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Women Of Country Music, 2005.
This paper describes the lives of nine female country western singers and their contributions to the history of this musical genre.
2,090 words (approx. 8.4 pages), 10 sources, MLA, $ 65.95
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Abstract
This paper explains that country western historically has been primarily a male-dominated industry but there are women that have been responsible for the major changes in this industry. The paper discuses some of the women that are responsible for these changes: Louise Massey, Rose Maddox, Dolly and Mille Good, Patsy Montana, Patsy Cline, Dolly Parton, Shania Twain and The Dixie Chicks. The paper relates that Louise Massey, who formed a band in 1918 with her father, husband and two brothers, are called the 'original rhinestone cowboys' because of the flashy clothing they introduced into the country music society. Blazing the hillbilly and rockabilly trails and still thriving in 1995, at the age of 70, when she received the Grammy nomination in the Bluegrass Category, Rose Maddox had a major influence on Loretta Lynn, Dolly Parton, and Janis Joplin.
From the Paper
""Come on Over" came out two and half years after her last release of "The Woman in Me". "The Woman in Me" is a nine time platinum album and spent over 140 weeks on the Billboard Country Albums chart. Shania was born in Timmons, Ontario and her name was Eileen. She started singing at a young age, being pulled out of bed to sing at midnight at a local bar. At 21, Shania lost her parents in a car accident and took on the responsibility of raising her three younger siblings. During this time she performed at Ontario's Deerhurst Resort, learning the ins and outs of theatrical performances."
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Rhythm and Blues, 2005.
An overview of the history of jazz and its connection to blues music.
760 words (approx. 3.0 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper looks at how the 1920s was a huge decade for "jazz" and how due to the closing of the seaport in New Orleans, musicians were forced to travel up the Mississippi to find work. It also discusses the four major types of jazz: boogie-woogie, Chicago jazz, urban blues, and society dance bands and explains the difference between jazz chords and blues chords.
From the Paper
"To clarify the chord structure between Jazz chords and blues chords, you must first understand that a chord is built on the first, third, and the fifth with an added seventh. A blues song is always centered on three chords, the first chord, the fourth chord, and the fifth chord example, in the key of C the one chord is CEG based on the C scale. The fourth chord is FAC based on the F scale. The five chord is GBD based on the G scale with the added seventh making the chord GBDF. Blues is much more simple because a blues song consist of only three chords. "
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Music is The Fruit of All Creation, 2007.
This paper studies 'The Silmarillion' by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett focusing on the issue of music.
1,235 words (approx. 4.9 pages), 3 sources, MLA, $ 42.95
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Abstract
In this article, the writer notes that music has been a constant fascination to man learning new ways to portray thoughts and emotions. The writer compares the work 'The Silmarillion' written by J. R. R. Tolkien and the 'Spider Woman Stories' by G. M. Mullett, noting that the main tool of creation in both is music. The writer points out that 'Silmarillion' is one story that uses music as a tool of God, Iluvatar to create existence. In the 'Spider Woman Stories', Spider Woman and Tawa used their song to create the creatures that inhabit the earth and the song of life to change them from clay into living beings. The writer concludes that given Jung's definition and the shared commonalities of music in vastly separated cultures, it can be argued that the similarity between 'Spider Woman Stories' and the 'The Silmarillion' is the result of an archetype that has spanned cultures and ages.
From the Paper
"The Silmarillion written by J.R.R. Tolkien is one story that uses music as a tool of God, Iluvatar to create existence. In the story of Ainulindale, Iluvatar created the Ainur and thought them themes of music and they sang to him, at first alone or in a small group because each song represented a part of Iluvatar's mind. While the rest listened they were able to slowly learn about their fellow Ainur and comprehend more and more of Iluvatar's mind. Eventually, they were able to sing in harmony and Iluvatar presented them with a great theme declaring that together they will be able to make the most beautiful thought come to "life" through song. As they sang, Melkor, the most powerful of the Ainur brought in his own thoughts and created discord in the music singing more powerfully than the rest, until all the Ainur fell silent and Iluvatar stood up and created a new theme in the song, and it was beautiful but Melkor felt he could contend with it and brought his music in an uproar, and so on for three themes until all fell silent. Iluvatar led the Ainur into the Void and said behold what your music has created and showed them a vision of the world, streaming with the thoughts of each Ainur, and improved by the wisdom of Iluvatar."
