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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, $ 39.95
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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, $ 50.95
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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, $ 59.95
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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, $ 53.95
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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, $ 42.95
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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, $ 50.95
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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, $ 56.95
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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, $ 96.95
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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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Bob Marley's Songs, 2005.
An examination of how reggae music in general and Bob Marley's songs in particular, are expressions of protest.
2,325 words (approx. 9.3 pages), 2346 sources, MLA, $ 71.95
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Abstract
This paper discusses two of Marley's songs: "Redemption Song" and "Get Up, Stand Up" and examines the protest behind the songs. Additionally, the paper focuses on why Marley chose to present his protests against the political system, racism and social inequality through his music and how Marley's unique style characterizes his works. Finally, the paper discusses how Marley's songs altered the conventional ideas of reggae style and the religious movement known as Rastafari and discusses how Marley's music was able to inspire a nation and her people.
From the Paper
"Throughout history, expressions of protest have come from a variety of sources and through a vast plethora of mediums. From paintings to poetry, protest works have helped to shape many causes, and have in many cases even influenced the outcome of the cause for the protest. This type of influence and the ability to affect masses of people simultaneously is perhaps best shown in the world of music."
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Samba, 2005.
A discussion of the roots of the samba dance.
2,215 words (approx. 8.9 pages), 5 sources, MLA, $ 68.95
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Abstract
This paper explains that as a dance form, Samba was rooted in the African heritage of the slaves the Portuguese brought to till the lands of their newest conquest, Brazil. Ripe in their own culture, the slaves outwitted their keepers by celebrating their own culture under the guise of party and dance; popular continued dedication to the holy forms of traditional culture invoked the preservation of the sensual dance form. The writer points out that as the world scene grew more international and Brazil developed its own government separate of the European thrones, Samba was encouraged on a national level for patriotic reasons, spread internationally for the beauty that had been suppressed for centuries, supporting its power to overcome racial segregation through simple movements.
From the Paper
"The power-hungry political motivations of Vargas did not detract from the many advances he made in the country and the society as a whole; his attention to the power of the people remains unvanquished. By providing financial and governmental support to those dedicated enough to the dance of Samba, he achieved not only an image of native power but also succeeded in popularizing a culture that had been ignored and suppressed by its rulers for centuries. Vargas played upon the political theme that Brazil was a racial democracy, where Afro-Brazilian heritage could not only be accepted but received the honor it was due."
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Romanticism, 2004.
An analysis of the romantic period of music.
2,549 words (approx. 10.2 pages), 9 sources, MLA, $ 77.95
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Abstract
This paper discusses the period of romanticism in music, claiming that it reflected the general characteristics of the Romantic Movement. The paper explains that the composers believed in depth of emotion and romantic music reflected this in abundance. The paper contends that it was primarily a reflection of massive changes that were taking place in all spheres of life during that time. The works of Mozart, Schubert Brahms and Beethoven are discussed in the paper.
From the Paper
"'ROMANTICISM' is a concept that can be easily recognized but is probably just as difficult to define. Like all other movements, Romanticism also emerged as a reaction to general idea, practices, social norms and political problems of the time. The general concept of romanticism sees music as an expression of intimate and sublime emotions. The period that can be categorized as romantic varies but generally covers the decades from early 18th century to early nineteenth centuries. Romantic influence on music was recognized as early as 1773 when Wyzewa and Saint-Foix thought they had seen 'grande crise romantique' in Mozart's symphonies. Abert felt he had also noticed 'ein romantischer Zug' in quartets K 136-8. Romantic influences were also evident in Haydn's minor-key symphonies of the 1770s and in Bach's compositions. Romanticism was present in almost all of Beethoven's compositions but it is generally believed that the period 1830-90 was the golden era of Romantic music."
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Apple's iPod, 2005.
This paper discusses Apple's consumer marketing strategy for its recently launched iPod, a mobile personal MP3 player.
1,400 words (approx. 5.6 pages), 8 sources, APA, $ 46.95
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Abstract
This paper explains that the iPod relates to several levels of Maslow's hierarchy of human needs especially "social esteem" and "self-actualization" by creating a self-tailored musical experience. The author points out that, by launching a new technology, Apple created a perception of greater quality in the iPod by making the iPod synonymous with downloadable music. The paper relates that youth-friendly companies, such as Nike, took advantage of the workout friendly design of the iPod; and such unlikely companies, such as BMW tried to associate the compact, sleek design of the 'pod' with their own products.
From the Paper
"Downloadable music on the iPod is one way cyberspace allows music to be personalized. Rather than listening to a predetermined set of music on a CD, one can select the order and artists. The experience of listening to music becomes about the consumer rather than the artist. Usually, the move from the real to the ideal self is accomplished in advertising by stressing, however gently, that the consumer must change by adopting a new product affiliation to become an ideal. However, the iPod stresses that the consumer is already the 'ideal' in terms of his or her tastes, talents, and desires. Thus, the iPod enables the consumer to function as the ideal self, by confirming the consumer's already existing needs and wants through a personal musical play list. Rather than learning more about new artists, the consumer learns more about his or her own tastes by creating his or her own mix."
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