| Papers [1-14] of 16 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "GUITARS": |
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The Electric Guitar, 2005.
An examination of the evolution of the electric guitar from its invention in the 1920s.
1,954 words (approx. 7.8 pages), 9 sources, MLA, £ 44.95
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Abstract
The paper presents a short description of the electric guitar and its components in order to explain how the instrument works. It also discusses the most well-known and important producers and manufacturers who contributed to the guitar's evolution. It contends that the electric guitar is still undergoing many changes to suit today's musical needs, explaining that different musicians prefer different sounds for diverse purposes. The paper also introduces and discusses the guitar playing of various influential musicians.
Outline
Introduction
Guitar Components
The Need for an Electrified Guitar
Early Methods of Amplification
Pioneers of Electrification
Lyod Loar
Rickenbacker's "Frying Pan"
Les Paul and "The Log"
Early Guitar Manufacturers
Gibson
Fender
Bigsby
Most Popular Models/Musicians
Gibson Les Paul
Fender Telecaster
Fender Stratocaster
Later Producers
Danelectro
Jackson
Conclusion
From the Paper
"The need for an electrified guitar arose in early 1920's when musicians and bands became more and more popular and their audiences grew larger. The artists realized they needed louder and more powerful instruments in order to compensate for their increasing audiences and growing venues. Bands started using microphones set up near the sound hole of their acoustic guitars to amplify the sound. This was effective only in small concert halls where there was not a large space for the sound to fill. It also caused a problem when the guitarist wanted to move around on stage. If the player moved to far they would loose the amplified sound, needing the guitar to be very close in front of the microphone to produce efficient volume. The desire for an improved method of amplification was evident."
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Washburn International Guitars, 2008.
A case study analysis of Washburn International Guitars' new product line and price point.
714 words (approx. 2.9 pages), 4 sources, APA, £ 18.95
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Abstract
This paper discusses Washburn International Guitars, which is a guitar manufacturing company based in Chicago, Illinois. It looks at the launch of Washburn's new product line and their suggested price point and batch number. Additionally, the paper analyzes the company's consideration of relocating its manufacturing and production facilities to Nashville, Tennessee.
Table of Contents:
Abstract
Statement of the Problem
Summary of the Facts
Analysis
Recommendations
Conclusions
From the Paper
"The global economy has allowed competitors in almost every industry to compete in markets that are geographically removed and diverse. Researchers note that because of comparative advantage across markets, the sheer cost-savings achieved by shifting production and manufacturing to overseas locations makes this option requisite even for companies that traditionally have not competed on price (Measuring, 2005). The reason for this is that as these overseas contract manufacturers have improved their infrastructure, technologies, as well as competencies in the manufacturing process, they are increasingly offering higher quality products at the same cut-rate pricing schemes. This is an equation that retailers and distributors cannot ignore."
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The History of the Electric Guitar, 2004.
An introduction to the electric guitar and a look at its history.
1,656 words (approx. 6.6 pages), 5 sources, APA, £ 38.95
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Abstract
This paper introduces, discusses, and analyzes the topic of the electric guitar. Specifically, it discusses the history of the invention of the electric guitar and its primary inventor/developer, Les Paul. The paper also looks at what his contributions as a designer and as a musician were and how the technical developments in electric guitars and amplification have affected the evolution of rock music.
From the Paper
"Guitars have existed in history for thousands of years. Related to lutes, (which had only two strings), most guitars had six strings, and were designed to be strummed or plucked. It was not until the 20th century that the acoustic, hollow-bodied guitar metamorphosized into the solid-body, electric model so known and loved today. Many people often credit Les Paul with designing the first viable electric guitar, but actually, many men contributed to the electric guitar's history and ultimate success."
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Wallace Stevens' "The Man with the Blue Guitar", 2008.
A discussion on the poem "The Man with the Blue Guitar" by Wallace Stevens.
892 words (approx. 3.6 pages), 1 source, APA, £ 22.95
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Abstract
The paper provides an analysis of Wallace Stevens' poem "The Man with the Blue Guitar". Specifically, the paper discusses the author's conception of poetry compared to classicism and to another trend of modernist poems. A copy of the poem is included at the beginning of the paper.
From the Paper
"Indeed, Wallace Stevens' work differs in multiple ways from Pound's. Stevens focuses mainly on the frontier that lies between imagination and reality. He believes that poetry is what humans do: the poet is aware of his role in society. This point of view over the authorial voice parallels some romantic concepts, a paradox since most modernist poets tended to escape from the formalism and ornament diffused by the romantic movement. "
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"Variations on a Blue Guitar", 2004.
