A Land with Rhythm and Beats for All," says that he is in favor of this new mixing of music styles."
"I had a music appreciation class at Weber State and I agree with Strauss that hip-hop has had an influence on many different people. Even in the beginning, the blues had an enormous influence on other styles of music being created such as rock, etc. Hip hop is continuing to have an effect on music today. It is merging different styles together and creating new types of music."
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Verdi's "Otello", 2007.
An analysis of Verdi's musical interpretation of William Shakespeare's "Othello".
1,200 words (approx. 4.8 pages), 0 sources, $ 41.95
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Abstract
Written in 1603, "Othello" by William Shakespeare, is a tragedy that was transformed into an opera by Giuseppe Verdi. "Otello" is considered to be Verdi's greatest opera and was performed in Milan on February 5, 1887. This paper discusses how throughout the opera, Otello and Desdemona's relationship changes dramatically and how their relationship change is most evident when contrasting the end of Act I with scene two of Act III. The paper also looks at how Verdi uses many unique musical techniques to match the dramatic needs of the libretto in these two scenes.
From the Paper
"At the end of Act I Otello, the protagonist of the opera, walks into the bedroom where Desdemona is lying clearly enjoying the solace and quietness of his bedroom with his new wife. This scene contrasts directly with the scene before it. With all of the uproar outside now broken up, Otello is now enjoying the peace and quiet with his adored wife. While Otello is walking toward Desdemona, the focus is placed on Desdemona while violins are playing very softly. The soft violins playing in the background give Desdemona even more of a romantic quality to her. As Otello sits down on the bed he reaches to touch her face and once again soft violins are playing without any drums or horns in the orchestra. "
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Life and Art, 2003.
Discusses the ways that aesthetic and decadent writers expressed life as an art form.
3,541 words (approx. 14.2 pages), 15 sources, MLA, $ 99.95
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Abstract
This paper examines the works of Oscar Wilde, Lord Henry Wotton and Thomas Mann. The paper shows how the notion of the self as a construction is particularly evident, not only in the fictional work of these writers, but also in the way that they themselves lived their lives.
From the Paper
"After visiting Walt Whitman during his lecture tour of America in 1882, Oscar Wilde said of the American poet: 'I have an admiration for that man which I can hardly express'. Looking at both Wilde and Whitman as personalities, it is difficult, at first glance, to imagine what Wilde, with his reputation as a quick-witted dandy could have found so admirable in Whitman, the self-confessed 'good gray poet'. But it was in Whitman, according to Alan Helms, that Wilde found 'an illustration of his favourite theory', that life imitates art. What Wilde found in Whitman was 'a consciously crafted man who had become his own ideal version of himself'. Later, in 1888, when Wilde commented to fellow Irish poet Yeats, 'I think a man should invent his own myth' it became evident that the notion of self-creation or the cultivation of his own image was something to which Wilde himself aspired."
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