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The Music of Bob Dylan, 2006.
This paper examines the life and musical accomplishments of legendary singer Bob Dylan, also known as "The Voice of a Generation."
1,230 words (approx. 4.9 pages), 3 sources, APA, $ 41.95
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Abstract
The writer of the paper analyzes Bob Dylan's rare ability to constantly re-invent himself and his music. This paper supplies a brief biography of the singer, who was born in 1941 as Robert Allen Zimmermann. This paper examines the singer's early career as a folk and protest singer. This paper explores Dylan's flair for topical poetry which made him stand out in New York's fledgling folk movement. This paper discusses the various songs and albums produced and released by Dylan. This paper delves into the various changes the musician went through both personally and professionally, which were expressed in his music. This paper details the events of 1965, in which Dylan embarked on a concentrated, magical and impressive two-year journey of creative musical innovation.
Table of Contents:
Early Career
The Folk and "Protest" Singer
Dylan's Changing Style
Dylan Goes Electric
Conclusion
Works Cited
From the Paper
"Bob Dylan's voice, which has been compared to that of a "sheep in pain" among other not very flattering sounds, is almost certainly an acquired taste. What distinguished the singer from other folkies who aspired to 'make it' in the early sixties, was his astounding song-writing ability. At a time when lyrics of popular songs hardly merited a second thought, Dylan's topical poetry put into song made him stand out in New York's fledging folk movement. Dylan's first ever album was released under the Columbia label in 1962; it was simply titled "Bob Dylan" and contained mostly traditional folk and blues songs. If Dylan did not feel confident enough to introduce his original songs in his first album , he soon overcame the tentativeness. His second album, "The Freewheelin' Bob Dylan," released in 1963, contained songs of such breathtaking range and variety that it astounded everyone."
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Bob Dylan and Eminem, 2002.
The paper discusses the impact of the music of Bob Dylan and Eminem on their respective generations.
1,434 words (approx. 5.7 pages), 6 sources, MLA, $ 47.95
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Abstract
The paper traces the lives and careers of both artists, focusing on the influence their lyrics and music have had and still have on their fans.
The paper explores the way Dylan's music embodied the civil rights movement of the Sixties, especially the popularity of the folk anthem "Blowin' in the Wind". The paper looks at the impact Dylan's music has had on successive popular musicians. The paper also analyzes the popularity of the controversial rap music of Eminem with its violent lyrics and asks whether he will also be regarded as a music icon in years to come like Dylan.
From the Paper
"Every generation has its own musical sound that defines who they are and where they are on the time line both politically and socially. When one hears the sounds of Tommy Dorsy or Benny Goodman, one immediately recalls the 1930?s and 1940?s generation with visions of chiffon dresses and double breasted suits gliding on the dance floors. Mozart brings up images of powdered wigs and corseted gowns. The bobby-sox generation of the 1950?s held cooed to such artists as Frank Sinatra and Tony Bennet. Each generation is defined by its music, whether the balladeers of the Victorian Era or the hip hop rappers of today. Moreover, each era expresses the mood of that particular generation. Mozart wrote for royalty, balladeers put poetry or folk lores to music, Goodman played jazzy dance music and Sinatra sang to lovers. Each era had artists that seemed to express the generation more than others, that led the way for future artists. Two such artists are Bob Dylan and Eminem. Though their lyrics may sound dramatic to the na?ve, both Eminem and Bob Dylan have paired painfully truthful lyrics with song."
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Bob Dylan, 2005.
A brief discussion of Bob Dylan s music and his influence on other composers.
900 words (approx. 3.6 pages), 7 sources, APA, $ 31.95
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Abstract
This paper discusses Bob Dylan's compositions, his musical background and training, his performances, his contributions to music, and the influence of his music on other musicians and society.
From the Paper
"Composer of more than songs, lyricist, producer and singer on forty-three CDs, Bob Dylan is one of America's foremost music composers. Arriving in Greenwich Village, Dylan was heavily influenced by folk musician Woody Guthrie and within two years turned folk music inside out. Dylan attended the University of Minnesota for a short time but primarily plays the harmonica and acoustic guitar in a technique that he maintains was taught..."
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Bob Dylan: The Poet and Man, 2004.
Examines how Bob Dylan's life affected his music and analyzes six of his works.
1,200 words (approx. 4.8 pages), 3 sources, MLA, $ 41.95
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Abstract
Bob Dylan is defined by his poetry and songwriting, with his most memorable works relating to the theme of protesting and religion. This paper examines how events, as well as the influence of other musicians, affected Dylan's music. The paper examines Dylan's background, the times he wrote in, and analyzes six of his greatest works: "Mr. Tambourine Man," "Blowin' In The Wind," "Highway 61 Revisited," "Oxford Town," "The Times They Are A-Changin,'" and "With God On Our Side".
