| Papers [241-252] of 1112 :: [Page 21 of 93] | | Go to page : <— 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 —> | |
|
|
The Internet and the Music Industry, 2004.
This paper argues that music downloads and online radio have a positive effect on the music industry.
2,725 words (approx. 10.9 pages), 5 sources, APA, $ 81.95
»
Click here to show/hide summary
Abstract
This paper explains that online radio, which simply rebroadcasts the content from existing, traditional radio stations or is solely virtual, has done the music industry much more good than harm because it is able to expose a greater diversity of people to artists and a greater diversity of artists to people. The author, using statistics, points out the correlation that the more you burn from the Internet, the more CDs you buy; therefore, the author seeks other causes for the lagging sales in the music industry, such as the recession, competition from other forms of entertainment, consolidation of radio stations, the ever-increasing CD prices, and even cellphones. The paper relates that the music industry?s legal campaign against downloading is being circumvented by new technology, such as ?Grouper?, which only allows users to ?stream? songs from a peer and, thus, operates legally under the ?private performance? section of the copyright law.
Table of Contents
Introduction
History of Online Radio
History of Music Downloads
Effects of Online Radio on the Music Industry
Effects of Music Downloads
Current Legal Status of Downloading
From the Paper
"As technology increased, so did the popularity of file sharing software like Napster. Although the use of such file-sharing software to download non-copyrighted material is not illegal, the propensity was for users to download copyrighted materials (?File Sharing?). For the last few years, the legalities of file sharing have made the issue one of the central debates. Record companies and musicians argue on both sides of the issue. Most, however, feel that unauthorized music downloads infringe on their livelihood and have negatively affected the profitability of the music industry as a whole. However, this may not be true."
| |
|
Music and Song in "Othello", 2005.
A look at Shakespeare's use of song in his play, "Othello", as a way for the audience to better understand the characters in the play.
1,134 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper explains how Shakespeare's use of music and song in "Othello" strengthens our perspectives of the characters in the play and reveals the very distinct and opposite characters of Iago and Desdemona. On the one hand, the paper points out Iago?s songs reveal the depth to which he will go to manipulate others and control situations, while Desdemona's songs, on the other hand, reveal her innocence. Finally, the paper concludes that, in "Othello", Shakespeare demonstrates the power of music through the songs the main characters sing, while also illustrating that there can be more to music than meets the eye.
From the Paper
"In his play, Othello, Shakespeare presents us with unusual opportunities to understand character through song. While we often think of music as a form of entertainment, Iago and Desdemona demonstrate another use of music with their songs. Iago successfully uses his songs to further his evil desires. In short, his songs are trick to get Cassio drunk. In contrast, Desdemona sings as a form of expression to release her inner feelings, most of which she cannot understand. Both of these characters demonstrate that the power of music not only lives beyond words but it can also change lives. Iago and Desdemona reveal more of their true selves through song."
| |
|
Eastern Religion and U.S. Pop Culture, 2004.
A look at how Eastern Religion, Eastern mysticism, and magic influence the pop culture in America.
2,213 words (approx. 8.9 pages), 12 sources, MLA, $ 68.95
»
Click here to show/hide summary
Abstract
This paper examines how ?Eastern religion?, also alluded to as ?Eastern mysticism? and ?mysticism? and the occult, along with magic and its many off-shoots, have had a considerable influence on American pop culture over the past few decades. It looks at how movies, books, and music all have been touched and enhanced by mysticism and its cousins.
Outline
Introduction to Eastern Religion, Eastern Mysticism and Magic
The Beatles and Transcendental Meditation: Rock Superstars Dipping into an Ancient Mysticism to find Peace in a World Drenched in Chaos and Materialism
Martin Scorsese and Eastern Mysticism
Harry Potter?s Magic as a Mystical Force in Pop Culture
From the Paper
"For many people who came of age and got into rock music in the 1960s and 1970s, and perhaps smoked some marijuana and even experimented with LSD, their interest in eastern religion and mysticism began with the Beatles? fascination with ? and association with ? the Maharishi Mahesh Yogi. It was John Lennon and George Harrison, in particular, who embraced the Maharishi in the late 1970s and early 1980s, in the town of Rishikesh, deep in the Himalayan foothills of northern India. The media clamored for photos of the Beatles hanging out and drinking in the good vibes of this holy man in white robes who preached peace through self-awareness and higher consciousness through meditation."
| |
|
Analysis of an Ad, 2004.
Analysis of an advertisement for "The Cruxshadows" band's album, "Wishfire".
1,116 words (approx. 4.5 pages), 2 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper explains how the advertisement for "The Cruxshadows" and their album "Wishfire" is effective because of the attractiveness of the color scheme, the advertisement's identification of the band members with the music, and its overall visual appeal.
