| Papers [145-162] of 1100 :: [Page 9 of 62] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
"Cats", 2006.
Examines the history of the world's greatest musical, written by Andrew Lloyd Weber.
2,348 words (approx. 9.4 pages), 4 sources, APA, $ 72.95
»
Click here to show/hide summary
Abstract
The paper discusses the musical "Cats", based on a series of poems by T.S. Elliot and later to become the most popular musical in world history. The paper examines the beginnings of the play at the New London Theater, until it was taken to Broadway in the United States. The paper examines why the play was so popular, as well as the many awards that it won.
From the Paper
"To look at the pre-production problems, the rehearsals with cast changes, the unenthusiastic reviews by many critics, and the enormous expenses of mounting the show, what is it that really has made "Cats" successful. The simple answer is- it is an "audience pleaser". There is no heavy plot line to focus on. The stage and staging are so unusual, as to continue to amaze the audience and to capture their attention. Nobody comes out of a theatre "humming the scenery" as a cynic might remark. But the song, "Memory" heard over and over again on radio stations is the sort of hit that people will remember."
| |
|
Russian Association of Proletarian Music (RAPM), 2004.
This paper discusses the history of the Russian Association of Proletarian Musicians (RAPM) in the context of the Soviet Cultural Revolution.
1,305 words (approx. 5.2 pages), 5 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper explains that, rather than being an essentially creative force, the primary objectives of the Russian Association of Proletarian Musicians (RAPM), who were of the intelligentsia rather than the working-class, were to secure the hegemony of the proletariat in music, to bring culture to the aesthetically backward and to provide an ideological framework for the musical aspect of the Cultural Revolution. The author points out that RAPM differed with Stalin's regime and could not co-exist peacefully because they wanted to define musical policy themselves. The paper relates that, when Stalin's government attempted to co-opt the arts and force them into a propagandist role, which was essentially separate from and counter to the interests of the people, the RAPM was eliminated.
From the Paper
"It is crucial to remember that the RAPM was founded in 1923, a year before Lenin's death and Stalin's rise to power. Thus, Stalinism had not yet taken shape, much less become apparent in society at large. Marxism-Leninism, then, was the primary ideology behind the rise of the RAPM and similar cultural organizations. The focus on the proletariat in the RAPM is no surprise. The dominance of the proletariat in all realms of life is required by Marxist theory and groups like the RAPM sought to actualize this ideal in their specific areas of expertise."
| |
|
The Music of Today?s Youth, 2006.
An examination how music is affected by situations.
923 words (approx. 3.7 pages), 2 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
In this paper the author examines how music is affected by situations and not situations by music. He highlights Rap music as the street music of the ghetto and mainstream pop music as that of the more affluent segment of society. He then examines punk rock as sharing a defiant tone that is characteristic of rap, but considered the music of white alternative rockers.The paper concludes with observation that music can tell a story if anyone listens.
From the Paper
"While it is true that songs like "Cop Killer" contain language that is objectionable and an exhortation to violent reactions to the injustices around them, most of those who listen to rap understand the nature of the lyrics. While parents of middle class and upper middle class teens worry that they will be influenced by the sordid nature of the music, those in the black neighborhoods know that this music is a predictable response to what ghetto teens see around them every day."
| |
|
Gustav Mahler, 2006.
This paper examines the life of the famous and controversial composer Gustav Mahler.
1,452 words (approx. 5.8 pages), 6 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper details the life and work of Gustav Mahler, one of the most famous composers and conductors of all time. The writer of this paper probes into the tragic events of Mahler's early life which influenced his music despite the undertones of joy and hope in some of his pieces. This paper also details Mahler's style of music which is considered dramatic with enormous contrasts in sounds and moods.
From the Paper
"The orchestra's archivist and historian, Dr. Clemens Hellsburg, recalled that Mahler was incredibly demanding and impolite. Many of the musicians resented him. Finally, in 1900, the orchestra went to Paris, where it had huge artistic success, but horrible financial failure. In fact, there was not even enough money to transport the ensemble back to Vienna."
| |
|
Bob Dylan, 2006.
This paper explores the life of influential musician Bob Dylan from his birth in 1941 up to 1971.
