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Rock vs. Bach, 1973.
This compares the music of Rock with Bach.
900 words (approx. 3.6 pages), 4 sources, $ 31.95
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From the Paper
" In the comparative analysis of rock vs. Bach, there appears to be no recognizable competition between the two. The true audiences of the two forms of music are as extreme as mid-day and mid-night. There are some who fail to recognize Rock as music at all. They view this type of simple expression as not even related to music. The Rock advocates, on the other hand, often look upon their ancestral heritage as meaningless musical "jive." There is also, admittedly, the m.o.r. (middle of the road) crowd, which seems to enjoy some of each of the before-mentioned music. These more broad-minded patrons are often seen attending the chamber music societies as well as the rock concerts.
When Bach was alive, he was well-known primarily as an organist, not as a composer. "It took a hundred years for people to discover from his music what a great genius he was.""
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Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
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Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
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Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
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"Rocking-Horse Winner", 2002.
A discussion of the symbolism of the Rocking-Horse in D.H. Lawrence?s "Rocking-Horse Winner".
1,580 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
This paper reviews the novel "Rocking-Horse Winner" by D.H. Lawrence about the devastating effects that money can have on a family. In particular it looks at how Lawrence uses the rocking-horse to symbolize not only the lost innocence of childhood but also the lost innocence of a world gone mad with greed. It examines how the meanings of the rocking-horse evolve through the story. The object first emerges as a symbol of the type of monetary greed expressed by a family attempting to live beyond their means in the form of a Christmas present. Later the horse becomes the avenue for which young Paul attempts to find the luck that his mother feels she and his father are missing. Further on in the novel, images of the horses at the races become superimposed over the idea of a little boy growing too large for his new, then old and worn, rocking-horse and this is the imagery that really influences the reader into the idea of the rocking-horse as a real sweating and shackled racer. It attempts to put forward the message that people living in a corrupt environment imagining that the bridle of a horse can bring them salvation can only receive salvation at a high price.
From the Paper
"Paul steps away from innocence and embraces the faith that embodies the world of horse racing. The track representing almost a poor mans modern cathedral. His cohorts look upon the manner in which Paul receives the knowledge of the name of the winner as a mystical occurrence. When Paul?s Uncle Oscar questions the servant Basset about just how the whole betting process occurs with his young nephew, he still thinks it rather comical and is not quite sure how much to believe."
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Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, $ 50.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
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Rock Films, 1982.
This paper discusses the presentation of rock and roll on film, from the 1956 dramatic film "Don't Knock the Rock" through later documentaries like "Woodstock", "D.O.A." and "The Decline of Western Civilization".
675 words (approx. 2.7 pages), 1 source, $ 23.95
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From the Paper
"The sexual component of rock and roll has been a strong element in films about and featuring rock and roll from the beginning. In the 1950s, when rock music was new, the films featuring rock often were based around parental fears of the rampant sexuality supposed to go with the music. In films like Don't Knock the Rock (1956), the plot revolved around convincing parents that kids listening to rock and roll were not inevitably preparing for an orgy. Ironically, the sexual component of rock became stronger and more overt as initial parental fears were sublimated if not eliminated, and rock on film would become sold for its sexual content rather than in spite of it.
Ehrenstein and Reed note how rock and roll fit with the rebellious spirit of teenagers in the 1950s, specifically ... "
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Bach the Unknown, 2006.
An examination of the contributions of Johann Sebastian Bach that are generally unknown.
1,854 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
Johann Sebastian Bach stands as the epitome of Western music. This paper explains that as a musician, Bach encompassed all of the musical styles that preceded him, such as those found in the medieval and Renaissance periods, and then rose to the highest peak of artistic and technical development beyond which it was, in many cases, impossible to go any further. The writer points out, however, that Bach also looked forward to the future of Western art and music and set the standards for the centuries to come. More conspicuously than any other composer of his day, Bach suggested and invented the technical devices and methods which, with the coming of other composers like Haydn, Mozart and Beethoven, were soon to open up new horizons for music.
From the Paper
"His special quality had much to do with how he used the resources of art in order to apply them to new purposes. His artistic powers and insight were so much higher than those who came before him that Western music, almost at once, evolved from the simplicities of the Medieval period and into full maturity. Bach wrote a library of music that is incomparable in regard to its extensiveness and artistic merit. It is indeed curious that this uniquely productive genius who wrote so much that was touched with immortality should have been neglected for almost a century after his death in 1750."
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Lunch with Copland, Brahms and Bach, 2007.
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
1,705 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper
"Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
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Baroque and Rock, 2002.
A paper which compares baroque music to the rock music of the 1970s.
1,376 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
The paper traces the history of baroque music which reached its peak in the 1700s with musicians such as Vivaldi and Bach. It then compares this music to the development of the rock music of the 1970s, identyfing the audience and the culture of both periods. The paper shows the similarity between the two time periods - in each of the two, music has been an instrument to cultural change. They were important to the audience because they could socially represent themselves or expressed their emotions through them.