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Zydeco Music, 2001.
This paper describes zydeco music and dancing, popularized by Creole French speaking people of African decent living on the prairies of south-central and southwest Louisiana.
2,860 words (approx. 11.4 pages), 6 sources, MLA, $ 84.95
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Abstract
This paper explains that zydeco music, a form of dance music, is characterized by a syncopation or a shift of accent in a passage or composition that occurs when a normally weak beat is stressed. The author points out that the accordion and keyrub board, (also know as the washboard, scrub board or a froittoir) are essential parts of the zydeco sound, but there are no fiddles as in Cajun music. The paper relates that traditional zydeco dancing was done subtly, smoothly and upright by couples in a closed position; however, zydeco dancing appears to be evolving from a couples dance to individual free-style. The author relates that Clifton Chenier, who brought the zydeco genre to international attention, reigned as the "King of Zydeco" with a career lasting 30 years, and earned a Grammy award in 1984.
From the Paper
"The changes that have taken place in zydeco music can be tracked by the type of accordion that is used. There were four different models of accordions that have been widely used in the zydeco musical genre, each type varying in the number of rows, and consequently the number of keys. The accordions were sturdy and could be easily heard in big crowds of people. Today, there are diatomic models as well as chromatic models. The diatomic models only play the full-step intervals found in major scales, while the chromatic "piano" accordions encompass half-step intervals..."
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Punk as a Deviant Subculture, 2007.
An analysis of the characteristics of punk that may be considered deviant.
2,947 words (approx. 11.8 pages), 15 sources, APA, $ 87.95
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Abstract
This paper begins with a brief look at the history of punk music and its formation as a subculture. It then addresses individual aspects of punk subculture and offers explanations as to why these characteristics may be considered 'deviant', as opposed to 'normal'. It addresses the norms, values and revolutionary nature of punk culture in light of the strain theory of deviance and the appearance, style and behaviour of punks from a labelling perspective of deviance. Through this analysis, the paper examines why punk subculture has generated a consistent social reaction for the last three decades that has led to its classification as a 'deviant' subculture.
Table of Contents:
History of Punk Music
Strain Theory
Labelling Theory
Labelling Theory and Punk Style
From the Paper
"The labelling theory proposes that no act is inherently deviant. In applying this premise to punk fashion, it can be argued that punk fashion itself was not deviant. However, as has been explored by Becker, it is argued that things become deviant only when it is labelled as such. Whilst punk may pride itself on its values of free will and autonomy from the status quo, many theorists argue that the punk subculture could not possibly exist without the status quo (Traber 2001, p. 33). This is because if there were no status quo, there would be no one to label punk subculture as 'deviant'. Whilst the punk style was revolutionary when it first appeared, even as early as the 1980s punk style had filtered into the mainstream. Black clothes, leather, and the signature Doc Marten shoes all became integrated into the mainstream fashion (Cox 1994, p. 10). This is a clear example of the ability held by some to label and define others as deviant. When punk clothing and fashion first emerged it was generally at large classed as deviant. However, the filtering of punk fashion into mainstream culture put a whole new interpretation to punk style. This example illustrates the power of the dominant culture to change labels to suit its own needs, and as such determine what is classed as 'normal' and 'deviant'."
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Comparative Concert Review, 2007.
A comparison of two performances, "Stomp" and "Live Earth Concert".
3,430 words (approx. 13.7 pages), 11 sources, APA, $ 97.95
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Abstract
This paper examines the functional, operative and practical aspects of "Stomp" (a physical theatre and musical performance) and "Live Earth Concert" (a series of worldwide concerts held on the same day). It explains and compares different facets of these two performances, including the venue; atmosphere; musical aspects; lighting and sound enforcement. The writer reflects on the overall performances and notes that most people who attended both performances enjoyed "Stomp" (the relatively low budget unique creation) more. The writer concludes that both events were worth the price of the tickets, as "Live Earth Concert" was a great opportunity to see several artists performing on one stage and "Stomp" was a purely entertaining and exclusive show.
