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Blind Musicians and Music, 2006.
A review of the amazing contributions of blind musicians to music.
1,504 words (approx. 6.0 pages), 8 sources, MLA, $ 49.95
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Abstract
This paper takes a look at various blind musicians and the contributions they have made to the music world. The paper discusses the life and work of Blind Tom, Stevie Wonder, Ray Charles and Blind Lemon Jefferson.
Outline:
Review and Discussion
Background and Overview
Contributions of Blind Musicians
Conclusion
From the Paper
"By the time he reached his majority, Blind Tom possessed a repertoire of hundreds of pieces, all contained in his memory alone. In would appear, that in this individual's case, the inability to see also accentuated his other auditory abilities: "Tom's memory extended to other auditory information besides music: he could repeat without error conversations of up to fifteen minutes that he had overheard. He could also sing back songs in French or German (which, of course, he could not understand) after only one hearing" (Winner, 1996, p. 134). While musical savants may be the rule rather than the exception when it comes to musical genius, there are some well-known examples of blind musical prodigies as well but these musicians have not received as much attention. According to Haroutounian (2000), musical prodigies in general typically reach an advanced stage of development quickly and are capable of pursuing professional careers at an early age; however, some musical prodigies tend to experience a sort of "mid-life crisis" when they reached adolescence: "What happens to the bird who sings and doesn't know how it sings? That's what happens to child prodigies. They wake up and ask themselves dangerous questions about how they do it -- and they have no answers" (Haroutounian, 2000, p. 3). Furthermore, Goldstein (1998) reports that most traditional colleges and universities are ill-prepared to address the special needs of musical prodigies in general and blind students in particular, so it is a wonder that there are any professional blind musicians at all, but some persevere and these individuals are discussed further below."
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The Positive Contribution 1960s Musicians, 2005.
An analysis of the contributions that the musicians of the 1960s made to America.
2,695 words (approx. 10.8 pages), 15 sources, MLA, $ 80.95
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Abstract
This paper argues that, despite arguments to the contrary, decadence was not the message that 1960s-era rock stars communicated to society; the message was acceptance of the equality of races and the legitimacy of the demands of the Civil Rights Movement.
Outline
Pre-1960s: Attitude Towards the American Blacks
History of the Blacks in America
Music and Civil Rights Movement
Black Musicians and Contributions
"Troubadours of Conscience"
Elvis Presley's Contribution
Baez and Dylan
From the Paper
"When the Civil Rights Movement began, it did so in an atmosphere that very strongly believed that the Black person was extremely inferior to the White person, and music became the best means of changing the dominant attitudes towards the Blacks. Music contributed to the Civil Rights Movement's cause for equality in two main ways. First was through the songs and musical style of popular white singers such as Elvis Presley, Joan Baez, Janis Joplin and Bob Dylan. Second was through the popularity achieved by Black entertainers as the Supremes, Marvin Gaye, the Temptations and many others, among the White people themselves."
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Black Musicians, 2002.
Discusses the influence of African American musicians on racial barriers.
900 words (approx. 3.6 pages), 5 sources, $ 35.95
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Abstract
It is the purpose of this paper to examine how the efforts of early black rock musicians led to the breaking down of racial barriers and to the overall success of the black music industry. The Rock Music industry introduced African Americans to the boardrooms of major American companies. The fact is that African Americans make up a significant portion of the business culture in American popular music, past and present. Artists like Chuck Berry, Chubby Checker, B.B. King, and Little Richard, have all brought significant influences into the American Music scene.
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Musicians Play Music... or Politics?, 2005.
This paper discusses whether music influences political opinions.
1,925 words (approx. 7.7 pages), 13 sources, MLA, $ 61.95
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Abstract
In this article, the writer maintains that the political song plays an important part in the politics of the United States. The writer discusses that a political son is not only an expression of ideas of the songwriter, it is also the message which ordinary people and politicians hear and interpret for themselves in different ways. The writer notes that the relationship between musicians, politics and audience is evident. The writer also points out that it does not matter that the musicians cannot stop the government to make the unwelcome decisions. What matters is that they are concerned. The writer concludes that music as a part of culture is involved in social and political life.
From the Paper
"If there is a performing artist, there is an audience who will like what he does. This audience is the main reason for the artist to exist, to move on, and to create and develop the art. These people support and promote the artist by buying his or her records, going to the concerts, talking to other people. This audience consists of those people who can be called followers of the artist, who feel like sharing the same ideas and emotions. The same pattern can be seen in politics. There are politicians and those people who share the same ideas, who see the future of the country in the same specter. So, this people surely support the politicians they agree with. Now, how are these three parties connected? The hard relationships between them create something similar to the knot. If there are people who do not like somebody's music, they just do not listen to it. Of course they also may critique it, but there is no too much importance in this matter. The situation is more serious, when there are politicians in the head of the government, whose decisions do not satisfy people, and musicians in particular. So in the country of democracy and freedom of speech they have the ability to speak against the government out loud. In this case the connections are visible. That is why the most of the political music is seen as opposition to the politics of the country."
