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Women?s Music, 2002.
An investigation into the world of women?s music.
1,330 words (approx. 5.3 pages), 8 sources, APA, $ 44.95
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Abstract
This paper attempts to define what is women's music and examine its history, development and future. It discusses how women?s music is defined by its performers, by its audiences, by its content, by its style, and by its mode of transmission. Unless all of these elements are present, the result is not women?s music. It looks at how in general, women?s music is played by women, bought and listened to by women, addresses issues of concern to women, favors certain musical forms over others , is released by ?women?s music? labels and is played at women?s music festivals. It also discusses the influence of music on feminist groups who rely on music to help define them as a community and to give them a sense of purpose and on the lesbian movement.
From the Paper
"Any investigation into the world of women?s music quickly reveals that there is no single vector along which a definition may be constructed, and this is no doubt one of the reasons that an easy definition tends to elude us. Women?s music is defined by its performers, by its audiences, by its content, by its style, and by its mode of transmission. Unless all of these elements are present, the result is not women?s music. Or it may fall into a category recognized within the women?s music community as ?not quite women?s music? ? a tacit recognition of its qualification along some but not all essential vectors. These different aspects of women?s music will be discussed in turn. Each of them allows for some ambiguity of classification, but women?s music is only considered to be such if at least some of the categories are unambiguously met."
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Women in Music Videos, 2007.
This paper discusses the portrayal of women in music videos.
1,636 words (approx. 6.5 pages), 6 sources, MLA, $ 53.95
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Abstract
In this article, the writer notes that in our consumerist society, music is one of the most important money-spinners. The writer points out that as noted by Julie L. Andsager and Kimberly Roe, music videos are very important in this industry as they play an important role in launching the careers of artists. Moreover, the writer describes that music videos enjoy an enormous following among teenagers, which means that they likely play an important role in forming their opinions about important issues such as gender roles. This research paper investigates the key issue of how music videos portray women. The writer maintains that as music videos have the potential to impact the lives of so many women, and to form the opinions of so many young people of all genders, the portrayal of women in music videos is clearly a matter of great importance.
From the Paper
"Clearly there exist destructive music videos which encourage sexism and the objectifying of women. This is cause for great concern as such music videos clearly have the potential to encourage men to treat women as mere sex objects. Even more troubling is the fact that some music videos seem to actively encourage and promote violence against women. For example, Van Horn found that more than half of the music videos he examined contained violence, and that all too often this was violence against women. An Eminem song, Kim, illustrates this chillingly well. The following is not the entire song, but merely excerpts, but it should be kept in mind that the entire song is sickeningly violent, not only these excerpts."
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Women Of Country Music, 2005.
This paper describes the lives of nine female country western singers and their contributions to the history of this musical genre.
2,090 words (approx. 8.4 pages), 10 sources, MLA, $ 65.95
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Abstract
This paper explains that country western historically has been primarily a male-dominated industry but there are women that have been responsible for the major changes in this industry. The paper discuses some of the women that are responsible for these changes: Louise Massey, Rose Maddox, Dolly and Mille Good, Patsy Montana, Patsy Cline, Dolly Parton, Shania Twain and The Dixie Chicks. The paper relates that Louise Massey, who formed a band in 1918 with her father, husband and two brothers, are called the 'original rhinestone cowboys' because of the flashy clothing they introduced into the country music society. Blazing the hillbilly and rockabilly trails and still thriving in 1995, at the age of 70, when she received the Grammy nomination in the Bluegrass Category, Rose Maddox had a major influence on Loretta Lynn, Dolly Parton, and Janis Joplin.
From the Paper
""Come on Over" came out two and half years after her last release of "The Woman in Me". "The Woman in Me" is a nine time platinum album and spent over 140 weeks on the Billboard Country Albums chart. Shania was born in Timmons, Ontario and her name was Eileen. She started singing at a young age, being pulled out of bed to sing at midnight at a local bar. At 21, Shania lost her parents in a car accident and took on the responsibility of raising her three younger siblings. During this time she performed at Ontario's Deerhurst Resort, learning the ins and outs of theatrical performances."