From the Paper
"This song is about how the world has failed the everyman. The voice of the everyman asks for Mr. Tambourine Man's help in finding peace by singing a song to help him sleep. Dylan uses rhyme throughout the work but it is the free verse of his pen that makes this song work on many levels. He paints a grim picture of the world's status by describing the everyman's plight in life. He writes, "My weariness amazes me, I'm branded on my feet, I have no one to meet. And the ancient empty street's too dead for dreaming" (Bobdylan.com)"
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Bob Dylan and Social Discourse., 2002.
An overview of the Habermasian theory of social discourse and application to the songs od Bob Dylan.
2,900 words (approx. 11.6 pages), 11 sources, $ 106.95
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Abstract
This paper looks at the Habermasian theory of social discourse and whether or not Bob Dylan fits in its mode. Habermasian is identified and outlined to understand this theory. Bob Dylan's song lyrics are looked at so as to understand whether or not Bob Dylan fits into this theory.
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Bob Dylan, 2006.
This paper explores the life of influential musician Bob Dylan from his birth in 1941 up to 1971.
2,545 words (approx. 10.2 pages), 1 source, MLA, $ 77.95
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Abstract
The writer of this paper examines not only the motivations and methods behind Bob Dylan's music but also the man behind the myth. This paper focuses mainly on Anthony Scaduto's biography "Bob Dylan: An Intimate Biography." The author's biography details Dylan's life, during a 30 year span from 1941-1971, as a brilliant and talented musician struggling to come to terms with himself and his music.
From the Paper
"Dylan's fame though, was increasingly getting to him, and he was having difficulty dealing with the pressures of being an icon. Dylan and Joan Baez where being hailed as the King and Queen of protest music, and there relationship began to intensify. If anything, Dylan began to feel that he was loosing himself, turning to drugs as a way to find what was missing. While he continued to play protest music, he was becoming ever more disenchanted."
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Bob Dylan, 2002.
A brief biography of singer/songwriter Bob Dylan.
900 words (approx. 3.6 pages), 8 sources, $ 35.95
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Abstract
A biography of Bob Dylan that compounds his genius in music as the introducer of Folk Pop Music.
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Bob Dylan, 2008.
A literary reflection on Bob Dylan: poet, lyricist and author.
2,540 words (approx. 10.2 pages), 3 sources, APA, $ 76.95
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Abstract
This paper considers three published written works of Bob Dylan - the 1971 published poetry anthology "Tarantula", the 2004 published autobiographical meta-fiction, "Chronicles, Vol. 1" which offers vignettes from the author's life, and its printed companion and the 2004 published collection of Dylan's song lyrics, "Lyrics: 1962-2001". The paper discusses how Dylan's sense of defiance and his probing exploration of himself, both played out against each other in the lyrical, poetic and literary output of his career, constitutes a body of work with great cultural and social import to the period in which it was conceived and in posterity, where this writer will surely be afforded retrospective deference.
From the Paper
"In his autobiography, he rattles off the names of authors upon his whose influence his work had evolved, with among the numerous referenced, Lord Byron, William Faulkner and Jack Kerouac standing out to demonstrate the diversity of his priming. This hybrid is apparent in some of his most important lyrics which, like the man himself, appear to suggest a volatility in the rift between privacy and the artist's quest for self-knowledge. The romantic period's impulse for articulation of the emotional self meshes with the existential cynicism of Faulkner's meditations and the rambling fluidity of Kerouac's stream-of-consciousness in order to produce a singular identity in Bob Dylan's lyrics."
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Bob Dylan: Poet of Change., 2002.
A bio of musician Bob Dylan.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
A seven-page essay that explores the life and musical contributions of Bob Dylan.
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The Changing Face of Woman on Bob Dylan's Early Albums, 2003.
An exploration of the presentation of women in Dylan's early albums through a review of some of his songs.
2,714 words (approx. 10.9 pages), 2 sources, MLA, $ 81.95
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Abstract
This paper discusses how Bob Dylan has exerted a lasting influence on our culture and has altered our conception of what is possible within a popular song and particularly within its lyrics. It looks at how it is upon his sixties songs that his reputation rests and how throughout these songs he covered and developed a broad spectrum of themes, an important and reoccurring one being women. It explores the presentation of women in Dylan's early albums using a selection of songs which the author feels to be representative of each record.
From the Paper
"Another side of Bob Dylan (1964) was his last solo album until the 1990s. With the exception of one song, none of the songs had any overtly political theme. The album marked a shift from the public Dylan to a more private and introspective Dylan. The songs on the album offer personal explorations of love and focus on the nature of relationships.
