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Janis Joplin, 2007.
A biography of the life, music and style of Janis Joplin.
1,409 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper traces the life and career of the singer Janis Joplin from her beginning as a 'beatnik' to her early death at the age of 27 from a heroin overdose. It also includes an analysis of the style and lyrics of one of her songs, "Get It While You Can".
From the Paper
"Janis's experience in Venice is one that would shape the rest of her life. The beatniks first introduced her to blues music, including one of her greatest influences Bessie Smith. She performed in public for the first time in Venice in 1962. Janis continued to sing publically in coffee houses and bars and recorded her first song, a jingle for a local bank. While in California Janis met a man by the name of Jorma Kaukonen, the future guitarist of Jefferson Airplane. "Janis began singing at The Coffee Gallery, occasionally at Coffee and Confusion. She sang alone, using her autoharp or backed by an accompanist, who was sometimes Jorma Kaukonen, later of the Jefferson Airplane. Word spread fast in North Beach."
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Arnold Schoenberg, 2007.
An analysis of the background of Arnold Schoenberg and his musical compositions.
1,692 words (approx. 6.8 pages), 4 sources, MLA, $ 54.95
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Abstract
This paper discusses the background and achievements of Austrian composer, Arnold Schoenberg. The paper discusses the Schoenberg's controversial methods of composing and describes why some people go as far as not to recognize it as music at all. It describes his life and then focuses on specific pieces that he composed. The paper presents the writer's view of Schoenberg's compositions.
From the Paper
"Few composers during the early twentieth century, let alone any other monumental musical era, had the originality, boldness or intelligence needed to create such a wonderful piece of music Schoenberg was able to craft and formulate. His individualism allowed him to go beyond the norm for composers of his time. With his combination or sheer brilliance and determination, he broke a system of tonal organization that had developed over hundreds of years and had become a landmark of Western music. The fact that his talents did not stop as a composer but furthermore as a teacher, pupil of his profession, painter and more, made him as a unique individual as the world had seen to date. Schoenberg himself expressed the importance of creating your own path, "The artist does nothing that others deem beautiful, but rather only what to him is a necessity." That quote lingers in my head over and over again. The simplicity, in which he states an idea that would take many artists a lifetime to conjure, is simply astounding, and the more one learns about this mans life, the more you find yourself coming to terms with the notion that his intellectual brilliance does not impede there."
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Buddy Holly, 2007.
A look at the life and works of Buddy Holly and his influence on American music.
2,079 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
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Abstract
This paper discusses how there is a case for calling Buddy Holly the century's most influential musician. It looks at how his skills in songwriting, singing, and playing music went on to influence the musical scene in both America and Europe all the way into the 21st century.
From the Paper
" In 1955, Buddy heard Elvis Presley perform live for the first time. His country roots were never the same after that. This marks the end of his career as a country singer and the beginning of his life as a rock and roll musician. He was strongly influenced by Presley. This is obvious in the many similarities in their music. However, there were also several major differences. The biggest difference is the source of their music. Holly wrote most of his own music, while Presley is known for his outstanding work with covering songs. Another obvious difference between the two singers has to do with their voices (Carlin 27). Due to his Texan roots, Buddy's vocal inflections had a southwestern twang to them. Elvis's accent, however, was purely a southern one. Holly's voice had a lighter tone than Presley's did, although he was still able to use it demonstrate extreme contrast in his songs. Not only was his sound different from Presley's, but his appearance couldn't have been more so. "
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Religion in Carnatic Music, 2006.
A exploration of the role of religion in Carnatic music, the genre indigenous to southern India.
1,632 words (approx. 6.5 pages), 8 sources, MLA, $ 53.95
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Abstract
This paper begins with an explaination of some of the history of Carnatic or Karnatak music and explores how it has evolved. It provides detailed descriptions of the main instruments and song types. The final section provides short biographies of the three most influential Carnatic composers.
From the Paper
"Music, in general, began in primitive times (hundreds of thousands of years ago). People living during this time period were hunter-gatherers and they used music and dance as a way to express emotion. The oldest songs consisted of words sung using a single pitch and gradually evolved to have a few (two or three) notes (Prajnanananda, 1963, p. 83). These ancient people had few instruments. They had flutes and lutes made from wood, bamboo, or bone as well as clay or wooden drums (Prajnanananda, 1963, p. 85). "
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The Voice of Today's Black Youth, 2007.
A discussion of the influence of rap music, in particular that of gangsta rap, on adolescents and young adults in America.
812 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper considers the effects that rap music has had and is having, on American society. It examines both rap music's roots and its original message. The paper then discusses the way in which this form of music has developed and evolved, including the way in which its message has changed. It also reflects upon the ways in which these changes are affecting current society.
