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Military Music, 2007.
This paper discusses this history of military music and American military bands and patriotic music focusing on the four hymns of the armed forces, "The Star-Spangled Banner" and "God Bless America".
2,700 words (approx. 10.8 pages), 10 sources, MLA, £ 55.95
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Abstract
This paper explains that, although the earliest references to warfare music dates back to Biblical times, it was not until the mid-thirteenth century that musical instruments began to be used as an incentive to encourage the troops rather than only as a method of conveying signals. The author points out that musicians were included officially in the 1775 founding of the Continental Army because General George Washington, an accomplished flutist, was concerned about the poor quality of music within the army, which often rendered drills almost impossible. The paper relates that, in all the reviewed songs, the lyrics, which speak of the homeland, national identity and cultural pride, and the strong music, which flows from strength to strength, enable and reinforce patriotic feelings that produce national unity and a sense of purpose even within contemporary American society.
Table of Contents:
Introduction
Sounding the Trumpet
The United States Military Academy Band.
Patriotic Music in Contemporary America
From the Paper
"While all national and patriotic music generally tends to be popular music, in many ways it can be classified apart because its expansion is mainly due to the presence or threat of war. Throughout the world, people from every nationality are moved to either song or speech by their emotions when faced with national danger. The love of the homeland, cultural pride and national identity unconsciously smolders in the breast of every individual until the winds of war fan it into a blaze of fervor that expresses itself in speech and song. Such is the birth of all patriotic music."
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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, £ 69.95
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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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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, £ 11.95
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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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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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Anglo-Rock and Heavy Metal Music, 2003.
Presents a complete dissertation, which compares the cross-cultural promotion of anglo-rock and heavy metal music in France and the USA.
16,060 words (approx. 64.2 pages), 112 sources, APA, £ 172.95
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Abstract
This paper investigates why the promotion and sales of anglo-rock and heavy metal are less in France than in the USA. The music industry, the marketing of music and the research methodology are fully explained. The author reports that the research found that the differences were because of cultural factors. In France, lyrics are more important than the music. Therefore, because the French do not necessarily speak English, they are not specially interested in a music whose lyrics are not understood. The author stresses the importance of knowing cultural preferences and behavior in international marketing because cross-cultural promotion cannot be standardized. Includes many color graphs and tables.
Table of Contents:
Abstract
Introductory Chapter
Background of the Research
Theme
Research Problems
Research Rationale
Research Motivation
Research Question
Aims and Objectives
Hypothesis
The Research Project
Definitions
Scope and Limitations
Outline of the Report
Anglo-Rock/Heavy Metal Industry and Music Marketing Theories
The Industry Environment
The Music Industry
The Entertainment Industry
Sales of Recorded Products
Record Companies
Evolution of the Environment
Independent Companies
Cyclical Theory
The Rock Industry
The Anglo-Rock/Heavy Metal Music Style
Definition
History
French Music Industry
French Rock History
French Music Market
Marketing Theories
Marketing Activity
Marketing Definition
Marketing Goal
Marketing Strategies
Marketing Mix
The Promotion Activity
Music Marketing
Music Marketing Definition
Music Marketing Departments
Music Marketing Goals
Music Product
Music Marketing Strategy
Music Promotion
Music Promotion Definition and Goals
Music Promotion Strategy
Music and Artist Promotion
Promotion Means
Traditional Promotion Means
Radio Promotion
Television Promotion
Live Performance Promotion
Press Promotion
Internet Promotion
Original and New Promotion Means
International Marketing
Culture Theories
Culture Definition
Culture Theory
Impact of National Cultures on Promotion
Music Cultures
French Music Regulations
The Method Chapter
Research Methodology
Methodology to Recolt Quantitative Data
Live Promotion
Radio and TV Promotion
Methodology to Recolt Qualitative Data
Limitations of the Methodology
The Results Chapter
Results from Quantitative Data
Live Promotion
Radio and TV Promotion
Results from Qualitative Data
The Conclusions Chapter
Appendices A-O
From the Paper
"Dolfsma (2000) explained that music industry has a structure that is a blending between local and global. Majors are global companies organised at the international level with subsidiaries in more than one country. The typical organisation chart of the majors' subsidiaries worlwide is composed of three main departments (marketing, international and nation). Rock music is usually marketed in each of these three departments that is why it is impossible to quantify and know the proportion of Rock music produced".
