| Papers [369-384] of 1100 :: [Page 24 of 69] | | Go to page : <— 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 —> | |
|
|
Elvis Presley: A Cultural Icon, 2002.
This paper discusses the influence Elvis Presley had on American culture.
1,210 words (approx. 4.8 pages), 5 sources, MLA, AU$ 51.95
»
Click here to show/hide summary
Abstract
An examination of the effect of Elvis Presley's career and life had on American society and culture. It discusses how his music transformed rock n' roll not only in how it sounded but also in his appearance and sexuality. It further looks at his movie career and how he influenced musicians and entertainers including Madonna.
From the Paper
"Elvis Presley openly acknowledged that black musicians and their unique blend of soul and blues were a major influence in his career. He grew up in a poor household in the rural South. He understood the problems faced by the poor in the South, many of whom were Black. He listened to their music, visited their clubs and bars, and brought their musical form to the attention of the world when he blended it with his country blues."
| |
|
The Role of Music in Modern Horror Films., 2001.
A look at the effects that music has on viewers' expectations during horror movies.
2,800 words (approx. 11.2 pages), 8 sources, MLA, AU$ 104.95
»
Click here to show/hide summary
Abstract
Many horror movies musical techniques are discussed in this paper. The writer shows how this music effects the audience's viewing experience and builds up hype and expectations. Different styles are discussed - creepy, tense, supernatural, fear etc.
From the Paper
"To fully utilize sound in a film it must be more than just neat sound effects added in as an after thought. The first crews to utilize this new mind set was the ever famous team of Ben Burtt and Walter Murch in Star Wars and then again in Apocalypse Now. They realized that the sound shaped the picture as much as the picture shaped the sound. The result was a powerful effect that forever changed the way sound is used in a film (Thom, 1999). It takes more than loud, high fidelity, and well executed sound effects to make a great movie. The soundtrack must be integrated into the entire film as a whole. It should enhance and change as the mood changes. In this way the soundtrack becomes a valuable part of the team (Thom, 1999). Many directors overlook the potential that sound has in storytelling and often do not consider it in relation to the other elements of the film. This philosophy embraces the idea that good sound embraces and is considered by the other crafts, as well. It is not just a product of the other crafts."
| |
|
Napster, 2001.
An analysis of the popular and infamous "Napster" website where people can download music for free and share music libraries.
2,100 words (approx. 8.4 pages), 23 sources, MLA, AU$ 81.95
»
Click here to show/hide summary
Abstract
This paper looks at why the website was obviously so popular with the youngsters and students and why the music industry was furious. It examines laws and court cases brought against the company and what the outcome of these confrontations were.
From the Paper
"Napster is a peer-to-peer file sharing software application that allows users to trade music that is encoded in a format known as MP3. The MP3 format compresses the music into small files that are quickly downloaded or uploaded. Napster grew from a small site where its founders were delighted to be able to host 100 users at the same time to a site with membership ?approaching 50,000,000 registered users with as many as 1.3 million using the service at the
same time.? But it hasn?t been an easy path. Right from the beginning there was discussion in legal and media circles about copyright infringement and who could possibly get sued -- Napster for providing the capability of easy file swapping, or the user for downloading and uploading copyrighted music. Napster was in litigation before they even opened their doors, while their software was still in beta. (ARCHDEC2000, WIRED1, CNN1)"
| |
|
Afro-American Music, 2001.
A comparison of two new types of music - Gangsta Rap and Minstrelsy in the African American context.
2,335 words (approx. 9.3 pages), 10 sources, MLA, AU$ 89.95
»
Click here to show/hide summary
Abstract
This paper compares and contrasts the African American entertainment styles of minstrelsy and gangsta rap. The essay contains a lengthy discussion of the differences and similarities in these styles of music. Finally, it presents a discussion that supports the author's thesis that gangsta rap is the new minstrelsy.