Table of Contents:
Introduction
The Rap Story
Conclusion
From the Paper
"For contemporary black youth, rap music, just like earlier forms of black music, has become the medium to express the violent and unjust society in which they live. Continuing the line of former Negro expressions, such as Blues, Spirituals, and Soul - all of which were produced during times of dreadful suffering - rap music is also an expression of the way in which the younger generation views modern life, along with its difficulties, and its problems. However, the presence of highly violent and often explicit content, means that rap is neither viewed or listened to in the same way as its predecessors, with many observers expressing serious concerns on the way in which it can, or does, affect the younger members of society. Consequently, this paper will be considering the effects that rap music has had, or is having, on society through examining both its roots and its original message."
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Reggae, 2007.
An analysis of the history of Jamaican music, particularly the development and sub-genres of reggae.
2,236 words (approx. 8.9 pages), 2 sources, MLA, $ 69.95
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Abstract
This paper discusses the history and development of the music genre, reggae. In order to understand reggae, the paper also describes other genres of Jamaican music. It then discusses the instrumental tracks and musical dynamics of reggae music. The paper finally looks at the three main categories that reggae drumbeats are grouped into and its two sub-genres.
From the Paper
"The supplementary subgenre of reggae is Dancehall, which is a type of Jamaican popular music that developed around 1980 through the likes of such artists as Yellowman, Super Cat, and Shabba Ranks (Chang, 30). Today, it is known to many as "Bashment". This style of reggae can be seen by a deejay singing and rapping or toasting over raw and danceable music riddims. The rhythm in dancehall is much faster than in reggae, whereas drum machines replaces acoustic sets. Dancehall as a musical genre, has been considered as the creation of Henry "Junjo" Lawes in 1979 and further refined by King Jammy in the early 80's during their transition from dub to dancehall and original attempts to digitize "hooks" to "toast" over by Jamaican deejays (pg. 30). . Dancehall also developed in Jamaica as a result of varying political and socio-economic factors when Jamaicans became dissatisfied with the socialist movement and the harsh economic realities of the time. As a result, neo-liberalist ideologies and materialism become a factor in society and a new entertainment form. Dancehall is an integral part of the Jamaican life and has become a foundation or culture in which music, dance and community vibes come together."
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"Subterranean Homesick Alien", 2006.
This paper provides an examination of Radiohead's song, "Subterranean Homesick Alien", placing it in perspective within its musical and historical context.
1,500 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
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Abstract
In this article the writer discusses the alternative rock song "Subterranean Homesick Alien" by Radiohead. The writer looks at other music of the 1990s. In this essay the writer reflects on the disaffection and marginalization of Generation X. The writer also discusses how Radiohead's song mirrors Bob Dylan's "Subterranean Homesick Blues". Further, the writer explores the irony present within the song, especially "They're uptight!" versus "I'm uptight". The writer concludes that "Subterranean Homesick Alien" is a picture of an apathetic generation unsure of its direction and too nervous to find that direction on its own.
From the Paper
"In the early 1990s, popular music began to abandon the bombastic heavy metal that had so dominated the 1980s. With the economies of Britain and the United States waning, the excess celebrated by '80s hair metal no longer seemed relevant or plausible for young rock fans. Bands such as Nirvana and the Smashing Pumpkins experienced unparalleled popularity despite their fascination with pessimistic themes of solitude and cynicism. "Subterranean Homesick Alien," the third song on Radiohead's 1997 album Ok Computer, deals very specifically with these themes as well. Though unmistakably alternative rock, the song combines a number of influences and ideas that make it wholly unique within the genre. The song is, however, representative lyrically and musically of the disaffected Generation X ethos that was so prominent during the early to 1990s."
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Military Music, 2007.
This paper discusses this history of military music and American military bands and patriotic music focusing on the four hymns of the armed forces, "The Star-Spangled Banner" and "God Bless America".
2,700 words (approx. 10.8 pages), 10 sources, MLA, $ 80.95
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Abstract
This paper explains that, although the earliest references to warfare music dates back to Biblical times, it was not until the mid-thirteenth century that musical instruments began to be used as an incentive to encourage the troops rather than only as a method of conveying signals. The author points out that musicians were included officially in the 1775 founding of the Continental Army because General George Washington, an accomplished flutist, was concerned about the poor quality of music within the army, which often rendered drills almost impossible. The paper relates that, in all the reviewed songs, the lyrics, which speak of the homeland, national identity and cultural pride, and the strong music, which flows from strength to strength, enable and reinforce patriotic feelings that produce national unity and a sense of purpose even within contemporary American society.
Table of Contents:
Introduction
Sounding the Trumpet
The United States Military Academy Band.
