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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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Censorship of Music Videos, 2002.
This paper discusses the censoring of music videos by state and federal legislators by passing laws to make selling minors music videos with objectionable language, violence or sexual nature, without parental consent, a crime advisories.
855 words (approx. 3.4 pages), 6 sources, MLA, £ 20.95
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Abstract
This paper explains that the censoring of music videos is similar to tactics with movies and video games that failed. The paper points out the reasons for this failure are the same for music videos: Freedom of speech, the questionable validity of studies that warn about harmful affects of violence and sexual content on children and the responsibility of parents versus store owners in supervising youth?s actions. The author believes that this indeed makes the United States a better country for everyone.
From the Paper
"Naturally, those who take the other point of view can point to their own studies, which say that music videos alter sexual views. However, where such studies fall short is that they cannot be conducted in a vacuum. Today's kids are assailed with sexual imagery -- in magazines, ads, movie trailers, and posters. At home, more than half of all television programs -- 56 percent -- contain some sexual material, according to a recent study by the Parents Television Council, a nonpartisan advocacy group. In the last decade, the frequency of sexual interactions more than tripled during primetime viewing hours."
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Women in Music Videos, 2007.
This paper discusses the portrayal of women in music videos.
1,636 words (approx. 6.5 pages), 6 sources, MLA, £ 36.95
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Abstract
In this article, the writer notes that in our consumerist society, music is one of the most important money-spinners. The writer points out that as noted by Julie L. Andsager and Kimberly Roe, music videos are very important in this industry as they play an important role in launching the careers of artists. Moreover, the writer describes that music videos enjoy an enormous following among teenagers, which means that they likely play an important role in forming their opinions about important issues such as gender roles. This research paper investigates the key issue of how music videos portray women. The writer maintains that as music videos have the potential to impact the lives of so many women, and to form the opinions of so many young people of all genders, the portrayal of women in music videos is clearly a matter of great importance.
From the Paper
"Clearly there exist destructive music videos which encourage sexism and the objectifying of women. This is cause for great concern as such music videos clearly have the potential to encourage men to treat women as mere sex objects. Even more troubling is the fact that some music videos seem to actively encourage and promote violence against women. For example, Van Horn found that more than half of the music videos he examined contained violence, and that all too often this was violence against women. An Eminem song, Kim, illustrates this chillingly well. The following is not the entire song, but merely excerpts, but it should be kept in mind that the entire song is sickeningly violent, not only these excerpts."
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The Music Video, 2003.
An overview of the evolution and social implications of music videos.
1,881 words (approx. 7.5 pages), 4 sources, MLA, £ 41.95
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Abstract
This paper discusses how the music video is a very influential, arguably the most influential, tool used in presenting artist image to the modern record buying public and how it is vital to the sales success of many pop records. It maps the evolution of the popular music video and MTV (Music Television). It also touches on technological issues and business motivations with an emphasis on the sociological implications for the music 'consumer'.
From the Paper
"In the late 1970s/early 1980s, there came a point when the record industry was in its first decline for decades. Disco had faded out of fashion and punk was not generating the necessary interest required to keep the industry?s bottom line sufficiently high. Inevitably, profits fell . The record companies needed a new way to market, and sell, mass quantities of records. The solution presented itself in two guises. Firstly, the release of the first Compact Disc in ?Japan on October 1st, 1982?, and secondly, the start of broadcasting by MTV ?at 12.01 am in August 1981?. (Haring 1996 p.33-5) Through some manipulation of the retail sector and the phenomenal but perhaps unpredicted success of MTV, which ?many scoffed at when it started? (Haring 1996, p.35), a resurgence was sparked which would lead to the 1980s being the most profitable decade the industry had ever seen."
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Popular Culture and the Music of Elliott Smith, 2005.
A look at the sociological implications of the development of popular music, with particular reference to the music of Elliott Smith.
3,533 words (approx. 14.1 pages), 22 sources, MLA, £ 68.95
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Abstract
This paper examines popular music from the 60s to the present day as an area of sociological and musicological change. The paradoxical concepts in Elliott Smith's music are discussed in order to highlight the key issues in the development of popular music-- authenticity, mass culture, subculture, standardisation and post-modernism.
From the Paper
"The music of Elliott Smith (1969-2003) exemplifies the presence of the Adorno / Benjamin debate in contemporary popular music, most pertinently on XO (1998). This album pivots between authenticity of expression and commercial appeal, mass cultural and subcultural generic trends, and thus between the democratization and the standardization of popular music. Yet, despite its fusion of these paradoxical dichotomies, XO is an unassuming work; indeed, it seamlessly disguises its competing ideologies."
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Popular Music, 2002.
An analysis of the effects of popular music on youth.