From the Paper
"The development of African American music closely parallels the history of African Americans. African American history is rich and begins with the first slave capture in the 16th century. Decades of slavery followed, until the signing of the 1863 Emancipation Proclamation. Following the proclamation, African Americans were slowly integrated into American society as free people."
In the 21st century, exemplary African Americans like Rosa Parks, Martin Luther King, and Jesse Jackson slowly moved the African American population to greater equality with white Americans. The 21st century saw the end of segregation in schools and public places, the rise of black power, and the continued development of a rich and unique African American culture. "
| |
|
Buying Music over the Internet, 2001.
This paper examines the issue of buying music over the Internet for both the consumer and musician.
1,240 words (approx. 5.0 pages), 3 sources, MLA, AU$ 53.95
»
Click here to show/hide summary
Abstract
This paper discusses the issue of buying music over the Internet and the problems with it. It discusses the anti-trust issues that have arisen and how to deal with them. It also examines the issue of who really ?owns? the commercial product which is music, whom does this belong to? How can musicians and record labels receive benefits from their works if the music is bought over the Internet from an e-commerce site. It discusses music downloads over the Internet and its problematic issues as well.
From the Paper
"One of the most controversial issues in the music business today is the issue of selling music through the Internet. The ongoing and evolving process of selling and disseminating music through the Internet has provoked a number of economic as well as artistic debates for the music business and for the computer and technology businesses that allow such technology to be accessed. This paper will address some of these concerns with a particular focus on the anti-trust issues that have arisen over the course of this debate. First of all, the issue of disseminating music over the Internet provokes the perplexing question of who really ?owns? the commercial product of a pieces of music, anyway? Is the owner the person or persons who simply hear the tune and keep humming it? Is the owner the musician who produces the product? Or are the owners the music companies musicians have signed artistic rights to? Clearly, to survive musicians must be able to charge for the product they produce, and the companies have control over the specifics of how to market that product. But once a song is in the public sphere, do not consumers have a right to ?pass on? that music product in ways that they see fit, even if those ways may inhibit the sales of recordings of that music?"
| |
|
Rap Music, 2001.
This paper discusses rap music and compares it to the institution of slavery.
595 words (approx. 2.4 pages), 2 sources, MLA, AU$ 26.95
»
Click here to show/hide summary
Abstract
This paper examines rap music and how it affects African-American culture. It contains excerpts of Frederick Douglass' autobiography
'Narrative of the Life of Frederick Douglass' which discusses slavery. It discusses several terms in rap music such as: Gangsta Rap, obscene language, as well as discusses several Record labels. This paper concludes windfall is based on a tried and true system of degradation like slavery.
From the Paper
"Frederick Douglass in his autobiography, 'Narrative of the Life of Frederick Douglass', skillfully illustrates the exploitation and cruelty of the institution of slavery. The degradation and mistreatment visited upon African-Americans continues to this day. The most shocking detail of the ongoing humiliation facing African- Americans is who the facilitators are. The insurgence of the ?ghetto? rap music industry continues to uphold the values of the slaveowners to the tune of a billion-dollars a year."
| |
|
Music Piracy, 2001.
This paper looks at the phenomenon of piracy in the music market and what legislation exists against it.
4,500 words (approx. 18.0 pages), 17 sources, APA, AU$ 146.95
»
Click here to show/hide summary
Abstract
This paper deals with the issue of piracy and open markets in the music industry. It addresses problems such as the website "Napster" where people can download music for free and other gray areas that affect the music industry. It examines how these loopholes impact the industry economically and professionally.
