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The Beatles and American Religion, 2004.
An analysis of the Beatles and their impact on American civil religion.
3,064 words (approx. 12.3 pages), 20 sources, MLA, $ 89.95
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Abstract
This paper examines how Robert Bellah first introduced the term "American civil religion" in 1967, with references to God, the nation's mission, and the transcendent standards that Americans viewed as worthwhile. It looks at how it was also during the 1960s that the Beatles hit the music scene, serving as both a catalyst and a focal point for the millions of dissatisfied and marginalized teenage fans who believed that the world should be a better place than what was being offered. It shows how, although two of the Beatles are dead, their impact on the American civil religion endures because of the profound influences that the group had on the country during this formative period.
From the Paper
"According to Farrell (1997), the American media had an insatiable thirst for all the Beatles' activities, musical or otherwise. Virtually anything the Beatles had to say about drugs, sexuality, politics, and religion were received like the words of philosophers or seers, no matter how casual their comments. The Sixties were also the period when John Lennon would infamously remark that ?the Beatles were more popular than Jesus Christ, causing an immediate storm in the press and the media and resulting in an anti-Beatles campaign in the United States? (Farrell 1997:171)."
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Hip Hop and Homosexuality, 2004.
Argues that the modern music genre of hip hop is not homophobic in nature.
7,000 words (approx. 28.0 pages), 18 sources, APA, $ 157.95
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Abstract
Those outside of its culture generally perceive hip-hop as very homophobic and misogynistic. While it is undoubtedly hyper-masculine and grounded in a culture that has traditionally not been very accepting of homosexuality, hip hop is not generally perceived by those within the culture as being homophobic. This study shows that a majority of hip hop fans are more accepting of homosexuality than the white Christian majority and that the perceived homophobia of the lyrics may be a misunderstanding by those outside the culture of the hip hop dialogue, which uses extreme language and extreme metaphor to express social truths.
Paper Outline
Abstract
Introduction
Investigation and Statement of the Problem
Qualitative Study
Conclusion
Bibliography
From the Paper
"As mentioned earlier, there are two significant reasons why such homophobia may be present in the hip-hop genre. The first is religious. While Hip-Hop lyrics are generally extremely profane and amoral (to say the least), it nonetheless has deep roots in a religious culture. According to Umar ben-Ivan Lee, one hip-hop defender of anti-gay lyrics, ? Hip Hop has always celebrated God... unlike Hollywood or American pop culture which vilifies [religion] ... in Hip Hop Islam is generally held in high regard. [Meanwhile] countless rappers pay tribute to their faith in Jesus over the years ... [because] God, Jesus and the Prophet Muhammad have not been removed from the Hip Hop Lexicon.? (Political Palace) Certainly historically Hip Hop, like most other culturally black music, has its roots in soul and gospel. Additionally, it draws strongly from a culture where religion continues to be one of dominant forces for goodness. Just as hip-hop has a tendency to be misogynistic and yet demonstrate great respect for motherhood, it is often irreligious and yet inspired to anti-gay sentiment from these religious sources. It is this religious sentiment which gives a sort of moral legitimacy to the more rabid expressions of homophobia."
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Substance Abuse during the Jazz Age, 2004.
A look at the contribution of alcohol and drug addiction to jazz music.
1,285 words (approx. 5.1 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper analyzes the topic of drug abuse and alcoholism during the Jazz Age and specifically discusses the history of abuse and its effects on musicians and the music itself. It looks at how jazz music has a long and varied history in the United States and how, unfortunately, it includes a long history of drug and alcohol abuse among performers, too. It attempts to show how this abuse helped give jazz an undeserved reputation among many listeners and how it also created a sub-culture among performers that has been difficult to overcome.
From the Paper
"Jazz is more than music and enticing rhythms, jazz is a state of mind for many, and that may be why so many jazz musicians and performers alter their states of mind with alcohol and drugs. Jazz music first came into being in the early 20th century, and the word was first noted around 1913 (Teachout 58). A jazz writer notes, "That word jazz is ambitious. [?] The origin of the word is uncertain. The term has been applied also to noisy proceedings, to loud writing, to eccentric and discordant coloring'" (Osgood 10). Often performed by black musicians, jazz played a part in the Harlem Renaissance in New York, and remains one of the most popular forms of music today."
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Downloadable Music, 2004.
A look at the legal and ethical problems of downloadable music technology.
1,472 words (approx. 5.9 pages), 7 sources, MLA, $ 48.95
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Abstract
This paper provides an overview of the various technologies that exist to enable people to download music from the Internet, including P2P, home CD burning, and music piracy. It looks at the problems this technology brings with it, both legal and ethical, and suggests ways around these problems.
From the Paper
"The music industry is undergoing a global technological revolution which has been induced by the introduction of Peer to Peer (P2P) file sharing, and the proliferation of recordable CD equipment which his now within the financial reach of the average consumer. Either of these influences alone could have been absorbed by the recording industry. The presence of a P2P service which was limited only to sharing files between computers would have been convenient and innovative fun. If consumers could only put personal music tracks on portable disks, the convenience would have expanded the reach of the individual?s music collection, much the same way that personal cassette recorders did in the 1970?s. Although the music industry was worried about personal cassette recording abilities of the past, the inherent poor quality of personal recordings meant that the demand for studio recordings remained high."