Table of Contents:
Preface
Introduction
Concert Summaries
Venue
The Performances
Sound and Acoustics
Music Aspects
Instruments and Equipment
Stage Lighting
Conclusion
From the Paper
"A concert or as some colloquially call it a 'gig' or 'show' is a performance, that has music as the central entertaining premise. The performers and entertainers such as solo artists or bands, aim to generate a vigour, power and energy that in a sentence leave their audiences in rapturous admiration and awe at the vertical depth and wide coverage that they are able to generate in just a short space of time. The musical masterpiece 'Stomp' which is currently being staged at Vaudeville Theatre in London; and the benevolent global 'Live Earth Concert', which was held on the 7th of July 2007 and had Wembley Stadium London as one of its many venues; model two such concert performances."
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The Evolving World of Music, 2008.
This paper looks at Neil Strauss' article "A Land with Rhythm and Beats for All" and offers a personal view on today's mixing of music styles.
702 words (approx. 2.8 pages), 1 source, MLA, $ 25.95
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Abstract
The writer discusses how artists are joining together to produce a music style that integrates many different types of music. The writer examines Neil Strauss' "A Land with Rhythm and Beats for All," agreeing with Strauss' argument that hip-hop has a sound for everyone. The paper explains Strauss' assertion that artists are singing about their lives and personal situations, expressing the pain they have experienced in their lives. The writer disagrees, however, with Strauss' contention that the best hip-hop performers will always be black.
From the Paper
"Today's music has become rather evolved, mixing different sounds and styles together to create new forms of music. It has become rather difficult to find just one sound or type of music on a radio station these days. Neil Strauss, author of "A Land with Rhythm and Beats for All," says that he is in favor of this new mixing of music styles."
"I had a music appreciation class at Weber State and I agree with Strauss that hip-hop has had an influence on many different people. Even in the beginning, the blues had an enormous influence on other styles of music being created such as rock, etc. Hip hop is continuing to have an effect on music today. It is merging different styles together and creating new types of music."
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Verdi's "Otello", 2007.
An analysis of Verdi's musical interpretation of William Shakespeare's "Othello".
1,200 words (approx. 4.8 pages), 0 sources, $ 41.95
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Abstract
Written in 1603, "Othello" by William Shakespeare, is a tragedy that was transformed into an opera by Giuseppe Verdi. "Otello" is considered to be Verdi's greatest opera and was performed in Milan on February 5, 1887. This paper discusses how throughout the opera, Otello and Desdemona's relationship changes dramatically and how their relationship change is most evident when contrasting the end of Act I with scene two of Act III. The paper also looks at how Verdi uses many unique musical techniques to match the dramatic needs of the libretto in these two scenes.
From the Paper
"At the end of Act I Otello, the protagonist of the opera, walks into the bedroom where Desdemona is lying clearly enjoying the solace and quietness of his bedroom with his new wife. This scene contrasts directly with the scene before it. With all of the uproar outside now broken up, Otello is now enjoying the peace and quiet with his adored wife. While Otello is walking toward Desdemona, the focus is placed on Desdemona while violins are playing very softly. The soft violins playing in the background give Desdemona even more of a romantic quality to her. As Otello sits down on the bed he reaches to touch her face and once again soft violins are playing without any drums or horns in the orchestra. "
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Life and Art, 2003.
Discusses the ways that aesthetic and decadent writers expressed life as an art form.
3,541 words (approx. 14.2 pages), 15 sources, MLA, $ 99.95
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Abstract
This paper examines the works of Oscar Wilde, Lord Henry Wotton and Thomas Mann. The paper shows how the notion of the self as a construction is particularly evident, not only in the fictional work of these writers, but also in the way that they themselves lived their lives.
