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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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Musicians Play Music... or Politics?, 2005.
This paper discusses whether music influences political opinions.
1,925 words (approx. 7.7 pages), 13 sources, MLA, $ 61.95
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Abstract
In this article, the writer maintains that the political song plays an important part in the politics of the United States. The writer discusses that a political son is not only an expression of ideas of the songwriter, it is also the message which ordinary people and politicians hear and interpret for themselves in different ways. The writer notes that the relationship between musicians, politics and audience is evident. The writer also points out that it does not matter that the musicians cannot stop the government to make the unwelcome decisions. What matters is that they are concerned. The writer concludes that music as a part of culture is involved in social and political life.
From the Paper
"If there is a performing artist, there is an audience who will like what he does. This audience is the main reason for the artist to exist, to move on, and to create and develop the art. These people support and promote the artist by buying his or her records, going to the concerts, talking to other people. This audience consists of those people who can be called followers of the artist, who feel like sharing the same ideas and emotions. The same pattern can be seen in politics. There are politicians and those people who share the same ideas, who see the future of the country in the same specter. So, this people surely support the politicians they agree with. Now, how are these three parties connected? The hard relationships between them create something similar to the knot. If there are people who do not like somebody's music, they just do not listen to it. Of course they also may critique it, but there is no too much importance in this matter. The situation is more serious, when there are politicians in the head of the government, whose decisions do not satisfy people, and musicians in particular. So in the country of democracy and freedom of speech they have the ability to speak against the government out loud. In this case the connections are visible. That is why the most of the political music is seen as opposition to the politics of the country."
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Black Musicians, 2002.
Discusses the influence of African American musicians on racial barriers.
900 words (approx. 3.6 pages), 5 sources, $ 35.95
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Abstract
It is the purpose of this paper to examine how the efforts of early black rock musicians led to the breaking down of racial barriers and to the overall success of the black music industry. The Rock Music industry introduced African Americans to the boardrooms of major American companies. The fact is that African Americans make up a significant portion of the business culture in American popular music, past and present. Artists like Chuck Berry, Chubby Checker, B.B. King, and Little Richard, have all brought significant influences into the American Music scene.
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The Positive Contribution 1960s Musicians, 2005.
An analysis of the contributions that the musicians of the 1960s made to America.
2,695 words (approx. 10.8 pages), 15 sources, MLA, $ 80.95
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Abstract
This paper argues that, despite arguments to the contrary, decadence was not the message that 1960s-era rock stars communicated to society; the message was acceptance of the equality of races and the legitimacy of the demands of the Civil Rights Movement.
Outline
Pre-1960s: Attitude Towards the American Blacks
History of the Blacks in America
Music and Civil Rights Movement
Black Musicians and Contributions
"Troubadours of Conscience"
Elvis Presley's Contribution
Baez and Dylan
From the Paper
"When the Civil Rights Movement began, it did so in an atmosphere that very strongly believed that the Black person was extremely inferior to the White person, and music became the best means of changing the dominant attitudes towards the Blacks. Music contributed to the Civil Rights Movement's cause for equality in two main ways. First was through the songs and musical style of popular white singers such as Elvis Presley, Joan Baez, Janis Joplin and Bob Dylan. Second was through the popularity achieved by Black entertainers as the Supremes, Marvin Gaye, the Temptations and many others, among the White people themselves."
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Jazz Music, 2001.
This paper examines the history of American jazz music, various jazz artists, cultural, and musical influences.
2,200 words (approx. 8.8 pages), 13 sources, $ 68.95
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Abstract
This paper provides an in depth look at the history of jazz, the early development of the music style, through African American musicians trying to create music that was uplifting; the direct opposite of the blues. The author discusses rhythm and instrumentation, numerous jazz artists and popular tunes.
From the Paper
"Jazz is associated with the African American people and this is an influence unequaled in the field of music. The true spirit of jazz arises from a revolt from convention, custom, authority, and boredom, even sorrow, from everything that would confine the soul of man. The blacks that invented it called their songs the blues, and they weren't capable of satire or deception. Jazz was their explosive attempt to cast off the blues and be happy, carefree happy, even in the midst of sordidness and sorrow. Jazz is a release of all the suppressed emotions at once. Jazz is a part of the direct process of African American music. In rhythm it goes directly back through ragtime, through the minstrel period, through the spirituals and dances to its African origin."
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Discrimination in the Music Industry, 2008.
This paper discusses how white musicians receive credit for musical genres originally created by African Americans.
1,558 words (approx. 6.2 pages), 9 sources, APA, $ 51.95
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Abstract
The paper looks at the racism and discrimination that still appears to exist in the music industry in general and in the jazz and hip-hop world specifically. The paper gives examples of white musicians who have grown rich by performing African-American music without having the actual African-American artist involved in delivering it. The paper believes that society must give recognition to African-American musicians where it is due.
From the Paper
"One type of music, Jazz, has its roots in many different countries and cultures, however, the primary development of jazz occurred in the United States in the deep south within the African American culture. In the early days of jazz, there existed a "set of white Americans, who had identified jazz only with liberation from the social responsibilities of full citizenship" (Jones 188). "As a musical language of communication, jazz is the first indigenous American style to affect music in the rest of the World" (Morgan). Jazz music is prevalent in most major metropolitan cities such as New Orleans, Chicago, and New York City (Morgan)."
