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Blind Musicians and Music, 2006.
A review of the amazing contributions of blind musicians to music.
1,504 words (approx. 6.0 pages), 8 sources, MLA, $ 49.95
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Abstract
This paper takes a look at various blind musicians and the contributions they have made to the music world. The paper discusses the life and work of Blind Tom, Stevie Wonder, Ray Charles and Blind Lemon Jefferson.
Outline:
Review and Discussion
Background and Overview
Contributions of Blind Musicians
Conclusion
From the Paper
"By the time he reached his majority, Blind Tom possessed a repertoire of hundreds of pieces, all contained in his memory alone. In would appear, that in this individual's case, the inability to see also accentuated his other auditory abilities: "Tom's memory extended to other auditory information besides music: he could repeat without error conversations of up to fifteen minutes that he had overheard. He could also sing back songs in French or German (which, of course, he could not understand) after only one hearing" (Winner, 1996, p. 134). While musical savants may be the rule rather than the exception when it comes to musical genius, there are some well-known examples of blind musical prodigies as well but these musicians have not received as much attention. According to Haroutounian (2000), musical prodigies in general typically reach an advanced stage of development quickly and are capable of pursuing professional careers at an early age; however, some musical prodigies tend to experience a sort of "mid-life crisis" when they reached adolescence: "What happens to the bird who sings and doesn't know how it sings? That's what happens to child prodigies. They wake up and ask themselves dangerous questions about how they do it -- and they have no answers" (Haroutounian, 2000, p. 3). Furthermore, Goldstein (1998) reports that most traditional colleges and universities are ill-prepared to address the special needs of musical prodigies in general and blind students in particular, so it is a wonder that there are any professional blind musicians at all, but some persevere and these individuals are discussed further below."
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Music Therapy and Alzheimer's Disease, 2007.
This paper describes the use of music therapy with Alzheimer's patients.
991 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper presents an examination of the impact that music has on Alzheimer's disease. The writer explores the reduction of Alzheimer's symptoms that have been shown with the use of music therapy and explores future use of the therapy. The author concludes that music therapy has proven itself to be a mainstay in Alzheimer's patients comprehensive treatment plans.
From the Paper
"In recent years medical science has made advances that have provided a longer lifespan than ever before, however, with that lifespan increase comes a higher incidence of Alzheimer's disease. While Alzheimer's disease can strike at any age it is typically seen in the elderly and the symptoms can be devastating. People watch their parents lose their memories, forget who they are and become a danger to themselves with their forgetful actions. "
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The Development of Jazz and Blues, 2007.
This paper discusses the development of jazz and the blues in America.
985 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
In this paper, the writer introduces, discusses, and analyzes the development of jazz and the blues. The roots of these two forms of American music are traced. The author also explores the influence of African-American slave music on these forms of music. Several notable jazz and blues artists are discussed. The author concludes by stating jazz and blues are popular forms of music throughout the world.
From the Paper
"Some of the more recognizable blues artists include Robert Johnson, Billie Holiday, Blind Lemon Jefferson, Charlie Patton, Son House, T-Model Ford, Howlin' Wolf, BB King, Muddy Waters, and Leadbelly (Gioia). Many jazz musicians have influenced the music and become famous in their own right, too. Early musicians include Scott Joplin, Duke Ellington, Louis Armstrong, Ella Fitzgerald, and many others. Jazz continues to evolve today, with "smooth jazz" gaining in popularity, and modern influential artists include Wynton Marsalis and Kenny G. Advocates included many black and white writers of the times, such as Richard Wright and Langston Hughes, who recognized the importance of the music and helped spread interest about it around the world."
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Sam Cooke, 2007.
This paper examines the success and popularity of Sam Cooke's song "Only Sixteen".
967 words (approx. 3.9 pages), 0 sources, MLA, $ 34.95
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Abstract
In this article the writer describes Sam Cooke's "Only Sixteen" as a timeless song with a strong message for both the youth who listen to it as well as an older audience. The writer claims that though this song only reached #28 on the US pop singles charts, it still deserves to be listed among the great songs like Carl Perkins' "Blue Suede Shoes", Fats Domino's "Ain't That a Shame", Johnny Cash's "I Walk the Line" and the others in the list of hits. The writer notes that one thing that this song has in common with the other songs on this list is that it sings of the trouble that can happen in love. The writer concludes that this wide appeal as well as the strength and value of the message this song delivers is what makes this song great, and is one more piece of evidence to prove the greatness of Sam Cooke himself.