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Pioneer Jazz Musician Sidney Bechet, 2002.
A serious study of one of the greatest jazz musicians of New Orleans, Sidney Bechet.
4,495 words (approx. 18.0 pages), 10 sources, MLA, $ 117.95
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Abstract
This paper explores the life and works of Sidney Bechet, the great soprano saxophonist and one of the most innovative and original clarinetists in jazz. The author describes the key quality that Bechet brought to jazz was his musical freedom, his Creole heritage and the musical influence of his family. Bechet?s music is all about singing and he truly seemed to find his voice when he mastered the sax and was a great improviser with a passion for life as well as music.
Table of Contents
About Sidney Bechet
Musical Style
Soprano Sax and Clarinet
Other Instruments
Comparing Styles through his Music
Literature Review
Summary
Bibliography
From the Paper
"Sidney Bechet was a pioneer jazz musician who changed the music of his time into a unique art form. Considered to be one of the greatest jazz musicians of New Orleans, Bechet was an innovator on both the clarinet and saxophone. His music changed jazz music forever and inspired countless musicians of all types.
Bechet was born in New Orleans in May 1897. He was of Creole ancestry and grew up in a middle class neighborhood. He was greatly influenced by music, as his father, a shoemaker, played the flute as a hobby, and his four brothers played various instruments, as well. (Chilton)"
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Patronage and Musician Repertoire, 2008.
A case study examination of the relationship between patronage and musician repertoire during the Baroque period.
1,958 words (approx. 7.8 pages), 9 sources, APA, $ 62.95
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Abstract
This paper discusses the Baroque period of 1600 - 1750. It discusses the role that patronage played in the lives of musicians and the repertoire that was composed or performed by them. It then examines three case studies in terms of their most significant musicians-in-residence, their socio-cultural environment, opportunities for performance and composition and their locally preferred musical styles.
Table of Contents:
Royal Patronage
Religious Patronage
Civic Patronage
Conclusions
From the Paper
"Patronage in the period of glory for Baroque music greatly influences the portfolio of compositions. This happens, at least in part, depending on the composer and the role he is playing within the patron-composer relationship. In the case of Lully, for example, the influence was total, in the sense that Lully's works existed only within the framework defined for him by the absolute monarchy. Ranging from the ampleness of his operas, to the fact that he is one of the first to promote the idea of a French opera and to the machineries that are used to make grandiose spectacles - everything points out that the role of the composer is strictly determined by the patron."
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Musician Buddy Holly, 2005.
This paper discusses the life of musician Buddy Holly, probably the first rock and roll artist.
1,330 words (approx. 5.3 pages), 10 sources, MLA, $ 44.95
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Abstract
This paper explains that, although he died in a plane crash at the age of 22, Buddy Holly accomplished what some might only achieve in a lifetime; he is one of the greatest America musicians. The author relates that having met Elvis Presley in 1955, Buddy started writing songs like Elvis', Buddy started recording "Rock n' Roll", the new craze; his first hit was "That'll Be the Day", followed by the even bigger hit, "Peggy Sue". The paper concludes that, even in his short life, Buddy had written and sung over a 120 songs and influenced the British Music Invasion including the Beatles and the Hollies who sang his songs and copied his singing style.
From the Paper
"Charles Hardin Holley was born on September 7, 1936, in Lubbock, Texas. His parents thought that it was too long a name for a child, so they nicknamed him Buddy. Buddy's interest in music started early at the age of eight when he started playing the violin, however, like his nine-month piano career this affliction did not last long. It was not until late the ninth year of his life that he took up the guitar, which he eventually played for the rest of his life. With his talent forming for the guitar at the age of thirteen, he moved to a new school and met Bob Montgomery in the fall of 1949. Bob Montgomery had a lot of the same interests that Buddy did, including music and they began a country and blues band."
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Jazz Musician Louis Armstrong.
This paper discusses the life of jazz musician Louis Armstrong especially his early formative years.
