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The Black Arts Movement, 2008.
Explores today's black arts movement, which includes music, stage, film, television, literature and the visual arts.
2,310 words (approx. 9.2 pages), 8 sources, MLA, $ 71.95
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Abstract
This paper explains that the black arts movement is an extension of the Harlem renaissance period. The author points out the contributions of black persons to different genres or mediums of the arts in an overall social context. The author also stresses the impact of the black arts movement on all artists, regardless of color, and to the general culture to the extent that today the lines between white and black performers has been successfully blended.
From the Paper
"It was a well known fact that, by the time many young black men reached their early twenties, they had been arrested or came of age during incarceration. Rap reflected this, not just in the music, but in the music labels that were born to promote the industry: Death Row Records; Jive Records, Def Jam; Quannum Projects. All depicted labels that told the contemporary black story, and it wasn't a pretty a story. Black community, who had supported and marched with the Dr. Martin Luther King, Jr., finally began speaking out against the violence message in rap aimed towards black women."
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"In the Mood for Love", 2008.
An examination of the style and use of music within the film, "In the Mood for Love," directed by Wong Kar-wai.
1,711 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
This paper analyzes and reviews the film, "In the Mood for Love," directed by Wong Kar-wai. It describes the plot of the film and the characters who are involved. The paper then looks at the style of the film, the music used to create moods in the film and how tension is portrayed. It also discusses how the camera follows the characters and what this portrays in terms of mood.
Table of Contents:
Summary of the Film
Essay
From the Paper
"The music used to create moods in this film is perfectly suited to the buildup of desire and the melancholy that surrounds these two unrequited lovers. This movie is about desire, for certain, but it's also about restraint and sadness. And the main musical theme may drive some viewers crazy. The theme music is "Yumeji's Theme" - a waltz with stringed instruments that plays when the two characters are passing in the hall, or when they meet outside in the rain, or ride in slow motion in the back of a cab. It seems to always nearby."
"Also, several songs by Nat "King" Cole are used frequently by the director. One of them is "Aquellos Ojos Verdes" (Green eyes) which may denote jealousy. All three Nat "King" Cole songs are sung in Spanish, a strange mix of language and culture in a movie that is supposedly taking place in Hong Kong, 1962, and that features both Cantonese and Shanghai subtitles."
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Kenny Rogers, 2008.
An analysis of the background and the musical success of Kenny Rogers.
1,190 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper discusses the background and musical achievements of Kenny Rogers, a giant of American country music. It begins by discussing Rogers' upbringing and the beginnings of his singing career. The paper then looks at the course of career, both as an individual and as part of a group. The paper specifically focuses on Rogers' success.
From the Paper
"Like classical music giants like Beethoven and Mozart, Rogers signifies a particular time in the evolution of music. Beethoven and Mozart are remembered not just for their stunning compositions but also for their impact on Western music in general. Changing the way music is heard by the general public, incorporating elements into the music that were unheard of prior, and reaching out to a broad audience are all hallmarks of musical genius. Rogers brought country music and vocal styles into the mainstream. He synthesized elements from a number of different musical styles. Kenny Rogers is also an emblem of the American Dream: showing that a poor boy from Houston can rise to the top of the charts."
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The Sound of Music, 2008.
This paper studies the film 'The Sound of Music', focusing on the them and music featured in the movie.
1,200 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
In this article, the writer introduces, discusses and analyzes the film 'The Sound of Music'. Specifically it discusses the music and theme of the film. The writer notes that 'The Sound of Music' is one of classic Hollywood's classic musicals and is still a family favorite today, even though it was first released in 1965 to movie theaters. The writer explains that it is a heartwarming story that tells the story of the rise of Nazi power in Austria in the 1930s, and how one family coped with the historic and frightening events swirling around them. The writer looks at the storyline and notes that the story is essentially true, but the film took fictional license with much of the truth involved. The writer discusses that the story would not be the same without all the music, and this indicates that it works in the film, making it more magical and charming than it would have been without all the wonderful songs.