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Anglo-Rock and Heavy Metal Music, 2003.
Presents a complete dissertation, which compares the cross-cultural promotion of anglo-rock and heavy metal music in France and the USA.
16,060 words (approx. 64.2 pages), 112 sources, MLA, £ 172.95
»
Click here to show/hide summary
Abstract
This paper investigates why the promotion and sales of anglo-rock and heavy metal are less in France than in the USA. The music industry, the marketing of music and the research methodology are fully explained. The author reports that the research found that the differences were because of cultural factors. In France, lyrics are more important than the music. Therefore, because the French do not necessarily speak English, they are not especially interested in music whose lyrics are not understood. The author stresses the importance of knowing cultural preferences and behavior in international marketing because cross-cultural promotion cannot be standardized. Many color graphs and tables are included with the paper.
Table of Contents:
Abstract
Introductory Chapter
Background of the Research
Theme
Research Problems
Research Rationale
Research Motivation
Research Question
Aims and Objectives
Hypothesis
The Research Project
Definitions
Scope and Limitations
Outline of the Report
Anglo-Rock/Heavy Metal Industry and Music Marketing Theories
The Industry Environment
The Music Industry
The Entertainment Industry
Sales of Recorded Products
Record Companies
Evolution of the Environment
Independent Companies
Cyclical Theory
The Rock Industry
The Anglo-Rock/Heavy Metal Music Style
Definition
History
French Music Industry
French Rock History
French Music Market
Marketing Theories
Marketing Activity
Marketing Definition
Marketing Goal
Marketing Strategies
Marketing Mix
The Promotion Activity
Music Marketing
Music Marketing Definition
Music Marketing Departments
Music Marketing Goals
Music Product
Music Marketing Strategy
Music Promotion
Music Promotion Definition and Goals
Music Promotion Strategy
Music and Artist Promotion
Promotion Means
Traditional Promotion Means
Radio Promotion
Television Promotion
Live Performance Promotion
Press Promotion
Internet Promotion
Original and New Promotion Means
International Marketing
Culture Theories
Culture Definition
Culture Theory
Impact of National Cultures on Promotion
Music Cultures
French Music Regulations
The Method Chapter
Research Methodology
Methodology to Recolt Quantitative Data
Live Promotion
Radio and TV Promotion
Methodology to Recolt Qualitative Data
Limitations of the Methodology
The Results Chapter
Results from Quantitative Data
Live Promotion
Radio and TV Promotion
Results from Qualitative Data
The Conclusions Chapter
Appendices A-O
From the Paper
"Dolfsma (2000) explained that music industry has a structure that is a blending between local and global. Majors are global companies organised at the international level with subsidiaries in more than one country. The typical organisation chart of the majors' subsidiaries worlwide is composed of three main departments (marketing, international and nation). Rock music is usually marketed in each of these three departments that is why it is impossible to quantify and know the proportion of Rock music produced".
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Music Predilection Marketing Research, 2002.
A paper on marketing research dealing with music predilection and music consumption of the general Israeli public.
9,915 words (approx. 39.7 pages), 8 sources, MLA, £ 139.95
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Abstract
In the last decade many technological advances such as the Internet, CD recorders and many others offered the music consumers new alternatives to easily acquire their favorite music, while preserving a high recording quality. The paper shows that one of the solutions suggested to combat "music theft" was to decrease music prices in the Israeli market. The paper argues that before doing a general price decrease, market research should be done in the field. The paper therefore puts forward a detailed and comprehensive market research plan that might give a better understanding of the music market segmentation. The assumption that is tested by the research is: The types of music that tend to be ?stolen? frequently differ from those that are not and those individuals who ?steal? music belong to much lower educational and/or income level than those who tend to buy music. The paper includes strategy, methodology, questionnaire examples and detailed tables with the research results.
