| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HISTORICAL MUSICAL ACCOMPLISHMENTS AMY BEACH": |
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The Historical and Musical Accomplishments of Amy Beach, 2005.
A discussion of the historical and musical accomplishments of Amy Beach, the first female American composer.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
The paper discusses how, by being a woman in a patriarchal American society, Beach had to overcome great odds to have her music accepted in an all-male field. The paper further discusses how her music reached out beyond gender barriers, and helped this woman encompass a wide variety of feminist accomplishments in her lifetime. The paper concludes that by evaluating Beach's life as a woman composer, through her skills as a writer, one can realize the historical ramifications of feminist determination to be known as the first female American composer in United States history.
From the Paper
"This music history study will examine the major accomplishments of Amy Beach, the first female American composer. In realizing the hardships of being a woman in a patriarchal American society, beach, Beach had to overcome great odds to have her music accepted in an all-male field. In relation to this, her music reached out beyond gender barriers, and helped this woman encompass a wide variety of feminist accomplishments in her lifetime. In essence, by evaluating Beach's life as a woman composer through her skills as a writer, one can realize the historical ramifications of feminist determination to be known as the first female American composer in United States history."
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Amy Beach, 2005.
An analysis of the works of Amy Beach, while analyzing the pioneering feminism of the first American female composer.
2,250 words (approx. 9.0 pages), 4 sources, £ 62.95
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Abstract
This music history study examines the major accomplishments of Amy Beach, the first female American composer. In essence, by evaluating Beach's life as a woman composer through her skills as a writer, one can realize the historical ramifications of feminist determination to be known as the first female American composer in United States history.
From the Paper
"Amy Beach: Analyzing the Pioneering Feminism Of the First American Female Composer I. Introduction This music history study will examine the major accomplishments of Amy Beach, the first female American composer. In realizing the hardships of being a woman in a patriarchal American society, beach, Beach had to overcome great odds to have her music accepted in an all-male field. In relation to this, her music reached out beyond gender barriers, and helped this woman encompass a wide variety of feminist accomplishments in her lifetime. In essence, by evaluating Beach's life as a woman composer through her skills as a writer, one can realize the historical ramifications of feminist determination to be known as the first female American composer in United States history. II: Historical Feminist Background to Women in American Music Amy Beach (1867-1944) was a woman that beheld many talents, and when she was younger, she was a considered a childhood prodigy."
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Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, £ 70.95
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Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
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Feminism and Classical Music, 2008.
This paper discusses the feminist roles of composers Amy Beach and Clara Schumann in the Romantic era.
2,379 words (approx. 9.5 pages), 6 sources, MLA, £ 51.95
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Abstract
The paper describes how Amy Beach and Clara Schumann helped to advance the greater participation of women in a patriarchal music culture of the Romantic era. The paper discusses the parental influences of both Beach and Schumann as well as their innate talents. The paper looks at how their pioneering efforts on the touring circuits would pave the way for other female performers to be able to compose and perform.
From the Paper
"Although the term feminism was not present in the time of Amy Beach, her family often supported her desire to become an accomplished musician when she was a young girl. In a modern sense, Beach's father was considered "progressive", since he wished to see her learn and be able to perform music as a major part of her educational development. Amy Beach (1867-1944) was a woman that beheld many talents, and when she was younger, she was considered a childhood prodigy. Her main instrument was the piano, on which she had already written her first song at the age of four. The obvious signs of her talent were noticed by her parents, who were supportive of her musical training."
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The Music of Bob Dylan, 2006.
This paper examines the life and musical accomplishments of legendary singer Bob Dylan, also known as "The Voice of a Generation."
1,230 words (approx. 4.9 pages), 3 sources, APA, £ 29.95
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Abstract
The writer of the paper analyzes Bob Dylan's rare ability to constantly re-invent himself and his music. This paper supplies a brief biography of the singer, who was born in 1941 as Robert Allen Zimmermann. This paper examines the singer's early career as a folk and protest singer. This paper explores Dylan's flair for topical poetry which made him stand out in New York's fledgling folk movement. This paper discusses the various songs and albums produced and released by Dylan. This paper delves into the various changes the musician went through both personally and professionally, which were expressed in his music. This paper details the events of 1965, in which Dylan embarked on a concentrated, magical and impressive two-year journey of creative musical innovation.
Table of Contents:
Early Career
The Folk and "Protest" Singer
Dylan's Changing Style
Dylan Goes Electric
Conclusion
Works Cited
From the Paper
"Bob Dylan's voice, which has been compared to that of a "sheep in pain" among other not very flattering sounds, is almost certainly an acquired taste. What distinguished the singer from other folkies who aspired to 'make it' in the early sixties, was his astounding song-writing ability. At a time when lyrics of popular songs hardly merited a second thought, Dylan's topical poetry put into song made him stand out in New York's fledging folk movement. Dylan's first ever album was released under the Columbia label in 1962; it was simply titled "Bob Dylan" and contained mostly traditional folk and blues songs. If Dylan did not feel confident enough to introduce his original songs in his first album , he soon overcame the tentativeness. His second album, "The Freewheelin' Bob Dylan," released in 1963, contained songs of such breathtaking range and variety that it astounded everyone."
