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Jivaro Music, 2002.
Examines the use of music by the Jivaro people to cure disease.
1,276 words (approx. 5.1 pages), 6 sources, APA, $ 43.95
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Abstract
This paper explores the the use of curing songs by the shamans of the Jivaro people of Ecuador. It begins by providing some background information about the culture and society of the Jivaro people and then describes the cultural reasons for the belief in the curative powers of the shaman's whistling song.
From the Paper
"We have all, of course, heard the claim that music hath charms to soothe savagery. But few us have heard ? or would believe ? that music can cure disease. But many people do believe that music has the power to counterbalance illness, especially in the hands of trained healers. This paper looks at one specific example of such healing through the power of music, the use of curing songs by the shamans of the Jivaro people of Ecuador."
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The Musical Experience of "2001: A Space Odyssey", 2002.
Examines the film version of "2001: A Space Odyssey" as not only a visual experience, but a musical one as well.
1,007 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
Describes and analyzes the score used in the Stanley Kubrick's adaptation of "2001: A Space Odyssey". The paper provides descriptions of scenes in the movie and the accompanying music and explains the images that the music attempts to project through the use of sound, voice, and silence.
From the Paper
"The film is not only a visual experience; it is also a musical journey. Filmed at a slow pace, the opening scene is an image shot from behind earth?s moon with the sun rising over the earth?s crescent shape in the blackness of space. This scene shows the earth, moon, and sun in a vertical alignment. Richard Strauss?s Thus Spake Zarathustra is playing in the background. This scene is striking and beautiful and Strauss?s piece sets the mood for what must be the majestic experience of outer space."
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Authenticity in Music, 2002.
A brief discussion of the importance of authenticity in the music industry.
1,155 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explores the issue of authentic music, stating that many people believe rock music to be more real or authentic than pop music. The paper explains that pop music is more synthetic and without the help of computers, would not sound like it does while rock music is the pure raw authentic talent of the musician. The paper focuses on the music of Eric Clapton to explain its theories.
From the Paper
"Authenticity is a major issue in discourses on popular music, and seems to be the bedrock of the distinction between ?pop? and ?rock?, i.e., whether musicians can be trusted (?rock?) or not (?pop?), which comes down to the distinction of whether musicians are ?authentic? or ?commercial? (Moore, 2002). In these discourses, authenticity is assumed to mean ?true to its origins?."
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Topic Music and Dance in Indian Films, 2002.
An overview of the Indian film industry with focus on music and dance in these movies.
2,388 words (approx. 9.6 pages), 11 sources, MLA, $ 73.95
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Abstract
This paper examines the importance of music and dance in the extremely successful film industry in India. It explains that because Indian films are made predominantly for semi-literate audiences, they contain numerous action scenes (fights), elaborate song and dance sequences, a fair dose of slapstick comedy and an obligatory love story. This paper discusses why this industry is so successful and the role music and dance play in its success.
From the Paper
"In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. But the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages other than Urdu, and that every film would be a musical."
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"Puff The Magic Dragon", 2002.
An analysis of this famous sixties song by the band, 'Peter, Paul and Mary'.
807 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
During the 1960s, one of the revolutionary developments that changed the landscape of American culture and history was the establishment of the Hippie Movement. The paper shows that besides rock music, traditional folk music came into being once again, only this time, a mixture of rock influence was infused with traditional folk music. This type of music was played by bands such 'Peter, Paul and Mary' which received acclaim and popularity because of the liberal ideas they incorporated into their songs. This paper analyzes one of the band's songs, the famous children?s rhyme entitled, "Puff (the Magic Dragon)." The paper looks at how the song can be interpreted in two ways - the loss of innocence of children as they embark into the real world and the issue of drug addiction.
From the Paper
"Symbolism is used to connote the themes of lost childhood and drug addiction in the song. The dragon symbolizes the child/ drug addict, while Little Jackie Paper represents the lost childhood/ drug addiction of the ?dragon? in the song. Also, Honah Lee is said to represent more than the land where magic and fantasy becomes a reality; what the place really stood for is symbolic of Hanalei, a Hawaiian village wherein marijuana plants are dominantly cultivated (Mikkelson 2001). Rhyming is utilized to create the childish tone and theme that the song assumes, while the audience the song aims at is the adult audience."
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"Oklahoma!", 2002.
An analysis of the song "I'm Just a Girl who Can?t Say No," from the musical "Oklahoma!"
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
This paper introduces, discusses and analyzes the songs from the musical "Oklahoma!" Specifically, it includes an analysis of "I'm Just a Girl who can?t Say No." It asks how the song provides a transition from the text and what the song does for the musical. It also examines what the words and music reveal about the character.