From the Paper
"Another thing that these songs have in common is the fact that the majority of them are lyrically driven with deceptively simple arrangements. The time period of many of these pieces, however, serves as a background to understand that much of the music in these pieces are extremely innovative even if they aren't necessary meant to be the focal point of the piece. In "Only Sixteen" it seems only logical to have Cooke's bright, flawless voice as the focal point of the song. This isn't to say that the arrangements are not noteworthy. Clearly the music is quite innovative for its time."
"Of course it isn't simply the subject matter and lyrical drive that places these songs together. The crossover appeal of most of these songs cannot be denied."
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Teaching Music, 2007.
A look at the article "The Movie in Your Head" by Christof Koch that explains students' mind processes as pertains to music education.
1,329 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
The paper explains that if we develop a clear idea of how the mind develops and operates, we can potentially learn to affect any change necessary for a child to perform desired tasks. The paper discusses how this idea has profound and exciting implications for the field of education, especially music. The paper examines the article "The Movie in Your Head" by Christof Koch. Koch shows how perception is not simultaneous when it comes to multiple stimuli and when presented with similar information in quick succession, the mind will tend to "mask" one object or sensation with the one that immediately followed it. The paper also discusses how altering the learning environment of students can help to improve performance.
From the Paper
"The implication and application of the vast amounts of knowledge that has been collected about the human processes behind learning is nearly infinite. Though the brain is a far more complicated organ than any piece of machinery, the ideas of basic structural integrity can still be applied. Essentially, if you understand how and why a machine works, then the potential for you to manipulate that machine knows no bounds. Even if the machine is not inherently capable of doing something that you would like it to do, if you know the fundamental principles as well as the mechanical operations of the machine, then you know what to add, take away, or change a little in order for the machine to work in the manner in which you would like it to."
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Artistic and Cultural Movements in the 20th century, 2007.
This paper portrays the trends in art, music and literature that emerged in 20th century France.
1,175 words (approx. 4.7 pages), 5 sources, MLA, $ 40.95
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Abstract
The paper discusses how the late 19th and early 20th centuries enjoyed a prolific variety of artistic and cultural movements that forever changed the faces of visual arts, literature and music. The paper describes how the early 20th century in particular seemed to be a time ripe for intellectual and creative innovation. The paper mentions Pablo Picasso, Ernest Hemingway and Josephine Baker as a part of this amazing community of artists. The paper illustrates how Paris of the early 20th century experienced an epidemic of creativity that spilled over and infected countries around the world and started the ripples that would eventually build up to crashing waves of major artistic movements.
From the Paper
"Paris reacted to the end of the war with absolute jubilance. It seems like a logical consequence that after facing half a decade of fear, violence, death and disease the city would explode into an atmosphere that nurtured anything that smacked of life. Drinking, drugs, sex, and the Running of the Bulls lured many up-and-coming and some already established artists to the city (Seigal 18). An unprecedented mingling of great minds and talents created such an artistically charged atmosphere left even the dullest among them inspired and eager to create. The city became an artist's Mecca, drawing in talents of all caliber and envy from those who couldn't make it."
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The Evolution of Musical Notation, 2006.
A discussion regarding the evolution of musical notation, focusing specifically on classical versus jazz.
1,045 words (approx. 4.2 pages), 3 sources, MLA, $ 36.95
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Abstract
A review of the history of musical notation, the way that musical compositions can be passed from one generation of performers to the next generation of performers. According to the paper, musical notation makes musical training both more diverse as well as more practical. This paper discusses the development of classical and jazz musical notation.
From the Paper
"Fake books and jazz notation originated with illegal transcriptions of overheard music, although most fake books today copyrighted with the permission of the artist. The original fake book transcribers were not trained musicians, however, merely persons who had overheard or played a particular song they liked and wished to improvise from the tune's base. The books began with music 'of the people' and were designed for musicians who were not often formally trained themselves, perhaps could not even read music very well, but knew enough to use the notes and skeletal information to create music in the context of a performance. Unlike a large orchestra, the musicians knew one another well, and could communicate with one another musically during a performance, unlike musicians across a large concert hall."
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Billy Joel's "We didn't Start the Fire", 2006.
A review of Billy Joel's song, "We didn't Start the Fire".
2,472 words (approx. 9.9 pages), 15 sources, MLA, $ 75.95
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Abstract
This paper analyzes the song "We didn't Start the Fire" by Billy Joel. According to the paper, Billy Joel sings about the 20th Century, particularly the year 1961. The paper discusses the fact that the song mentions events that are important to our history and have laid the foundations to our present. This paper further discusses the work of Ernest Hemingway, Bob Dylan and Robert Heinlein, taking a look at how they relate to each other and to Billy Joel's song "We didn't Start the Fire".
