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Hip Hop, 2005.
Explores the origins of the form of music called hip hop.
3,249 words (approx. 13.0 pages), 8 sources, MLA, AU$ 125.95
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Abstract
Unlike any other sub-culture in American history, the hip hop culture has transcended ethnic boundaries. The paper shows that, even if the beginnings were determined by the realities of a segregated American society, subject to the pressures of a cultural diversity which triggered numerous ethnic and social tensions, nowadays it represents an opportunity to mend and build ethnic relations.
From the Paper
"Notwithstanding, they deliver the same idea. Messages range from social issues such as hate crimes against Asians to relationships between blacks and Koreans. Another example is that of white rappers such as The Beastie Boys, 3rd Bass, and Vanilla Ice who, despite the lack of tradition in approaching the hip hop style, have related to its messages and thus have also enjoyed success in the industry. Cypress Hill, Fat Joe, and Big Punisher, are Latino artists who have impacted the hip hop culture (Perkins, 1996). The reason may be that the overall message of this music is the same."
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CD: "Disney Songs the Satchmo Way", 2005.
This paper reviews the compact disk "Disney Songs the Satchmo Way" on which Louis Armstrong presents Disney songs in his jazz style.
915 words (approx. 3.7 pages), 0 sources, AU$ 43.95
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Abstract
This paper explains that, on "Disney Songs the Satchmo Way", Louis Armstrong re-interprets the music of very familiar songs associated with Disney by adding a jazz flair to each song resulting in a more enjoyable sound than in their original format. The author points out that the new style actually makes the songs a much mellower flavor, which flows along nicely instead of being choppy in places as in the original Disney style. The paper analyzes the songs "Chim Chim Cher-ee", "Bibbidi-Bobbidi-Boo", "The Ballad of Davy Crockett" and "When You Wish upon a Star", all of which definitely have that New Orleans flavor with trumpets, trombones and various brass instruments playing Disney tunes.
From the Paper
"Another aspect that struck me was my attitude towards the kind of songs being performed. I had always thought of these tunes as children's songs, just funny, cartoon type lyrics and music. The way, in which these tunes were performed by Louis Armstrong, I could actually see some of them making it onto the charts. Even though they are suppose to be fun songs, the new format somehow gave them a little more seriousness. "
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Napster, Inc.,, 2006.
An analysis of the economic effect of Napster, Inc. on the music industry.
1,496 words (approx. 6.0 pages), 4 sources, MLA, AU$ 66.95
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Abstract
Napster is a computer application that enables users to copy music files that are stored on the hard drives of other users or via the internet. This paper examines how because the service is free and no money changes hands; not between the user and Napster, Inc., and also not between the internet site, the major record labels assert that they are losing a substantial amount of money.
From the Paper
"The introduction of Napster has destroyed the monopoly that was prominent in the industry structure before last year. Until last August, the record label companies controlled the quantity and destiny of music under their labels. Compact disks were available only from stores, catalogs and online sites, and sold at a price that covers production, marketing, distribution, and royalties to the artist and a generous markup for the record company and retailer. As long as the only way to get that music was through those channels, a pure monopoly existed."
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Jazz CD: "Kind of Blue" by Miles Davis, 2005.
This paper reviews the jazz collection of five works by Miles Davis on the CD "Kind of Blue" in which he is joined by legendary players on piano, drums, bass, alto and tenor saxophone.
910 words (approx. 3.6 pages), 0 sources, AU$ 43.95
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Abstract
This paper explains that the pieces in Miles Davis' jazz CD "Kind of Blue" are loosely composed, consisting of improvisation within a musical framework, which produces a feeling of freedom without the clutter of a larger ensemble. The author points out that, when the listener focuses on just hearing the music, he or she can discover the structure behind the melodies and appreciate each instrument and its player individually. The paper relates that the favorite piece on the CD is "Blue in Green", which is the most melodic piece in the collection; Bill Evans creates a lush and romantic mood and his playing invites the listener to put down whatever he is doing and just listen.
From the Paper
"Bill Evans's piano solos gave a languid feeling with an unhurried, soft touch that was romantic and contemplative. Between the two saxophonists, I preferred the work of John Coltrane, who has a dusky sound that broadens as it gains volume. Cannonball Adderly's alto sax brought the energy level up and made me feel like getting up off the couch and moving around. I was struck by the contrast of these two players and, although alto and tenor saxes play in different registers, the difference in their sound is attributable to more than this. It is a matter of individual style and each musician's approach. This switch in mood makes the CD more interesting and eliminated any possibility of monotony or of boredom on the part of the listener."