Table of Contents:
Executive Summary
Introduction
Methodology
Results
Introduction
Problem
Study Objectives
Strategy
Methodology
Questions
Questionnaire Design and Pre-testing
Main Study Data Collection Process
Errors and Problems
General Problems and Errors
Problems with General Data
Problems with Music Predilection
Problems with Music Consumption
Flaws in Questionnaire Form Design
Errors and Problems with Distribution
Results and Recommendations
Study Results
Conclusions
Recommendations
Appendix
Statistics
Data Evaluation Methodology
English and Hebrew Questionnaires
Bibliography
From the Paper
"The most problematic issue that I was facing in this research is the difficulty in revealing the subject of this research, which is the illegal music consumption. My goal was to find the most neutral approach, in order not to make our respondents feel like suspects for committing a crime (that some of them do?). Therefore, I proposed to design the questionnaire in such a way that it will emphasize the music predilection side of the research, and less the music consumption side. My hope to get the true answers to those questions was based on the acquaintance with Israeli mentality ? people are open enough to provide us with true data, as long as they are anonymous. However, the credibility of the research cannot be based on such an assumption alone and I will try to estimate it using additional methods."
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Digital Downloading and its Impact on the Music Industry, 2008.
A detailed description of the effects that digital music distribution has on the music industry.
2,375 words (approx. 9.5 pages), 9 sources, APA, £ 50.95
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Abstract
This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.
Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion
From the Paper
"The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."
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Online Music Distribution, 2007.
This paper explains that the rise of peer-to-peer (p2p) digital technologies has led to a fundamental transformation in how the audience of popular music regards music as property.
1,360 words (approx. 5.4 pages), 5 sources, MLA, £ 31.95
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Abstract
This paper relates that, while property rights in the music industry remain based upon rigid copyright laws, which give the copyright holder protection against any unlicensed copying or use of a music property, digital media has permitted widespread disregard for this law. The author points out that, even though there remains an opposing view by some people in the music industry that peer-to-peer (p2p) networks exchanging music amounts to theft of their property, a transformation in the understanding of property rights and music is underway on a global scale. The paper concludes that, as the phenomena of mashes and sampling indicate, artists and audiences have come to see digital music as a new medium for creative growth, which promises substantial changes in our popular music in the future.
Table of Contents:
Introduction
Copyright Law and the Question of Ownership
Peer-to-Peer Technologies and Music Exchange
Audiences and Music Property
Conclusion
From the Paper
"It must be noted that even this limited copying capability was the result of fierce renegotiations between Apple and the leading recording industry companies who were unhappy about the one fixed price business model, as well as Apple's limited support for the audience's right to copy music. However, this right was based upon a key limitation on copyright known as "fair use" in the United States, and "fair dealing" in Canada. Under "fair use", for example, it is possible to not only use a copyrighted work without the copyright holder's approval but even to do so over the owner's express objection."
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Outlaw Country Music, 2002.
Discusses this brand of country music, known as 'outlaw' music and why it differs from traditional country music.
1,150 words (approx. 4.6 pages), 3 sources, £ 30.95
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Abstract
Country music in the 1960s and 1970s is characterized as "outlaw" country music and represents a break from the traditional Nashville sound, as well as position taken by recording artists who wanted more control of their music. Their songs emphasized grieving lives of prison, drug and alcohol abuse and their rejection of tradition made them popular in an era marked by dramatic social and cultural upheaval.
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Bluegrass Music, 2004.
This paper discusses bluegrass music, a form of American roots music with its own roots in the Irish and Scottish traditional music of immigrants from the British Isles, particularly the Scots-Irish immigrants from Appalachia, and the music of slaves.