Overview of the style, content and core philosophy of
Maxine Greene's "Variations on a Blue Guitar".
1,050 words (approx. 4.2 pages), 1 source, MLA, £ 25.95
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Abstract
This paper reviews the work of Maxine Greene, an educational theorist, on arts education entitled "Variations on a Blue Guitar". The review consists of three sections. First, there is a report on the text itself and the philosophy of the author,. This is followed by a reaction to the author?s philosophy on the part of the writer and ends with some response and reflection questions for the reader so that the reader may actively engage with the text, as is commensurate with the philosophy of active learning of Maxine Greene discussed and analyzed in the paper.
From the Paper
"The educator and educational philosopher Maxine Greene?s thoughts, in the form of lectures she gave during a summer session at Lincoln Center, have been compiled in the text entitled Variations on a Blue Guitar. Greene?s lectures, conducted while she was still in residence at Columbia University?s Teacher?s College, centered around on the topic of aesthetic education and how the principles of imagination could be infused into the standard academic curriculum. Greene?s ideas, as expressed in these lectures and throughout her life, encompassed both the general principles of human transformation and variation and fused them in a spirit of what she called scholastic rebirth. Education, she believed, could enlarge the human spirit and its capacity for potential, as well as the human mind?s capacity for intellectual excellence."
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"Johnny Guitar", 2002.
A review of the film "Johnny Guitar".
900 words (approx. 3.6 pages), 6 sources, £ 25.95
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Abstract
A critical analysis of the western genre movie "Johnny Guitar" directed by Nicholas Ray.
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Joe Satriani: A Guitar Hero, 2006.
A review of the life and music of guitarist Joe Satriani.
1,350 words (approx. 5.4 pages), 4 sources, APA, £ 32.95
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Abstract
This paper studies the musical stylings of guitarist Joe Satriani, whom Entertainment Weekly has called "a guitar hero". By critiquing Satriani's various records, as well as examining the personal and professional milestones of his life, the paper provides a well-rounded insight into the man and his music.
From the Paper
"In these first years of his career, Satriani was entirely self-taught. It wasn't until 1974 that he began taking lessons in Queens and Glen Cove, New York, with Lennie Tristano and Billy Bauer, respectively. [2] Once he outgrew that scene, Satriani moved to Berkeley, California, where he began teaching guitar at a studio called Second Hand Guitars. Here he also instructed other notable guitarists such as David Bryson from Counting Crows, Metallica's famous guitar shredder Kirk Hammet, Primus' Larry LaLonde, Alex Skolnick of Megadeth, Slayer and Judas Priest, as well as the upstart jazz guitarist Charlie Hunter. [3] This teaching stint occupied another ten years of Satriani's life and was a critical time of development and learning."
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"Seven Guitars", 2003.
Analyzes the August Wilson play set in 1948.
1,575 words (approx. 6.3 pages), 3 sources, £ 39.95
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Abstract
Discusses the playwright's depiction of the African-American experience and his use of a jazz and musical idiom to delineate his characters in a life separate from white society. Explores African American culture.
From the Paper
"August Wilson focuses on the one way that blacks can try to develop their own culture. "Wilson continues his weave of African-American experience through a larger and sometimes hostile American culture" (Grant, 1993, p. 1). Wilson uses a ..."
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Dramatization of the Outsider, 2008.
An analysis of the language and symbolism used to dramatize the outsider in "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod.
3,168 words (approx. 12.7 pages), 7 sources, MLA, £ 65.95
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Abstract
This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.
Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience
From the Paper
"In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."
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"Daddy Frank", 2002.
This paper is an analysis of Merle Haggard's chart-topping song, "Daddy Frank (The Guitar Man)," and the close-knit family it portrays.
1,339 words (approx. 5.4 pages), 3 sources, MLA, £ 31.95
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Abstract
This paper discusses the family portrayed in Maggard's song and the dynamics at work in a four-person household headed by a blind musician and his hearing-impaired wife. It discusses how the family travels the country, performing wherever they can find an audience. Despite the handicaps of both parents and the family's struggle to make a living, their relationships are strong and positive, buoyed by faith and mutual trust. It examines how, although Haggard's lyrics are fictional, they are based on his wife's experiences, and they ring true. Daddy Frank's family could have been extremely dysfunctional, yet they managed to turn their problems into strengths, demonstrating one of the most important ways in which families can be positive, healthy factors in the lives of their members.