2,545 words (approx. 10.2 pages), 1 source, MLA, $ 77.95
»
Click here to show/hide summary
Abstract
The writer of this paper examines not only the motivations and methods behind Bob Dylan's music but also the man behind the myth. This paper focuses mainly on Anthony Scaduto's biography "Bob Dylan: An Intimate Biography." The author's biography details Dylan's life, during a 30 year span from 1941-1971, as a brilliant and talented musician struggling to come to terms with himself and his music.
From the Paper
"Dylan's fame though, was increasingly getting to him, and he was having difficulty dealing with the pressures of being an icon. Dylan and Joan Baez where being hailed as the King and Queen of protest music, and there relationship began to intensify. If anything, Dylan began to feel that he was loosing himself, turning to drugs as a way to find what was missing. While he continued to play protest music, he was becoming ever more disenchanted."
| |
|
"Preludes No. 12 ? 19" by Fryderyk Chopin, 2006.
A study of Fryderyk Chopin's Opus 28, Preludes No. 12-19.
1,150 words (approx. 4.6 pages), 4 sources, APA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper analyzes Fryderyk Chopin's Opus 28, his Preludes No. 12-19. Preludes were improvised or written by composers of the romantic period to be used as brief introductory pieces played before the performance of a major work. The author of this paper examines the preludes structural, tonal and stylistic elements. Then, the paper compares and contrasts the performance of these preludes by three different pianists: Martha Argerich, Howard Shelley and Alfred Cortot.
From the Paper
"Structurally, they use and ABA cycle and move swiftly from andante to legato and back. Each of these "miniatures" is characterized by rapid arpeggios played against block chords, much as many of today's improvisational jazz pianists employ. Erroll Garner popularized this style of improvisation in the 1950s. The compositions achieve their characteristic tonality from the exploitation of the natural tonal qualities of their respective keys. No. 13 captures the warmth of F sharp while No. 14 utilizes the dark turbulence E flat."
| |
|
"Brandenburg Concerto" #6 (B-flat), 2005.
This paper discusses Bach's "Brandenburg Concerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, $ 36.95
»
Click here to show/hide summary
Abstract
This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "Brandenburg Concertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth Brandenburg Concerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper
"While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
| |
|
Music Style Comparison, 2006.
A comparison of the music styles of Joni Mitchell and Hector Berlioz.
1,105 words (approx. 4.4 pages), 3 sources, APA, $ 38.95
»
Click here to show/hide summary
Abstract
Joni Mitchell and Hector Berlioz lived in different parts of the world at different times. Berlioz died in 1869 almost eighty years before Mitchell's birth in 1944. This paper explains that Berlioz worked in the milieu of the symphonic orchestra and the complexity of classical music of the nineteenth century, while Mitchell accompanied herself with a guitar in the revival of traditional folk music that was occurring in the 1960s. The writer shows how neither was educated formally in music, but both became established as composers of their own works which were marked by genius. It concludes that both artists were considered by contemporaries to be in the avant-garde of the musical movement of the times.
From the Paper
"Berlioz was raised by prosperous parents in Paris, and was expected by his father, a physician, to enter medical school. The thought of a musical career was not given a great deal of respect by Berlioz's father, and he felt that the boy's future could only be secured by preparation to enter into a lucrative field like the practice of medicine.
But Berlioz was repelled by his first experience in an anatomy lab and left his medial studies as a result. The romantic movement was just beginning in France, and its rich palette of orchestral expression was being called "The Music of the Future." In 1825 Berlioz assembled an orchestra of 150, and he dreamed of an ensemble 467 instruments, with a chorus of 360."
| |
|
African-American Music, 2006.
A study of the influences on contemporary African-American music.
1,100 words (approx. 4.4 pages), 3 sources, APA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper studies contemporary African-American music, calling it an amalgam of several music styles of our time. The author explains that with its roots in jazz, African-American music today is taking elements from all over the world to create a tapestry of styles united by one ineffable ingredient: rhythm. That rhythm is being immeasurably influenced by technology -- namely electronic music. However, the author is careful to point out that electronics do not preclude the use of traditional African instruments, but rather enhance their sound.
