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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
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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."
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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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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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Digital Downloading and its Impact on the Music Industry, 2008.
A detailed description of the effects that digital music distribution has on the music industry.
2,375 words (approx. 9.5 pages), 9 sources, APA, $ 72.95
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Abstract
This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.
Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion
From the Paper
"The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."
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Music Predilection Marketing Research, 2002.
A paper on marketing research dealing with music predilection and music consumption of the general Israeli public.
9,915 words (approx. 39.7 pages), 8 sources, MLA, $ 201.95
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Abstract
In the last decade many technological advances such as the Internet, CD recorders and many others offered the music consumers new alternatives to easily acquire their favorite music, while preserving a high recording quality. The paper shows that one of the solutions suggested to combat "music theft" was to decrease music prices in the Israeli market. The paper argues that before doing a general price decrease, market research should be done in the field. The paper therefore puts forward a detailed and comprehensive market research plan that might give a better understanding of the music market segmentation. The assumption that is tested by the research is: The types of music that tend to be ?stolen? frequently differ from those that are not and those individuals who ?steal? music belong to much lower educational and/or income level than those who tend to buy music. The paper includes strategy, methodology, questionnaire examples and detailed tables with the research results.
Table of Contents:
Executive Summary
Introduction
Methodology
Results
Introduction
Problem
Study Objectives
Strategy
Methodology
Questions
Questionnaire Design and Pre-testing
Main Study Data Collection Process
Errors and Problems
General Problems and Errors
Problems with General Data
Problems with Music Predilection
Problems with Music Consumption
Flaws in Questionnaire Form Design
Errors and Problems with Distribution
Results and Recommendations
Study Results
Conclusions
Recommendations
Appendix
Statistics
Data Evaluation Methodology
English and Hebrew Questionnaires
Bibliography
From the Paper
"The most problematic issue that I was facing in this research is the difficulty in revealing the subject of this research, which is the illegal music consumption. My goal was to find the most neutral approach, in order not to make our respondents feel like suspects for committing a crime (that some of them do?). Therefore, I proposed to design the questionnaire in such a way that it will emphasize the music predilection side of the research, and less the music consumption side. My hope to get the true answers to those questions was based on the acquaintance with Israeli mentality ? people are open enough to provide us with true data, as long as they are anonymous. However, the credibility of the research cannot be based on such an assumption alone and I will try to estimate it using additional methods."
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Online Music Distribution, 2007.
This paper explains that the rise of peer-to-peer (p2p) digital technologies has led to a fundamental transformation in how the audience of popular music regards music as property.
1,360 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper relates that, while property rights in the music industry remain based upon rigid copyright laws, which give the copyright holder protection against any unlicensed copying or use of a music property, digital media has permitted widespread disregard for this law. The author points out that, even though there remains an opposing view by some people in the music industry that peer-to-peer (p2p) networks exchanging music amounts to theft of their property, a transformation in the understanding of property rights and music is underway on a global scale. The paper concludes that, as the phenomena of mashes and sampling indicate, artists and audiences have come to see digital music as a new medium for creative growth, which promises substantial changes in our popular music in the future.
Table of Contents:
Introduction
Copyright Law and the Question of Ownership
Peer-to-Peer Technologies and Music Exchange
Audiences and Music Property
Conclusion
From the Paper
"It must be noted that even this limited copying capability was the result of fierce renegotiations between Apple and the leading recording industry companies who were unhappy about the one fixed price business model, as well as Apple's limited support for the audience's right to copy music. However, this right was based upon a key limitation on copyright known as "fair use" in the United States, and "fair dealing" in Canada. Under "fair use", for example, it is possible to not only use a copyrighted work without the copyright holder's approval but even to do so over the owner's express objection."
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Outlaw Country Music, 2002.
Discusses this brand of country music, known as 'outlaw' music and why it differs from traditional country music.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
Country music in the 1960s and 1970s is characterized as "outlaw" country music and represents a break from the traditional Nashville sound, as well as position taken by recording artists who wanted more control of their music. Their songs emphasized grieving lives of prison, drug and alcohol abuse and their rejection of tradition made them popular in an era marked by dramatic social and cultural upheaval.
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Bluegrass Music, 2004.
This paper discusses bluegrass music, a form of American roots music with its own roots in the Irish and Scottish traditional music of immigrants from the British Isles, particularly the Scots-Irish immigrants from Appalachia, and the music of slaves.
1,605 words (approx. 6.4 pages), 5 sources, APA, $ 52.95
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Abstract
This paper explains that bluegrass songs are played with each melody instrument switching off playing the melody each time through, while the others revert to backing; in contrast to old-time music, in which all instruments play the melody together at the same time rather than solo. The author points out that, since the people lived in rural areas, the songs were written about life on the farm or in the hills; this type of music was known as "mountain music" or "country music". The paper relates that the rigid characteristic of the bluegrass genre is usually limited to the traditional, five, acoustic, rather than electric, instruments: banjo (5-string); guitar (flat-top); fiddle; mandolin; and bass.