From the Paper
"The overarching film theme is the theme of love transforming a dysfunctional family, something that is purely an invention for the film. While the Captain was strict, he was not as strict as the film portrays, and in reality, Maria went to the family home to act as a nurse, more than a governess. The couple did fall in love, however, and did marry. In the film, Maria is the catalyst that brings the family together and helps the Captain see how much he loves his family. She nurtures the children and gets the Captain to open up and be much more loving and open with his family, and brings the entire family together. The family in the film is dysfunctional, because the Captain is so strict and so unable to warm up to his children, and they need a woman's touch to get past this feeling of domination and fear that permeates the children. They are not allowed to just be "children" until Maria comes, and that transforms the family and turns it into a "real" loving and caring unit."
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Subversions and Mixed Messages, 2008.
An analysis of the contributions of African-American performers
to the minstrel tradition.
1,587 words (approx. 6.3 pages), 5 sources, MLA, $ 51.95
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Abstract
This paper discusses how the minstrel tradition, although apparently racist, also provided a platform for African-American artists not only to launch themselves into careers in theatre that would otherwise have been closed to them, but also to use the form of the tradition for their own purposes. It looks at how through the integration of African-American musical traditions, the subtle alteration of minstrel imagery, and the addition of protest lyrics which brought issues of race to the forefront, these artists were able to subvert and transcend the very medium which had been created at their expense.
From the Paper
"In an article entitled "The Influences of Nineteenth Century African American Music on the Popular Music of South Africa", Robbie Fry writes that "After the Emancipation Proclamation in 1862 the number of black [minstrel] troupes grew rapidly. Their appeal was their 'authenticity,' which they promoted in advertisements and exploited in their performances. This authenticity drove the white performers out of the business and opened the doors for many African American musicians and actors" (Fry, 1). Their involvement in the heretofore whites only minstrel scene altered it drastically--and, in fact, they proceeded to use the genre, its images and its traditions for their own purposes, using the platform they were given by white audiences continuing to seek confirmation of the racial order they were so heavily invested in. While Fry admits that the draw of potential financial freedom, away from the harsh realities of plantation life, presented a powerful inducement to join in the minstrel tradition, he also insists that this was not simply a case of African American performers selling out, and giving their white audiences what they wanted. "
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Worship Music, 2008.
An exploration of music and its role within the Ministry of God.
1,119 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper explores music and its role within the Ministry of God by looking at worship music (often frequently referred to as devotional music) and how the vibrant musical tradition in the Christian Church has brought individuals closer to God and, in turn, God closer to those over whom He reigns. In the process of so doing, the paper argues that Church music, far from being mere ornamentation, is really a conduit through which can flow the Grace of God - and one's love for God. Simply put, music places us in the proper frame of mind to be receptive to Christ and to the Holy Father.
From the Paper
"Put simply, music in church is an instrument of praise that is meant - at least in theory - to bring the enthralled worshipper nearer to the Lord. More than that, music, with its rich texture, evocative language, with its compelling rhythm and beat, is surely one of the most moving ways by which human beings can express thankfulness to God. For instance, after the Israelites had crossed the Red Sea and the sea, in turn, had fallen back upon the Pharaoh's army, Moses and his followers sang a song of thanksgiving to the Lord. Without exaggeration, when we sing praises to the Lord in Church, we are giving thanks to the Lord in much the same way as the ancient Israelites gave thanks to the Lord for their deliverance. "
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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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The Eminem-Interscope Principal-Agent Relationship, 2008.
This essay describes the relationship between rap artist Eminem with his record label, Interscope Record, as well as the basic principal/agent relationship between Detroit Rap and the labels that represent these rappers.
