| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HISTORY AFRICAN MUSIC": |
|
|
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
»
Click here to show/hide summary
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."
| |
|
History of African Music, 2006.
A discussion regarding the history of African music and how it relates to African American practices and religion.
1,575 words (approx. 6.3 pages), 3 sources, £ 44.95
»
Click here to show/hide summary
Abstract
This paper discusses how the modern African American musical experience is rooted in ancient times. These roots go back to ancient Egypt and their conquests of the Nubians. The paper further discusses how the language of African tribes is tonal and one word might have several meanings in different tones. The talking drums of several countries mimic this quality of language. Despite the reputation of being a simply aural and oral musical tradition, African tribal music actually did have a complex local style of musical notation available to it.
From the Paper
" The musical history of any region is important. African music has taken on an even greater significance due to its importance not only to its country of origin, but also due to its importance in the countries to which it spread. African American music has its roots in tribal cultures. It has lent its influence not only to African American popular culture, but to religion as well. Tribal Music The ancient history of African music is confused at best. It is undoubtedly conflated with the music of the Old Kingdom Egyptian music, when Egypt dominated and colonized the Nubians (Hester, 2005, p. 1). Hester comments that "surprisingly, the history of Egyptian music presents little evidence of the use of drums prior to 2000 B.C." (2005, p. 1). "
| |
|
African-American Music, 2006.
A study of the influences on contemporary African-American music.
1,100 words (approx. 4.4 pages), 3 sources, APA, £ 27.95
»
Click here to show/hide summary
Abstract
This paper studies contemporary African-American music, calling it an amalgam of several music styles of our time. The author explains that with its roots in jazz, African-American music today is taking elements from all over the world to create a tapestry of styles united by one ineffable ingredient: rhythm. That rhythm is being immeasurably influenced by technology -- namely electronic music. However, the author is careful to point out that electronics do not preclude the use of traditional African instruments, but rather enhance their sound.
From the Paper
"Electronic Music is how electronic musical instruments can be used to produce music. The types of instruments this refers to include electronic keyboards, synthesizers, samplers and any other musical instrument, which is largely electric or electronic in nature. This is not however a complete list of the equipment which is used in electronic music as the complete process of generating music electronically also includes the process of recording the music and the processing of sounds using signal processors (effects processors) to produce the required effect."
| |
|
African-American Music, 2002.
Explores the ways in which African-American music, from the days of slavery to the civil rights movement, has been a form of resistance and liberation for the black population.
2,400 words (approx. 9.6 pages), 10 sources, £ 63.95
»
Click here to show/hide summary
Abstract
This essay discusses how music has played a significant role for African Americans from slavery into the civil rights movement. Slave songs, gospel, folk songs, Louis Armstrong's songs, jazz and blues all represent a form of resistance and liberation for Blacks in the face of oppression. Indeed, music drew the Black community together and allowed it to express itself and to form a sense of identity.
| |
|
African Music, 1995.
This paper discusses African music: Types, roles in individual lives, community and culture, instruments and vocal music.
1,350 words (approx. 5.4 pages), 5 sources, £ 33.95
»
Click here to show/hide summary
From the Paper
"African music sounds primitive to Western listeners because it functions, not primarily for entertainment as in the West, but as a vital part of African community life and culture. As one sociologist puts it: "Music follows the African through his entire day from early in the morning till late at night, and through all the changes of his life, from the time he came into this world until after he has left it". Africa is a continent in which almost 800 different languages are spoken; however, the one common thread among all the inhabitants of this huge continent is their love for music and their deep involvement with it .
Africa can be divided into two parts: North Africa and Black Africa (south of the Sahara Desert). Because North Africa is largely influenced by Arabic music, this survey will focus on ... "
| |
|
African American Music, 2006.
A review of the contribution Black music has made to the culture of the USA.
675 words (approx. 2.7 pages), 0 sources, £ 18.95
»
Click here to show/hide summary
Abstract
This paper reviews of how and why America is indebted to African-Americans in many ways, whether it is because of statesmen like Frederick Douglass or brilliant scientists like Percy Julian, African Americans have given much to the United States and have not always been recompensed for doing so. This paper looks at one African American contribution (its music) and trace its origins back to West Africa. Along the way, the paper also notes how the abomination of slavery ironically blessed America with a musical tradition that has become an imperishable part of its cultural mosaic.
| |
|
African-American Music, 2005.
An analysis of role of music in the 20th century black American community.
