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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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Music in Schools, 2005.
A discussion about the importance of music programs in schools and budgetary problems in implementing these programs.
1,260 words (approx. 5.0 pages), 10 sources, MLA, $ 42.95
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Abstract
This paper argues that participation in music classes and other music activities helps students find success in junior high and high school, as well as boosting brain activity and the development of intelligence. It states that students who study music are more productive members of society, and they will achieve higher personal success than those who did not participate in music studies. The writer argues that narrow-visioned school administrators, school board members, and politicians do not often enough recognize the vital role that music classes and programs play in the health, happiness, and success of all students. Strained budgets and attempts to focus on education "basics" have minimized or cut out music programs in many schools, and students who do not have access to music education are at a serious disadvantage for the rest of their educational career and in their life beyond high school. The writer concludes that it is vital that music education be incorporated into the overall curriculum of every junior high and high school for the benefit of the children and the future of our society.
From the Paper
"The quality of education for American students is a major concern for parents, educators, and politicians. New initiatives such as the No Child Left Behind act have been put into place by the Bush administration in an attempt to satiate the nation's desire to believe children will come away from school with the experience and knowledge they will need to be successful in life and to improve the world. Unfortunately, policies such as this do not actually take the full needs of students into account. In fact, putting a high priority on standardized test scores has deprived many schools of the ability to provide a well-rounded and in-depth education because all resources such as time and money must go towards curriculum that matches the superficial content of these tests. Even though music is designated as a core academic subject by the No Child Left Behind Act, many schools are still forced to cut "nonessential" programs that do not contribute to raising standardized test scores; the arts are among the first programs cut in most strained districts. This creates a void in children's education, because the arts are just as important as reading, writing, history, and math to the development of healthy, critical-thinking, capable students. Music programs are especially vital to student education, yet many Junior High and High Schools are minimizing the availability of music classes. According to the philosopher Socrates, "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful." (Plato) Music classes are an essential part of the educational experience because of they help children become successful in school, in society, and in life."
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Punk and Hip-Hop, 2005.
A paper looking at the close connection between the two musical genres, punk and hip-hop.
10,537 words (approx. 42.1 pages), 17 sources, MLA, $ 210.95
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Abstract
This paper takes a look at the influences that the "Slam" movement and musical artists Saul Williams and Sage Francis have had on the future of rap music and slam poetry. The paper looks at how these two artist have influenced the merging of hip-hop and slam poetry as art forms and how this art form has become a sort of musical expression of political and social ideologies that transcend racial and cultural boundaries. The paper also presents biographical information on each of the artists and explains how their backgrounds influenced their music and their philosophies about the hip-hop movement. Additionally, the paper examines the philosophy behind the merging of slam poetry and hip-hop and explains that Saul Williams and Sage Francis represent a return to the purest form of hip hop soul -- a soul which was open to the radical anti-establishment and pro-earth, pro-human ideology of punk music, the democratic influences of community, and the power of music from all directions.
Outline
Identification: Who is Saul Williams?
Identification: Who is Sage Francis?
Francis, Williams, and the The Emergence of SLAM
The Hip Hop Evolution: Saul Williams and Sage Francis as Hip Hop
Innovators
Conclusion
From the Paper
"Most of the mainstream today, and even most of the youth in the subcultural underground, have never known that punk and hip-hop were once upon a time in a fertile de-segregating dialog. The early ethos of punk and hip hop alike arose in a violent anti-establishmentarian fury, dedicated to a higher ethos than that of their own situations. "Between the years 1979-1984, you saw the musical walls of segregation come down as artists from both genres would become familiar to both audiences. In... the early 80s you would hear Thomas Dolby's 'Blinded Me With Science', David Bowie's 'Let's Dance,' [& etc]... not only being played on urban radio, but also at popular Hip Hop night spots where playing them would help set off the party." (Davey D.) However, in the intervening years this situation changed. The interchange of ideas across racial and genre lines decayed, so that today most of the musical-scene descendants of new wave (such as the goth and new-punk scene) and hip-hop are often mutually intolerant or share in a rather guilty fashion. However, recently underground elements of these two scenes are increasingly coming together once more."