From the Paper
""I'm Just a Girl Who Can't Say No" is one of the most humorous songs in the musical "Oklahoma!" In it, Ado Annie, a kind of sad character who does not seem to have much chance of catching a man, talks about how she cannot say "no" to kisses and romance. "Other girls are coy an' hard to catch / But other girls ain't havin' any fun! / Ev'ry time I lose a wrastlin' match / I have a funny feelin' that I won!" (Oklahoma!). Annie recognizes that she may not be the most attractive of the girls, but she is a little more adventuresome, and so, she probably will have more fun in the end. Of course, she wants to get married just like the other girls, but she is more forward, so she has more problems catching a guy. When she sings to Ali Hakim, the traveling peddler, in his buggy, she is letting him know she is ready for romance, but not necessarily with him. She is really trying to make her boyfriend Will jealous, and it works, because she ends up marrying Will, so she becomes a girl who can say "yes." "
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Presidential Campaign Song, 2002.
Examines the impact of music on American presidential campaigns.
2,312 words (approx. 9.2 pages), 10 sources, MLA, $ 71.95
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Abstract
Music has influenced both written and verbal forms of discourse in our society since our nation was founded. The most significant of these has been music?s influence on political campaigns and speeches. The paper shows that the advent of the ?campaign song? has had a tremendous impact on political campaigns since President Washington was in office. The paper traces the use of popular songs in presidential campaigns from 1797 when John Adams popularized ?Star-Spangled Banner.? It continues with the impact television on the presidential song and looks at the more bizarre choices, such as Ronald Reagan's use of "Born in the U.S.A" by anti-Republican, Bruce Springsteen. The paper also touches on 'opposition' songs.
From the Paper
"Following Reagan, President George Bush Sr. picked campaign songs that were geared towards ?grandfatherly appeal with both ?God Bless the U.S.A.? and ?This Land is Your Land? - a Woody Guthrie song from 1940 repopularized in the 1960s.? (Segan) The song ?This Land is Your Land? features strange lyrics for a campaign song as well. ?One bright sunny morning in the shadow of the steeple / By the relief office I saw my people / As they stood hungry, I stood there wondering if / This land was made for you and me.? The most recent American Presidential campaigns, featuring Al Gore and George W. Bush, also used songs already written, which featured lyrics that were geared towards middle class and working class Americans."
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Microeconomic Principles and Song, 2002.
Discusses how issues of microeconomics are incorporated into Garth Brooks' song "We Shall Be Free".
1,400 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
The principles of microeconomics are not just important to economists and scholars, the principles apply to many aspects of society that impact everyone. Microeconomics considers how goods are produced, how people create their income and how people make decisions to spend that income. In short, microeconomics refers to aspects of life that people encounter every day. With this relevance of microeconomics to everyday life, it is not surprising that principles of economics can be found in many places, including in the lyrics of songs. To illustrate how the principles of microeconomics are referred to in a song, Garth Brooks? "We Shall Be Free" is used as an example. Considering the lyrics of this song, it is seen that various items are mentioned that relate to microeconomics. As well as describing these items, the analysis also extends to a brief discussion of why they are important to people.
From the Paper
"The lyrics of We Shall Be Free includes the following lines, ?And when money talks for the very last time / And nobody walks a step behind / ? / Then we shall be free.? This statement from the lyrics goes against the principles of the market economy and the concept of fairness in the market economy. ?When money talks for the very last time? refers to money not having power. The market economy of current society is based on money as power, since money is the means to obtaining necessary and desired goods and services. If money did not ?talk? in modern society, why would people work? It is fair to suggest that most people would not work if what they obtained from that work was worthless to them. If people did not work, companies would not be producing the goods that people buy with the money they work for. This illustrates that the lyrics suggest a different view of economics than what society is currently based on. The line ?And nobody walks a step behind? also suggests that everyone is equal. "
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Roman Music, 2002.
Musical instruments used in ancient Rome.
2,750 words (approx. 11.0 pages), 5 sources, MLA, $ 82.95
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Abstract
Ancient Rome had an impressive and varied musical tradition. There were many different traditions in Roman music and many different situations in which music was used by the Romans. The paper shows that music was often played at large events at which masses of people gathered, such as gladiatorial fights, festivals and banquets. There was also a tradition of popular music for stringed instruments, such as the kithara, which greatly resembles our modern guitar. The paper shows that there was also a tradition of more refined classical-type chamber music that was played for the wealthy and the important citizens of Rome at gatherings and parties. In order to accommodate so many diverse styles of music, it was necessary that the Romans develop an impressive array of musical instruments proper to each style. The paper discusses the instruments developed by the Romans, including the lyre, the harp, the kithara, the lute, the flute, the panpipes and the tympani, as well as trumpets and vast array of different percussive instruments. The paper shows that these instruments, many of which antedate Roman society, were employed in Roman music for a variety of different ends and with a series of different purposes, all of which testifies to the complexity and impressive diversity that comprises the Roman musical tradition.