845 words (approx. 3.4 pages), 4 sources, APA, $ 30.95
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Abstract
This paper explains that Louis Armstrong started his career by blowing on a little tin horn, the kind with which people celebrate; he could mimic some of the music he heard around his home and the kids loved the sound of the little horn. The author points out that Armstrong, who lived in an area where he heard street musicians and steamboat bands, developed a perfect pitch and began teaching himself music. The paper relates that, in his teen years, having shot a borrowed pistol into the air, he got arrested and was sent to the city's Waif Home for Boys where he came under the very capable tutorship of Peter Davis, a brass band leader, who taught him how to play the cornet. Picture.
From the Paper
"As an infant, his grandmother Josephine Armstrong raised Louis because his father abandoned him and his mother around the time of birth. He began his life struggling in the slums of New Orleans. He grew up in a bad area know as "The Battlefield" were gun and knife fights were not uncommon. At the age of seven he moved back with his mother and sister in Stormville where he worked for Jewish families for money. Now Stormville consisted of dance halls, brothels and honky tonks, it was an entertainment district where music was all around him, so he could hear music from outside his house when he woke up in the morning and when he went to bed at night."
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Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
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Sidney Bechet, 2001.
This paper is an autobiographic summary of Sidney Bechet, the jazz musician.
2,890 words (approx. 11.6 pages), 5 sources, MLA, $ 85.95
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Abstract
This paper studies the life and works of the famous saxophonist, Sidney Bechet. It details the reasons for his being a soloist and gives an historical overview of his personal life. It details his hard but successful life as a musician. It examines the major players influenced by Bechet such as Bob Wilder and Johnny Hughes. It concludes with quotes of things said about Bechet by famous musicians.
From the Paper
"Sidney Bechet truly led the life of a jazz musician. He was a supporter of Dixieland Jazz who played the clarinet and was the first person to play Jazz on a Soprano Saxophone. Domineering is a word frequently used to express his music. Various fights showed he had a short temper that reflects in his music. His solos were often soaring and passionate, endlessly inventive, direct rather than ornate. Throughout his life, he never had the discipline needed to play in a regular band; he always preferred to be a soloist and worked in many different bands. "
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Three Generations of Rock and Roll, 2005.
Examines the life and career histories of rock and roll musicians, Elvis Presley, Jim Morrison and Kurt Cobain.
1,400 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
Over time, many musicians have shown us what good rock and roll music is all about. Musicians such as Elvis Presley (the king of rock and roll), Jim Morrison (lead singer and songwriter for the 'Doors'), and Kurt Cobain (musical genius from 'Nirvana'), are discussed in this paper to try and understand the fascination of rock and roll.
From the Paper
"Kurt Cobain was the lead singer and guitarist of Nirvana. He started the group with Krist Novoselic, a fellow punk rock devotee. They developed a style that became known as "Grunge Music". "It was a style that evolved as a reaction against the perceived superficiality of 1980s stadium rock and the over the top metal bands of the time" (5). Nirvana was an underground band with a devoted following. After four years of playing, the band just exploded into the mainstream. Cobain struggled with the band's success and felt the success was contradictory to their beliefs and what they stood for. The Nirvana song, "Smells Like Teen Spirit", became the anthem for Generation X. (3)"
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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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Miles Davis, 2006.
A review of the life and work of Miles Davis, said to be one of the greatest musicians of his time.
2,112 words (approx. 8.4 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper reviews and discusses the life of jazz musician, Miles Davis. According to the paper, the music and the artistic innovation of Miles Davis made him one of the most popular jazz musicians in musical history. The paper further discusses how his influence as a composer, bandleader, artist and innovator in the field of jazz is still evident today.
From the Paper
"In 1948 Davis had organized a nine-piece band which included a very unusual horn section; an early indication of his propensity for innovation and experimentation. "In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. "(Miles Davis) The band received a contract in 1949 from Capital records and went on to produce a record which at first received little attention but which was to be released in 1957 as the famous "Birth of the Cool" album. In the interim the music that Davis and his band were producing was to have an enormous influence on and many other musicians. Among these musicians were figures such as; Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke. The music that Davis was creating at this time was to have "....a profound influence on the development of the cool jazz style on the West Coast. " (Miles Davis) "
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Celebrities and Drug Abuse, 2002.
A look at why rock musicians often abuse drugs.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
A paper on celebrities using drug,s focusing on drug abuse and rock musicians.
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"Sonny's Blues", 2002.
A literary analysis of "Sonny's Blues" by James Baldwin, which tells the story of black jazz musicians.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
This is a response paper to James Baldwin's short story "Sonny's Blues," about Jazz musicians and the black community. It draws on literary criticism as well as extensively quoting the original text and portrays the act of smoking in the story as both a literary device and an integral part of the scenery, as well as an extension of the changes that occur in Sonny's character.
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