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Modern Broadway Musicals, 2006.
A paper looking at why the modern Broadway musical genre is not faring as well as older musicals and revivals of shows.
3,356 words (approx. 13.4 pages), 10 sources, MLA, AU$ 128.95
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Abstract
This paper takes a look at the changes that Broadway, as a physical place, as well as a genre, has undergone since its inception, in an attempt to understand why modern Broadway musicals are not doing as well as they had in earlier years. The paper concludes that the diminishing popularity of Broadway today is due to both financial reasons and audience-motivated reasons.
From the Paper
"Currently, according to Mayor Rudolph Giuliani, at least one fourth of the 30 million visitors to New York each year still come to see a Broadway play (Kroll 64), making it one of the top reasons tourists travel to New York. However, while there indeed seems to be a resurgence of interest in Broadway, there is a great disparity in profits for older musicals and revivals of shows from earlier decades and the more current modern musicals."
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History of Jazz, 2006.
A discussion of the history of jazz and some characteristics of this music form.
2,015 words (approx. 8.1 pages), 5 sources, MLA, AU$ 85.95
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Abstract
Over the past century, various influences have worked to shape jazz into a complex structure of styles, rhythms and techniques which are difficult to lump under the same banner. This paper explains that most forms of jazz have a few peculiar features in common which differentiate them from other types of music. It explains that in order to conduct a survey of the history of jazz, the paper also highlights some of the musical form's commonalities.
From the Paper
"Jazz also makes common use of scales that have been derived from West African traditions. These scales are not generally found in European-based musical styles, although the combination of European and West African scales has become more popular. Similarly, jazz instrumentation has grown out of the military orchestra and so emphasizes brass and woodwind instruments above strings. Unlike the European tradition of voice and instrument usage, which aims for a "pure" sound for each instrument, jazz has developed around ordinary and untrained voices and has employed its instruments as if they were voices like these. Thus, jazz lends itself to exploration and experimentation in sound, derivative of the fact that most pioneer jazz musicians were completely self-taught."
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Dimitri Shostakovich, 2006.
This paper discusses the life of Shostakovich and describes his piano and trumpet concerto with strings, No. 1, Opus 35.
1,285 words (approx. 5.1 pages), 14 sources, MLA, AU$ 58.95
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Abstract
This paper discusses the difficult life history of Dimitri and the publications of his vast contributions to the music world. The author also gives a detailed description of his piano and trumpet concerto with strings, No. 1, Opus 35 providing its four distinct movements Movement I Allegretto, allegro vivace, Lento II, III Moderato and lastly Allegro con brio.
From the Paper
"Shostakovich had a difficult adolescence, his sister Maria died at the age of seven, when he was 14. A year later in 1921, due to the privations of World War I and the Russian Revolution, he began to suffer from malnutrition. At the age of 17, he completed his courses and began to sketch his first symphony. He was unable to continue due to malnutrition and tuberculosis. While recovering in a Crimean sanitarium, Dimitri met Tanya Glivenko, his girlfriend until her marriage in 1929. Shostakovich was forced to go to work as a cinema pianist after his recovery. Despite these set backs, Dimitri continued to compose. Between the ages of 17 and 19, he completed his famous Symphony No. 1 in F minor, Op. 10., and had his Op 5, 10 and 11a accepted for publication. He also graduated from Leningrad conservatorie. By the age of 21, he had premiered his first symphony and completed his 15th major composition."
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The Horn, 2005.
This paper discusses the development and use of the horn during the Baroque era.
1,895 words (approx. 7.6 pages), 11 sources, MLA, AU$ 81.95
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Abstract
This paper explains that, during the first third of the 18th century, horns were making their way into the theater and ballet; a new horn, the Waldhorn, or "forester's horn", first made by Michael and Johannes Leichnambschneider in Vienna in the 1690s, was created for indoor orchestral use and eliminated the problems presented by parforce-horns (hunting horns). The author points out that an example of one of the earliest uses of the horn in a score is in the opera "Le Nozze di Tito e di Peilei" by Cavalli, first produced in the Teatro San Cassiano in Venice in 1639 and again in Paris in 1654. The paper relates that George Frideric Handel was the first to use horns in concert music in England as evidenced in the orchestral suite "Water Music" of 1717, written for George I in which a pair of horns playing in horn-fifths appears in the third and ninth parts of the suite and is set apart from the rest of the ensemble.
