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The Film: "The Sound Of Music", 1991.
This paper reviews the film "The Sound of Music", directed by Robert Wise, starred Julie Andrews and Christopher Plummer: Theme, imagery, shot composition, camera techniques, editing, sound, acting and directing of the 1965 film.
900 words (approx. 3.6 pages), 1 source, $ 31.95
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From the Paper
""The Sound of Music" was directed by Robert Wise, and it starred Julie Andrews and Christopher Plummer. The movie won the Academy Award in 1965 for Best Picture. By examining the key theme of the Von Trapp family being re-integrated through the healing force of love (as seen in the Julie Andrews character), it is possible to see why the film has such a satisfying momentum.
This theme is brought out in eight different areas: The director uses each area to develop Plummer's character as the head of the Von Trapp family, who finds new love in Andrews' governess. This theme is set against the backdrop of the advent of World War II, the Nazis' entry into Austria, and the Von Trapps' escape from the German evil.
1. There is recurring imagery that suggests that Father Von ... "
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The Sound of Music, 2008.
This paper studies the film 'The Sound of Music', focusing on the them and music featured in the movie.
1,200 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
In this article, the writer introduces, discusses and analyzes the film 'The Sound of Music'. Specifically it discusses the music and theme of the film. The writer notes that 'The Sound of Music' is one of classic Hollywood's classic musicals and is still a family favorite today, even though it was first released in 1965 to movie theaters. The writer explains that it is a heartwarming story that tells the story of the rise of Nazi power in Austria in the 1930s, and how one family coped with the historic and frightening events swirling around them. The writer looks at the storyline and notes that the story is essentially true, but the film took fictional license with much of the truth involved. The writer discusses that the story would not be the same without all the music, and this indicates that it works in the film, making it more magical and charming than it would have been without all the wonderful songs.
From the Paper
"The overarching film theme is the theme of love transforming a dysfunctional family, something that is purely an invention for the film. While the Captain was strict, he was not as strict as the film portrays, and in reality, Maria went to the family home to act as a nurse, more than a governess. The couple did fall in love, however, and did marry. In the film, Maria is the catalyst that brings the family together and helps the Captain see how much he loves his family. She nurtures the children and gets the Captain to open up and be much more loving and open with his family, and brings the entire family together. The family in the film is dysfunctional, because the Captain is so strict and so unable to warm up to his children, and they need a woman's touch to get past this feeling of domination and fear that permeates the children. They are not allowed to just be "children" until Maria comes, and that transforms the family and turns it into a "real" loving and caring unit."
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"The Sound of Music", 2002.
This paper explores the film musical ?The Sound of Music?.
1,987 words (approx. 7.9 pages), 3 sources, MLA, $ 63.95
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Abstract
The ?Sound of Music? is considered by many to be one of the most successful musicals of all time. This paper provides a textual and contextual critique of this musical film. It determines why the film is considered to be a musical, what iconography or thematic elements tie the film to the musical genre, as well as how the film?s use of genre reflects the time it was made. The contemporary issues or concerns which are embedded in the film are also identified in the critique.
From the Paper
"The Sound of Music is based on the book ?The Story of the Trapp Family Singers? as told by Maria von Trapp. While Maria was waiting for a forgotten instrument at a concert, she kept the audience entertained by telling stories about her large, adventurous family. A gentleman backstage approached her, suggesting she write a book about her family. After Maria stated she ?preferred telling the stories, he offered to write the book for her (http://www.foxhome.com/soundofmusic/som.html)?."
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How Camp Culture Changed "The Sound of Music", 2008.
This paper discusses the unique stylistic elements of "The Sound of Music" cinematography and genre, as well as its subject matter.
1,450 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
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Abstract
This article analyzes the success of the musical film "The Sound of Music" from its introduction in 1965 to its high popularity in modern times. The author concludes that the continued popularity of the film has been largely determined by a small and enthusiastically devout alternative audience's demands, rather than by the sustained appeal of the factors which made for its dramatic commercial success in 1965.
