| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "CHANGING SOUNDS JAZZ": |
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The Changing Sounds of Jazz, 2007.
This paper discusses jazz focusing on the Dixieland revival of the 1930s and the blues revival of the 1960s.
1,727 words (approx. 6.9 pages), 5 sources, APA, $ 55.95
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Abstract
In this article, the writer notes that the sounds of jazz with its unique rhythms, instrumentals and vocals remain a mystery to many even today. However, the writer points out, it is more through a lack of understanding of the sounds of jazz, perhaps even the history of the music that it is cast into the category of musical mystery for those less gifted, but who nonetheless appreciate good music. The writer discusses two special moments in the history of jazz:the Dixieland revival period, or the "Swing Era," during the early 1930s and going into the 1940s; and the blues revival of the 1960s. The writer notes that a look at these two periods of musical history is interesting, and a music lover's delight, and informative when considering the influence both periods had on what is jazz today.
Outline:
The Dixieland Revival of the 1930s
Blues Revival of the 1960s
Conclusion
From the Paper
"Some historians have traced the roots of blues to a period in American history beginning with the arrival of the first slaves, in 1619. Ambiguous or contentious as that may be, it nonetheless serves as a marker for what is surely one of the most significant forms of music in America; the blues. Perhaps what can be said, without contention and without setting historians and musicians alike into a tailspin, is that the blues, like Dixieland, have experienced peaks and low in musical history, and has contributed and influenced the heart of jazz. One of the significant periods in history where the blues experienced both a revival in sound and style, and from which, like the Dixieland of the 1930s, emerged new figures of greatness; and a time that greatly influenced and helped spotlight once again jazz, is the 1960s."
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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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Sounds for a System: Phonemes in the English Language, 2001.
This paper discusses the reason for the limited number of phonemes in the English language and how phonemes are added and lost from the language.
1,700 words (approx. 6.8 pages), 2 sources, $ 55.95
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Abstract
This paper discusses phonemes and how they apply to the English language. The author traces changes in this language beginning with Old English and moving through Middle English to present-day English, and provides examples of changes in each. The author also explains why only forty-four out of a possible three hundred phonemes are used in present-day English.
From the Paper
"A phoneme, as defined by Crystal is, ?The smallest contrastive unit in the system of a language?(456). There are approximately three hundred phonemes in existence that are shared by the five thousand plus languages of the world. The English language only uses forty-four of the three hundred total phonemes. Some languages require more than forty-four phonemes and some require less in order to function. The truth is that none of the world?s languages use the three hundred available phonemes. Languages use only as many as they need in order to be understood. The reason that the English language uses a mere forty-four phonemes is very simple; that is all that it needs. However, the number of phonemes in our language has changed, and it will probably change in the future. It is important to examine the reasons for change and discuss why the number of English phonemes is so limited."
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Synthesizers and Symphonic Sounds, 2004.
Presents a history of progressive rock music.
1,679 words (approx. 6.7 pages), 7 sources, MLA, $ 54.95
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Abstract
This paper chronicles the progressive rock genre from its beginnings as inspired by the Beatles, to its peak of popularity in the 1970s, through to the modern era of today with artists like Marillion and Dream Theater. Other groups chronicled include King Crimson and Genesis.
From the Paper
"By 1983 Yes had reformed, but even with co-founders Jon Anderson and bassist Chris Squire being joined by long-time drummer Alan White and original keyboardist Tony Kaye, the sound was far removed from the expansive and extended form of progressive rock the band had made their trademark in the 1970?s. The true mastermind behind this version of the group was a new guitarist/songwriter and singer from South Africa named ?Trevor Rabin?. Rabin?s musical style dominated this lineup producing an intriguing, if catchy and somewhat metallic sound. The long time Yes fans were not always pleased with the results, but the group achieved their highest level of commercial success, driven mostly by the single ?Owner of a Lonely Heart?."
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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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Race and Jazz Music, 2004.
An historical and cultural exploration of the roots of the debate over whether jazz music is exclusively "black" music.
3,320 words (approx. 13.3 pages), 6 sources, MLA, $ 94.95
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Abstract
Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.
From the Paper
"The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."
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Jazz, 2005.
An overview of the definition and origins of jazz.