From the Paper
"The title character in Haggard's "Daddy Frank," is a guitar player who was born blind. His wife lost her hearing to a fever. The narrator, their son, "don't remember how they got acquainted" (Haggard, 1971), but sees how "their one and only weakness made them strong" (Haggard, 1971). He and his sister, who accompanies the group on tambourine, sing with Daddy Frank; sometimes their father also plays "French harp" (harmonica). The narrator explains, "That little band was all a part of living/And our only means of living at the time" (Haggard, 1971). Daddy Frank's little combo has learned to make beautiful music together, and that music supports them."
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Jamaican Music, 2004.
This paper discusses the ways in which Jamaican music, especially reggae, has changed since the 1970s.
4,405 words (approx. 17.6 pages), 20 sources, APA, £ 82.95
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Abstract
This paper defines Reggae is a heavy four-beat rhythm, which is driven in different measures, depending on the artist concerned, by two percussion instruments,drums and a corrugated stick rubbed against a plain stick called the scraper, and two string instruments, the bass guitar and the electric guitar. The author points out that reggae is influenced by the traditions of African music, and its link to life before the African diaspora, and so before slavery, runs through the music as one of its defining revolutionary elements. The paper examines Jamaican music by using a reader-response model to understand the importance of the changes in the music over the years.
Table of Contents
Introduction
The History of Jamaican Music
Reggae Reader Response
Is Reggae Still Radical?
From the Paper
"Although it might seem from our current vantage point that there has always been a connection between reggae and Rastafarianism, this connection actually came about through the work of a number of groups such as Big Youth and Black Uhuru. They pushed the messages of both reggae and the Rastafarian movement, a pan-Africanist movement, which urged the children of the African diaspora to return to the continent of their forebears and created a divinity of the Ethiopian emperor Haile Selassie I (whose birth name was Ras Tafari). The fact that Rastafarianism promotes the use of ganja (marijuana) as a sacrament did much to endear the movement to many reggae fans."
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John Dowland Songs for Tenor and Lute, 2008.
Reviews the CD recording "John Dowland Songs for Tenor and Lute" with Paul O'Dette performing on the lute.
790 words (approx. 3.2 pages), 3 sources, APA, £ 20.95
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Abstract
This paper describes the CD recording "John Dowland Songs for Tenor and Lute", and notes that the tenor voice is the fundamental part and focal point while the lute acts as a background instrument, which adds variety and frills to the compositional piece. The paper also points out the similar sound of the historical lute to that of the contemporary Spanish guitar. The paper also points out that the performer of the lute in this recording is Paul O'Dette, born in 1954, who is both a musician and composer specializing in playing the lute and early music. In addition, the paper describes the various tracks, many of which sing of love, and the song "When Phoebus First Did Daphne Love". The writer believes that this recording is authentic recording and offers many insights into the music of its time period.
From the Paper
"In this CD, almost every single track is set up the exact same way. The tenor is the only voice and is the main compositional piece of the music. The lute is there to add some background to the tenor voice. I also noticed that there is very little set rhythm through each piece. Each song on this recording is a song about love. Even though the recording is performed in English, the performer sings in way that makes it extremely difficult to understand and discern the words that he is actually singing. Out of 20 tracks, fifteen of the track's titles have to do with love."
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Roman Music, 2002.
Musical instruments used in ancient Rome.
2,750 words (approx. 11.0 pages), 5 sources, MLA, £ 58.95
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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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Music Style Comparison, 2006.
A comparison of the music styles of Joni Mitchell and Hector Berlioz.
1,105 words (approx. 4.4 pages), 3 sources, APA, £ 27.95
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Abstract
Joni Mitchell and Hector Berlioz lived in different parts of the world at different times. Berlioz died in 1869 almost eighty years before Mitchell's birth in 1944. This paper explains that Berlioz worked in the milieu of the symphonic orchestra and the complexity of classical music of the nineteenth century, while Mitchell accompanied herself with a guitar in the revival of traditional folk music that was occurring in the 1960s. The writer shows how neither was educated formally in music, but both became established as composers of their own works which were marked by genius. It concludes that both artists were considered by contemporaries to be in the avant-garde of the musical movement of the times.
From the Paper
"Berlioz was raised by prosperous parents in Paris, and was expected by his father, a physician, to enter medical school. The thought of a musical career was not given a great deal of respect by Berlioz's father, and he felt that the boy's future could only be secured by preparation to enter into a lucrative field like the practice of medicine.
But Berlioz was repelled by his first experience in an anatomy lab and left his medial studies as a result. The romantic movement was just beginning in France, and its rich palette of orchestral expression was being called "The Music of the Future." In 1825 Berlioz assembled an orchestra of 150, and he dreamed of an ensemble 467 instruments, with a chorus of 360."
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