| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "POP MUSIC ASIA": |
|
|
Pop Music in Asia, 1994.
An examination of the effects of Western popular music on life and culture in China, Indonesia, Japan and more.
1,125 words (approx. 4.5 pages), 9 sources, $ 39.95
»
Click here to show/hide summary
From the Paper
"Western popular music has long had a major influence on the world music scene, and the massive appeal of rock music since the worldwide impact of the Beatles and other groups from the 1960s has altered the popular music scene in different regions of the world, including the nations of Asia. This change has meant the creation of some cultural tensions as some Asian governments have tried to stem the tide of Western influences and to maintain traditional cultural forms. Such efforts have had only limited success and have often come long after the battle has been won by Western music. The Beatles and Elvis Presley first reached these nations more than 30 years ago, and efforts to hold back the flood have been brought to bear more recently either on specific musical styles or on the general influx of Western ideas and trends, to little avail. In many of these countries, a thriving..."
| |
|
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
»
Click here to show/hide summary
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."
|
| Term Paper # 55587 |
temporarily unavailable
|
|
|
|
Pop Music Score, 2003.
Examination of how pop music can be used in a film score to drive the narrative and create meaning by use of ironic counterpoint or dramatic forshadowing.
2,366 words (approx. 9.5 pages), 12 sources, MLA, $ 72.95
»
Click here to show/hide summary
Abstract
Popular music, as demonstrated in the movie "Boogie Nights", can be utilised to generate added meaning for the narrative. Time and place contexts are established and asserted, and connotations brought forth by lyrics inform the narrative, working with the onscreen action to generate new meanings and character motivations. This paper discusses how "Boogie Nights" has a tight synthesis with its music and the way it is arranged and the particular pieces which are chosen, reflect the central themes of change and accepting who you are and what you have to offer, as well as performing a metaphoric or comical purpose. It shows how this effectively demonstrates how popular music, in the (near) absence of a classical score can interact with the film text in a meaningful way.
From the Paper
"The popular song score operates in a different way from the classical film score, with seemingly more specific purposes based on its lyrical content. Popular Music utilises cultural contexts and linguistic content to create meaning. Coupled with an image the popular song?s lyrics can be used as pun, ironic counterpoint or provide commentary or insight into character thought and motivation. The music of Boogie Nights works to fulfil the above functions, denoting, as only popular music could, the trends and transitions of music and fashion over several years, as well as articulating the thematic concerns of the film and acting as guide through the unfamiliar world."
| |
|
Pop Music and Culture, 2003.
A discussion on music as a commodity and the grazing consumer.
3,382 words (approx. 13.5 pages), 7 sources, MLA, $ 96.95
»
Click here to show/hide summary
Abstract
This paper attemts to examine the theoretical arguments concerning grazing and consumption in general, by exploring some of the research and works of theorists on popular culture. With reference to established sources on popular culture including Adrono, Frith and Fiske, this paper investigates the notions of multiplicity of choice, 'grazing' and 'commodification' in relation to music consumption and freedom of choice. In conclusion it asks if we (as the audience of popular music) really have choice.
Outline
Commodification and Choice
Adorno
Fiske
Frith
Theories on Grazing ? Social Factors
Conclusions on Commodification and Grazing ? Do We Really Have Choice
Conclusions on Choice in Popular Music
Conclusions on Choice and Grazing
From the Paper
"Criticism of Adorno?s views on mass culture is wide ranging. Much stems from the fact that his view of popular music is taken from the viewpoint of high art and therefore, misses the point of popular music in the first place. Other dissatisfaction concerns his failure to address the emergence of Rock n? Roll in the 1950s; Paddison makes the observation that ?Adorno?s defence of the musical avant garde can be applied to the work of composer and performers of popular music such as frank Zappa and Henry Crow. (Shuker 2002: 137 quoting Paddison 1993). However, the elements of Marxist theory in the work of the Frankfurt school, particularly concerning commodification, have been widely accepted and expanded upon by bodies such as the Birmingham school, and even populists such as Fiske."
| |
|
Teen Thought and Pop Music, 2002.
A look at the psychological themes of human behavior and mental processes of music in a teenager.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
»
Click here to show/hide summary
Abstract
This paper will seek to understand teenage thought in popular music. By seeking the psychological mind process of a teenage girl, we can see how psychology plays into her reaction to the music of Britney Spears and Madonna.
| |
|
Rap Music and Pop Culture, 2007.
A look at the history of rap music and its impact on pop culture.