2,980 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
This essay assesses the relationship between Eminem and his "agent", record label Interscope Record. Specifically the author aims to distinguish between a musician and his agent and the greater realm of principal-agent relationships - that between Detroit Rap and the labels that represent these rappers. Furthermore, the essay analyzes the relationship of Shady Records, Eminem's record label, which is controlled by Interscope Records.
Outline:
Introduction
Objectives of the Interscope/Eminem Relationship
Rewards of the Interscope/Eminem Relationship
Incentive Problems in the Interscope/Eminem Relationship
Reward schemes that are used to address the incentive problem
Conclusion
From the Paper
"In terms of how well these reward schemes alleviate the incentive problem, this reward scheme is perhaps one of the only things that keeps Eminem's controversial behavior in check. Empirical evidence that supports the use of these reward schemes is the fact that every major music artist in the world (even British pop sensation Lilly Allen, who famously started as an independent "My Space" music sensation) must sign with a record label in order to maintain career success. When artists do not reign in their controversial behavior, they are dropped - as Eminem alum and rapper 50 cent was dropped by Trackmasters/Columbia records when he was involved in a shooting accident (Internet Movie Database). At present, this existing incentive scheme seems to be the best and only one."
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Wind Band Repertoire, 2008.
Looks at the planning of the repertoire for a classical wind band.
1,210 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
This paper discusses a number of considerations when planning a program for wind band concerts and when expanding a band's repertoire. The author examines various articles, which focus on the challenge of finding new music, selecting it, and its appropriateness for a given level of skill in any particular band, especially in educational institutions.
From the Paper
"Reynish, following Frederick Fennell, feels that Vaughan Williams and Holst should rightly be considered "the basis for the whole development of 20th century wind literature", but also adds that new works have figured in his work at the Royal Northern College of Music significantly recently, with Sir Richard Rodney Bennett having "contributed three major works to the wind ensemble repertoire." Reynish writes that other major 20th century composers to consider include Gregson, Bedford, Woolfendon, Wilby, Ellerby, Gorb and Buxton Ozz."
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Discrimination in the Music Industry, 2008.
This paper discusses how white musicians receive credit for musical genres originally created by African Americans.
1,558 words (approx. 6.2 pages), 9 sources, APA, $ 51.95
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Abstract
The paper looks at the racism and discrimination that still appears to exist in the music industry in general and in the jazz and hip-hop world specifically. The paper gives examples of white musicians who have grown rich by performing African-American music without having the actual African-American artist involved in delivering it. The paper believes that society must give recognition to African-American musicians where it is due.
From the Paper
"One type of music, Jazz, has its roots in many different countries and cultures, however, the primary development of jazz occurred in the United States in the deep south within the African American culture. In the early days of jazz, there existed a "set of white Americans, who had identified jazz only with liberation from the social responsibilities of full citizenship" (Jones 188). "As a musical language of communication, jazz is the first indigenous American style to affect music in the rest of the World" (Morgan). Jazz music is prevalent in most major metropolitan cities such as New Orleans, Chicago, and New York City (Morgan)."
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Opera: "Salome" and "Heriodade", 2008.
This paper compares the operas "Salome" by Richard Strauss and "Heriodade" by Jules Massenet Different, both of which are based on the same story of John, the Baptist and Salome.
2,300 words (approx. 9.2 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Richard Strauss in the opera "Salome" and Jules Massenet in "Heriodade" treat the story of John, the Baptist and Salome in different ways. The author points out that these differences reflect the time of composition and the societies of which the composers were a part. The paper relates that the composers had different motivations for the characters, different theological concerns regarding the story and different musical concerns. The author underscores that the opera by Massenet was a product of what would be called in England the Victorian Age, while the opera by Strauss came during the Edwardian era. The paper discusses that the treatment of women in these opera are different.