1,214 words (approx. 4.9 pages), 7 sources, MLA, $ 41.95
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Abstract
Jazz is described as a form of musical improvisation that combines both organization and spontaneity. It is the spontaneous improvisation that separates it from traditional Western music, which is written down in notation as carefully as possible, in order to make sure that it is performed as closely to the composer's intentions as possible. This paper provides a definition of jazz before exploring the origins of this musical genre. The paper examines what makes certain music be regarded as jazz and explores the influence of jazz on other music.
Paper Outline:
Introduction
The Origins of Jazz
What Makes it Jazz?
The Influence of Jazz
Conclusion
Bibliography
From the Paper
"Even though jazz is a rich mixture of melody, rhythm, harmony and inventive improvisation based on those basics, it has always not been treated with respect by music historians and other experts. For instance, in his book An Illustrated History of Music, the author does not even give jazz a mention. Marc Pincherle seems to have a bias toward traditional Western European styles of music, but Gerard (p. 12) states, "Music does not have to be totally predictable to be beautiful." Jazz may suffer because it is often not written down in notation, and because much of its history is recorded informally."
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The Development of Jazz in the U.S., 1991.
This paper analyzes the development of jazz in the United States: Early influences, Ragtime, Blues, New Orleans Jazz, Big Band Jazz and Bebop, Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbedke, Charlie Parker, Thelonious Mon
2,025 words (approx. 8.1 pages), 10 sources, $ 71.95
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From the Paper
"This paper will provide an analysis of the development of jazz in the United States. After a brief overview of the history of the art form, the paper will turn to an analysis of some of the major types of early jazz--ragtime, blues, New Orleans jazz, the Big Band, and Bebop. Finally, the paper will conclude with some of the personalities that made jazz such a vital and exciting art form: Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbecke, Charlie Parker, and Thelonious Monk.
During the 1920s, while European classical music was being "turned upside down" by such composers as Arnold Schoenberg and Igor Stravinsky, the United States was quietly, developing its own distinct and separate musical form with a decidedly unclassical name--jazz. At this point, jazz was not the product ... "
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Jazz: The American Heritage, 2002.
Looks at the origins, history, and composition of American jazz.
1,774 words (approx. 7.1 pages), 8 sources, MLA, $ 57.95
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Abstract
This paper delves into the indigenous, American creation of jazz music. It looks at the relationship between the origins of jazz and the history of African-Americans, the main characteristics of jazz music, and the instruments originally used for playing jazz. The beginning of jazz music in New Orleans is discussed, as well as some of the influences on the music and the different types of jazz that evolved over time. Famous jazz musicians and singers are also mentioned.
From the Paper
"A significant relationship exists between the origins of jazz and the history of African-Americans. To entertain themselves and get through the grueling days, plantation slaves would perform music that would remind them of their African homeland. Their songs, sounds and compositions would be on the wide variety of singing, rhythms and melodies that ranged throughout the continent."
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Sound Reinforcement, 2004.
An overview of the role of the live sound engineer in implementing sound reinforcement.
1,813 words (approx. 7.3 pages), 12 sources, MLA, $ 58.95
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Abstract
This paper discusses how the term sound reinforcement refers to the strategic use of microphones and loudspeakers to project the sound of a band, theatre production or conference speaker across to an audience. It examines how it is necessary for a sound engineer, working in any area of sound reinforcement - from the front of house engineer in a large concert hall, to the stage manager at a theatre ? to have the confidence and knowledge required to problem solve quickly in the event of equipment failure, and keep the programme on track.
From the Paper
"The term impedance matching is used when concerning the interconnection of loudspeaker drivers and power amplifiers, to achieve maximum power transfer. At this stage in the signal chain, it is very important to appreciate that the load impedance of the speaker (the whole cabinet, not just the driver itself) must match closely the source impedance (the rated output impedance of the power amp). If the source impedance is significantly higher than that of the speaker, the amplifier could overheat, or its automatic protection circuitry could cause it to cut out. Neither of these conclusions would be much good during a live performance."
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Jazz in the Twenties, 2005.
This paper discusses the history of jazz in the twenties as it developed in two centers, Chicago and New York.
2,635 words (approx. 10.5 pages), 14 sources, MLA, $ 79.95
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Abstract
This paper explains that, with the closing of the Storyville seaports in New Orleans and increased discrimination in the south, numerous musicians began to venture to Chicago and New York with hopes of finding prosperity in their field of business--jazz. The author points out that, in Chicago, the four main styles of jazz were Boogie Woogie, Chicago Jazz, Society Jazz and Urban Blues and the major innovators were Bix Beiderbecke and Benny Goodman. The paper relates that, in New York's Harlem area, which did more for the Jazz age then any other town in the world, jazz flourished in the different styles of bands from big band to spasm bands and in innovators such as Paul Whiteman, James Reese Europe and Fletcher Henderson, which resulted in the Harlem Renaissance that opened the eyes and the mouths of African-American public.
