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Elvis Presley and His Music, 2008.
A factual account of the life of Elvis Presley, the rock star.
2,834 words (approx. 11.3 pages), 6 sources, APA, $ 84.95
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Abstract
The paper discusses the life story one of the best-known and loved entertainers in the world. The paper talks about Elvis Presley, the success story of his life, and his contribution to the world of music. The paper concludes that Elvis helped create a new kind of star, a new kind of music, and a new, enduring kind of legend. He truly was the "King" of his profession, and his enduring popularity indicates he is still the King today.
From the Paper
"Elvis met the love of his life, Priscilla Presley, when she was only 14-years-old, while he was stationed in Germany during his stint in the army. In 1964, just before she turned 18, she came to the U.S. to visit him, and never left. They were married in Las Vegas in May 1967. On February 1, 1968, she gives birth to Lisa Marie Presley. They divorced in April 1973, but remained close friends. He dies of "heart failure" on August 16, 1977, at the age of 42. His death sent shockwaves around the world, and fans still line up at the gates of his mansion, Graceland, in Memphis to celebrate the anniversary of his birth and death. He was one of the most important rock and roll artists of the 1950s and 1960s, because he not only created his own unique sound based on black, blues, and gospel roots, but he defined how a superstar created and maintained a career for over 20 years. He appeared on television, recorded dozens of albums and singles, and appeared in over 30 films. He was a true rock legend, and it is easy to speculate that had he lived, he would have continued to revive his career throughout his life."
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Earl "Fatha" Hines, 2008.
A review of the life and works of the jazz piano artist Earl "Fatha" Hines.
1,322 words (approx. 5.3 pages), 5 sources, MLA, $ 44.95
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Abstract
The paper discusses the works and life of the jazz piano artist and bandleader, Earl "Fatha" Hines. The paper states that Hines came from a musical family and learned to play the piano at an early age, turning professional around 1918. The paper continues and tells of his life experiences and concludes that Hines was a unique musician who brought a different style to music, made up of off-beat rhythms and beats that would mark his music throughout his life.
From the Paper
"Hines is known for his hot jazz piano style that was extremely unique, but he is also known for working with some of the biggest names in jazz and entertainment. He remained close with Louis Armstrong throughout his life, and he featured such legends as Billy Eckstine, Sarah Vaughan, Charlie Parker, and Dizzy Gillespie at various times in his band (Crouch). Hines is also one of the few musicians who managed to remain popular and working throughout a 60-year career, which speaks to not only his musical talent but also his ability to make is music new and refreshing, as well. Many critics have also noted that even as he aged, and made a strong comeback in the 1960s, he never played his piano "safely," but always took chances with his music and his performance. He kept things fresh and lively, and that is one reason audiences continued to enjoy and patronize his concerts well into his 80s. In fact, many critics believe he created some of his best music as he grew older, which is often no the case with aging musicians, many of whom rest on their accomplishments and stop creating new material ."
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Structure, Grammar and Mechanics, 2008.
This paper discusses whether sharing music-based files is a morally acceptable act.
917 words (approx. 3.7 pages), 3 sources, APA, $ 32.95
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Abstract
In this article, the writer discusses whether illegally downloading music from such programs as the now essentially defunct Napster is one of morals. The writer questions whether downloading music without paying for it is morally wrong or, on the other hand, is an act of freedom of expression. The writer maintains that the answer to this question depends heavily on one's own personal beliefs and general character. The writer states that since it is rare that one will get caught downloading music, a person is likely to justify one's actions as an example of freedom of expression. On the other hand, an individual with a strong personal moral belief against stealing will be more likely to view the act of downloading music as being morally wrong.
From the Paper
"Morals are a general set of rules or code of conduct that is held to be authoritative in determining whether an action is right or wrong. Although the source of this moral code of conduct is numerous and open to debate, it can generally be said that morals are dictated by society, philosophy, religion and personal convictions.
"In terms of society's influence on morals, it can be said that it is society's established norms of behavior that more often dictate that society's moral code than such things as the written rules and laws. In summary, a society's moral code is a generally shared understanding of behavior, particularly of what type of behavior is acceptable and what type of behavior will not be tolerated. This determination is often evolved through a combination o that society's customs, history, ritual and general etiquette."
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Punk and the Anti-Fascist Movement in Switzerland, 2008.
A discussion on the way that the punk subculture re-emerged in recent years in response to the rise of the far right in Switzerland and as part of the international anti-fascist and anti-globalization movements.
2,619 words (approx. 10.5 pages), 3 sources, APA, $ 78.95
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Abstract
The paper focuses on the evolution of punk and its mutation into the more politically charged anarcho-punk movement and explores the violent side of the extreme left - both as an international force and in particular in Switzerland. The paper then discusses the Bern-based Antifa Switzerland group and explores the motivations of the Black Bloc anarchists. The paper highlights the use of violence in the anti-fascist movement and the connection between today's violent anarcho-punks with the ideals of the original punk movement. Several photographs are included with the paper.