From the Paper
"Until about 1700, parforce-horns, or hunting horns, were the instrument used. They were short in length for ease of carrying on the hunt and only delivered single-note hunting signals. They were not yet used in a musical fashion. Around 1700, new longer instruments were made that allowed more overtones to be played. These hunting horns were known by the names Cor de chasse in France, Jagdhorn in Germany and corno da caccia in Italy. They could play twelve or more harmonics and had a narrow bore, thus producing a bright strident sound. The mouthpieces were shallow and conical, like those of the modern trumpet. The first hunting calls in which they were used musically are played in 6/8 time to imitate the galloping of horses. The players used the overtones in a manner we call "horn fifths". The first horn plays scale degrees 3,2 and 1 successively while the second horn plays a third, fifth and sixth below those tones, and the same in reverse."
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MTV, 2006.
A look at music television (MTV) and its influence on the music industry.
1,142 words (approx. 4.6 pages), 8 sources, MLA, AU$ 53.95
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Abstract
This paper takes a look at the role that MTV has played in exposing new recording acts and selling records. It analyzes the degree to which MTV influences whether a song will become a hit and compares this influence with other influencing factors.
From the Paper
"As the 1980s drew to a close, the broadcast and print media offered an abundance of retrospectives that retraced the past ten years. In the area of popular music, the 1980s have been identified as a decade of much change: black artists and music, hard rock/heavy metal music, and female artists all having significant impact on the music charts (Grein). Apart from who was making the music in the 1980s, another significant change during the decade was how popular music was presented to its audience. Music video became a phenomenon."
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"Jazz", 2005.
Examines how jazz music connects people in Toni Morrison's novel.
1,524 words (approx. 6.1 pages), 1 source, AU$ 68.95
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Abstract
As the title suggests, "Jazz" connects key aspects of jazz music to the disenchanted lives of the book's characters, creating three significant parallels. Overall, the book becomes an instrument for Toni Morrison's melody. The paper shows that, first, like a jazz ensemble, each character's solo is arranged together to create a disjointed unity, contrasting notes that somehow come together. Second, a new and unique rhythm, voice, beat and language are created that go beyond the conventional forms of both music and storytelling. In other words, the book tries to portray the importance of jazz for blacks in Harlem in the 1920's. It becomes a way of communicating a history, a present, and a future that have never before been told. The paper shows that, finally, the door is opened for improvisation, change, and perhaps even hope.
From the Paper
"Essentially, through these jazz-like lyrics, Morrison provides these characters with a way to tell their story. Otherwise, they do not know how to talk to each other; in fact, they can't seem to communicate in the traditional way through conversation. Therefore, they need, even want, their own form or method for saying what they want to say. For example, the narrator tells us that "Maybe everybody has a renegade tongue yearning to be on its own" (24). In the meantime, however, "Violet shuts up. Speaks less and less until "uh" or "have mercy" carry almost all of her part of a conversation".
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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, AU$ 80.95
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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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The Blues, 2006.
A general overview of the form and style of the category of music known as "blues".
1,654 words (approx. 6.6 pages), 3 sources, MLA, AU$ 72.95
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Abstract
This paper looks at the origins of "blues" as well as the expansion and meaning of the "blues" for contemporary music. The paper attempts to provide insight into the history of "blues" and examine its significance for modern music.
From the Paper
"The "blues" is a term that we have become accustomed to associating with a particular style and form of modern music. Yet, the term has become somewhat vague in its usage and is also linked to modern jazz styles as well as many "crossover" forms of music such as blues and hip-hop and blues and rock. The Blues as an art form has it origins in the essential meaning of the word "blue" as denoting a state of sadness or depression that is translated into musical forms. Besides this aspect, the Blues also has a distinct style and classical blues music has a fixed rhythmic musical pattern. "
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"Fight the Power", 2005.
This paper discusses the song "Fight the Power" by Public Enemy released in 1989 as a part of Spike Lee's "Do the Right Thing" soundtrack.