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The Evolution of Musical Notation, 2006.
A discussion regarding the evolution of musical notation, focusing specifically on classical versus jazz.
1,045 words (approx. 4.2 pages), 3 sources, MLA, £ 25.95
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Abstract
A review of the history of musical notation, the way that musical compositions can be passed from one generation of performers to the next generation of performers. According to the paper, musical notation makes musical training both more diverse as well as more practical. This paper discusses the development of classical and jazz musical notation.
From the Paper
"Fake books and jazz notation originated with illegal transcriptions of overheard music, although most fake books today copyrighted with the permission of the artist. The original fake book transcribers were not trained musicians, however, merely persons who had overheard or played a particular song they liked and wished to improvise from the tune's base. The books began with music 'of the people' and were designed for musicians who were not often formally trained themselves, perhaps could not even read music very well, but knew enough to use the notes and skeletal information to create music in the context of a performance. Unlike a large orchestra, the musicians knew one another well, and could communicate with one another musically during a performance, unlike musicians across a large concert hall."
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, £ 12.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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African Music's Influence on Pop Music Culture, 2005.
An ethno-musicological study of African music's influence on western society's popular music culture.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
The paper by examines various western artists, such as Paul Simon and David Byrne, and shows how African music plays an important part in how popular music is interwoven within the western musical tradition. The paper concludes that western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent.
From the Paper
"This ethno musicological study will examine the various African music influences that have become imbued within western pop music culture. By examining various western artists, such as Paul Simon and David Byrne, one can realize how African music plays an important part in how pop music is interwoven within the western musical tradition. In essence, western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent."
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Tuning Musical Instruments, 2007.
An overview of the tuning of musical instruments using electronic devices.
1,594 words (approx. 6.4 pages), 6 sources, MLA, £ 36.95
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Abstract
This paper discusses how electrical engineering helps musicians to identify the precision of musical notes, record their albums, and finally modify what has been recorded. It provides background context about the theory associated with various devices with an emphasis on critical analysis of the current solutions to the problem of having a standard measure for pitch of instruments. It also looks at how currently the "adaptive filter" devices and digital signal processing ("DSP") tuners are the most common and available solutions in the market. The paper includes diagrams and equations where relevant.
Outline:
Introduction
Sounds and Music
The Tuners for Musical Instruments
Latest Developments
Suggestion for Improvement
Conclusion
From the Paper
"A musical note refers to a specific frequency, "A note is a sign used in music to represent the relative duration and pitch of a sound" [1]. Every sound is a wave and as such is characterized by its frequency. However, listening to only one, single frequency is not that enjoyable. The truth is that human ear is more sensitive to a frequency difference rather than a single frequency. Therefore, a musically desirable sound is the one rich in harmonics. "The harmonic of a wave is a component frequency of the signal that is an integer multiple of the fundamental frequency." [2] For example, consider a sound having a fundamental frequency f, its harmonics are then 2 f, 3 f, 4 f, 5 f, 6 f, etc. Another sound with the fundamental frequency 2 f would have 4 f, 6 f, and 8 f etc. as its harmonics. "
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Musical Theater, 2005.
Examines the history of musical theater in the United States.
1,371 words (approx. 5.5 pages), 8 sources, MLA, £ 32.95
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Abstract
Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper
"Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
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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, £ 20.95
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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."
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Musical Genres, 2005.
Examines the development of several contemporary musical genres.
2,043 words (approx. 8.2 pages), 3 sources, MLA, £ 45.95
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Abstract
This paper presents an understanding of certain musical genres. The research includes various examples of formats such as rap, techno, disco, and other musical outreaches. By examining the likes of these various genres, we gain an insight into society's trends at the time the particular musical style was most popular. For example, the foundation of rock was strongly influenced by the Vietnam war, 'free love,' and a drug experimentation era. The paper shows that disco, rap, and techno are no exceptions. There were cultural situations that greatly increased the chances of these styles' success.
From the Paper
"The entire movement revolved around a new way to dress, dance, talk and even walk. "The way they danced, dressed, walked, and talked was unique, as opposed to most of the disco artists and fans of the time, which were not as in touch with the urban streets of America." (Blow, Kurtis) Hip-hop represented the new generation of blacks suffering in urban poverty. The passion and truth generated were really cries for help and today those cries are being answered by middle class whites all trying to be as cool as the original B-Boys."
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Classical and Baroque Musical Styles, 2004.
A comparison of the Classical and Baroque musical styles.
1,104 words (approx. 4.4 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper compares and contrasts two musical forms - Classical and Baroque. The paper explains that besides the distinctive use of dynamics, tonality and rhythm, it is also important to remember that despite the fact Baroque and Classical music sound similar today,there were distinct differences in the instruments played and the venues where these musical styles were performed.
From the Paper
"In common musical parlance today, the word 'Classical' is often used to connote any kind of music, other than contemporary or popular music, from an earlier period of Western music. However, it is important to remember that the Classical period of music is actually a distinct musical period, usually confined to the 19th century. The Classical musical period, which reached its zenith in Beethoven, came directly after the 18th century Baroque periods of Bach and Hayden. Thus, both periods were great, if distinct periods of musical development that fed into one another. "
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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, £ 27.95
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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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