From the Paper
"Record label executives speak of the importance of paying artists for their work, allowing them to compete for the dividends of their labor by seeing whose promotion and artistry can sell the most records. The so-called free market of capitalistic music-making is supposed to ensure the best artistry and creativity available. After all, according to record executives, if musicians are not being paid sufficiently for their work, then they won?t want to make music at all: ?It is crucial that the artists who produce the music are not taken advantage of. That?s not fair and it will hurt our creative future.? Meanwhile, young, tech-savvy listeners are beginning to have a completely different definition of a free marketplace of ideas and art. According to many online music enthusiasts, the definition of ?free? should be closer to the vernacular -- a marketplace devoid of currency or capital exchange, based on the open and price-less exchange of ideas, music, and art. It?s not that most fans have any objection to supporting their favorite musicians; according to most free-music advocates, they simply feel that such support is not inconsistent with freely distributing copies of individual pieces of music in a digital format."
| |
|
Sidney Bechet, 2001.
This paper is an autobiographic summary of Sidney Bechet, the jazz musician.
2,890 words (approx. 11.6 pages), 5 sources, MLA, AU$ 106.95
»
Click here to show/hide summary
Abstract
This paper studies the life and works of the famous saxophonist, Sidney Bechet. It details the reasons for his being a soloist and gives an historical overview of his personal life. It details his hard but successful life as a musician. It examines the major players influenced by Bechet such as Bob Wilder and Johnny Hughes. It concludes with quotes of things said about Bechet by famous musicians.
From the Paper
"Sidney Bechet truly led the life of a jazz musician. He was a supporter of Dixieland Jazz who played the clarinet and was the first person to play Jazz on a Soprano Saxophone. Domineering is a word frequently used to express his music. Various fights showed he had a short temper that reflects in his music. His solos were often soaring and passionate, endlessly inventive, direct rather than ornate. Throughout his life, he never had the discipline needed to play in a regular band; he always preferred to be a soloist and worked in many different bands. "
| |
|
Who Owns this Song?, 2001.
This essay discusses the current controversy over music dissemination and sales via the Internet.
1,240 words (approx. 5.0 pages), 2 sources, APA, AU$ 53.95
»
Click here to show/hide summary
Abstract
This paper examines the ongoing and evolving process of selling and disseminating music through the Internet. The author discusses how such activity has provoked a number of economic as well as artistic debates for the music business and for the computer and technology businesses that allow such technology to be accessed. This paper particularly focuses on the anti-trust issues that have arisen over the course of this debate.
From the Paper
"First of all, the issue of disseminating music over the Internet provokes the perplexing question of who really ?owns? the commercial product of a pieces of music, anyway? Is the owner the person or persons who simply hear the tune and keep humming it? Is the owner the musician who produces the product? Or are the owners the music companies musicians have signed artistic rights to? Clearly, to survive musicians must be able to charge for the product they produce, and the companies have control over the specifics of how to market that product. But once a song is in the public sphere, do not consumers have a right to ?pass on? that music product in ways that they see fit, even if those ways may inhibit the sales of recordings of that music?"
| |
|
Buddy Holly and the Beatles, 2000.
A look at Buddy Holly and his influence on the musical style of the Beatles.
1,285 words (approx. 5.1 pages), 4 sources, AU$ 54.95
»
Click here to show/hide summary
Abstract
This paper looks at Buddy Holly's influence on the music of the Beatles. It shows that Buddy Holly?s influence and courage to experiment and innovate led the Beatles to their own innovation and impact on the pop music scene; enabling them to make significant contributions to opening up rock and roll to the British and the world, making it not just a regional American sound, but an international phenomena.
From the Paper
"Working within his rock band, ?The Crickets?, Buddy Holly? unique approach to his music, with his new and ground-breaking vocal style and guitar technique would become the example to be followed, imitated and would set a standard that would be built upon by other artists including Bruce Springsteen, Bob Dylan, and particularly groups and artists comprising the ?British Invasion? of the American music scene in the ?60s. Mixing elements of country, Rhythm and Blues, blues, rockabilly, gospel, and pop, Holly developed a musical hybrid, resulting in a body of work that is as fresh today as it was in the 1950s.