To Ramona is fundamentally a break-up song in which the singer reluctantly takes his leave of a girl ensnared by the opinions of her acquaintances. It expresses feelings in a direct manner, yet is softened by reaching a moving and mature resolution in which he comes to accept the inevitability of the change, while refusing to shut the door completely on any future possibility of reunion."
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Bob Dylan's 1963 Speech to the Emergency Civil Liberties Committee, 1991.
A Neo-Aristotelian analysis of the drunken singer/songwriter's address on occasion of receiving the Tom Paine Award.
2,025 words (approx. 8.1 pages), 2 sources, $ 71.95
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From the Paper
"This study will analyze Bob Dylan's speech of December 13, 1963, to the Emergency Civil Liberties Committee on the occasion of Dylan's receiving the Tom Paine Award, given to "some public figure who epitomized the good fight for freedom and equality" (Shelton 200). The method of analysis will be Neo-Aristotelian Criticism.
The importance of the study from the viewpoint of rhetorical criticism is that it will analyze a speech which intends to have a most negative effect on its audience. From the point of view of Neo-Aristotelian Criticism, the analysis will be particularly meaningful because the speech flies in the face of most speeches which try to affect some positive change in the audience. As we shall see in Dylan's speech, however, the intended and achieved effect was to inflame the audience for no other discernible..."
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The Two Dylans, 2006.
A comparison between poet Dylan Thomas and singer/songwriter Bob Dylan.
2,400 words (approx. 9.6 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper compares the life, work and impact of the Welsh poet Dylan Thomas and the American folk rocker Bob Dylan. The paper begins with a thorough overview of the development of Thomas' original writing style. The paper also discusses Thomas' unsurpassed ability to touch raw human emotion and his influence over a generation of artists to come. In this section, the paper analyzes one of Thomas' many well-known poems, "Fern Hill". Next, the paper analyzes Bob Dylan's songwriting style, his development as an artist and the influences over his writing. According to the author, one of Dylan's greatest influences was Thomas. In this section, the paper quotes from the Dylan songs "Subterranean Homesick Blues" and "Sad Eyed Lady of the Lowlands". Finally, the paper compares the writing styles of the two artists, explaining that both were able to gain popularity with art mediums that were thought be almost extinct. Other similarities discussed include the vague obscurity in their language, the deep meaning in their verses and the impact of their similar childhoods on their writing.
From the Paper
"Dylan Thomas, probably one of the best known British poets of the 20th Century, was born in Swansea, Wales, on October 27, 1914. At a very early age Thomas possessed an unusual gift in the use of poetic diction and imagery. As a student, Dylan was said to have been ludicrously bad every subject except English. Thomas' exceptional gift for poetry was finally discovered during a poetry competition. Dylan submitted his poetry to a column called "Poet's Corner." Prizes were awarded to the best poem over a six-month period, and the prize was that the Sunday Referee would publish the winning poet's work in book form. Thomas won the contest with his obscure poem, "The Force that though the Grass Fuse Drives the flower." The book was not immediately published however, because of its obscurity. Eventually, David Archer of the Parton Bookshop agreed to have the book printed. 500 copies were printed, and 250 were later bound and issued in December 1934. The book named "18 Poems", was praised for it's obscurity and originality. In the two years that followed Dylan wrote and published another collection of poems entitled "25 poem." These two early works gave Dylan critical acclaim and brought him into the limelight. Dylan's poetry had the ability to recreate the readers own experiences of both happiness and defeat. One critic wrote about Dylan's musicality and his laughingly lifting language. A great example of this in Dylan's work can be seen in this portion of his poem 'Fern Hill.'"
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Hughes, Dylan and Auden Poems, 2004.
An examination of three poems by Langston Hughes, W. H. Auden, and Bob Dylan.
910 words (approx. 3.6 pages), 3 sources, MLA, $ 32.95
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Abstract
Dylan's ?The Times they are a Changing", Hughes' ?Harlem: A Dream Deferred?, and Auden's "The Unknown Citizen", all investigate the themes of human goals and the impact of society upon these goals. This paper explains how Hughes's poem provides an analysis of how the deferment of life goals by society can result in great destruction to both the individual and society. It then shows how Auden's poem also looks at the loss of life goals, this time through the overarching control of a mechanized, soulless state and conformity. In contrast, Dylan's lyrics provide hope for the realization of dreams and hopes through social change.