953 words (approx. 3.8 pages), 4 sources, MLA, £ 23.95
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Abstract
This paper discusses the concern over the effect music lyrics have on youth, due to the explicit messages which are prevalent in many songs of today?s popular music. The paper examines the escalation of the problem following the emergence of music videos. This issue is analyzed through examples of three song lyrics taken from three prominent artists of today - the band, Coldplay, the rapper Eminem, and John Mayer.
From the Paper
"These lyrics in the Coldplay song are a thought-provoking one; it expresses the sentiments of the singer about the life that we lead in this world. ?We live in a beautiful world? resounds the positive outlook the singer has to his world, however, the second line saying, ?? we?re sinking like stones?? shows how his positive outlook is clouded over by the negative fact that despite the wonderful world that we live in, the singer sees a negative aspect to it, that whatever we do to make our world a better place to live in, we are inevitably immersed in life?s hardships and sufferings, just like the hopeless sinking of the stones the song describes. The last three lines of the song reiterate the fact that whatever positive things we have done in this world, we are again inevitably put in a situation wherein the worst possible things can still happen to us. ?Don?t Panic? illustrates the negative aspect of life as seen through the Coldplay band, and this message is extended to the listeners, the youth, who are easily influenced by the song?s message because of the band?s credibility and charisma as entertainers and performers."
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Arab Popular Music, 2005.
This paper discusses Arabic popular music as a political expression.
1,845 words (approx. 7.4 pages), 8 sources, MLA, £ 41.95
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Abstract
This paper explains that the currently diverse trends in Arabic popular music signify that a deep social change is occurring within the Arab world, changing social values, tastes, and even methods of expressing political and social objection and protest, both against the West and against Arab governments. The author points out that Arabic music is becoming increasingly influenced by Western rhythms and forms, and some Arabic music videos reflect liberal Western sexual attitudes. The paper also relates that the Arabs are imposing themselves on Western music by using Western rhythms and styles, but sometimes with very Arabic lyrics, which are anti-Western, to protest against American influence over the Arabs.
From the Paper
"On the one hand, this has attracted a significant Western audience to Arabic music for the first time ever while, on the other, has aroused religious anger among certain groups in the Arab World. Jim Bessman remarks on this phenomenon in "Arabic Music Moves West." According to his observations, the reason why the United States music market has opened up to Arabic music is that this music has become more familiar to the Western ears in rhythm, beat and singing style. However, in the Arab world the traditional and religious groups in the societies are strongly opposed to the westernization of Arabic music."
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Twentieth Century American Popular Music, 2007.
This paper analyzes the developmental history of 20th century American popular music from the earliest jazz pioneers to the latest major pop stars of 20th century American music.
2,545 words (approx. 10.2 pages), 9 sources, APA, £ 53.95
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Abstract
This paper explains that all of the musical genres, such as Ragtime, Jazz, Big Band, Blues, Country, Rock 'n' Roll, Folk, Punk, Heavy Metal, Rap and Hip Hop, are linked together into a single unified whole in American music. The author discusses the importance of the development of Rock 'n' Roll and how it crossed over successfully into many earlier forms of the Blues and Country genres. The paper stresses that the contributions of the African-American influence on American music, which is the core element to many American styles that came earlier, are crucial to the latter popularity of Rap and Hip Hop.
Table of Contents:
Introduction
Ragtime and Jazz
The Big Bands and the Blues
The Evolution of Jazz and Growing Popularity of Country Music: 1920-1950
The Rock 'n' Roll Era of the 1950s
The "Psychedelic" Rock 'n' Roll and Folk Music Movements of the 1960s
Punk and Heavy Metal: The 1970s and the 1980s
Rap and Hip Hop
Conclusion
From the Paper
"The first broadcast of the Grand Ole Opry in Nashville, Tennessee in 1925 was a crucial moment for the popularity of Country music to be introduced in American music. Often these fusion of old Bluegrass styles and Folk often helped to build the style of what became known as "Country" by the likes of the Grand Ole Opry. In this manner, Nashville became the center of this genre, helping to introduce country to a major audience. Once again, it was the radio that greatly helped to bring this music to millions of listeners across the United States."
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Passivity and Engagement in Popular Music, 2002.
Examines the role that the concepts of populism and commercialism play in the definition of popular music.
900 words (approx. 3.6 pages), 5 sources, £ 24.95
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Abstract
This paper will argue, with reference to a variety of cultural and music criticism, that popular music has been defined by a dynamic tension between populism and commercialism. As will be seen, while the cultural industry has a remarkable capacity to co-opt and shape subcultural products, subcultures also repeatedly challenge, parody and reinvent mainstream "patterned and pre-digested" products.
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Mikael Niemi's "Popular Music from Vittula", 2008.
Reviews Swedish author Mikael Niemi's first novel "Popular Music from Vittula".