1,138 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
Rap Music has a great effect on our pop culture and race today. In fact, since the music of Elvis, various forms of music have pushed the limits of tolerance and decency in pop culture. According to some critics, rap has done this to an extent that cannot be disregarded in terms of social standards. This paper reviews the rap music genre, while also taking into consideration the impact it has on pop culture. The paper asserts that, while it is true that some rap artists have broken rules and norms not only in their music, but also in their lifestyles, it is also true that other rap musicians attempt to use their art for social uplift in pop culture.
From the Paper
"During the 1920s, urban street jive was a form of speech developed in Chicago ("Getting"). According to some historians, this is the tradition at the root of rap music as it exists today. In its current form, rap music emerged in New York City, courtesy of a Jamaican immigrant, Clive Campbell, or DJ Kool Herc, as he is also known. During the 1970's, Campbell developed this art form by mixing music from two records on two separate turntables. The beat created in this manner was accompanied by Campbell speaking to match the rhythm of the music. The first hit in this genre was created by the Sugarhill Gang in 1979, and entitled "Rappers Delight.""
| |
|
Pop Art, Rock 'n Roll Music and Modernist Literature, 2007.
An analysis of pop art, Rock 'n Roll music and modernist literature in the 20th century.
1,094 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper provides a three-tiered analysis of the most important trends in art, music and literature since 1890. In the paper, Andy Warhol represents the important trend of pop art, the Rolling Stones represents the important trend of Rock 'n' Roll in popular music and finally, Ernest Hemingway represents the crucial trend of modernist literature in the 20th century. It shows how these trends are an important part of the cultural identity of the 20th century, which impart crucial influences as to how art, music and literature evolved in this time frame.
From the Paper
"The insanity and terror of war of this kind is the direct result of losing one's honor in a battle field that had little to do with chivalry and honor. Modernism reflects the reality and horror of war, as Hemingway clearly indicates in his response to coming home and telling his story to the local people in his town. In an age of machines and World Wars, Hemingway was a part of the important trend of literary Modernism, which provided the reality of war that counteracted the romanticism of war in the 19th century."
| |
|
Propaganda in Popular Music, 2007.
This paper examines how propaganda and mass persuasion exist in pop music.
1,515 words (approx. 6.1 pages), 7 sources, APA, $ 49.95
»
Click here to show/hide summary
Abstract
The paper relates that propaganda and mass persuasion are present in all forms of media, including pop music. The paper looks at the history of propaganda, mass media and pop music and shows how and why mass persuasion exists in pop music. The paper also identifies those who listen to pop music and why they are attracted to it. The paper discusses how by limiting media exposure and being aware of media techniques used to brand and market pop stars, we can make educated choices.
From the Paper
"Propaganda is the mass persuasion of people. Often used for political gains or simply to make an individual more popular or blameless, propaganda has a history as long as humanity. Modern propaganda, however, is different. Modern propaganda, aided by technology, has allowed for mass communication and, in turn, mass propaganda. Larson cites the communications researcher Jaques Ellul, who identifies the characteristics of modern propaganda: it happens in industrialized and "depersonalized" societies; it works through forcing individuals into masses while also isolating them as individual people; and it exists to integrate people into a common way of thinking rather than agitating them to action."
| |
|
Risk Management and a Music Festival, 2007.
An analysis of corporate risk management of a pop music festival.
2,987 words (approx. 11.9 pages), 2 sources, APA, $ 88.95
»
Click here to show/hide summary
Abstract
This paper analyzes the risks involved in a municipality sponsoring a pop concert. It is organized into three parts in order to describe the precise risks and necessary management measures involved. Firstly, the precise details of the risks are described. Secondly, a plan is described for the mitigation of risks before, during and after the event. Thirdly, conclusions and recommendations are offered in terms of risk management.
Outline:
Introduction
Corporate Risks
Program of Action
Before the Event
During the Event
After the Event
Conclusions and Recommendations
From the Paper
" During the event, the organizer's reputation may be damaged by a number of factors associated with the nature of the event and its attendees. The noise level may for example damage the reputation of the organizers in terms of maintaining the peace in the neighborhood. Because a large number of attendees are expected, it is also expected that the music presentations will have to be loud in order to be audible to the entire crowd. Furthermore, it is also expected that the crowd will produce a high level of noise. This could be perceived as a bad influence on the community and carry with it an unfavorable impression in the eyes of the community."
| |
|
'Bastard Pop', 2006.
A discussion regarding the musical genre of 'Bastard Pop' and why 'keepin' it real' isn't the only way to make real music.
2,383 words (approx. 9.5 pages), 7 sources, MLA, $ 73.95
»
Click here to show/hide summary
Abstract
This paper takes a look at the genre of music known as 'Bastard Pop'. According to the paper, 'Bastard Pop' is not a formal musical categorization, but rather a common, colloquial term for music that is the result of a fusion of different musical styles or elements, often using several different types of songs that are combined into one, new song or style.