1,240 words (approx. 5.0 pages), 3 sources, MLA, AU$ 57.95
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Abstract
This paper explains that the song "Fight the Power" (1989) by Public Enemy was radical not only for its lyrics but also for being the linchpin of the movie "Do the Right Thing", giving voice to ideas and emotions that many African-Americans had only thought or expressed to each other. The author points out that Public Enemy not only embraced radical thought with "Fight the Power" but also combined politics, hip hop and anger to create a rap anthem that was aggressive and honest. The paper concludes that, after living in the shadow of the Civil Rights Movement and its message of getting along and nonviolent protest, the song urged blacks to use their voices as weapons and to reject the status quo. Lyrics included.
From the Paper
"Chuck D's opening verse begins with traditional hip hop lyrics designed to the get crowd moving and excited, which matches nicely with the opening musical sequence, which is loud and forceful. There is no build up, musically, which is one of the first hints that "Fight the Power" is more than just another rap song about partying or showing off. However, by the end of the first verse it becomes clear that "Fight the Power" has a more significant, radical agenda."
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Art in America, 2006.
An analysis of the influence of the Cruxshadows' song "Telemetry of a Fallen Angel" on the digital art of Mandem.
1,532 words (approx. 6.1 pages), 4 sources, MLA, AU$ 68.95
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Abstract
This paper examines how inspired by the Cruxshadows' work, digital artist Mandem completed a series of images based on the story of the "Angel IV", which was eventually incorporated into the tenth anniversary edition of their CD. It looks at how this work was not only influenced by "Telemetry of a Fallen Angel," but how it also gives greater insight into the meaning of the album and the Cruxshadows mythology. Some of the elements used in Mandem's visual work that draw from, or contribute to, the "Angel IV" cycle are also discussed.
From the Paper
"This organic dream-self of the Angel IV is presented in Mandem's work in several incarnations, and there is a deep significance in the representation of the Angel as both male and female. The first image of the Angel, with destroyed mechanical Icarus wings, is presented as male, however the second image, whose wings are made of clouds and moths, is female. In the distance of the female moth angel, a point of light meant to represent the male Icarus angel can be seen falling from the sky. As the male angel (knowledge) is broken apart, the female angel (emotion) can exist fully. This Jungian representation of the dichotomy between the male and female angel exists throughout Rogue's work. "
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Electronic Music, 2005.
A discussion about how electronic music developed and impacted contemporary music.
1,740 words (approx. 7.0 pages), 7 sources, MLA, AU$ 76.95
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Abstract
This paper discusses how electronic music, from its humble beginnings in the 1940s and into the present day, has greatly influenced most popular and "underground" musical styles. It explains that electronic music allowed the musician to explore not only sound itself but the inner workings of the human mind, both consciously and unconsciously, with the assistance of circuits, oscillators, sound shapers and related electronic technologies
From the Paper
"Pink Floyd, one of the most influential "psychedelic" groups from England, utterly transformed the entire spectrum of music in the late 1960's and early 1970's through the use of the synthesizer and other electronic devices. On their "Dark Side of the Moon" album, Pink Floyd, especially bassist/keyboardist Roger Waters and keyboardist Richard Wright, completely altered all previous ideas concerning how the synthesizer could take the listener on a new voyage of discovery into uncharted territories of sound. For Pink Floyd, the synthesizer was far more than just a tool-it was a machine with the capabilities of transforming the landscape of sound into something cosmic in origin."
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Hildegard von Bingen, 2005.
An overview of the life and musical achievements of this twelfth-century Christian composer.
3,410 words (approx. 13.6 pages), 11 sources, MLA, AU$ 129.95
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Abstract
Hildegard von Bingen, born in Bockelheim, Germany in 1098, made a significant impact on the twelfth century church through leadership and writing, and yet she is perhaps best known for the amazing works of music that she produced. This paper examines influences that helped to shape von Bingen into the figure that many refer to as St. Hildegard. Through examining important events, celestial visages and important influences, the paper shows how von Bingen was inspired to create some of the most hauntingly beautiful pieces of music that have emerged from Christianity throughout its two thousand year history.
From the Paper
"von Bingen was deeply moved to create music because of her religious beliefs about what musical expression was. From von Bingen's perspective, music was one of the ways to most appropriately worship God. Before the fall of Adam, von Bingen surmised that Adam's voice was pure and would be lifted up in worship of God and would be joined by hosts of angels. After the fall, von Bingen concluded that musical instruments were invented to enable man to worship God in an appropriate manner. These influences were reflected in her music and helped to craft a musical style that was inspiring and moving. It is precisely the element of worship as a component of music that inspired her to write the lines of the Devil without music."
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