From the Paper
"According to Rohrer's BBC News article, Joe Heaney (arts editor of the Gay Times) believes that "Maria's transformation is key to the story's enduring popularity" (Heaney, cited in Rohrer "BBC News Magazine"). Heaney adds that the film is "about someone who is a complete outsider, she has been living in a convent and is very afraid to live in the real world and yet she is able to conquer her fears" (Heany, cited in Rohrer "BBC News Magazine"). "
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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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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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Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, $ 100.95
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Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
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The Use of Sound in "Apocalypse Now", 2002.
An analysis of the use of sound and music in the film "Apocalypse Now" by Francis Ford Coppola.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
The paper describes how the film shows the insanity of war and the madness that goes along with it. The author shows how "Apocalypse Now" uses narration, sound effects, music, and dialogue to portray its message. The paper focuses on Coppola?s use of sound effects to reinforce the films theme of the horror and uncertainty of war.
From the Paper
"Apocalypse Now begins by showing a scene with helicopters dropping napalm all over the jungle. The audience is treated to ?The End? by Jim Morrison and the Doors. We hear: ?This is the end?? mixed with the chopping of helicopters passing overhead. From the very beginning, Coppola lets the audience know that they are in for a journey of madness. The sound and music have a lot to do with the success of this scene (Dirks). It will not be the last time we hear the sound of the helicopters overhead."
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Sound Editing in "Amadeus", 2002.
The use of sound and music as an artistic tool in this movie.
880 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses sound editing in the movie "Amadeus". Background sounds and music are shown to be used to signal shifts in time or location, or to help guide the viewer?s attention to the most important feature of the scene. The absence of sound is used as well. Examples from the film are given to demonstrate these tools.
From the Paper
"The movie opens with the sounds of Antonio Salieri?s attempted suicide, after he shouts his confession that he contrived to make Mozart die. The suicide attempt is experienced auditorally only ? his confession, his scream, his fall to the floor. This pivotal opening action in the movie occurs only by sound effects. This is a foreshadow of just how important sound effects will be in this movie.
"In a scene shortly following that one, a priest enters the madhouse. As he moves through, the piano can barely be heard, gradually becoming louder, under the sounds of the inmates. The sound of the piano, which plays ordinary and pedantic music compared to Mozart?s, demonstrates Salieri?s frustration at his comparative lack of talent, and sets up the scene with the priest where Salieri tries to get the priest to recognize at least one of his pieces."
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, $ 17.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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African Music's Influence on Pop Music Culture, 2005.
An ethno-musicological study of African music's influence on western society's popular music culture.
675 words (approx. 2.7 pages), 4 sources, $ 26.95
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Abstract
The paper by examines various western artists, such as Paul Simon and David Byrne, and shows how African music plays an important part in how popular music is interwoven within the western musical tradition. The paper concludes that western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent.
From the Paper
"This ethno musicological study will examine the various African music influences that have become imbued within western pop music culture. By examining various western artists, such as Paul Simon and David Byrne, one can realize how African music plays an important part in how pop music is interwoven within the western musical tradition. In essence, western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent."
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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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Silent Films and Talkies, 2007.
A discussion of how much the transition to sound changed the nature of films, according to Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930."
924 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper discusses the effects on Hollywood of the transition from silent films to films with sound. It analyzes the transition from the point of view of film historian Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930." The paper discusses Eyman's theories based on certain films that have been produced since sound was introduced.
From the Paper
"Eyman may be correct that technology changed the financial dynamics of the studio systems, made filmmaking more expensive, and required the import of new actors and talent to Hollywood. Individual actors whose voices clashed with their on-screen personas, like John Gilbert saw their stars diminish, or end. But the nature of the cinematic medium as a visual medium remained constant, even after the introduction of sound. Of course, this is not to deny the presence of films like screwball comedies that were purely the production of the talkies, or the presence of some staged plays for film that became popular. But for the most part, audiences still come to films to see a good show, unlike the theater, where they expect more dialogue and character development, and less technology and spectacle."
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The End of the Silent Film, 2004.
An analysis of the silent film industry and the emerging new 'talking films'.