From the Paper
"Electronic Music is how electronic musical instruments can be used to produce music. The types of instruments this refers to include electronic keyboards, synthesizers, samplers and any other musical instrument, which is largely electric or electronic in nature. This is not however a complete list of the equipment which is used in electronic music as the complete process of generating music electronically also includes the process of recording the music and the processing of sounds using signal processors (effects processors) to produce the required effect."
| |
|
Eric Clapton, 2006.
A review of the life and music of singer Eric Clapton.
2,850 words (approx. 11.4 pages), 2 sources, APA, $ 84.95
»
Click here to show/hide summary
Abstract
This paper studies the life and music of Eric Clapton, beginning with his early and endearing love for the blues. The author details Clapton's development as an artist, while attributing many of his musical shifts to milestone events in his personal life. From drug and alcohol addiction to suicidal depression, Clapton's struggles and his ability to overcome them are chronicled by this paper. The author concludes that his triumphs over obstacles are a repeated theme, not only in his song's lyrics, but also in their stylings.
From the Paper
"From the time he heard his first blues, he listened to the best blues players he could find. In 1962, the club scene in London was primarily a home for commercial music and good time rock and roll like the Beatles played. But, clubs were opening up to blues players and the Ealing Club joined the Barrelhouse Club, the Flamingo and the Marquee in presenting some of the best local talent in jazz, blues and rhythm and blues. Veteran blues players Alexix Korner and Cyril Davies joined the younger Georgie Fame to found Blues Incorporated, the Cyril Davies All Stars and the Blue Flames. Eric Clapton began to make the rounds, non yet a confident singer, but possessed of a repertoire of exemplary blues gems learned from the recordings of Jesse Fuler, Big Bill Broonzy and Bessie Smith. He found early success and was able to keep working steadily."
| |
|
John Lennon as Warrior, 2006.
An analysis of the Beatles John Lennon, using the twelve archetypes described in the Carol Pearson book "Awakening the Heroes Within".
2,600 words (approx. 10.4 pages), 6 sources, MLA, $ 78.95
»
Click here to show/hide summary
Abstract
This paper studies John Lennon, the former Beatles, from the perspective of the twelve archetypes outlined in the book "Awakening the Heroes Within" by Carol Pearson. By tracing the musician's life story -- from his humble beginnings as an orphan through his meteoric rise as a Beatles to his disillusion with fame -- the paper illuminates how Lennon embodied each of the archetypes at different points in his life. However, the author concludes that Lennon was most predominantly the "warrior" type. As the author says, Lennon's personal and professional life caused him a pain so deep that he either had to succumb to the pain or overcome it. By choosing to overcome it, he became a warrior.
From the Paper
"Before his life had even begun, John had been deserted twice, both times by his own parents. This factor in itself would create an overwhelming tendency for most of us to develop our "innocent" archetypes. An innocent archetype wants to remain in a safe place or situation and has an overwhelming fear of being abandoned. But in John's case, these early childhood experiences seemed to have toughened him up and prepared him for the future failures and fame he was to experience."
| |
|
African-American Folk Music, 2005.
This paper discusses the concept of taking a journey in the African-American spiritual and folk music.
830 words (approx. 3.3 pages), 4 sources, MLA, $ 29.95
»
Click here to show/hide summary
Abstract
This paper explains that the African-American song genre, developed largely among slaves, describes the inevitable escape from toil and bondage and serves to strengthen the faith of the people by reminding them of a universal God, who would bring justice to his followers. The author points out that, in "Bound for Canaan Land", the "land of Canaan" is a metaphor for heaven and for the North, a land of freedom. The paper reveals that the author Harriet Tubman used spirituals such as "Follow the Drinking Gourd", which meant following the Big Dipper to the Ohio River, as a communication device to convey the possibilities of physical freedom.
From the Paper
"Biblical themes also evoke the image of crossing rivers, and many of the best spirituals were created and practiced by slaves who worked as sailors and boatmen on rowboats and ships of the Ohio River. "The Old Ship of Zion" is an inversion of the original ships that brought the slaves to America, and its singers wonder "Do you think that she is able/ For to carry us all home?" She promises deliverance having already "landed many a thousand," but being "loaded down with angels", her final destination is not necessarily a return to Africa, but a welcome to paradise."
| |
|
Joe Satriani: A Guitar Hero, 2006.
A review of the life and music of guitarist Joe Satriani.