From the Paper
"Comparatively, in the modern era, the status of music has a different status quo. If one recall the period of the 1970s, the population of America especially experienced a period of ?grotesqueness? as well. The culture of American population changed from discriminatory to one of extreme liberty. Different kind of music was experienced right from rock music to reggae. The resulting is an amalgamation of different cultural tunes. One could attribute the change of attitudes of the people towards music to the cultural trends prevailing at the time."
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Bach's B Minor Mass, 2005.
An overview of this work by Johann Sebastian Bach.
2,122 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
The paper asserts that the "Mass in B Minor" not only sums up Bach's own eclectic style, but also sums up the styles of previous periods as well. This paper first addresses some of the historical aspects surrounding the Mass. It then discusses controversial theories regarding Bach's purpose in writing such a work and finally acknowledges a small variety of those styles, i.e., stile antico, galant, that Bach assimilated into this monumental work.
From the Paper
"Throughout the Mass in B minor there are three clearly distinct styles of Baroque vocal writing that can be heard influencing this quite eclectic work. The first is the traditional stile antico or "church style," the somewhat plain and simple manner inherited from the Renaissance (prima practica). In this musical style the notation employs long note values, dissonance and melodic ornamentation are used cautiously, and the instruments are used primarily to double the choral parts. In contrast, the vibrant, sometimes harsh Baroque style displays an often lively rhythm, brilliant orchestration, expressive dissonance, and melodic lines that are highly ornamented. The third and final type is that of the arias and duets, derived predominately from the virtuosic solo writing of the opera and cantata."
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Resurrecting Rock & Roll, 2000.
This paper covers the most important aspects of Rock & Roll from its birth to the present.
1,830 words (approx. 7.3 pages), 4 sources, $ 58.95
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Abstract
This paper covers the most important aspects of Rock & Roll from birth to the present time. The author looks at how Rock & Roll came about, the most important contributors to the music as well as Rock & Roll as an expression of freedom and escape.
From the Paper
"The longest and most important cultural expression in the United States today is rock music. The majority of music purchased in the United States is rock & roll. Although there are many memorable names and faces associated with rock, little is know about their origins and influences in modern music. Rock & roll has become a musical escape into a world where free expression and freedom of speech has become less of a fantasy and more of a reality. It?s like an incurable virus that enters by ear and circulates in the veins of a generation that has been oppressed and rejected for so many years. Within the text of the statements below lay the answers to the age-old question of the origin of rock & roll and what it has progressed into along the timeline of music."
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?The Rocking-Horse Winner?, 2004.
A critique of ?The Rocking-Horse Winner? by D.H. Lawrence.
981 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper examines the story, ?The Rocking-Horse Winner? by D.H. Lawrence, in which the main character, a young boy named Paul, constantly hears voices whispering in the house about the family?s need for money, causing him to get involved in a series of events that eventually lead to his demise. In particular, it looks at how the symbols of money and rocking horse play a significant role in the story?s theme; the money symbolizes desire, and the rocking horse symbolizes inspiration and ambition.
From the Paper
"According to Lawrence, Paul?s family enjoyed living in style yet always lived beyond their means. There was never enough money, causing a great deal of anxiety in the house. The parents dreaded the fact children were growing up, as they knew they would need money to send their children to school. As a result of the all the psychological trauma associated with money, the house became haunted with the phrase: ?There must be more money! There must be more money!?"
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In Defense of Rock and Roll, 2002.
An analysis of the various opinions of rock and roll music.
1,393 words (approx. 5.6 pages), 10 sources, MLA, $ 46.95
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Abstract
This essay examines the statement that rock and roll has closed the American mind and is complete lifeless dribble with no contribution to society. The rock and roll artist, Pink Floyd, is examined in order to refute this statement. The paper illustrates how Pink Floyd demonstrates with its down-to-earth lyrics that rock and roll can indeed make a significant contribution to culture and society.
From the Paper
"Beginning in the 1950?s and extending into the 1960?s, a new wave of music swept through the United States and Europe. This movement away from musical standards became known as rock ?n roll. By the end of the 1960?s rock had gained a strong foothold in the music industry. From its early days, critics have claimed rock ?n roll lacks substance and intellect. In his book, The Closing of the American Mind, Allan Bloom asserts that rock music is nothing more than ?junk food for the soul? (77). Although there may be some substance to Bloom?s argument, it is inaccurate to deem all rock music as garbage. Pink Floyd, a British band defies many of the rock ?n roll stereotypes outlined by Bloom. Though Bloom would clearly find the band questionable, their lyrics and behavior do serve to add a positive influence to society. This social significance is evident in their use of intellectual lyrics, their lack of sexual content, and their music?s connection to more classical styles."
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