1,908 words (approx. 7.6 pages), 8 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
Music, as a man-made artistic form, has always been cited as an interesting form of expression and pastime in civilizations old and new across the globe. Every culture has forms of music they feel closer to, music that they feel is more relevant. This paper discusses the music the black community felt closer to and uses events in the twentieth century such as the Great Depression, civil rights movement and the LA riots to explain why the relationship between black culture and music developed the way it did.
From the Paper
"The market for blues records was almost completely black throughout the twenties and thirties and they eventually came to be known as "race records." ("History of Blues") The success of another black art form that remained black brought about a new change in the white mainstream record companies--they began to market to blacks and actively recruited black blues artists for their labels. ("History of Blues") It wasn't much at the start but it was a good change for the black musical community. It didn't do anything to improve the black standard of living, though, as was later demonstrated."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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, £ 28.95
»
Click here to show/hide summary
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."
| |
|
History in Popular Music, 2002.
This essay discusses three songs, providing historical background and analysis, and relevance.
1,350 words (approx. 5.4 pages), 12 sources, £ 32.95
»
Click here to show/hide summary
Abstract
This paper discusses the historical relevance and accuracy in popular music. The research discusses the history, musician, and lyrics from three songs specifically: David Bowie ?s "Space Oddity", Abba?s "Waterloo" , and Don McLean?s "Vincent". The author examines how these songs are examples of our culture's attempt to understand and relate to history.
From the Paper
?Historical events are often written about in fictional novels, used in television and cinematic forms, and even more often, referenced in music. Popular music often fictionalizes actual events for dramatic effect like Space Oddity by David Bowie or emphasizes a personal lament by referencing actual events like Waterloo by Abba. Some popular songs are even written about the lives of historical figures, such as Vincent van Gogh in Don McLean?s Vincent. These three songs are an example of our culture?s attempt to not only understand the past, but relate to it as well. The question, of course, is whether these songs are using the history they refer to in the correct context or correctly describe the events of the past.?
| |
|
The Merging of European and African Influences in American Popular Music, 2001.
This paper describes how European and African musical sources intertwined in American popular culture.
1,155 words (approx. 4.6 pages), 1 source, MLA, £ 28.95
»
Click here to show/hide summary
Abstract
This paper describes the origins of American popular music in European and African culture. The author claims that In effect, American music is a hybrid of musical movements from blues and spirituals to European folk music.
From the Paper
"Much of American culture bears the mark of the melting pot effect. Essentially a land of immigrants, America has served, in many ways, as a palette from which popular culture draws an innumerable array of shades. As such, popular social trends often are a reflection of the hybrid mainstream instinct. Pop music, in its incubational phases, is highly indicative of that notion. This is particularly evident in ostensibly indigenous musical movements like blues/folk music and spirituals, both of which employ extensive European and African influences, social imports that create a tapestry of globally unique and distinctively American sounds."
| |
|
African and Black-American Music, 1984.
This paper discusses the influence of African music on the music of B;lack Americans: Spirituals, jazz, folk music, rhythms, scales, instruments, melodies and harmony.
2,475 words (approx. 9.9 pages), 8 sources, £ 62.95
»
Click here to show/hide summary
From the Paper
"OUTLINE
Introduction
Combination of musical strains in black American
music
Modern research
Attitudes of the past towards African culture
Actual contribution of African culture
Black music of today and African music
Relationship
Characteristics that have been retained
melodic concepts
voices
instrumental sound
conflicts with Western scales"
| |
|
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, £ 71.95
»
Click here to show/hide summary
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."
| |
|
African-American Folk Music, 2005.
This paper discusses the concept of taking a journey in the African-American spiritual and folk music.
830 words (approx. 3.3 pages), 4 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
This paper explains that the African-American song genre, developed largely among slaves, describes the inevitable escape from toil and bondage and serves to strengthen the faith of the people by reminding them of a universal God, who would bring justice to his followers. The author points out that, in "Bound for Canaan Land", the "land of Canaan" is a metaphor for heaven and for the North, a land of freedom. The paper reveals that the author Harriet Tubman used spirituals such as "Follow the Drinking Gourd", which meant following the Big Dipper to the Ohio River, as a communication device to convey the possibilities of physical freedom.
From the Paper
"Biblical themes also evoke the image of crossing rivers, and many of the best spirituals were created and practiced by slaves who worked as sailors and boatmen on rowboats and ships of the Ohio River. "The Old Ship of Zion" is an inversion of the original ships that brought the slaves to America, and its singers wonder "Do you think that she is able/ For to carry us all home?" She promises deliverance having already "landed many a thousand," but being "loaded down with angels", her final destination is not necessarily a return to Africa, but a welcome to paradise."
|
|
|