From the Paper
"Bandleader Paul Whiteman was another major New York Jazz figure of the era. He was especially famous for introducing jazz into the mainstream audience of the decade. Not only was he a great performer of the day, be he also gave back to the jazz community as an avid listener and audience member himself. For instance, Duke Willington stated, "no one could fault Whiteman for his generosity of spirit." In 1924, after finishing his evening at New York's Palais Royal, he would stop by around the corner at the Kentucky Club to soak up the sounds of Duke Ellington and his Club Serenaders."
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The History of Jazz, 2002.
Discussion of the history of jazz and of its legends.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
Some of the topics discussed in this paper are: Buddy Bolden, sources of the 'sound', privilege of sound, myths and legends in the history of jazz.
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The Anthropology of Sound, 2002.
The history and development of the understanding of sound from an anthropological perspective.
3,148 words (approx. 12.6 pages), 10 sources, MLA, $ 91.95
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Abstract
This paper discusses sound from an anthropological perspective and concentrates on the origin and the nature of sound. The paper also reviews on how the study and the development of sound progressed with technology. It also concentrates on the association of sound with language and culture and shows how the pronunciation of words have resulted in different sounds with the development made in the writing scripts. The paper also lays emphasis on the association of sound with memory called echoic memory.
From the Paper
"People love sound and sound today is ubiquitous; sound will continue to fascinate people for ages to come. The pleasures of sound flow from frequency, amplitude and harmonic constitution or waveform. Perhaps there is no other form of art where the pleasures of mere form are more marvelous in complexity, more intellectual in essence and purer in quality. Plato once suggested that the sensibility for sound might be the most civilizing of educational instruments. People and sound both belong to each other and both grow out of life."
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The Science of Sound in Music, 2003.
A scientific illustration of how sound is produced by several different instruments.
893 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper examines how music is composed of a mixture of sounds, or a single sound, which is pleasing to the sense of hearing. It discusses some different instruments used to create sound or music. It also shows how sound can be created by an infinite number of things and focuses on the guitar, the flute, the kettledrum, and the human singing voice.
From the Paper
"In order for sound to be produced, the muscles of the larynx contract and bring the vocal folds together. While the vocal folds are together, the diaphragm moves to a convex position causing the air pressure directly below the vocal folds to increase. When the air pressure below the vocal folds becomes greater than the pressure holding them together, a column of air breaks through the folds. As the air jets through the larynx, it makes a decrease in pressure that brings the vocal folds back together. When the pressure beneath the folds increases once again, the process repeats itself. Vibration is produced by the vocal folds opening and closing rapidly. Every time the vocal folds open a gush of air escapes."
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Image and Sound, 2004.
A look at how image and sound combine to create meaning and the other functions of sound in television and film.
2,187 words (approx. 8.7 pages), 7 sources, MLA, $ 68.95
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Abstract
This paper examines how motion pictures and television are audio-visual mediums and how they engage both our visual and aural senses. It looks at how the meaning and emotion of a piece is commonly thought to come from the image and that the sound at best just duplicates the meanings from the image. It explores how music combines with, adds to and enhances moving image in many ways and how it can heighten and refine emotion as well as meaning.
From the Paper
"The tone of music can be used to create meaning and generate mood in a scene or in a production as a whole. In The Empire Strikes Back the rebels attempt to flee from the empire. During this sequence Darth Vader's and the rebels leitmotif is heard. Vader's motif is played at an increased tempo and higher pitch to normal. The function of this change is to show the imminent danger of the empire and Vader's likely success in capturing the rebels. The rebels leitmotif is played but does not contain the opening and perhaps most identifiable phase. The tone is slightly deeper, the pace slightly slower and is mixed up in and slightly drown out by other sound effects. The function of this use of sound is to put the out come of the situation in doubt and make the rebels attempt at escaping unlikely. When the rebels do escape the distinctive opening to their motif is played at normal pitch and tempo and without the distraction of other sounds. This functions to signal their success but also the finality of the scene. The leitmotifs and the tone of the motifs are used to guide the spectator through narrative change."
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