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Legal Control of Music, 2007.
This paper discusses whether the legal control of music is a form of protection or one of domination.
839 words (approx. 3.4 pages), 5 sources, MLA, $ 29.95
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Abstract
In this article, the writer discusses that the history of music is replete with examples of musical suppression. The writer notes that in the days of the classical composers such as Mozart, Bach, and Beethoven these 'now famous' musicians were referred to as 'long hair' musicians and were shunned much in the way that the 'long hair' musicians of the 1960s and 1970s were shunned by proper aristocratic society. The writer points out that classical musicians such as those mentioned were completely dependent upon their patrons. Further, the writer notes that the musicians in today's world are not so hampered as those in earlier decades and centuries, however, there has always been a political and sociological force within the world that attempts to control music through legal means in what some believe is a form of protection and others believe is a form of domination. The writer concludes that while Max Weber views the control of music to be a form of protection, the view of the Marxist is that legal control of music is a strategy of the ruling social class to keep the lower classes under their thumb, stifling creative expression.
Outline:
Objective
Introduction
The Marxist View
The Shifting Cultural Perspective and Music
The Weberian View Contrasted to the Marxist View
Summary and Conclusion
From the Paper
"The view of Marxism can be applied to the shift from the 'bee-bop' music of the 1950s to the Beatles rock of the 1960s, a shift which was helped along greatly by the pelvis gyration music of Elvis Presley in which the entire beat of the music changed and along with this came the music revolution that led to 'rock-and-roll' much despised by the controlling social class in that decade. Along with this new form of musical expression came expression of rebellion against the Vietnam War that was taking place in the songs of that time that spoke of revolution and played out in society by draft dodgers and flag burners protesting the war that was taking place in Vietnam."
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Authenticity in Music, 2002.
A brief discussion of the importance of authenticity in the music industry.
1,155 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explores the issue of authentic music, stating that many people believe rock music to be more real or authentic than pop music. The paper explains that pop music is more synthetic and without the help of computers, would not sound like it does while rock music is the pure raw authentic talent of the musician. The paper focuses on the music of Eric Clapton to explain its theories.
From the Paper
"Authenticity is a major issue in discourses on popular music, and seems to be the bedrock of the distinction between ?pop? and ?rock?, i.e., whether musicians can be trusted (?rock?) or not (?pop?), which comes down to the distinction of whether musicians are ?authentic? or ?commercial? (Moore, 2002). In these discourses, authenticity is assumed to mean ?true to its origins?."
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Music Downloads, 2007.
An analysis of the ethical and legal implications of downloading music for free off the Internet.
755 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This three page paper presents a discussion about the downloading of music off of the Internet. The writer argues that it has a tremendous impact on society and the music industry by decreasing profits to the musicians and music centers. It discusses the ethical implications of downloading music for free and discusses laws that are necessary to prevent this.
From the Paper
"Why should artists continue to write new songs, perform on stage and put them to cd if they are not going to be paid for their efforts? Would you go to work if at the end of the week you didn't get a paycheck? Downloading music instead of paying for the cd or privilege will have long reaching affects on society. It will discourage artists from producing new material and it will teach future generations that stealing is okay as long as one doesn't get caught. Both of these options have negative impacts on society. "In a period of lackluster sales, illegal downloading isn't the only factor affecting the depressed music industry. Disgruntled consumers have contributed significantly to the decline in retail music sales. Retail music sales, valued at $12.5 billion in 2005, are predicted to fall to $10.5 billion by 2010, according to a recent Mintel report (Spotlight, 2006).""
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Igor Stravinsky & His Music, 2002.
An insight into the life and music of composer Igor Stravinsky, regarded as one of the most influential musicians of the 20th century.
2,425 words (approx. 9.7 pages), 6 sources, MLA, $ 74.95
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Abstract
This paper explores Stravinsky?s long and monumental musical career, discusses the different styles of music that he adopted and developed along the way and explains how the brilliant composer reflected the cultural and historical environment of the times in his work. It also takes a brief look at Russian culture and folk music and assesses how it influenced Stravinsky?s music.
From the Paper
"Recognized as one of the promising young musical talents, Stravinsky was now ready for greater things in life. Even before Petrushka (1911) Stravinsky wanted to write a symphonic pagan ritual initially titled Great Sacrifice. Diaghalev persuaded him to cast it in the form of a ballet that came to be called The Rite of Spring and was destined to herald the start of the modernist era in classical music. The first performance of The Rite at the Theatre des Champs Elysees, Paris on May 29, 1913 has become ?the most notorious event in the musical history of the century.? (Glass, 2000). As soon as the first notes of the unusual music sounded, uproar broke out in the audience. Stravinsky?s daring and creative music was cheered, protested and argued over so loudly during the performance that the dancers were unable to hear the orchestra and fights broke out in the audience. (Ibid.) Modern music would never be the same again."