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Musical Theatre History, 2004.
An analysis of the history of musical theatre in the United States.
1,158 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper briefly looks at the history of American musical theater traced back to the 18th century. It looks at various types of musical theatre pieces, such as rock musicals, revivals, classics, and others.
From the Paper
"In the 1790?s, theaters in New York City offered much more musical entertainments than mainstream theater drama. During this time, musical performances were flourishing in many other cities and commonly took place in the theater. This gave way to a the beginnings of a variety of entertainment including puppet shows, ballad operas, circuses, dances, all of which had some type of musical involvement."
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Hip Hop Music and BEV, 2004.
A dissertation that addresses the evolution of speech patterns that have developed from black music during the past half-century, focusing on hip-hop music.
6,700 words (approx. 26.8 pages), 17 sources, APA, $ 152.95
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Abstract
The phenomenon of hip hop has spawned a new way of dressing, acting, and speaking adopted by black young people, as well as an increasing number of young whites, especially males. Hip hop and its music and speech patterns, known as hip hop or rap or gangsta rap, has moved out of the ghettos and into suburban, middle-class neighborhoods, especially among the young males in those neighborhoods. This paper questions whether it is a bona fide language type, such as Black English Vernacular (BEV), in and of itself, or whether it is a dialect of BEV. Also investigated are the vectors by which this speech might have crossed the color divide and why. Finally, how hip hop/rap/gangsta came to be and what it owes to previous black dialects, as well as to African and West Indian influences, are considered. What emerges is a constantly changing dialect that appeals to the same populations that generally cause language change, the lower classes, which start it, and the middle classes, which carry it upward.
Table of Contents
Abstract
Introduction: Statement of Problem
Review of the Literature and Research Questions
Language of the Black Diaspora
Other Cultural Factors
Black English Vernacular Dialects: Africans via the West Indies
Use of ?Downmarket? Speech among Britons, White and Black
Is Estuary English Equivalent to BEV Dialects?
Lowest Common Denominator?
Hip-hop Language and Women
Women as Primary Musicians/Speakers of BEV Dialects
Other Voices
Methodology and Results
Appendix
From the Paper
"Kopano argues, in essence, that in their defiant states, both bebop and rap (hip-hop) artists create a rhetoric that is creative in the verbal and nonverbal mode. Both obviously include, either by contribution or adoption, other lifestyle factors, such as clothing choices. And, by extension, the dialect of Black English each one has engendered is likewise dispersed throughout the Black community, and adopted, at least in some ways, by the White community, particularly by the White males who are arguably attracted to the inherent subversive/aggressive message contained in it."
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Bluegrass Music, 2004.
This paper discusses bluegrass music, a form of American roots music with its own roots in the Irish and Scottish traditional music of immigrants from the British Isles, particularly the Scots-Irish immigrants from Appalachia, and the music of slaves.
1,605 words (approx. 6.4 pages), 5 sources, APA, $ 52.95
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Abstract
This paper explains that bluegrass songs are played with each melody instrument switching off playing the melody each time through, while the others revert to backing; in contrast to old-time music, in which all instruments play the melody together at the same time rather than solo. The author points out that, since the people lived in rural areas, the songs were written about life on the farm or in the hills; this type of music was known as "mountain music" or "country music". The paper relates that the rigid characteristic of the bluegrass genre is usually limited to the traditional, five, acoustic, rather than electric, instruments: banjo (5-string); guitar (flat-top); fiddle; mandolin; and bass.
From the Paper
"Bill Monroe learned much about melody and timing from his uncle, and from the singing school classes he attended at church each summer. A middle-aged black man named Arnold Schultz who worked for a local coal company in Bill?s neighborhood also helped his musical education. In Schultz's country blues, Bill found a new way to approach music - to allow his emotions to influence his playing and singing. Schultz impressed Bill with stories of music contests he had won throughout Kentucky, and one Saturday night when he was hired to play fiddle for a dance, he took Bill along to play guitar behind him. They were still going strong at dawn."
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Beethoven's Music, 2004.
An analysis of Beethoven's music, focusing on the romantic aspect of the symphonies.
2,635 words (approx. 10.5 pages), 5 sources, MLA, $ 79.95
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Abstract
This paper defines romanticism and romantic music, describes Beethoven?s contribution to music and his innovations, and the ways in which his music linked with romanticism. Examples of some of his major works that depict romanticism are also discussed.
Contents
Romanticism
Beethoven and his Music
Early Music and Loss of Hearing
Early Influences
Different Phases of Beethoven?s Music
The Eroica - Beethoven?s Third Symphony
Beethoven?s Sixth Symphony
The Ninth Symphony
Conclusion
From the Paper
"Romanticism was an artistic and intellectual movement that originated in the late 18th century as a revolt against ?classicism? (and to a lesser extent against ?rationalism.?) It stressed strong emotion, feeling and imagination rather than correctness in form. Romanticism rejected order, calm, harmony, balance, idealization, and rationality that typified Classicism and the 18th century Neoclassicism. The movement took its inspiration in part from the libertarian and egalitarian ideals of the French Revolution. (?Romanticism?-Columbia Encyclopedia, 2000)
In Romantic Music emotion and expression of feelings is given more importance than formal balance and internal order. It became the dominant musical trend in classical music during the 19th century and period between 1800 and 1900 is often referred to as the Romantic Period. While Beethoven is thought to be the first romantic composer, other notable composers who used romanticism in their music include Chopin and Wagner."