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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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Gangsta Rap Music, 2007.
This paper discusses gangsta rap music and violence towards women.
1,396 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
In this article the writer notes that the term gangsta rap began its rise to popularity when the controversial single "Gangsta, Gangsta" by N.W.A. (Niggaz with Attitude) hit the Billboard's Hot Rap Singles chart. The writer explains that rap music is an expression of minorities' frustration with poverty, drugs, and sexual harassment, yet some includes explicit lyrics about violence and sexual abuse that many critics believe can easily mislead impressionable teens who are the main patrons of this type of music The writer maintains that gangsta rap music is essentially the vocalization of sentiments that have lived long within the political environment of the African-American community. The writer concludes that to feel empowered, African- American males attempt to keep women subordinate.
From the Paper
"African American men have historically enabled themselves with the power and authority to determine the black political agenda, and have consistently abused that power and defined the boundaries of the imagined black nation in terms of a sexual politics that institutionalized male domination and the subordination of the feminine. For example, Alexander Crummell suggested that one of African American women's main political duties was to protect their virtue and maintain sexual purity, and Stokely Carmichael asserted that the only position for women in his movement was prone."
"Ice Cube held women and gay men in contempt in "Amerikkka's Most Wanted," and in particular the fictional violence against women, with lyics such as "bitch-killah" in "The Nigga Ya Love to Hate," and the misogynistic "You Can't Fade Me," which is a venomous mother's -baby-father's-maybe tale that concludes with a murderous fantasy."
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Music is The Fruit of All Creation, 2007.
This paper studies 'The Silmarillion' by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett focusing on the issue of music.
1,235 words (approx. 4.9 pages), 3 sources, MLA, $ 42.95
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Abstract
In this article, the writer notes that music has been a constant fascination to man learning new ways to portray thoughts and emotions. The writer compares the work 'The Silmarillion' written by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett, noting that the main tool of creation in both is music. The writer points out that 'Silmarillion' is one story that uses music as a tool of God, Iluvatar to create existence. In the 'Spider Woman Stories', Spider Woman and Tawa used their song to create the creatures that inhabit the earth and the song of life to change them from clay into living beings. The writer concludes that given Jung's definition and the shared commonalities of music in vastly separated cultures, it can be argued that the similarity between 'Spider Woman Stories' and the 'The Silmarillion' is the result of an archetype that has spanned cultures and ages.
From the Paper
"The Silmarillion written by J.R.R. Tolkien is one story that uses music as a tool of God, Iluvatar to create existence. In the story of Ainulindale, Iluvatar created the Ainur and thought them themes of music and they sang to him, at first alone or in a small group because each song represented a part of Iluvatar's mind. While the rest listened they were able to slowly learn about their fellow Ainur and comprehend more and more of Iluvatar's mind. Eventually, they were able to sing in harmony and Iluvatar presented them with a great theme declaring that together they will be able to make the most beautiful thought come to "life" through song. As they sang, Melkor, the most powerful of the Ainur brought in his own thoughts and created discord in the music singing more powerfully than the rest, until all the Ainur fell silent and Iluvatar stood up and created a new theme in the song, and it was beautiful but Melkor felt he could contend with it and brought his music in an uproar, and so on for three themes until all fell silent. Iluvatar led the Ainur into the Void and said behold what your music has created and showed them a vision of the world, streaming with the thoughts of each Ainur, and improved by the wisdom of Iluvatar."
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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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Sexuality and Portrayal of Women in Rap and R&B Videos, 2002.
Explores and compares the portrayal of women in Rap and R&B music and then discusses what this portrayal may say about women and society.
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
There are very marked differences between the sexuality in lyrics and videos of Rap songs and R&B songs as a whole. This commentary is in no way meant to cast a blanket of generalizations over this issue. Instead, it is the purpose of this paper to examine the expression of sexuality in the lyrics and videos of six songs (three Rap and three R&B). The exploration will pay particular attention to the treatment and portrayal of women in these images and what they seem to be saying about gender and society.
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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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