1,350 words (approx. 5.4 pages), 4 sources, APA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper studies the musical stylings of guitarist Joe Satriani, whom Entertainment Weekly has called "a guitar hero". By critiquing Satriani's various records, as well as examining the personal and professional milestones of his life, the paper provides a well-rounded insight into the man and his music.
From the Paper
"In these first years of his career, Satriani was entirely self-taught. It wasn't until 1974 that he began taking lessons in Queens and Glen Cove, New York, with Lennie Tristano and Billy Bauer, respectively. [2] Once he outgrew that scene, Satriani moved to Berkeley, California, where he began teaching guitar at a studio called Second Hand Guitars. Here he also instructed other notable guitarists such as David Bryson from Counting Crows, Metallica's famous guitar shredder Kirk Hammet, Primus' Larry LaLonde, Alex Skolnick of Megadeth, Slayer and Judas Priest, as well as the upstart jazz guitarist Charlie Hunter. [3] This teaching stint occupied another ten years of Satriani's life and was a critical time of development and learning."
| |
|
Heart: The Wilson Sisters, 2006.
A review of the careers, music and stylings of Ann and Nancy Wilson, the sisters behind the women's rock band, Heart.
900 words (approx. 3.6 pages), 6 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper studies the lives of Ann and Nancy Wilson, sisters who started their musical careers with a folk background but became leading figures in the rock world with their band Heart. The author traces the women's meteoric careers through a review of their albums. The paper also discusses the band's influences and their influence on the music industry as a whole.
From the Paper
"The band was founded in 1963 by the group's bassist, Steve Fossen, and by brothers Roger and Mike Fisher from Vancouver, British Columbia. Originally named "the Army," the band later changed its title to "White Heart" and then simply to "Heart" in the early 70s. A romantic involvement between Ann Wilson and Roger Fisher brought the former member into the group. Her sister, Nancy, followed in 1974, through a romantic relationship with Mike Fisher, who at that time was the band's primary sound engineer. Later, Howard Leese and Michael Derosier joined the band as keyboardist and drummer, respectively."
| |
|
Randy Weston: "Uhuru Africa", 2006.
A review of Randy Weston's African-inspired jazz album "Uhuru Africa".
850 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper examines the "Uhuru Africa" album by Randy Weston. Inspired by jazz legend Duke Ellington, Weston spent most of his career combining the rich music of the African continent with the African-American tradition of jazz. The author dissects Weston's "Africa" album -- which he calls a tribute to Ellington -- from its thematic and metaphoric perspectives, such as nature, animals, liberation, the past and the future. The author concludes by praising "Uhuru Africa" as Weston's jazz paean to Afro-American heritage and to Africa.
From the Paper
"This style inspired Randy Weston, whose use of both hands separately on the keyboard parallels a drummer's control of separate rhythms with each hand. Randy Weston spent most of his career combining the rich music of the African continent with the African American tradition of jazz, mixing the rhythms and melodies of both continents. Uhuru Africa is a tribute to Ellington, most particularly in the second movement, African Lady, a metaphor for Africa and the drum, which Ellington identified with a woman."
| |
|
"Brother Cane", 1995.
A review of the popular 90's band, "Brother Cane".
1,173 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper discusses the music of the band, "Brother Cane". It gives a history of the band and the band members. The author offers insight into the band's personal and musical philosophies. The paper further discusses the band on tour and their relationship with the fans. In conclusion the author offers a personal opinion on the band.
From the Paper
"Damon credits the fans as their strongest foundation and what has helped push the group to the forefront. Their strongest following has been around their hometown in the southeastern United States. The band has plans for a "Homecoming Show" on April 2nd. They're all "really excited" about getting back to Birmingham, not in the least because they'll get to see family and friends that they haven't seen since December. Damon has a "very special female" in his life as do a couple of the other guys in the band. Along with lots of other brothers, sisters, and kinfolk rooting them on. "Our families couldn't be happier with our success. It's been their support that has helped us get through the last three or four months. Although we got some pretty insanely ridiculous phone bills.""
| |
|
Hip Hop, 2005.
Explores the origins of the form of music called hip hop.
3,249 words (approx. 13.0 pages), 8 sources, MLA, $ 93.95
»
Click here to show/hide summary
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."
| |
|
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, $ 32.95
»
Click here to show/hide summary
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. "
|
|
|