From the Paper
"In his poem, ?Harlem: A Dream Deferred?, Langston Hughes investigates the theme of the destructive impact of deferring dreams. In his first sentence, Hughes sets up a rhetorical question, "What happens to a dream deferred?", and then sets about determining the effect of life goals that are delayed or put off. Clearly, Hughes wants to impart the idea that any life goal that is delayed gives a negative outcome. Further, his inclusion of the word Harlem in the title is indicative that the poem reflects the destruction of life goals in the African American community that is symbolized by Harlem itself. Hughes' poem describes the effect of life goals that must be put off until society changes, and laws and institutions are ready to accept African Americans. Until the time that an African American's goals can be fulfilled, Hughes' lists several alternative possibilities for the reactions of African Americans."
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An Examination of the Development of Rock and Roll Music in America, 2002.
This paper examines the forgotten black roots of rock music in America, its influence on rebelling youth, and the evolution of new popular musical genres.
3,508 words (approx. 14.0 pages), 4 sources, APA, $ 98.95
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Abstract
Rock and Roll music was both influenced by and influenced the youth movement of the 1960s. The beginnings of Rock music during the 1950s were actually quite rebellious and controversial. This paper puts the development of rock music into a cultural and historical context, drawing on examples such as Wynonnie Harris, Elvis Presley, the Beatles and Bob Dylan. The paper also mentions beatniks and the psychadelic counterculture.
From the Paper
"Rock and Roll music broke into the forefront of American culture as the baby boomer generation came of age. During the 1950s, the new musical style helped young people begin to rebel against their parents? generation in a stylistic, subtle, and symbolic way, generating more differences and encouraging a widening of the generation gap. Popular culture tends to disregard the 1950s as a sterile and orderly decade, however, the youth of the 1950s were beginning to rebel much more drastically and blatantly than we are led to believe, and more so than what remains as the lasting image in the historical memory of Americans who were alive at that time. While this music that we now call ?oldies? seems so boring and unhip by today?s standards, the earliest Rock and Roll music contained sexual implications and a gift of immediate gratification that spoke to the so-called juvenile delinquents of the time. By the early Sixties and the beginnings of the ?movement,? Rock and Roll music had already established itself as a successful form of cultural radicalism, that is, an individuality of spirit and expressive form of defiance against the norm. (The ?movement? collectively refers a shift to the ?New Left? which supported the Civil Rights Movement, was against the Vietnam War, and opposed the Old Left Liberal methods of working within the system to end poverty and racism by means of a technocracy.) The more the youth rebelled, the more the music changed to suit this rebellion. The lyrics became more overtly political and explicit, and Rock and Roll music began to ?evolve out of artistic necessity,? when new ways to rebel were necessary, in order to keep on rebelling, as it were. Folk musicians began to blend their lyrics and style with Rock music, and wrote songs that were true reflections and reactions to the times and responded to the changing world. By the mid 60s, a youth ?counterculture? hit the scene, and Rock and Roll had split into two breeds of music: one which served an industry and popular culture, and another type of music for political activism, which eventually infused itself in the drug-laden hippie subculture."
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Music by John Mitchell: ?Selected Poems of Frost and Blake?, 2003.
This paper discusses four of John Mitchell?s musical
creations: ?Acquainted with the Night?, ?To the Thawing Wind?, ?The Lamb?, and ?The Tyger?.
2,325 words (approx. 9.3 pages), 3 sources, APA, $ 71.95
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Abstract
This paper explains that John Mitchell, born in Hollywood, California, in 1941, has set to music the works of countless poets, including T.S. Eliot, Robert Browning, Sylvia Plath, Dylan Thomas, Robert Frost, and William Blake. The author describes that, in ?To the Thawing Wind?, the lyrics by Frost begin very shortly after the music, which is not often seen with Mitchell?s style, suggesting the angst of this piece, the feeling of "almost there, not much longer now"; the speed of the words and music also reflect the haste in the situation. The paper relates that both of Robert Frost?s poems are sung with a baritone voice, quite contrary to Mitchell?s creations based on William Blake?s poetry, which are sung by a soprano.
From the Paper
"I am sure John Mitchell had a different idea when he heard this poem, as he seems to have interpreted the man as being lonely and maybe a bit afraid. The music has a somber sound, which only gets sadder at the mention of the ?saddest city lane?. Even the reading of those three words suggests loneliness, the singers? baritone voices carrying the notes like an echo in an abyss. The somber music, however, does end before the poem does. After the cry that is not for him, the missing ?good-bye?, the music takes a happy turn, and the man looks up to the moon. Now he knows what time it is, and again is comforted by his one true acquaintance, the night. So perhaps Mitchell would agree that the man is not lonely, that he only needs to be reminded by the sight of a familiar face that he is not alone. The night is always there for him, and he will never be alone."
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