Contents:
Definition
Is it Stealing?
Recent History
Artists and Critics Sound Off on Bastard Pop
The Grey Album: Is it art?
Conclusion
From the Paper
"In the 1990s, the phenomenon of downloadable music made the ability to fuse and combine genres even more accesible to everyday computer users and listeners, even young persons with only a PC in their bedrooms. Disc jockeys and then ordinary listeners could develop mixing techniques that turned first the record player, then the home computer into an instrument. Such technology-driven creativity gave birth to first such musical genres as disco, then to hip-hop and finally house and techno. "These innovations not only radically changed their immediate cultural and social contexts, but also served as templates for a variety of other musical practices around the world, so much so that contemporary popular music would be unthinkable without them." (Wehelive, 2004) Popular music, the argument goes, depends upon copying, and without such self-referential techniques, modern music would be much poorer."
| |
|
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
»
Click here to show/hide summary
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?."
| |
|
The Hip-Hop Movement, 2005.
This paper discusses the hip-hop movement, or more specifically gangsta rap beginning in 1992, as an example of a pop music explosion similar to Beatlemania.
845 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper explains that a pop music explosion, such as hip-hop, (1) creates a cultural upheaval of class and race, (2) distinguishes a youth subculture, (3) changes the way people think and act, (4) influences a broad shift in sexual mores, political beliefs and economic aspirations and (5) establishes a pervasive sense of chaos. The author points out that gangsta rap is a form of raw, urban social commentary written by and intended for poor minority youths; however, its appeal has broadened widely. The paper relates that the hip-hop movement of this generation has produced a myriad of fads and styles such as showy gold jewelry, baggy pants, designer name t-shirts, furs and expensive running shoes with which hip-hoppers blur the class lines by wearing clothes, like Ralph Lauren and Kaygol, typically sported by rich people.
From the Paper
"In the late 1980s and 1990s rap music became a medium used to express dissent and attack the government and law enforcement agencies, longtime persecutors of the black community. Rappers like Public Enemy, NWA, and Eric B. used their music to spread a message about social, political and economic issues. Turmoil ensued in 1992 when ex-NWA rapper, Ice Cube, released Body Count featuring "Cop Killer"."
| |
|
The Music of Today?s Youth, 2006.
An examination how music is affected by situations.
923 words (approx. 3.7 pages), 2 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
In this paper the author examines how music is affected by situations and not situations by music. He highlights Rap music as the street music of the ghetto and mainstream pop music as that of the more affluent segment of society. He then examines punk rock as sharing a defiant tone that is characteristic of rap, but considered the music of white alternative rockers.The paper concludes with observation that music can tell a story if anyone listens.
From the Paper
"While it is true that songs like "Cop Killer" contain language that is objectionable and an exhortation to violent reactions to the injustices around them, most of those who listen to rap understand the nature of the lyrics. While parents of middle class and upper middle class teens worry that they will be influenced by the sordid nature of the music, those in the black neighborhoods know that this music is a predictable response to what ghetto teens see around them every day."
| |
|
Twentieth Century American Popular Music, 2007.
This paper analyzes the developmental history of 20th century American popular music from the earliest jazz pioneers to the latest major pop stars of 20th century American music.
2,545 words (approx. 10.2 pages), 9 sources, APA, $ 77.95
»
Click here to show/hide summary
Abstract
This paper explains that all of the musical genres, such as Ragtime, Jazz, Big Band, Blues, Country, Rock 'n' Roll, Folk, Punk, Heavy Metal, Rap and Hip Hop, are linked together into a single unified whole in American music. The author discusses the importance of the development of Rock 'n' Roll and how it crossed over successfully into many earlier forms of the Blues and Country genres. The paper stresses that the contributions of the African-American influence on American music, which is the core element to many American styles that came earlier, are crucial to the latter popularity of Rap and Hip Hop.
Table of Contents:
Introduction
Ragtime and Jazz
The Big Bands and the Blues
The Evolution of Jazz and Growing Popularity of Country Music: 1920-1950
The Rock 'n' Roll Era of the 1950s
The "Psychedelic" Rock 'n' Roll and Folk Music Movements of the 1960s
Punk and Heavy Metal: The 1970s and the 1980s
Rap and Hip Hop
Conclusion
From the Paper
"The first broadcast of the Grand Ole Opry in Nashville, Tennessee in 1925 was a crucial moment for the popularity of Country music to be introduced in American music. Often these fusion of old Bluegrass styles and Folk often helped to build the style of what became known as "Country" by the likes of the Grand Ole Opry. In this manner, Nashville became the center of this genre, helping to introduce country to a major audience. Once again, it was the radio that greatly helped to bring this music to millions of listeners across the United States."
|
|
|
