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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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Jelaluddin Rumi and Sufism, 2008.
This paper discuses Jelaluddin Rumi, one of the most well-known of Persian poets, who is largely credited with infusing Sufism with its highly intimate relationship with aesthetic traditions.
2,850 words (approx. 11.4 pages), 9 sources, MLA, $ 84.95
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Abstract
This paper explains that classically trained Jelaluddin Rumi, who was born in 1207 in the region that is now part of Afghanistan, lived most of his life in Turkey and the surrounding area. The author points out that Rumi created the Mevlevi Order of Dervishes or commonly called the Whirling Dervishes of Sufism. The paper relates that the Whirling Dervishes are most recognized for their unique dance movements, oblique body posturing, acute mental focus and their musical facility, which is said to combine to bring them closer in union to God. The author states that Rumi's poetry is regarded as the cultural epicenter of all thought, literature, dance and music in the world of Islamic aesthetics. The paper reports that the traditional approach to studying the impact of Rumi's poetry on Sufi music has been to examine the text from a critical theoretic perspective.
From the Paper
"The natural academic tendency, regardless of academic specialty, is to examine the concepts contained within the lines of verse; to question 'what is the tree of wisdom' and to ask what or how one identifies one's internal "fairy." These are important metaphysical questions that can and should be asked of the text through critical analysis. However, therein rests the academic pitfall that most researchers and even casual observers typically get trapped in: the interpretation of the text which is made even more complex in translation."
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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Feminism and Classical Music, 2008.
This paper discusses the feminist roles of composers Amy Beach and Clara Schumann in the Romantic era.
2,379 words (approx. 9.5 pages), 6 sources, MLA, $ 72.95
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Abstract
The paper describes how Amy Beach and Clara Schumann helped to advance the greater participation of women in a patriarchal music culture of the Romantic era. The paper discusses the parental influences of both Beach and Schumann as well as their innate talents. The paper looks at how their pioneering efforts on the touring circuits would pave the way for other female performers to be able to compose and perform.
From the Paper
"Although the term feminism was not present in the time of Amy Beach, her family often supported her desire to become an accomplished musician when she was a young girl. In a modern sense, Beach's father was considered "progressive", since he wished to see her learn and be able to perform music as a major part of her educational development. Amy Beach (1867-1944) was a woman that beheld many talents, and when she was younger, she was considered a childhood prodigy. Her main instrument was the piano, on which she had already written her first song at the age of four. The obvious signs of her talent were noticed by her parents, who were supportive of her musical training."
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Claude Debussy and Ryo Noda, 2008.
A comparative analysis of Claude Debussy and Ryo Noda's musical compositions.
1,159 words (approx. 4.6 pages), 8 sources, MLA, $ 39.95
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Abstract
The paper compares and contrasts the renowned French composer Claude Debussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper
"In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
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Lunch with Copland, Brahms and Bach, 2007.
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
1,705 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper
"Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
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Cadenza, 2008.
An analysis of Mozart's use of cadenza in the nineteenth century.
1,611 words (approx. 6.4 pages), 8 sources, MLA, $ 52.95
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Abstract
This paper describes a cadenza, which is a musical flourish that is usually improvised and placed in the final cadence of any section of an aria or a solo instrumental movement. It looks at the history of the cadenza and how different composers have used it over time. The paper particularly focuses on Mozart's use of cadenza in his compositions.
From the Paper
"The way Mozart treated the credenza freed the composer to make direct use of the form while essentially leaving it to the performer to play it or not, though as time passed, it became more likely that the performer would perform the piece as written and follow the lead of the composer on this issue. As noted, the cadenza remained an important element in opera until after Verdi. Performers were often ranked according to their handling of the cadenza, as in a comparison of violinists Louis Spohr and Niccolo Paganini."
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