Patriotic Music in Contemporary America
From the Paper
"While all national and patriotic music generally tends to be popular music, in many ways it can be classified apart because its expansion is mainly due to the presence or threat of war. Throughout the world, people from every nationality are moved to either song or speech by their emotions when faced with national danger. The love of the homeland, cultural pride and national identity unconsciously smolders in the breast of every individual until the winds of war fan it into a blaze of fervor that expresses itself in speech and song. Such is the birth of all patriotic music."
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Jazz Appreciation, 2005.
An analysis of the history of jazz music and how it can be used in urban-area education.
3,273 words (approx. 13.1 pages), 11 sources, MLA, $ 93.95
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Abstract
This paper discusses the importance of jazz appreciation. It begins by discussing the history of jazz music and how its popularity has changed over time. The paper defines jazz music and discusses jazz musicians. It then goes on to discuss how music, in general, can be used in education and how jazz music, in particular, can be used as a vehicle for urban-area education.
From the Paper
"Anyone in today's world can turn on the radio and find almost every genre of music, except for one: jazz. Jazz was a music form that dominated the billboard charts fifty to sixty years ago, and has slowly faded away, leaving the music industry as a money-interest only business, not very concerned about the music itself. Jazz as a whole today can be found in very few places such as small jazz clubs in big cities, private parties, and unfortunately, elevators. When music is restricted only to certain venues, it is bound to die out soon. Today's music world has pop and rap genres dominating. What many music followers fail to realize is that the roots of their "popular" music evolved from jazz. Jazz music is on a definite decline due to a lack of appreciation and media attention. The music of jazz brings along many positive aspects, most importantly, a vehicle for urban-area education. Through the different stages of the jazz period, and the influences that made a milestone in that period, this classic genre has made a landmark in our world's history."
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Rap Music and Pop Culture, 2007.
A look at the history of rap music and its impact on pop culture.
1,138 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
Rap Music has a great effect on our pop culture and race today. In fact, since the music of Elvis, various forms of music have pushed the limits of tolerance and decency in pop culture. According to some critics, rap has done this to an extent that cannot be disregarded in terms of social standards. This paper reviews the rap music genre, while also taking into consideration the impact it has on pop culture. The paper asserts that, while it is true that some rap artists have broken rules and norms not only in their music, but also in their lifestyles, it is also true that other rap musicians attempt to use their art for social uplift in pop culture.
From the Paper
"During the 1920s, urban street jive was a form of speech developed in Chicago ("Getting"). According to some historians, this is the tradition at the root of rap music as it exists today. In its current form, rap music emerged in New York City, courtesy of a Jamaican immigrant, Clive Campbell, or DJ Kool Herc, as he is also known. During the 1970's, Campbell developed this art form by mixing music from two records on two separate turntables. The beat created in this manner was accompanied by Campbell speaking to match the rhythm of the music. The first hit in this genre was created by the Sugarhill Gang in 1979, and entitled "Rappers Delight.""
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Revivals of Dixieland and The Blues, 2006.
A review of the history of two revivals in Jazz music - Dixieland and the Blues.
2,433 words (approx. 9.7 pages), 11 sources, MLA, $ 74.95
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Abstract
This essay explores the history of two different periods of Jazz: the Dixieland revival of the late 1930s and the Blues revival of the 1960s. It looks at the influential people, places and events for the two time periods. The essay also discusses the racial implications of these different periods as historically black music was "revived" by white audiences. It also explores the appropriate place of black music in white culture.
From the Paper
"Music brings us into a place where we can experience a society or time period as if we were actually there, in a way that no history book could ever describe with words. Music is a reflection of society. Jazz music has taken on many faces throughout American history, from early slave work songs deeply rooted in African tradition all the way to our modern-jazz sound we hear on the radio today. Jazz has morphed into all kinds of different sounds admired by diverse audiences. At times, certain brands of jazz already past their height of popularity experience a "revival" as a new audience sees something beautiful and different in them that they had never identified before. These revivals bring about a renewed look (or "listen") at the music, giving wider exposure to new audiences and conserving its history for future listeners. Both Dixieland and the Blues are two forms of jazz that experienced similar revivals: Dixieland's in the late '30's and the Blues' in the '60's. Previously overlooked by white Americans and Europeans during their original peak of popularity, these revivals exposed jazz to new audiences and gave more necessary credit to the established "greats." In the following pages we will explore how both the Dixieland and Blues revivals celebrated and preserved jazz music while also examining the implications of race as whites "revive" established black music."
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Maynard Solomon's "Beethoven", 2003.
A look at the one-sided nature of Maynard Solomon's portrayal of Ludwig van Beethoven's custody battle in "Beethoven".