1,610 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper discusses the beginning of the end of the silent motion picture industry. The paper examines the resistance shown to the emerging trend of films with recorded sound sequences. The resistance came partly from the public, partly from technology and partly from the industry. First, it took some time for "talkie" film sound to be perfectly synchronized with the picture. This generated a level of indifference from the public, who had become well accustomed to silent film and generally preferred it due to a high level of familiarity. Second, the industry, similarly, had become ensconced in the business of silent film, and the many movie theaters in the United States produced a gross revenue of about 360 million dollars by the mid 1920'=s. Consequently, an enormous business had grown out of the production and distribution of almost exclusively silent films and "talkies" stood as a distinctly risky endeavor.
From the Paper
"Additionally, by 1927 the film industry had truly come into its own as a fully fledged art form. The art of drama had been nearly perfected by the silent stars. "Even ordinary actors seemed more than that when effectively presented in a silent film because their own specific identity was somewhat nebulous." (Eyman 73). In fact, the very absence of sound permitted the audience to draw their own conclusions and insert their own feelings and imagination into the film. Much like a reader conjures their own image of characters and settings, the silent film viewer envisioned the omitted aspects of reality according to their own, personal feelings. The consequences of this made silent film a particularly potent devise from an artistic perspective. Obviously, as an art form, film was not required to accurately mimic reality, but instead, render a representation of it that was equally powerful to the audience. This fact made arguments in favor of sound based upon accurate depiction of events groundless; they were analogous to saying that Picasso's paintings were somehow worth less than more realist-based works of art."
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Anglo-Rock and Heavy Metal Music, 2003.
Presents a complete dissertation, which compares the cross-cultural promotion of anglo-rock and heavy metal music in France and the USA.
16,060 words (approx. 64.2 pages), 112 sources, MLA, $ 249.95
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Abstract
This paper investigates why the promotion and sales of anglo-rock and heavy metal are less in France than in the USA. The music industry, the marketing of music and the research methodology are fully explained. The author reports that the research found that the differences were because of cultural factors. In France, lyrics are more important than the music. Therefore, because the French do not necessarily speak English, they are not especially interested in music whose lyrics are not understood. The author stresses the importance of knowing cultural preferences and behavior in international marketing because cross-cultural promotion cannot be standardized. Many color graphs and tables are included with the paper.
Table of Contents:
Abstract
Introductory Chapter
Background of the Research
Theme
Research Problems
Research Rationale
Research Motivation
Research Question
Aims and Objectives
Hypothesis
The Research Project
Definitions
Scope and Limitations
Outline of the Report
Anglo-Rock/Heavy Metal Industry and Music Marketing Theories
The Industry Environment
The Music Industry
The Entertainment Industry
Sales of Recorded Products
Record Companies
Evolution of the Environment
Independent Companies
Cyclical Theory
The Rock Industry
The Anglo-Rock/Heavy Metal Music Style
Definition
History
French Music Industry
French Rock History
French Music Market
Marketing Theories
Marketing Activity
Marketing Definition
Marketing Goal
Marketing Strategies
Marketing Mix
The Promotion Activity
Music Marketing
Music Marketing Definition
Music Marketing Departments
Music Marketing Goals
Music Product
Music Marketing Strategy
Music Promotion
Music Promotion Definition and Goals
Music Promotion Strategy
Music and Artist Promotion
Promotion Means
Traditional Promotion Means
Radio Promotion
Television Promotion
Live Performance Promotion
Press Promotion
Internet Promotion
Original and New Promotion Means
International Marketing
Culture Theories
Culture Definition
Culture Theory
Impact of National Cultures on Promotion
Music Cultures
French Music Regulations
The Method Chapter
Research Methodology
Methodology to Recolt Quantitative Data
Live Promotion
Radio and TV Promotion
Methodology to Recolt Qualitative Data
Limitations of the Methodology
The Results Chapter
Results from Quantitative Data
Live Promotion
Radio and TV Promotion
Results from Qualitative Data
The Conclusions Chapter
Appendices A-O
From the Paper
"Dolfsma (2000) explained that music industry has a structure that is a blending between local and global. Majors are global companies organised at the international level with subsidiaries in more than one country. The typical organisation chart of the majors' subsidiaries worlwide is composed of three main departments (marketing, international and nation). Rock music is usually marketed in each of these three departments that is why it is impossible to quantify and know the proportion of Rock music produced".
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