From the Paper
"Bill Monroe learned much about melody and timing from his uncle, and from the singing school classes he attended at church each summer. A middle-aged black man named Arnold Schultz who worked for a local coal company in Bill?s neighborhood also helped his musical education. In Schultz's country blues, Bill found a new way to approach music - to allow his emotions to influence his playing and singing. Schultz impressed Bill with stories of music contests he had won throughout Kentucky, and one Saturday night when he was hired to play fiddle for a dance, he took Bill along to play guitar behind him. They were still going strong at dawn."
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?Pop? Music Queens, 2004.
This paper discusses the sexuality in the music. especially the lyrics. of music performed by three ?pop? music queens.
1,780 words (approx. 7.1 pages), 6 sources, MLA, $ 57.95
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Abstract
This paper explains that the songs. "Genie in a Bottle," sung by Christina Aguilera, "Boom, Boom", sung by Britney Spears. and "Naughty Girl", sung by Beyonce Knowles. are among the ?Top 40? pop songs that have heavy sexual references, which many people may not even notice. The author points out that all three pieces have blood-pumping music and a sort of seductive melody, which seem to inspire highly sexually suggestive movement. The paper concludes that, while there?s nothing particularly wrong with sex or with art that displays sex, it seems strange that "Top 40" songs that are played everywhere, especially by teenagers, would be quietly pumping in lyrics about mutual masturbation, prostitution, and orgies.
From the Paper
"Aguilera?s character seems to maintain a temporary morality, saying ?that don?t mean I?m gonna give it away? to which she has already added ?baby, baby, baby? as an indication that she is already losing control of her body. This loss of control is soon made explicit as she says ?My body?s saying let?s go? (assumably to ?give it away?). That this is sexual is so obvious that, when Disney wanted to show the video to children, they required Aguilera to change the lyrics to ?My friends are saying let's go.? as if to pretend that she was going to leave, rather than going to have sexual intercourse."
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Reggae Music, 2008.
This paper discusses the history of reggae music and looks at how this type of music has developed and changed from its original form.
1,600 words (approx. 6.4 pages), 6 sources, MLA, $ 52.95
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Abstract
In this article, the writer notes that in 1968, a new form of music, blended from a religious movement, Rastafarian, and numerous musical influences such as rhythm and blues, rock steady, African, and ska, emerged in Jamaica and spread quickly throughout the world. The writer then explains that this music, known as reggae, defined a nation of people for decades and helped develop various musical movements worldwide. This paper discusses the history of reggae and the major artists of the art form. Further, the writer discusses how the art has changed, both in its original nation as well as how the music has been altered for American audiences. This paper includes copied sources.
From the Paper
"Reggae music, born of a combination of R&B, blues, jazz, and traditional African music, and combined with a religious tradition, was unique to Jamaica at a time when the country was looking for her identity. The combination of political messages, religious connotation, and raw sound was ideal for the changing society of the time. However, to be pushed to international stardom, the music was altered and rerecorded by milder, less powerful white British artists who helped internationalize the genre. The end result, however, was that it would take many years for true reggae to reach international audiences, complete with the ideology and messages the music was intended to portray. While the British musicians helped popularize the culture, it would take Bob Marley and many others decades to bring the true message of reggae music to international light."
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Music Of Japan, 1992.
Examines age, origins, musical basis, different types of musical instruments and the music of today.
1,125 words (approx. 4.5 pages), 5 sources, $ 39.95
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From the Paper
"The Music of Japan
This paper will discuss the different types of traditional Japanese music, its origin, musical basis, different types of musical instruments, and Japanese music today. Japanese music is known to be almost 2000 years old (and is probably older), while Western music began with Gregorian chants less than a thousand years ago. The traditional Japanese music was imported from China, and the first record of this importation of music mentions the arrival of musicians from Korea in 453 A.D.. Of course, since that time, traditional music has changed much, and now many musicians performing Japanese "koto" music are now interested in performing "shinkyouku," the "New Music," at the expense of the older forms."
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African and Black-American Music, 1984.
This paper discusses the influence of African music on the music of B;lack Americans: Spirituals, jazz, folk music, rhythms, scales, instruments, melodies and harmony.
2,475 words (approx. 9.9 pages), 8 sources, $ 87.95
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From the Paper
"OUTLINE
Introduction
Combination of musical strains in black American
music
Modern research
Attitudes of the past towards African culture
Actual contribution of African culture
Black music of today and African music
Relationship
Characteristics that have been retained
melodic concepts
voices
instrumental sound
conflicts with Western scales"
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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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