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Classical and Baroque Musical Styles, 2004.
A comparison of the Classical and Baroque musical styles.
1,104 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
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Abstract
This paper compares and contrasts two musical forms - Classical and Baroque. The paper explains that besides the distinctive use of dynamics, tonality and rhythm, it is also important to remember that despite the fact Baroque and Classical music sound similar today,there were distinct differences in the instruments played and the venues where these musical styles were performed.
From the Paper
"In common musical parlance today, the word 'Classical' is often used to connote any kind of music, other than contemporary or popular music, from an earlier period of Western music. However, it is important to remember that the Classical period of music is actually a distinct musical period, usually confined to the 19th century. The Classical musical period, which reached its zenith in Beethoven, came directly after the 18th century Baroque periods of Bach and Hayden. Thus, both periods were great, if distinct periods of musical development that fed into one another. "
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Return of the Rings, 2004.
An analysis of Nordic mythology through the epics of Tolkien and Wagner.
2,217 words (approx. 8.9 pages), 11 sources, MLA, $ 68.95
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Abstract
This paper discusses Tolkien and Wagner, among the most influential artists in their respective fields. The paper examines how both Tolkien and Wagner sought to recreate the myths of an ancient era, giving their audience a sense of history which transcended the momentary. The paper contends that Tolkien and Wagner both seemed to believe that myth is necessary to the soul of the modern romantic. The paper illustrates how Tolkien particularly sees Nordic history as offering an example of personal heroism and meaning in a war-torn world, while Wagner sees it as an ancient proclamation of the coming of an age of uber-humanism.
From the Paper
"Tolkien explores the Nordic myths philologically, as it influences our language and therefore symbolism; his plots are generally reconstructions from the actual languages themselves, with syncretic plots. "Tolkien once said that he wrote The Lord of the Rings simply to create a world in which 'A star shines on the hour of our meeting' (Elen sila lumenn' omentielvo) was a common salutation." (Henning, 1) He drew a majority of his characters, place names, and plot elements --from rings to wraiths to orcs-- on the languages which inspired him, particularly the ancient Celtic, Finnish, Saxon and Nordic languages of his Aryan heritage. "He viewed his languages as real languages that he was discovering, rather than inventing." (Henning, 1) There are countless examples of words which Tolkien stumbled across in original languages and could not entirely define or explain without recourse to myth-making. For example, Beowulf and other ancient texts refer occasionally to a race of monsters called "orc," a term which had also been used by Blake for the Revolutionary Spirit."
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The Shock-Power Arts, 2005.
This paper discusses the shock-power of two popular rebel-artists: Shock-rocker musician Marilyn Manson and the ever-controversial cartoon "South Park".
1,375 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper explains that, while "South Park" and Marilyn Manson are enjoyed by a largely overlapping population, these satirists use completely different methods: Manson works primarily in music and lyrics; "South Park" is based on animation and dialogue. The author points out that Marilyn Manson and "South Park" use their true artistry intelligence to communicate their social commentary following in the footsteps of past rebel-artists, such as Mozart, Nietzsche, and Orwell's "1984", all of whom were considered shocking in their day. The paper states that absurdity and profanity are literary techniques, which are used by the most educated of satirists; children in school read books, such as Toni Morrison's "Song of Solomon!" with its necrophiliac incest and urine fetishes and Homer's "Odysseus" with its mass murder, which are no less sources of immoral values than "South Park" is.
From the Paper
"Another media feeding-frenzy surrounds the ever-controversial cartoon "South Park". The same critiques that are applied to daytime talk show garbage is applied to this satirical comedy: "The very same stereotypes that have plagued both women and men for centuries are in full force...The profanity was so bad that many of the words had to be deleted." Yet the ever-complaining "family" organizations that knock "South Park" down to the level of Jerry Springer sewage programming have missed the point, and therefore validated it. "South Park" is satire, and largely misunderstood, just like Marilyn Manson. When the foul-mouthed cartoon children of South Park fling doo-doo, take drugs, kick the baby, or kill their best friend Kenny, it's not being serious."
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Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
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Jim Morrison: American Icon, 2004.