Table of Contents:
Introduction
Women and Opera
Women in Two Operas
From the Paper
"The opera depicts two women, Salome and Herodias. In this version, Salome is quite different from the image the world would have of her later, for she is essentially moral, even virginal, and seeks to protect John rather than to destroy him. She is herself a victim and not a perpetrator. Indeed, she is also sentenced tob e beheaded and professes her love to John while they are both in a dungeon. Her mother is the villain in this version, and the character of the mother is more like that would later be attributed to Salome herself."
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Tchaikovsky's Symphonies Five and Six, 2008.
This paper analyzes and compares the fifth and sixth symphonies composed by the Russian romantic composer, Peter Il'yich Tchaikovsky.
2,350 words (approx. 9.4 pages), 8 sources, MLA, $ 72.95
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Abstract
This paper explains that Tchaikovsky's "Symphony Five" and "Symphony Six" ("Pathetique Symphony") are mature compositions, showing the full flowering of the composer's romanticism and his musical ability. The author presents, for both symphonies, the background, organization, stylistic developments, orchestration and themes and progressions of each movement. The paper relates that the plan for the most of Tchaikovsky's symphonies begins with a pessimistic first movement, a second that is sad and peaceful, a third with an allegro movement in dance form and a fourth that is vigorous. The author points out that the "Sixth Symphony" does not follow this pattern in that the last movement is slow and mournful, giving rise to the idea of it being prophetic because of the death of the composer soon after it was premiered.
From the Paper
"Garden states that the Fifth Symphony is more operatic even than the Fourth Symphony, using highly colored orchestration and a vivid presentation of ideas as did the Fourth, but also using operatic crescendos and more frequent alterations in tempo. This is particularly true in the slow movement, which makes use at the outset of the operatic aria in the Andante cantabile, con alcuna licenza, and with the licenza marked in the score. Garden also cites the way Tchaikovsky seeks contrasts with contrasting blocks of similar instruments."
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Technology and the Future of Music, 2008.
This paper looks at the impact of technology on the world of music today and in the future.
1,112 words (approx. 4.4 pages), 8 sources, MLA, $ 38.95
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Abstract
In this article, the writer discusses that the future of music and technology is a market and legal issue. The writer points out that in an ideal world, the critical voices in this discussion would be fans and the musicians, but that has become something of a secondary issue. The interesting point in this situation is that a wide range of music is still available, though niche market exposure. The writer notes that big business and new technologies push mainstream acts into the aural limelight as copyright legalities continue to be debated. The writer concludes that a lot of noise will continue to be generated around this issue, but that ultimately the record companies will have to stop complaining and find a way to adapt to their business environment.
From the Paper
"It does not follow that corporate oligarchies can actually limit what we hear; they can only limit their list of recommendations. Regarding the Sony pundits, their statement asks listeners to put more faith in the future of technologies, so that eventually, we can listen to something new. But innovative acts such as Charlie Parker, the Sex Pistols, and Karlheinz Stockhausen did not come from big business. They just used whatever technology was available. That is not the same thing as making new music.
"It would be fairer to admit straight out that music technology will probably continue to surprise us."
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Catholic Church Music and Gregorian Chant, 2008.
A look at the development of the Gregorian chant and the important role it plays in church music.
1,390 words (approx. 5.6 pages), 11 sources, MLA, $ 46.95
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Abstract
This paper provides a historical background to the Gregorian chant, an important musical style that came to represent all holy occasions by putting poetry to music, and charts its development through the years. The paper then discusses and describes four hymns that are still used today: Stabat Mater Dolorosa or "Our Lady of Sorrows", Pange Lingua Gloriosi or "Sing, My Tongue, the Saviour's Glory", Victimae Paschali Laudes or "May you praise the Paschal Victim", and Veni Creator Spiritus or "Come Holy Spirit, Creator Blest".