From the Paper
"The kithara was perhaps the most famous, oft-used, and most romanticized instrument played by Roman musicians. The most impressive players of the kithara were said to be able to literally make the instrument weep through their deft manipulation of the strings. The kithara was very similar to our modern guitar, and, indeed, the word guitar can trace its etymology back to the roman word kithara. The kithara was larger than either the lyre or lute and it was also heavier. The kithara, however, was also able to be tuned much more precisely than either of those instruments could be and it was loud and had a more trebly and piercing tone that distinguished it from those other instruments. Popular players of the kithara who wrote and sang songs were known as the citharista, and the most popular of them were respected and lauded as much as the popular musical virtuosos of our own day are. The number of strings was at least more than the lute, but the evolution of the guitar up till the present day has included changes in the number of strings on the instrument."
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Wiccan Music, 2002.
A brief explanation of Wiccan music.
1,354 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper explores the roots of Wiccan music. The paper looks at the different types of instruments used and how the music moves participants into meditative states. Wiccan music comes in many forms and uses a variety of traditional instruments and incantations to create themes and messages. The paper begins by defining what Wiccan music is and explains Wiccan music can include new age, Celtic, gothic and even electronic.
From the Paper
"Basically, any type of music attempts to recreate the sounds that we hear in nature, like tones, the sound of birds, wind, and water. We often use instruments to imitate the sounds we have heard. Wiccan music is steeped in nature as is the religion itself. Because Wiccan music also involves rituals, drums are widely used and traditionally have been associated with inducing trances or a calming state in individuals."
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Egyptian Souls, 2002.
A discussion of Ancient Egyptian concepts of the soul and the Messianic message of the Cruxshadows? "Angel Cycle".
1,949 words (approx. 7.8 pages), 10 sources, MLA, $ 62.95
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Abstract
This paper examines how Egyptian mystics were the first to conceptualize a coherent theory of the human soul and how remarkably, their theories also bear many striking resemblances to modern theories of the conscious and subconscious. It shows how being both ancient and relevant, it is no surprise that Egyptian mythologies and theoretical constructs have had a great influence on many artists. It looks at how among artworks bearing an obvious debt to Egyptian theories of the Soul are those of the founder of the Cruxshadows, an American-based artist who is wildly successful in Germany. It evaluates how despite the fact that Egyptian soul theories have influenced the entire course of modern thought, particularly in their influence on Greek and Hebrew thought, they remain immensely confusing to modern researchers.
From the Paper
"The Cruxshadows are an independent musical group primarily consisting of an artist named Rogue and his accompanying musicians. (Incidentally, ?Rogue? is the only name by which the artist in question is known, having used it exclusively since early childhood.) In America they are not particularly well known, due to the highly academic nature of some of their work, however they have reached super-star status in much of Europe, particularly in Germany and Austria. Much of Rogue?s work deals with mythological and classical tradition applied to futuristic concepts, and he is particularly concerned with Egyptian mythology and history. According to the Book of Cruxshadows (an independent organization devoted in part to the scholarly study of ?Cruxshadowian? lore), the entirety of Rogue?s available work deals with a single over-arching story called the Angel Cycle."
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The Latin American Music Industry, 2002.
An analysis of the recent decline of the Latin American music industry with proposal of innovative new solutions to re-infuse the market
1,194 words (approx. 4.8 pages), 11 sources, MLA, $ 40.95
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Abstract
This paper assesses the techniques and methodologies that fuel the fire behind a potentially future global leader in the music industry, the Latin American Recording Industry. It evaluates the market considerations that will become increasingly important if the market is to continue to expand successfully. It also proposes solutions to the recent decline in Latin American music sales, following the boom of the nineties.
It presents viable alternatives, solutions and innovations for the Latin American music industry, through a detailed analysis of several market characteristics and considerations, including trends, socioeconomic and ethno-musicological factors.
From the Paper
"Since the 1990?s however, the Latin American recording industry has witnessed a decline in growth. Sales, which during the nineties accounted for as much as 7% of the world market, now only account for approximately 4%. A large majority of the recent decline is due to changing market considerations and global trends, socioeconomic factors and technological advances. As the Latin American music market moves into the global market, the use of the internet becomes increasingly critical to success. One of the difficulties faced not only by the Latin American Market, but by all music entrepreneurs is the growing threat of piracy, which technology has enabled."
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