From the Paper
"While these words were being written to later be sung: 'Yes, 'n' how many deaths will it take till he knows / That too many people have died?' On July 3, 1961 others were being read in the headline of Chicago Daily Tribune, 120. "Gunshot Kills Hemingway". When his end came, it was by his own hand, sudden and violent as the events in many of his own novels. 'Ernest Miller Hemingway was born at eight o'clock in the morning on July 21, 1899 in Oak Park, Illinois. In the nearly sixty two years of his life that followed he forged a literary reputation unsurpassed in the twentieth century. In doing so, he also created a mythological hero in himself that captivated (and at times confounded) not only serious literary critics but the average man as well. In a word, he was a star."
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Sounding Out the 'Mozart Effect', 2006.
A discussion regarding the Mozart effect, the connection between music and academic performance.
1,148 words (approx. 4.6 pages), 6 sources, MLA, $ 39.95
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Abstract
This paper discusses how supporters of music and the arts in education have been seeking scientific proof for the idea that music has a positive effect on the overall educational experiences of students. This paper reviews the concept of the Mozart effect, as defined by F.H. Rauscher et al.
From the Paper
"In addition to having positive effects on spatial-temporal task ability, music has also been shown by researchers to have a positive effect on verbal memory tests. According to a study conducted at the Chinese University of Hong Kong on students ages six to fifteen, music training and exposure improves verbal memory. (Ho, Cheung & Chan 2003) The results of this study show that children with musical training leads to significantly better verbal memories in comparison to children that do not play an instrument, and these benefits are traceable even if the child quits taking lessons. This could have a specifically beneficial advantage to students' verbal SAT scores. The suggested reason for why music may have this affect on verbal memory is because "music training systematically affects memory processing in accordance with possible neuroanatomical modifications in the left temporal lobe." (Ho, Cheung & Chan 2003, 439) It is interesting to note that while music was found to have a significant positive effect on verbal memory, there was not a significant difference between the visual memory skills of musical and nonmusical students. The researchers also note that the findings of their study are not specific to Chinese or Asian student populations, because similar verbal memory findings have resulted from studies in Canada as well, where young adults with musical training showed significantly higher verbal recall skills than nonmusicians. (Ho, Cheung & Chan 2003)"
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Christian Music, 2007.
A discussion of the different genres of worship music in Christianity.
929 words (approx. 3.7 pages), 5 sources, MLA, $ 33.95
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Abstract
This paper discusses the continuing climb of Christian music sales, compared to the decline in sales of other music genres. It discusses the phenomenon of Christian music today, which encompasses a broad category that includes black gospel, contemporary Christian, Christian rock, Christian rap, and traditional praise and worship music. The paper discusses briefly how Christian music has changed over time.
From the Paper
"According to SoundScan, Christian music sold 49.9 million albums in 2001, up 12 percent from the previous year, and continues to climb while other music genres slack in sales (Green). Christian music today encompasses a broad category that includes black gospel, contemporary Christian, Christian rock, Christian rap, and traditional praise and worship music, all of which jumped in sales by more than 20 percent after the September 11th attacks (Green). Jerry Phelps of Paradigm Management Group says, "Christian music is no longer a genre of its own," for there are so many types within it and people, especially young people, gravitate to music they relate to and that expresses their feelings (Fitzhugh-Craig). Christian music is a "billion dollar-plus business" due partly to the fact that the quality of music is increasing, and partly because so many young people are gravitating toward the soulful tunes (Fitzhugh-Craig)."
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Dance and Music in Islam, 2006.
A discussion regarding the important role that dance and music play in Islam.
894 words (approx. 3.6 pages), 3 sources, APA, $ 31.95
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Abstract
This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper
"More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
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Islamic Art, 2007.
An examination of Islamic exhibits into Islamic ancient music, art and dance.
940 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper discusses Islamic art, music and dance. It presents these three aspects of Islamic art in the form of an exhibition and details the history and practices of each art form. It begins by discussing five Islamic musical instruments, then goes on to discuss Islamic views on dance and finally looks at the different cultural influences that contribute to Islamic art.
Table of Contents:
Introduction
Music
Dance
Art
From the Paper
"Muslims have had different views about dancing. Throughout Islam history, there have been times of greater acceptance or rejection of dance. Some believed there should be no dancing. To others, folk dancing between the same sex is acceptable, but not between mixed couples. Also, some see dancing as a way to become closer to Allah. Sa'adi, a Persian poet wrote about a band of travelers who came upon a boy who danced beautifully. Everyone was amazed by his talents, except a man who complained that dancing was wrong. However, his camel lifted his feet in dance and threw the rider to the ground. Those around said that even God's creatures could enjoy the dance, so why not he?"