1,200 words (approx. 4.8 pages), 8 sources, MLA, £ 28.95
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Abstract
This paper explains that Swedish author Mikael Niemi's novel "Popular Music from Vittula", about coming of age in rural Sweden in the 1960s, is an example of postcolonialism literature that has a perfect blend of protagonist, subject and aesthetic. The paer describes postcolonialism literature as having a theme of ideological and psychological change; whereby, the original cultural world of the postcolonial author has been changed forever by an outside nation or culture so it cannot be rejected. The paper then states that in this book the harsh climate and the values of the land seem isolated from the rest of mainstream Swedish society; however, as in other novels of colonialism, the larger culture is always intruding in visible and invisible ways, just as the boys on the cusp of adolescence and adulthood are being forced to grow up.
From the Paper
"Niemi's tale takes place in the Swedish town of Pajala, a place so remote it might be another nation to many readers, including Swedes. On reviewer observed that the residents are: "looked down upon by the Swedes for being too Finnish and by the Finnish for being too Swedish, the people of Pajala share a universally accepted inferiority complex that is dutifully passed on to the next generation." In short, the residents embody the colonial paradox of being despised for their origins, yet those who attempt to assume any of the culture or follow the rules of the occupiers or dominant culture are mocked by members of that culture."
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Popular Music, 2004.
A look at the influence of European and African traditions on American popular music.
1,659 words (approx. 6.6 pages), 2 sources, MLA, £ 36.95
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Abstract
This paper examines how, from America?s inception, culture and music, in particular, has always been a mixture of African and European influences. It looks at how the two cultures were inextricably linked through slavery, economics, and migration and how these links are particularly evident in spirituals and the blues. It discusses how the content of spirituals reflected the plight of blacks before and after slavery and how, as blacks moved north, spirituals were changed and diminished in popularity in part because of European-American influences. It also shows how the blues was reflective of both African call-and-response traditions and the individualism that grasped the country in the late 19th and early 20th centuries.
From the Paper
"The blues are another music form that was influenced by both African and European factors. The blues had its roots in forms of holler, cry and call music from slavery times, and was motivated in part by the same sense of injustice as spirituals: ?The active agent in the blues, whether it is the music itself or the process, is particularly relevant for grasping the fact that we can overcome the limitations of our society and the results of our history? (Daniels 22). However, the blues emerged in the late nineteenth and early twentieth century as something never before seen in black music."
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Introspective Attitude in Popular Music, 2002.
This paper discusses a movement that is redefining popular music, social consciousness, and the work of artists such as Eminem, Christina Aguilera and Pink.
815 words (approx. 3.3 pages), 5 sources, MLA, £ 20.95
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Abstract
This paper discusses that what is new about the social consciousness movement is who is doing it and the methodology. The paper explains that the most atypical, controversial and seemingly anti social performers, Eminem, Christina Aguilera and Pink, are reaching out to the young people and bringing a positive messages about real life, real feelings, and real hope. The paper discusses the music of these performers and their evolution to social conscious music.
From the Paper
"There may be no more controversial performer in popular music today than Marshall Mathers, AKA Eminem. Eminem has been portrayed as a misogynist, homophobic, foul-mouthed punk, but surprisingly he is at the forefront of the new music movement. This change is not going unnoticed. ?Eminem?s recent trend is to put out tracks with more of a meaning.? In accordance with the new, more constructive musical philosophy, the song ?Lose Yourself?, from the 8 Mile soundtrack, is a brilliant anthem to believing in yourself."
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Popular Music, 2003.
A discussion on the popular music of the 1990s and the early 21st century.
920 words (approx. 3.7 pages), 3 sources, MLA, £ 21.95
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Abstract
This paper looks at the music of 1990s and the early 21st Century, such as hip-hop, dance and techno and compares it to music of the 70s and 80s. It examines trends and artists such as Madonna, Michael Jackson, Etienne, Kurt Cobain, Dr. Dre, and others.
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Popular Music, 2004.
A look at the influences and development of rock and roll and country music.
1,495 words (approx. 6.0 pages), 3 sources, MLA, £ 34.95
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Abstract
This paper discusses how American popular music is so firmly entrenched in our culture and personal lives that it is sometimes extremely difficult to even begin to accurately remember when many forms of popular music did not exist in American culture. In particular, it looks at how both rock and roll and country music owe much of their popularity to changes in the audience, innovations in technology, and changes in the business world itself. It analyzes how rock and roll has been much more significantly impacted by these factors than has county music, at least during the early half of this century, and how whatever the reasons for their emergence and distribution, today, rock and roll and country music are enjoyed by millions of people worldwide.
From the Paper
"The modern music industry was shaped by a number of business forces. Prolonged and often bitter struggles over music property rights played an important role in this change in business forces. Likely the most crucial of these clashes was the prolonged battle between radio broadcasters and music publishers based in New York (Ennis). Government antitrust legislation essentially broke up the monopoly of existing national broadcasting networks, and brought about the emergence of independent radio stations across the nation (D'Anjou). Ultimately, disc jockeys in small, local stations became a sort of catalyst for the release of many types of popular music (Ennis)."
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