An analysis of Jim Morrison, a true American icon.
748 words (approx. 3.0 pages), 4 sources, MLA, $ 26.95
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Abstract
This paper explains that American icons are a symbol of things that the society holds in high value and that are desired by the masses. The paper discusses Jim Morrison, the lead singer of the innovative rock group "The Doors", who, alongside the cultural icons of decades past, holds his ground firmly and with a true rock-n-roll flair. The paper contends that Morrison has many traits that can be identified as truly iconographic and he is the embodiment of American myths and values, both in his life and in his death.
From the Paper
"Many people mistakenly believe that mythology is dead and an aspect of ancient culture that no longer exists in our society. However, mythology of our culture is being written (and rewritten) every day, the heroes and heroines of today's mythology may also be known as American Icons. An American icon is defined as someone who has transcended popular or celebrity status to become a true mythological figure with "cultural significance that goes beyond any particular qualities he... might have." (Maasik & Solomon) American icons are a symbol of things that our society holds in high value, and that are desired by the masses. An American icon is a symbol of the American Dream itself in some way, and by giving esteem and power to these icons, Americans reinforce the belief that important values and goals are both active and attainable, and everything is somehow OK."
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Marilyn Monroe, 2004.
An analysis of the different theories of Marilyn Monroe's death.
2,101 words (approx. 8.4 pages), 5 sources, MLA, $ 66.95
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Abstract
This paper examines the wide range of literature and research available concerning Marilyn Monroe's death. The paper states that, although Monroe's death certificate claims suicide as the cause of death, most theories dismiss this as incorrect. The paper presents evidence that suggests the involvement of Robert Kennedy in Monroe's demise. Police reports are discussed and witness accounts are reviewed.
From the Paper
"Marilyn Monroe died under mysterious circumstances on August 4th 1962, from an overdose of barbiturates- a drug her psychiatrist had allegedly prescribed. The certificate of her death says it was "probable suicide" even though most evidence suggested it was more than that. Vast body of research reveals that there were some witnesses to the alleged murder-most indicating a possible link with Kennedy family. Since Marilyn Monroe had affairs with John F Kennedy and later his brother, Robert Kennedy, it is believed that they were involved in his murder. "Strange sounds were carried on the wind during the night-shouting and the crash of broken glass. Neighbors reported that a hysterical woman had yelled, 'Murderers! You murderers! Are you satisfied now that she's dead?'" That woman was later identified as Pat Newcomb- a friend of Monroe's."
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"The Ink Spots", 2004.
A brief biography of the all black singing quartet, "The Ink Spots".
855 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper presents the background history of the black singing quartet, "The Ink Spots". The paper discusses their music achievements and awards received over the years. The paper contends that this group were pathfinders, paving the way for many groups to find success, both from the 'doo-wop' and from the rhythm and blues movements.
From the Paper
"Their first huge smash was the still-lovely, timeless "If I didn't Care," with those patented, mystically soaring tight harmonies, which sold 19 million records and was followed by a string of big hits including: "My Prayer," "We Three," "Maybe," and "When the Swallows Come Back to Capistrano." They maintained their faithful following into the early 1950s, and, according to the Hall of Fame biographical information, "became one of the first acts to break down racial barriers by performing at previously all-white Southern venues." "
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The Steel Drum, 2005.
An examination of the musical instrument known as the steel drum.
1,547 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
The steel drum, or steel pan, is a unique instrument commonly heard in Caribbean music today, and is one of the most recently "invented" instruments in the world, when taken in its current form. However, the roots of the instrument date as far back as the 18th century. This paper examines the roots of the steel drum, as well as the evolution of the instrument its self. Additionally, this paper examines the steel drum's impact on the Trinidad society.
From the Paper
"The steel drum claims origin on the island of Trinidad, located in the Caribbean Sea, off the coast of Venezuela. This island and the smaller island of Tobago, located 19 miles northeast of Trinidad, make up the single nation state of Trinidad and Tobago. To understand the evolution of the steel drum in this area, it is important to evaluate the political history of the islands, since it was that very political situation which helped the area to develop the instrument (Goddard, 1991). "
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Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
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Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
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