1,548 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper critically examines Maynard Solomon's portrayal, in his biography "Beethoven", of Ludwig van Beethoven's battle for custody of his nephew Karl. It argues that although Solomon delves into Beethoven's psychology and his motives for pursuing custody, the author fails to objectively depict the custody battle. The paper explains that, instead, Solomon's coverage is uneven and his perspective skewed, and he glosses over certain facts that might have shown Beethoven in a more unfavorable light.
From the Paper
"In the chapter "Beethoven and his Nephew," Maynard Solomon makes insightful observations about Beethoven's motives for fighting to gain custody of his nephew Karl, and about Beethoven's feelings toward both Karl and his mother Johanna. He examines Beethoven's psychology in depth, and forms interesting connections between Beethoven's actions and previous events in his life. Overall, however, Solomon does not succeed in accurately depicting the conflict. Despite his thorough analysis of Beethoven's psyche, Solomon glosses over how Beethoven's extreme actions affected Karl's development. He rarely mentions Beethoven's cruelty toward Karl and does not treat the boy as a full-blown character in the saga. As if this omission weren't enough, Solomon also attempts to excuse Beethoven's cruel and unethical actions regarding Karl and Johanna. Because of these shortcomings, Solomon fails to appropriately convey the gravity of the conflict; he neglects to devote an appropriate amount of space to Karl himself, and tries to soften the harsh facts of Beethoven's cruelty."
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Resistance vs. Revolution: The Blues in "Dutchman", 2005.
Examines the role of the blues in Amiri Baraka's "Dutchman."
2,243 words (approx. 9.0 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper interprets the role played by the blues in the play "Dutchman" by Amiri Baraka, using close readings and other textual analysis. It examines the potential significance of the blues as an African-American art form in "Dutchman", framing this concept with a broader discussion of Baraka's and Ron Karenga's differing attempts to define 'authentically' African-American art. In "Black Cultural Nationalism," Karenga insists that African-American art must necessarily be revolutionary in purpose. However, Baraka's criteria in "The Myth of a Negro Literature" are less stringent, accepting as 'valid' art that is borne of and/or promotes any resistance to white oppression, not only that which can be considered revolutionary. The paper looks at how the blues, as portrayed in "Dutchman," fits into this debate, asking whether Baraka's stance in his play remains consistent with his earlier position, or whether he comes to align himself more with Karenga.
From the Paper
"According to Baraka, music is the only artistic sphere in which African Americans have made a valid contribution, because this music "drew its strengths and beauties out of the depth of the black man's soul" (165). Unlike black middle class art, the blues and jazz can be high art, because they express legitimate African American experiences. Significantly, he attributes this "authentic" art to lower class blacks, writing that "it was shunned by blacks ambitious of 'waking up white'" - i.e., middle class blacks - "as low and degrading" (167). He implies that valid black culture is a lower class culture, and that middle class blacks are too preoccupied with fitting in to white America to contribute significantly to African American art."
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Children Under the Influence, 2006.
An analysis of the influence of contemporary music videos and their stars on the youth of today.
3,099 words (approx. 12.4 pages), 13 sources, MLA, $ 90.95
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Abstract
The paper describes and analyzes the role of contemporary music videos in influencing children and their behaviors. It describes the history of music videos, their origins, modern music stars and the dangers of the themes in music videos. Specifically, the paper discusses music video stars as role models and the power of videos to sell and promote products.
From the Paper
""A music video is a short film or video that accompanies a complete piece of music, most commonly a song" (Wikipedia).
The power of audio and visual media in collaboration is a force which can't be denied. The origin of music videos itself was born as a means of promotion. Music videos were originally dubbed "promos," because of the nature of their intent to advertise an artist, a brand, or both. The manufacture of music videos was a result of economic necessity when bands from the UK and Australia wanted to reach an audience in the United States; in an effort to maximize exposure and minimize expense they began sending pop clips to the Western world. The pop clips or mini-movies were a creative strategy for marketing and gaining recognition. "David Bowie was the first artist to combine all the elements of a modern music video with his promotional clip for the song The Jean Genie in 1972" (Wikipedia)."
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Balinese Music and Religion, 2006.
A review of balinese music and the role it plays in religious practices.
1,125 words (approx. 4.5 pages), 4 sources, $ 44.95
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Abstract
This paper discusses Gamelan, a generic term for orchestras of tuned percussion instruments found in Bali (and Java). The components of the gamelan come in many combinations, tuning and sizes, depending on its specific function. Typically, they feature Eastern counterparts of metallophones, xylophones, drums and gongs. There are over 25 distinct types of gamelan in Bali as well as thousands of ensembles that range from four to forty instrument players. The paper further discusses how some gamelans are more common then others, like the Gamelan gong kebyar that can be found by the hundreds all over the island.
From the Paper
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