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Buying Music over the Internet, 2001.
This paper examines the issue of buying music over the Internet for both the consumer and musician.
1,240 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
This paper discusses the issue of buying music over the Internet and the problems with it. It discusses the anti-trust issues that have arisen and how to deal with them. It also examines the issue of who really ?owns? the commercial product which is music, whom does this belong to? How can musicians and record labels receive benefits from their works if the music is bought over the Internet from an e-commerce site. It discusses music downloads over the Internet and its problematic issues as well.
From the Paper
"One of the most controversial issues in the music business today is the issue of selling music through the Internet. The ongoing and evolving process of selling and disseminating music through the Internet has provoked a number of economic as well as artistic debates for the music business and for the computer and technology businesses that allow such technology to be accessed. This paper will address some of these concerns with a particular focus on the anti-trust issues that have arisen over the course of this debate. First of all, the issue of disseminating music over the Internet provokes the perplexing question of who really ?owns? the commercial product of a pieces of music, anyway? Is the owner the person or persons who simply hear the tune and keep humming it? Is the owner the musician who produces the product? Or are the owners the music companies musicians have signed artistic rights to? Clearly, to survive musicians must be able to charge for the product they produce, and the companies have control over the specifics of how to market that product. But once a song is in the public sphere, do not consumers have a right to ?pass on? that music product in ways that they see fit, even if those ways may inhibit the sales of recordings of that music?"
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British Music, 2005.
A look at the continuing problems faced by British musicians breaking into the American music scene.
4,050 words (approx. 16.2 pages), 16 sources, $ 160.95
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Abstract
This paper considers why British bands and singers are not found on the charts as they once were and what is driving the process that keeps them from finding success with current record labels, noting that few British acts have managed to break into the American market in the last fifteen years or so, which really means they have failed to break into the world market, given that American producers control what the world hears in terms of popular music to a great degree.
From the Paper
"In the 1960s, British acts were an important part of the American recording industry, with releases of the Beatles leading the way. The Beatles were followed by many other British acts that made inroads in the American market. This continued at a variable pace well into the 1970s, though more recently British acts have been largely ignored, with the exception of continuing acts like Elton John, Sting, and the Rolling Stones. Few British acts have managed to break into the American market in the last fifteen years or so, which really means they have failed to break into the world market, given that American producers control what the world hears in terms of popular music to a great degree. American tastes have been a determining factor for a century or more. "
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"The Blind Assassin", 2002.
Examines the theme of blindness in Atwood's novel, "The Blind Assassin".
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
Atwood's novel, The Blind Assassin, is a novel of embedded stories, memoirs, newspaper clippings, a novel written by one of the characters, and stories told by a distant and secret relation within the family's daughters, Iris and Laura. Blindness is offered as a kind of purposeful ignorance, or a refusal to look at what is happening, and as well as a kind of freedom from the consequences of knowing what is happening. In the contexts of Iris' recollections, her family represents a Pandora's Box of secrets and betrayals, and as the novelist, Atwood is referring to the ways family secrets can destroy a family. The Blind Assassin is, however, much more than a story about secrets, but a revelation about writing, remembering, and living in the shadows of our own lives.
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Rococo Art and Galant Music, 1993.
A focus on 18th century Europe art and music including an examination of the characteristics of styles, major artists, musicians and their works, ideas and techniques.
1,800 words (approx. 7.2 pages), 7 sources, $ 63.95
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From the Paper
"During the 18th C., decoration and elegance were the predominant elements of style in the art and music of Europe. This development in the arts was encouraged by the aristocratic patrons of the time. Because they considered themselves to be sophisticated, refined, and cultured, these patrons demanded that artists create ornamental works which reflected these qualities. This type of superficial elegance can be seen even in the clothing fashions which were popular among the high society of the time. In the field of painting, this style reached its height in the rococo works of Antoine Watteau and Francois Boucher. In music, this approach was manifested in the galant style, as represented in the compositions of Leonardo Vinci, Giovanni Battista Pergolesi, Giuseppe Tartini, and Carl Philipp Emanuel Bach, among others."
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Nietzsche on Music: The Subtle Sounds of Discord, 2002.
A study in music theory as perceived by German philosopher/musician/composer, Friedrich Nietzsche (1844-1900).
1,620 words (approx. 6.5 pages), 4 sources, MLA, $ 52.95
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Abstract
An examination of Nietzsche?s philosophies of music which are still applicable today, and can be seen as the foundation of modern music theory. Nietzsche extensively employed the terms ?Dionysian? and ?Apollonian? in his conjectures about music. These are terms that are in reference to Plato and his suppositions about simple, ordered and unassuming music (Apollonian) versus irrational, anarchic, chaotic music (Dionysian).
From the Paper
"German Philosopher/Musician/Composer, Friedrich Nietzsche (1844-1900) was particularly interested in what he believed to have been the higher quality of life that prevailed in certain periods of history, such as the Italian renaissance, the classic era of the Greeks, and Moorish civilizations in Spain. While most art forms were included under a single umbrella in Nietzsche?s philosophies, he wrote extensively about music and musicians as a unique and separate entity."
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