Outline:
Introduction
Punk's First Wave
Punk Arrives in Switzerland
Switzerland, Anarcho-Punk, and Post-war Politics in the 21st Century
Conclusion
From the Paper
"The media, however, interpreted the punks' image, music, and reckless behavior as a real threat to the status quo. This culminated in December of 1976 when the Sex Pistols and members of the Bromley Contingent appeared on the Bill Grundy television show in England. At the time of this momentous event, punk was still in its early stages. The public-at-large had little way of knowing about punk at the time. What they saw was a group of extravagantly dressed young people, visibly intoxicated, who took relish in using offensive words and insulting the host of the program in a manner that went way beyond the accepted morals of the time. The Bill Grundy episode would spiral the fledgling youth subculture into the wider cultural spotlight. At that point, punk was no longer a tiny subculture, but a mass media spectacle that would shock the conservative British public and inspire similar-minded youth all over the world."
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Assessing Instrumental Music Students, 2008.
A research proposal to provide more concrete criteria and a methodology for assessing music knowledge and ability.
2,875 words (approx. 11.5 pages), 10 sources, APA, $ 85.95
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Abstract
This paper presents a research proposal that will evaluate several different assessment techniques for evaluating the music student and that it will focus on assessment in music class. The paper also explains that the proposed research will answer the research question "What are the best forms of assessment for an instrumental music class?", and will examine several types of assessment methods and tools in order to determine their applicability in the music classroom.
Table of Contents:
Abstract
Purpose
Research Question
Rationale
Definition of Terms
Literature Review
Portfolio Assessment
Standardized Tests
Concert/Recital
Summary
Methodology
From the Paper
"On the collegiate or professional level, the most common form of assessment is the portfolio. For the music student, this portfolio will include evaluation from third parties and self- evaluations of performances and other works. The portfolio might contain various pieces of evidence that support the student's competence in a given area. It will also include some original pieces, or evidence of independent research. As Goolsby (1995) notes, reliability is one of the key disadvantages of the portfolio as a method of evaluation."
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Jazz and the African Diaspora, 2008.
This paper discusses the success of African-American jazz musicians in Europe.
2,164 words (approx. 8.7 pages), 12 sources, MLA, $ 67.95
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Abstract
The paper describes the racial tensions and riots that led to the African Diaspora, when black performers, mostly jazz musicians, left the United States and went to Europe. The paper discusses how these African-American performers found the freedom in Europe to compose and perform their jazz music. The paper focuses on Josephine Baker, a black woman who was able to find acceptance, fame and fortune in Paris and throughout the world.
From the Paper
"In the summer and fall of 1919, race riots erupted in Northern and Southern cities across America. Called the Red Summer of 1919, three violent episodes happened in Chicago, Washington, D.C., and Elaine, Arkansas. The resulting tension throughout the United States made it impossible for African-Americans and Whites to live together in peace. Musicians in bands suddenly found themselves estranged from their close friends, members of bands argued and refused to talk to each other. Bands split up and African-American groups were barred from performing in venues throughout the United States. This led to the African Diaspora, when black performers, mostly jazz musicians, left the United States and went to Europe, where segregation and prejudice were not prevalent, and surprisingly, found the freedom and success they had lacked in the United States, to compose and perform their jazz music."
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Subversions and Mixed Messages, 2008.
An analysis of the contributions of African-American performers
to the minstrel tradition.
1,587 words (approx. 6.3 pages), 5 sources, MLA, $ 51.95
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Abstract
This paper discusses how the minstrel tradition, although apparently racist, also provided a platform for African-American artists not only to launch themselves into careers in theatre that would otherwise have been closed to them, but also to use the form of the tradition for their own purposes. It looks at how through the integration of African-American musical traditions, the subtle alteration of minstrel imagery, and the addition of protest lyrics which brought issues of race to the forefront, these artists were able to subvert and transcend the very medium which had been created at their expense.
From the Paper
"In an article entitled "The Influences of Nineteenth Century African American Music on the Popular Music of South Africa", Robbie Fry writes that "After the Emancipation Proclamation in 1862 the number of black [minstrel] troupes grew rapidly. Their appeal was their 'authenticity,' which they promoted in advertisements and exploited in their performances. This authenticity drove the white performers out of the business and opened the doors for many African American musicians and actors" (Fry, 1). Their involvement in the heretofore whites only minstrel scene altered it drastically--and, in fact, they proceeded to use the genre, its images and its traditions for their own purposes, using the platform they were given by white audiences continuing to seek confirmation of the racial order they were so heavily invested in. While Fry admits that the draw of potential financial freedom, away from the harsh realities of plantation life, presented a powerful inducement to join in the minstrel tradition, he also insists that this was not simply a case of African American performers selling out, and giving their white audiences what they wanted. "
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Digital Downloading and its Impact on the Music Industry, 2008.