From the Paper
"After visiting Walt Whitman during his lecture tour of America in 1882, Oscar Wilde said of the American poet: 'I have an admiration for that man which I can hardly express'. Looking at both Wilde and Whitman as personalities, it is difficult, at first glance, to imagine what Wilde, with his reputation as a quick-witted dandy could have found so admirable in Whitman, the self-confessed 'good gray poet'. But it was in Whitman, according to Alan Helms, that Wilde found 'an illustration of his favourite theory', that life imitates art. What Wilde found in Whitman was 'a consciously crafted man who had become his own ideal version of himself'. Later, in 1888, when Wilde commented to fellow Irish poet Yeats, 'I think a man should invent his own myth' it became evident that the notion of self-creation or the cultivation of his own image was something to which Wilde himself aspired."
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Janis Joplin, 2007.
A biography of the life, music and style of Janis Joplin.
1,409 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper traces the life and career of the singer Janis Joplin from her beginning as a 'beatnik' to her early death at the age of 27 from a heroin overdose. It also includes an analysis of the style and lyrics of one of her songs, "Get It While You Can".
From the Paper
"Janis's experience in Venice is one that would shape the rest of her life. The beatniks first introduced her to blues music, including one of her greatest influences Bessie Smith. She performed in public for the first time in Venice in 1962. Janis continued to sing publically in coffee houses and bars and recorded her first song, a jingle for a local bank. While in California Janis met a man by the name of Jorma Kaukonen, the future guitarist of Jefferson Airplane. "Janis began singing at The Coffee Gallery, occasionally at Coffee and Confusion. She sang alone, using her autoharp or backed by an accompanist, who was sometimes Jorma Kaukonen, later of the Jefferson Airplane. Word spread fast in North Beach."
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Arnold Schoenberg, 2007.
An analysis of the background of Arnold Schoenberg and his musical compositions.
1,692 words (approx. 6.8 pages), 4 sources, MLA, $ 54.95
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Abstract
This paper discusses the background and achievements of Austrian composer, Arnold Schoenberg. The paper discusses the Schoenberg's controversial methods of composing and describes why some people go as far as not to recognize it as music at all. It describes his life and then focuses on specific pieces that he composed. The paper presents the writer's view of Schoenberg's compositions.
From the Paper
"Few composers during the early twentieth century, let alone any other monumental musical era, had the originality, boldness or intelligence needed to create such a wonderful piece of music Schoenberg was able to craft and formulate. His individualism allowed him to go beyond the norm for composers of his time. With his combination or sheer brilliance and determination, he broke a system of tonal organization that had developed over hundreds of years and had become a landmark of Western music. The fact that his talents did not stop as a composer but furthermore as a teacher, pupil of his profession, painter and more, made him as a unique individual as the world had seen to date. Schoenberg himself expressed the importance of creating your own path, "The artist does nothing that others deem beautiful, but rather only what to him is a necessity." That quote lingers in my head over and over again. The simplicity, in which he states an idea that would take many artists a lifetime to conjure, is simply astounding, and the more one learns about this mans life, the more you find yourself coming to terms with the notion that his intellectual brilliance does not impede there."
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Buddy Holly, 2007.
A look at the life and works of Buddy Holly and his influence on American music.
2,079 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
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Abstract
This paper discusses how there is a case for calling Buddy Holly the century's most influential musician. It looks at how his skills in songwriting, singing, and playing music went on to influence the musical scene in both America and Europe all the way into the 21st century.
From the Paper
" In 1955, Buddy heard Elvis Presley perform live for the first time. His country roots were never the same after that. This marks the end of his career as a country singer and the beginning of his life as a rock and roll musician. He was strongly influenced by Presley. This is obvious in the many similarities in their music. However, there were also several major differences. The biggest difference is the source of their music. Holly wrote most of his own music, while Presley is known for his outstanding work with covering songs. Another obvious difference between the two singers has to do with their voices (Carlin 27). Due to his Texan roots, Buddy's vocal inflections had a southwestern twang to them. Elvis's accent, however, was purely a southern one. Holly's voice had a lighter tone than Presley's did, although he was still able to use it demonstrate extreme contrast in his songs. Not only was his sound different from Presley's, but his appearance couldn't have been more so. "
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