From the Paper
"By the Sixth Century, when Gregory was a Monk, there were already many, many chants in use. He gathered and collected these. In those days monks often wrote their own hymns or adapted earlier versions they had heard in other monasteries. The result is that there was already many different kinds chant. For example in the 4th Century Mozarabic chant developed in Spain. We get Ambrosian chant for St. Ambrose in Milan and Gallican chant from "Gallic" France. There are even chants from Ethiopia in Africa. Over time many different styles of chants developed and found their way into daily mass and special services for festivals or holidays. (Hope, 2007) Sometimes this style was also used for non-church music as well. (Music-for-Church-Choirs.com)
"Gregorian chant is also known as "plainchant" from the French "plein chant" which means "full singing." (Music-for-Church-Choirs.com) By the time of Gregory different chants had been connected with or written for most all special events. We don't know the names of most of the early chant composers, but we do know that many intended for specific Sundays or feast days were composed between the 5th and 8th Centuries. (Ex. Introit, Gradual, Alleluia, Offertorio and Communio). Many of those commonly heard in mass today like the Kyrie, Gloria, Credo or Sanctus were composed later, between the 9th and 12th Centuries. (Hope, 2007)"
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Bruce Springsteen and the Rebel Youth Culture, 2008.
This paper looks at Bruce Springsteen and discusses individuality, class hierarchy and the "rebel" youth culture of America.
1,193 words (approx. 4.8 pages), 8 sources, MLA, $ 40.95
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Abstract
This anthropological study analyzes how Bruce Springsteen has become more than a rock 'n' roll musician in his cultural influence on American youth culture. The writer notes that not only has Springsteen been a major musical influence in the rock 'n' roll genre, he reflects the social dreams and desires of American youth culture through a variety of class distinctions and lifestyles. In essence, the writer notes that Bruce Springsteen sings of different class backgrounds. Further, the writer maintains that Springsteen defines a rebellious and individualistic identity in youth culture through his lyrics and musical understanding of American social norms.
From the Paper
"The type of feeling that calls for redemption of the poor people in the world can also be seen in his music on a domestic note. This forms the main corpus of lyrics and music that respond to the deeper troubles that youth sought within the often depressing and economically down turned post-Nixon era of American culture. Bruce Springsteen, although not above singing songs of the more carefree traditional songs of Little Richard, is more apt to be singing about the quest for freedom from authority for young people. After all, Bruce Springsteen had come from a middle class background, and he had known the suffering of being without money or of having a place to live. For instance, in "Born to Run", Springsteen uses a lyrical example of the desperation of youth culture, as the confines of social norms drives the young people to reach beyond barriers through escaping cultural isolationism."
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Eric Clapton, 2008.
A discussion of Eric Clapton's life and music.
1,800 words (approx. 7.2 pages), 3 sources, MLA, $ 57.95
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Abstract
This paper explores some of the long musical history of Eric Clapton. First, it briefly discusses his musical associations and influences. Then, it analyzes two of his most famous performances, "Layla" from his 1970 recording and "Cocaine" from his 1977 solo album, "Slowhand". The paper then concludes with a discussion of Clapton's career after the 1970s and his influence on musicians working today.
Outline:
Background and Associations
Analysis
Influences
From the Paper
"While still in his twenties, British-born Clapton had worked with many of the most significant bands of his era, including the Yardbirds, John Mayall's Bluesbreakers, Cream, and Blind Faith. With always a strong blues flavor to his playing, Clapton established himself as one of the world's premiere electric guitarists, and he is still considered a primary innovator for this instrument, along with Jimi Hendrix. Throughout the heights of his early career, drugs plagued him. When he was in Derek and the Dominoes throughout 1970, they recorded "Layla," which is still considered one of his most famous numbers. And though his post-drug achievements and celebrity have been notable and respected throughout the musical world, it was the troubled Clapton of the 1970s whose song writing and playing made the indelible stamp on rock history."
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Joseph Brahms' "Symphony No.1", 2008.
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
1,185 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
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Claudio Monteverdi's Opera "Orfeo", 2008.
This paper analyzes the organization and expression in Claudio Monteverdi's opera "Orfeo".
1,605 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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Abstract
This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper
"The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
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