A detailed description of the effects that digital music distribution has on the music industry.
2,375 words (approx. 9.5 pages), 9 sources, APA, $ 72.95
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Abstract
This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.
Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion
From the Paper
"The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."
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The Eminem-Interscope Principal-Agent Relationship, 2008.
This essay describes the relationship between rap artist Eminem with his record label, Interscope Record, as well as the basic principal/agent relationship between Detroit Rap and the labels that represent these rappers.
2,980 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
This essay assesses the relationship between Eminem and his "agent", record label Interscope Record. Specifically the author aims to distinguish between a musician and his agent and the greater realm of principal-agent relationships - that between Detroit Rap and the labels that represent these rappers. Furthermore, the essay analyzes the relationship of Shady Records, Eminem's record label, which is controlled by Interscope Records.
Outline:
Introduction
Objectives of the Interscope/Eminem Relationship
Rewards of the Interscope/Eminem Relationship
Incentive Problems in the Interscope/Eminem Relationship
Reward schemes that are used to address the incentive problem
Conclusion
From the Paper
"In terms of how well these reward schemes alleviate the incentive problem, this reward scheme is perhaps one of the only things that keeps Eminem's controversial behavior in check. Empirical evidence that supports the use of these reward schemes is the fact that every major music artist in the world (even British pop sensation Lilly Allen, who famously started as an independent "My Space" music sensation) must sign with a record label in order to maintain career success. When artists do not reign in their controversial behavior, they are dropped - as Eminem alum and rapper 50 cent was dropped by Trackmasters/Columbia records when he was involved in a shooting accident (Internet Movie Database). At present, this existing incentive scheme seems to be the best and only one."
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Wind Band Repertoire, 2008.
Looks at the planning of the repertoire for a classical wind band.
1,210 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
This paper discusses a number of considerations when planning a program for wind band concerts and when expanding a band's repertoire. The author examines various articles, which focus on the challenge of finding new music, selecting it, and its appropriateness for a given level of skill in any particular band, especially in educational institutions.
From the Paper
"Reynish, following Frederick Fennell, feels that Vaughan Williams and Holst should rightly be considered "the basis for the whole development of 20th century wind literature", but also adds that new works have figured in his work at the Royal Northern College of Music significantly recently, with Sir Richard Rodney Bennett having "contributed three major works to the wind ensemble repertoire." Reynish writes that other major 20th century composers to consider include Gregson, Bedford, Woolfendon, Wilby, Ellerby, Gorb and Buxton Ozz."
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Discrimination in the Music Industry, 2008.
This paper discusses how white musicians receive credit for musical genres originally created by African Americans.
1,558 words (approx. 6.2 pages), 9 sources, APA, $ 51.95
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Abstract
The paper looks at the racism and discrimination that still appears to exist in the music industry in general and in the jazz and hip-hop world specifically. The paper gives examples of white musicians who have grown rich by performing African-American music without having the actual African-American artist involved in delivering it. The paper believes that society must give recognition to African-American musicians where it is due.
From the Paper
"One type of music, Jazz, has its roots in many different countries and cultures, however, the primary development of jazz occurred in the United States in the deep south within the African American culture. In the early days of jazz, there existed a "set of white Americans, who had identified jazz only with liberation from the social responsibilities of full citizenship" (Jones 188). "As a musical language of communication, jazz is the first indigenous American style to affect music in the rest of the World" (Morgan). Jazz music is prevalent in most major metropolitan cities such as New Orleans, Chicago, and New York City (Morgan)."
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Opera: "Salome" and "Heriodade", 2008.
This paper compares the operas "Salome" by Richard Strauss and "Heriodade" by Jules Massenet Different, both of which are based on the same story of John, the Baptist and Salome.
2,300 words (approx. 9.2 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Richard Strauss in the opera "Salome" and Jules Massenet in "Heriodade" treat the story of John, the Baptist and Salome in different ways. The author points out that these differences reflect the time of composition and the societies of which the composers were a part. The paper relates that the composers had different motivations for the characters, different theological concerns regarding the story and different musical concerns. The author underscores that the opera by Massenet was a product of what would be called in England the Victorian Age, while the opera by Strauss came during the Edwardian era. The paper discusses that the treatment of women in these opera are different.
Table of Contents:
Introduction
Women and Opera
Women in Two Operas
From the Paper
"The opera depicts two women, Salome and Herodias. In this version, Salome is quite different from the image the world would have of her later, for she is essentially moral, even virginal, and seeks to protect John rather than to destroy him. She is herself a victim and not a perpetrator. Indeed, she is also sentenced tob e beheaded and professes her love to John while they are both in a dungeon. Her mother is the villain in this version, and the character of the mother is more like that would later be attributed to Salome herself."
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