His groundbreaking attitude toward experimenting and breaking out of set styles and formulas gave other music writers and performers the courage to do so as well, during a time when artists were encouraged to stick to ?what works? and ?what sells records?. The Beatles, too, were a different type of band that would also forever influence the development of music. When they first began playing together, they played mostly covers of other groups? hit songs, from a variety of genres; part of their initial success came from their borrowing or dubbing over music which had already been a hit for other artists."
| |
|
Music in the Classroom and Learning Experience, 2000.
An extensive report on a study conducted on high school students to test the soothing and calming effects of music.
5,000 words (approx. 20.0 pages), 28 sources, AU$ 158.95
»
Click here to show/hide summary
Abstract
This study is an attempt to research the effect that music has on student learning and behavior. The paper uses the existing body of knowledge and practical observation to find out if the use of music in learning situations, used both as a supplement to interdisciplinary studies and as a ?background? can help students improve their learning and retention, provide a calming tone to the environment to set the tone for learning, as well as make learning and taking part in the institutional social experience more enjoyable for students. In other words, does the purposeful introduction of music into the classroom and institutional environment have a noticeably positive effect on the aforementioned three areas of the learning curriculum?
| |
|
Understanding American Culture, 2004.
This paper analyzes the extent to which an understanding of any American cultural form demands exploration of the economic, social and political context in which it has developed.
2,395 words (approx. 9.6 pages), 2 sources, MLA, AU$ 91.95
»
Click here to show/hide summary
Abstract
The paper examines four areas of American culture; the film industry, the American novel, popular music and sport. The paper shows how these four cultural forms are all related to the wider social and economic context of American life, having developed out of peculiarly American conditions. The paper concludes, therefore, that to a very large extent, our understanding of American cultural forms demands an exploration of the economic, social and political context in which they have developed.
From the Paper
"Ideas do not develop in a vacuum, but are fostered and shaped by the social, economic and political context in which they originate. The same is true of all human activity, both aesthetic and material. No matter how we define the term "culture", the particular form referred to is, to a very large extent, a reflection of the entire geographical, social and economic situation in which that culture is located. We may, for example, define "culture" as "thhe whole way of life" of a people, nation, or community, or we may opt for a narrower, perhaps elitist, definition, centring on the notion of "intellectual or aesthetic" pursuits. Whichever definition we choose, however, it seems absurd to suggest that any particular cultural form is wholly autonomous, that it could ever be studied independently of the social, economic and political context in which it has developed. This is not to fall into the 'trap' of suggesting that all human activity is completely socially or economically determined, but simply, as Karl Marx put it succinctly , to suggest that "people make their own history, but not in circumstances of their own choosing"."
| |
|
"M. Butterfly", 2008.
An analysis of theme of feminism in "M. Butterfly" by David Henry Hwang.
985 words (approx. 3.9 pages), 0 sources, MLA, AU$ 43.95
»
Click here to show/hide summary
Abstract
This paper examines how, in David Henry Hwang's "M. Butterfly", a wide variety of characters and dialogue are used to explore the feminist viewpoint that men try to control women because of self-doubts and insecurities. It looks at how this is exposed as a fruitless and impossible way to establish a productive, working relationship between men and women. From the three gossipers, to Gallimard and Marc, from Gallimard and Renee to Gallimard and Song, it discusses how Hwang inspects feminism using a new and unusual viewpoint throughout the play, which he asserts in various ways.
From the Paper
"While the play was borne of racial stereotypes, it evolves more into a tale exposing the intricacies of male-female relations, using East-West misconceptions as a medium, and focuses on the protective fantasies of men. The story, told after Gallimard's arrest, drips with cynicism and sarcasm. In flashbacks, Gallimard (the diplomat), describes his perception of the play, "Madame Butterfly," relating his own love affair with Song Li Ling, who him/herself expresses why he/she participated in it. Gallimard, a faceless unimportant diplomat begins to gain confidence as his "Madame Butterfly," submits to him. Further, as this is accomplished he moves up in diplomatic circles. "
| |
|
Church Music, 2007.
Compares controversies about the music in the Church during the Reformation period to controversies about current church music.