From the Paper
"Advertising designers are presented with a particular challenge when the focus of the advertisement is an artistic product. Unlike those which are meant to sell food, household products, or even luxury items, ads that promote an artistic work like music must find a way to not only stick in the heads of viewers but also to be artistically pleasing and representative of the artistic vision of the creator of the featured piece. People who drink soda or buy shoes are not necessarily going to be swayed by the subtle visual intricacies of a Pepsi or Nike ad as long as there is a cultural or need-based appeal. If the consumer feels that Pepsi, for example, will quench thirst, then the ad was effective. However, in order for a music ad to be effective, it must find a way to appeal to the inner art critic and somehow present a visual representation of the appeal of the music, which may be considered an emotional or spiritual need, but remains outside the reach of the basic ?food, clothing, and shelter? appeals. One advertisement that rather effectively promotes music is that for the band The Cruxshadows, for the album Wishfire, which appeared in Orkus music magazine in September, 2002."
| |
|
The 2003 Detroit International Jazz Festival, 2005.
Positive review of the Ford Detroit International Jazz Festival held in Detroit, Michigan.
915 words (approx. 3.7 pages), 7 sources, APA, $ 32.95
»
Click here to show/hide summary
Abstract
This paper describes the author's experience at the Detroit International Jazz Festival. The paper describes the musical program during the festival, the types and range of artists performing, and the venue. Additionally, the author suggests that the festival is an excellent musical experience for anyone, from a newcomer to jazz to a long-time jazz fan.
From the Paper
"Officially titled the Ford Detroit International Jazz Festival, the Festival first began to bring jazz to the city of Detroit in 1980. It was founded by the Detroit Renaissance, and has seen tremendous success since that day. Since 1994, the Festival has been produced by the Music Hall Center for the Performing Arts. The Festival was originally called the Ford Montreux Detroit Jazz Festival ."
| |
|
Jazz in New Orleans, 2004.
A look at New Orleans as a focal point in the development of jazz.
2,197 words (approx. 8.8 pages), 3 sources, MLA, $ 68.95
»
Click here to show/hide summary
Abstract
This paper examines how New Orleans is known as a melting pot of culture and music and how it has played a major role in the early development of jazz. It looks at how it was full of opportunity and rich with the fine arts of music and dance, while offering a breeding ground for innovation. The paper explores how, in the back alley city streets, clubs and saloons, basements of homes and African-American dance halls, jazz was born. It focuses on the importance of New Orleans, which was home to Joe "King" Oliver and his leading student, Louis Armstrong.
From the Paper
"Congo Square, a modest corner of the French Quarter, is considered by many scholars to be the birthplace of jazz. It was in the Nineteenth Century in Congo Square in New Orleans that observers heard the beat of the bamboulas, the wail of the banzas and saw the multitude of African dances that had survived through the years. During these antebellum times, slaves would meet here on Sundays and play traditional African songs while women slowly swayed to the rhythms. Congo Square was a weekly refuge from the drudgeries of slave life. It was a place where music created a special freedom that didn't exist elsewhere. This square was used as a gathering place for the residents of New Orleans almost since the city began and located across Rampart Street on the backside of the French Quarter."
| |
|
?Pop? Music Queens, 2004.
This paper discusses the sexuality in the music. especially the lyrics. of music performed by three ?pop? music queens.
1,780 words (approx. 7.1 pages), 6 sources, MLA, $ 57.95
»
Click here to show/hide summary
Abstract
This paper explains that the songs. "Genie in a Bottle," sung by Christina Aguilera, "Boom, Boom", sung by Britney Spears. and "Naughty Girl", sung by Beyonce Knowles. are among the ?Top 40? pop songs that have heavy sexual references, which many people may not even notice. The author points out that all three pieces have blood-pumping music and a sort of seductive melody, which seem to inspire highly sexually suggestive movement. The paper concludes that, while there?s nothing particularly wrong with sex or with art that displays sex, it seems strange that "Top 40" songs that are played everywhere, especially by teenagers, would be quietly pumping in lyrics about mutual masturbation, prostitution, and orgies.
From the Paper
"Aguilera?s character seems to maintain a temporary morality, saying ?that don?t mean I?m gonna give it away? to which she has already added ?baby, baby, baby? as an indication that she is already losing control of her body. This loss of control is soon made explicit as she says ?My body?s saying let?s go? (assumably to ?give it away?). That this is sexual is so obvious that, when Disney wanted to show the video to children, they required Aguilera to change the lyrics to ?My friends are saying let's go.? as if to pretend that she was going to leave, rather than going to have sexual intercourse."
| |
|
Avant-Garde Jazz, 2004.
An examination of the contribution that the avant-garde genre had to jazz music.
1,024 words (approx. 4.1 pages), 8 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper examines how the avant-garde movement in jazz is important because it represents the departure from traditional forms of jazz into a more free-flowing form that allowed musicians to express themselves in a way that they had not done before. The writer argues that many jazz greats have contributed to this movement, and many critics feel that it is a shame to ignore the significance of the jazz avant-garde movement.