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The Hip-Hop Culture, 2007.
This research study examines the effects, both positive and negative, that the hip-hop culture has had on the world at large.
3,040 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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Abstract
The paper explains that hip-hop music, or rap, is a rhythmic language and is a 'self-expressive' form of musical artistry. The paper shows how hip-hop provides a political, social, community and ethnic forum in which the many diverse world events, politics and social problems can be addressed. The paper points out that hip-hop was generally a musical pursuit of the urban environments of larger cities, but today hip-hop is widespread in terms of those who listen daily to hip-hop music. The paper warns that by the older generation labeling this music culture as 'bad,' they have simultaneously insured the interest in the hip-hop artistry.
Outline:
Objective
Thesis
Background of the Study
Methodology
Data Analysis/Collection
Literature Review
History of Hip Hop
Roots of Modern Day Hip Hop
Rap-A Form of Self-Expression
Hip Hop-Direct Response to an Older Generation's Rejection of Values and Needs of Young People
Bakiri-Conscious Hip Hop?
Summary and Conclusion
From the Paper
"In the earlier days of hip-hop the recitations of the popular sayings and slang of the days transformed to a "more elaborate" form with the adding to and twisting of rhymes making them "suitable to the party environment." Initially, rap was known as "emceeing". The first rap music emcee team was Kool Herc and the Herculoids. (D'Cook, 1985) Rap is said to have "caught on because it was for young urban New Yorkers a change to freely express themselves." (D'Cook, 1985) The rap art was accessible to all. One didn't need money, resources, or lessons to rhyme and as rapping was a verbal skill it could be practiced and perfected and "at almost any time."
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African-American Songs, 2007.
An interpretation of the hidden meaning behind songs sung by African- American slaves.
2,586 words (approx. 10.3 pages), 10 sources, APA, $ 78.95
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Abstract
This paper discusses songs sung by African-Americans during the time of slavery. It interprets the meanings behind the songs "Follow the Drinking Gourd", "Wade in the Water"," Hoe Emma Hoe", "Swing Low, Sweet Chariot" and "Roll, Jordan, Roll". The paper concludes that some songs were used to communicate during the time of the underground railroad, while others were coded and allowed the slaves to talk to one another and voice their opinions about the way that they were being treated without being punished.
Table of Contents:
Introduction
"Follow the Drinking Gourd"
"Wade in the Water"
"Hoe Emma Hoe"
"Swing Low, Sweet Chariot"
"Roll, Jordan, Roll"
Conclusion
From the Paper
"According to Greenway this particular song is actually a map for the local branch of the Underground Railroad which led slaves from Alabama and Mississippi into freedom in the North. According to the official website for the history of the Underground Railroad, the first line of the song, "When the sun comes back and the first quail calls" refers to winter and the southern migration of quail. The article explains that because most of the slaves coming from the south had to cross the Ohio River which was difficult to do most of the year, the leaders of the Underground Railroad found that it was easier to cross in winter. The winter crossing was easier because the river was frozen and people could walk across as opposed to having to swim."
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'Bastard Pop', 2006.
A discussion regarding the musical genre of 'Bastard Pop' and why 'keepin' it real' isn't the only way to make real music.
2,383 words (approx. 9.5 pages), 7 sources, MLA, $ 73.95
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Abstract
This paper takes a look at the genre of music known as 'Bastard Pop'. According to the paper, 'Bastard Pop' is not a formal musical categorization, but rather a common, colloquial term for music that is the result of a fusion of different musical styles or elements, often using several different types of songs that are combined into one, new song or style.
Contents:
Definition
Is it Stealing?
Recent History
Artists and Critics Sound Off on Bastard Pop
The Grey Album: Is it art?
Conclusion
From the Paper
"In the 1990s, the phenomenon of downloadable music made the ability to fuse and combine genres even more accesible to everyday computer users and listeners, even young persons with only a PC in their bedrooms. Disc jockeys and then ordinary listeners could develop mixing techniques that turned first the record player, then the home computer into an instrument. Such technology-driven creativity gave birth to first such musical genres as disco, then to hip-hop and finally house and techno. "These innovations not only radically changed their immediate cultural and social contexts, but also served as templates for a variety of other musical practices around the world, so much so that contemporary popular music would be unthinkable without them." (Wehelive, 2004) Popular music, the argument goes, depends upon copying, and without such self-referential techniques, modern music would be much poorer."
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