1,190 words (approx. 4.8 pages), 10 sources, APA, AU$ 50.95
»
Click here to show/hide summary
Abstract
This paper explains that controversies have been present in church music throughout history and continue today. The paper points out that members of the Reformation movement were critical of the increasingly elaborate music of the Catholic church service and sought to use music that was simpler and more accessible to the common people. The paper describes this simpler form of worship music known as the Protestant hymn. The paper then discusses universal complaints about church music, such as volume, lyrics used, focus, simplicity and types of instruments played, which continue today.
From the Paper
"Before the age of microphones, sound systems, and amplifiers, elevating the sound of the worship music was limited to structural acoustics and/or the vocal strength and quantity of the people singing. In almost any given church of today, some sort of electronic amplification can be found. "The music is too deafening" or "the volume of the music is not loud enough" are complaints that might have been uttered after a service 500 years ago."
| |
|
Musicians Play Music... or Politics?, 2005.
This paper discusses whether music influences political opinions.
1,925 words (approx. 7.7 pages), 13 sources, MLA, AU$ 76.95
»
Click here to show/hide summary
Abstract
In this article, the writer maintains that the political song plays an important part in the politics of the United States. The writer discusses that a political son is not only an expression of ideas of the songwriter, it is also the message which ordinary people and politicians hear and interpret for themselves in different ways. The writer notes that the relationship between musicians, politics and audience is evident. The writer also points out that it does not matter that the musicians cannot stop the government to make the unwelcome decisions. What matters is that they are concerned. The writer concludes that music as a part of culture is involved in social and political life.
From the Paper
"If there is a performing artist, there is an audience who will like what he does. This audience is the main reason for the artist to exist, to move on, and to create and develop the art. These people support and promote the artist by buying his or her records, going to the concerts, talking to other people. This audience consists of those people who can be called followers of the artist, who feel like sharing the same ideas and emotions. The same pattern can be seen in politics. There are politicians and those people who share the same ideas, who see the future of the country in the same specter. So, this people surely support the politicians they agree with. Now, how are these three parties connected? The hard relationships between them create something similar to the knot. If there are people who do not like somebody's music, they just do not listen to it. Of course they also may critique it, but there is no too much importance in this matter. The situation is more serious, when there are politicians in the head of the government, whose decisions do not satisfy people, and musicians in particular. So in the country of democracy and freedom of speech they have the ability to speak against the government out loud. In this case the connections are visible. That is why the most of the political music is seen as opposition to the politics of the country."
| |
|
Music Superstar Bob Marley, 2008.
Looks at the life and contributions of reggae superstar Bob Marley.
3,145 words (approx. 12.6 pages), 8 sources, MLA, AU$ 114.95
»
Click here to show/hide summary
Abstract
This paper explains that Bob Marley was the first ever international Third World music superstar whose influence spread to every corner of the earth. The author describes, in detail, how Marley, who came from the slums of Jamaica, started his own band and record label and eventually toured the world. The paper underscores that, even now, more than 20 years after his untimely death, Bob Marley's name is known all over the planet and he is still the best-selling reggae artist in the world, controlling forty percent of the recent chart listings of "Billboard" magazine. The paper concludes that the key to Marley's success is not through advocating sex, money,or violence in his songs like current recording artists but through his religious beliefs of Rastafarianism and his message of love, peace and freedom for every living person, regardless of race, nationality or creed.
From the Paper
"Bob's final world tour (1980) began in Gabon, Africa and moving onto Zimbabwe, were his music had deeply affected the countries politics. Zimbabwe was under British colonial rule for almost a century and had just been freed after a long and brutal war. Marley's song "Zimbabwe" was a call for change saying "It take a revolution, to make a solution". During this time of war, this song was a national anthem, representing what the soldiers were fighting for. Marley was the only performer playing at the concert that wasn't native but was allowed because of the effect his music had on soldiers moral."
|
|
|