From the Paper
"Musicians that illustrated a departure from traditional jazz and regularly included bebop into their music are Ornette Coleman, Wilbur Barr, Ed Blackwell, and Billy Higgins. An interesting characteristic of bebop is the type of singing that generally accompanied songs. Much like scat singing, bebop singers would incorporate ?something like chants and field hollers? into the music. This freedom allowed the musical instruments to carry the ?entire rhythmic impetus of the music? (226). This type of rhythmic freedom and diversity is what Jones claims is the ?valuable? legacy of bebop. Gottlieb claims that the Hard Boppers? wanted to revolutionize jazz but did not go far enough. What was seemingly lost in the 1940s was rediscovered in the 1960s. ?Because rhythm and melody complement each other so closely in the latter style, the drummer and bass player were better able to play melodically. There was no longer a concern with continuing the beat in a song."
| |
|
Angela Davis, 2004.
A review of the book, "Blues, Legacy and Black Feminism", by Angela Davis.
843 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
Angela Y. Davis was one of the founding mothers of the radical black feminist and civil rights movement. Her participation in these movements was not simply vocal and intellectual, but profoundly political as well. In particular, it examines how a different, more artistic side of her political interests comes to light regarding Davis? works in "Blues, Legacy and Black Feminism", in which she shows an interest in black feminist works beyond that of the purely verbal and prosaic.
From the Paper
"Perhaps inevitably, the second half of the work and its project falls a bit short. The main problem with the methodology of emphasizing lyrics is that it tends to bring ?the word? or a literary rather than a musical perspective to the forefront in understanding these performance artists. This bias may be inevitable, given Professor Davis? own background. But these women were not of the academy?their music was performed as a living text. However, although the inclusions of the lyrics and the lyrical analysis is not as strong as the first more historically oriented part of the book that seems to be more in line with Davis? abilities as an historian, the analysis of the lyrics does reveal that these artists did discuss issues of domestic violence and transgressing lesbian love in a way that is seldom given credit."
| |
|
History of Musical Theater, 2004.
An examination of the history of musical theater in the United States from 1864-1950.
812 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
»
Click here to show/hide summary
Abstract
This paper explores some of America?s most important musical styles, which were usually found outside of the concert hall and represented such genres as comic opera, operetta, and other types musical revues. It looks at how these were usually located in the major cities like New York, Chicago, Philadelphia, Boston and San Francisco. This paper provides a brief discussion of the history of these musical styles.
From the Paper
"The ?Great Depression? years, circa 1929 to 1940, created a huge impact on American music, for some long-existing institutions were forced to close their doors due to financial difficulties. The genre of the musical revue was also affected because of nationwide radio broadcasts that severely limited the number of people that attended live musical performances. As an example, ?between 1929 and 1934, about 70 percent of all musicians in the United States were unemployed? (Crawford, 2001, 590). Thus, with the advent of radio and later television, the true musical revue and its related genres were doomed, and in light of today?s technology have never fully recovered."
| |
|
All That Jazz, 2005.
A discussion about the topic of music appreciation in relation to jazz music.
1,784 words (approx. 7.1 pages), 4 sources, MLA, $ 57.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the topic of music appreciation. Specifically, the paper discusses the author's personal attraction to jazz music and some of its composers and performers. An annotated listening list is appended to the paper.
From the Paper
"Jazz is a uniquely American creation, and perhaps that is one reason I enjoy it so much. In the early part of the 20th century, the music we call jazz and blues were beginning to develop into popular songs people enjoyed. One critic writes, "Unquestionably, the most significant contribution made to music by the United States in the period under discussion lay in the field of popular music" (Hansen 84). Jazz used atypical syncopation and "blues notes," which included a complex variation on the major scale. Most music experts believe jazz and the blues developed from black spirituals and folk music of the South, and stretched from New Orleans to Chicago and then the East. In due course, jazz would influence later styles of music, such and be-bop and swing. In fact, jazz helped generate a popular music rage that seized the country. That passion for jazz continues today. Jazz also influenced other styles of music, as the uniquely American compositions of George Gershwin and Aaron Copland clearly illustrate."
| |
|
Mozart, 2004.
Argues that Wolfgang Amadeus Mozart's fame is based largely on the man as a stereotype of a great romantic figure.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper argues that Mozart does not deserve to be considered as one of history's most influential people. It argues that, while he was an immensely talented and prolific composer, Mozart's lasting fame seems to be based largely on the ideal of him as a romantic artist, rather than on the body of his work. In addition, Mozart's fame can be attributed also to his family's great influence. The paper states that Mozart's work can be argued to be lacking in many areas, including the lack of depth in his church music, the lack of nature or a sense of fun and whimsy in his work, and flaws within his early work. In addition, Mozart's work fails to show any real innovation in genre or theme, which can be said to be the mark of a truly great or influential musician.
From the Paper
"For instance, Mozart's depiction as sensitive, mercurial, arrogant, and his early death has grabbed the public's imagination much more than the descriptions of the equally talented Hayden, who is often described as calm, kingly, and deliberate, and who lived a longer life (Oldman). Further, Mozart's family was influential and driven, likely playing a large part in Mozart's success, while Hyden's family was much less influential and had meager means, thus likely limiting Hyden's success. Despite these differences in opportunity, Hyden produced material that many consider to be the equal or superior of Mozart's works, and possessing a uniqueness that indicates great artistic maturity (Oldman)."
|
|
|