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Black Music, 2004.
A discussion of some of the major African-American players in the music industry.
2,201 words (approx. 8.8 pages), 6 sources, MLA, $ 68.95
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Abstract
The purpose of this discussion is to trace specific African-American musicians and discuss how they influenced the racial identity of the black population of America. The discussion focuses on the following artists: Stevie Wonder, Bob Marley, Quincy Jones, Michael Jackson, Tupac Shakur, Lauryn Hill, Beyonce, and Outkast. The paper looks at not only their lyrics, but their impact as significant catalysts for change and for influencing the African-American identity over the last 35 years or so.
From the Paper
"No discussion about the influence of African American music would be complete without examining the influence of Stevie Wonder. The remarkable thing about Stevie Wonder is that he is totally blind but he can see much more than most people that are sighted. He has mastered several different instruments and has written some of the most memorable songs of the 20th century. His influence was particularly important in the aftermath of the civil rights movement.
Musicians like Stevie Wonder and others gave the African American community hope and also challenged the powers that be with songs like ?You Haven?t Done Nothing?."
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The Two Meanings of Hip Hop, 2004.
Explores the cultural origins and the significance of Hip Hop.
1,554 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper begins with an explanation of the cultural and sociological origins of Hip Hop and then describes how it has evolved over time to have two different faces. The paper describes one version of Hip Hop as more mainstream and accessible to society at large and one version as more underground, authentic, and still representative of the group that first created the Hip Hop culture.
From the Paper
"The reasons why hip hop music became popular and the reasons why it is popular today are interconnected but unfortunately no longer identical. In the beginning, hip hop was based on cultural interrelation, rebellion, expression and accessibility -- its popularity was an organic part of its relationship to the impoverished and disadvantaged black community, and an implicit rejection of the way in which former modes of black music had sold out to white corporate America. Today, leaving aside the few dedicated independent and underground bands, hip hop has largely become part of the corporate machine. Modern hip hop?s popularity is based on commercializing shrink wrapped rebellion, promoting the get-rich-quick dreams of an underprivileged class, and a myth of cultural continuity. However, this is not to say that nothing of the original vision remains, and there is certainly a degree to which hip hop is not dead."
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Third Stream Movement, 2004.
An exploration of the history of the Third Stream movement and the individuals who influenced it.
1,280 words (approx. 5.1 pages), 5 sources, MLA, $ 43.95
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Abstract
This paper examines how jazz music can be identified, but not easily defined by, its variety of forms and how one distinguishing characteristic of jazz is its ability to lend itself to individuality among artists. It looks at how performers of jazz have enjoyed modifying and adjusting certain music elements to set themselves apart, as well as to make a statement,and how one movement that has emerged from this new attitude toward jazz is the Third Stream, which fuses Western musical influences with classical music. It discusses how the Third Stream movement is significant because it revives the dying tradition of bebop and encourages young jazz performers to redefine jazz.
From the Paper
"Gennari explains the divide that existed between swing and bebop as a ?a dispute between groups that were simply looking for different things from the music. The established audience was looking for familiar rhythms and melodies for purposes of dance, romance, and nostalgia; the newer audience was looking for bold experiments in harmony and fresh approaches to time and tempo for purposes of sensory inspiration and aesthetic fulfillment? (Gennari 491). We can certainly see how such performers as Gunther were reaching for a new and exciting experience while still holding onto the roots of the jazz music they loved."
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Puerto Rican Music, 2004.
Examines the early years (1920-1930) of Puerto Rican music in the United States.
986 words (approx. 3.9 pages), 3 sources, MLA, $ 35.95
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Abstract
This paper explores the origins of Puerto Rican music during the 1920s and 1930s. Puerto Rican music has its roots in many different types of Latino music, from the Tango to the jazz, blues and ragtime from New Orleans, Mexican, Caribbean, and Cuban rhythms, and it, in turn, helped influence many of these musical types, too. The paper shows that the early years of Puerto Rican music in the United States created a lasting Latino beat that still weaves its rhythms today around the world.
From the Paper
"By the 1930s, Latin music had become so popular it was replacing other types of music in East Harlem and El Barrio in New York City, and Puerto Rican dance clubs were springing up where Jewish theaters had captured audiences just a few years before. Because Puerto Ricans were migrating to New York in record numbers at the turn of the 20th century, they needed creative and artistic avenues, and hungered for familiar music during their leisure time. As Latin music grew more popular, so did the number of Puerto Ricans entering New York, and the two seemed to merge and blend into their own form of entertainment. Little by little, the Puerto Ricans came to dominate the New York music scene, overshadowing even the popular Cuban music that had become so popular with Latinos and Americans alike."
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