1,605 words (approx. 6.4 pages), 5 sources, APA, £ 36.95
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Abstract
This paper explains that bluegrass songs are played with each melody instrument switching off playing the melody each time through, while the others revert to backing; in contrast to old-time music, in which all instruments play the melody together at the same time rather than solo. The author points out that, since the people lived in rural areas, the songs were written about life on the farm or in the hills; this type of music was known as "mountain music" or "country music". The paper relates that the rigid characteristic of the bluegrass genre is usually limited to the traditional, five, acoustic, rather than electric, instruments: banjo (5-string); guitar (flat-top); fiddle; mandolin; and bass.
From the Paper
"Bill Monroe learned much about melody and timing from his uncle, and from the singing school classes he attended at church each summer. A middle-aged black man named Arnold Schultz who worked for a local coal company in Bill?s neighborhood also helped his musical education. In Schultz's country blues, Bill found a new way to approach music - to allow his emotions to influence his playing and singing. Schultz impressed Bill with stories of music contests he had won throughout Kentucky, and one Saturday night when he was hired to play fiddle for a dance, he took Bill along to play guitar behind him. They were still going strong at dawn."
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?Pop? Music Queens, 2004.
This paper discusses the sexuality in the music. especially the lyrics. of music performed by three ?pop? music queens.
1,780 words (approx. 7.1 pages), 6 sources, MLA, £ 39.95
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Abstract
This paper explains that the songs. "Genie in a Bottle," sung by Christina Aguilera, "Boom, Boom", sung by Britney Spears. and "Naughty Girl", sung by Beyonce Knowles. are among the ?Top 40? pop songs that have heavy sexual references, which many people may not even notice. The author points out that all three pieces have blood-pumping music and a sort of seductive melody, which seem to inspire highly sexually suggestive movement. The paper concludes that, while there?s nothing particularly wrong with sex or with art that displays sex, it seems strange that "Top 40" songs that are played everywhere, especially by teenagers, would be quietly pumping in lyrics about mutual masturbation, prostitution, and orgies.
From the Paper
"Aguilera?s character seems to maintain a temporary morality, saying ?that don?t mean I?m gonna give it away? to which she has already added ?baby, baby, baby? as an indication that she is already losing control of her body. This loss of control is soon made explicit as she says ?My body?s saying let?s go? (assumably to ?give it away?). That this is sexual is so obvious that, when Disney wanted to show the video to children, they required Aguilera to change the lyrics to ?My friends are saying let's go.? as if to pretend that she was going to leave, rather than going to have sexual intercourse."
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Reggae Music, 2008.
This paper discusses the history of reggae music and looks at how this type of music has developed and changed from its original form.
1,600 words (approx. 6.4 pages), 6 sources, MLA, £ 36.95
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Abstract
In this article, the writer notes that in 1968, a new form of music, blended from a religious movement, Rastafarian, and numerous musical influences such as rhythm and blues, rock steady, African, and ska, emerged in Jamaica and spread quickly throughout the world. The writer then explains that this music, known as reggae, defined a nation of people for decades and helped develop various musical movements worldwide. This paper discusses the history of reggae and the major artists of the art form. Further, the writer discusses how the art has changed, both in its original nation as well as how the music has been altered for American audiences. This paper includes copied sources.
From the Paper
"Reggae music, born of a combination of R&B, blues, jazz, and traditional African music, and combined with a religious tradition, was unique to Jamaica at a time when the country was looking for her identity. The combination of political messages, religious connotation, and raw sound was ideal for the changing society of the time. However, to be pushed to international stardom, the music was altered and rerecorded by milder, less powerful white British artists who helped internationalize the genre. The end result, however, was that it would take many years for true reggae to reach international audiences, complete with the ideology and messages the music was intended to portray. While the British musicians helped popularize the culture, it would take Bob Marley and many others decades to bring the true message of reggae music to international light."
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