Music history research paper

Music history research paper

Music History Music History research papers look at the baroque and classical period. Textbook: The Enjoyment of Music 10th Edition. Joseph Machlis and Kristine Forney. This book is not required but the Norton Music Website may be useful. Music History Essay Questions (Approximately words per response for Questions.) research paper assignment provided in his article about peer learning, exem-plifies this traditional approach: Write a research paper, ten to fifteen pages in length, on a specific topic related to music in European culture before and appropriate to the objectives of this course. Your paper must be a detailed study of whatever To address this, we analyze three British weekly music papers of the s and s: Melody Maker, New Musical Express and Sounds. We find relatively little consensus regarding the use and meaning of the term 'progressive' in these papers, though its most common uses are to signify musical quality and to indicate a move away from the 'underground' scene of the

History of Music Research Paper - EssayEmpire

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Throughout history music has served as a means of telling and remembering stories, as a force in shaping or influencing society, as a mode of spiritual or religious expression, and in political contexts to either suppress or excite people subjected to restricted freedoms. The commercial music industry since the s has fostered the spread of cultural and ethnic identities, especially through the genre of world music.

Music serves a fundamental role in the history of humanity as a means of telling stories about the past, music history research paper, and thus carrying collective memories into the future. Among the Mande of West Africa, the jali are a class of hereditary professional musicians and verbal artists who serve as orators, music history research paper, genealogists, and purveyors of oral history.

The power to manipulate words has historically given the jali a privileged position in Mande society. Similar to these West African bards were minstrels secular musicians in the European Middle Ages and jongleurs before themwho served as storytellers and purveyors of narrative.

Mexico also has singing-poetry traditions, such as the corrido—a narrative ballad genre that was especially popular during the Mexican Revolution—in which singers compose verses commemorating past and current events.

Recently a subgenre known as narco-corridos has chronicled the exploits of Mexican drug traffickers, music history research paper, frequently celebrating them.

Whether documenting the past or commenting on contemporary events, music helps people comprehend their histories and present realities. Both believed that the health of the state depended on playing the right kind of music, music history research paper. A famous story depicts Confucius as advisor to a certain prince of the state of Lu.

Against the advice of Confucius, music history research paper, the prince indulged his court with music for entertainment, distracting him from his princely duties and spoiling the economic prosperity of Lu, music history research paper. Similarly, Plato warned of the danger music posed to society, music history research paper. In his Republic, he outlined an ideal society that would ban the music of certain instruments, and he favored the Dorian modal scale music history research paper encouraging bravery.

According to Plato, music history research paper, music and athletics could mold the ideal citizen if the training in neither took precedence over the other, but rather complemented one another to provide balance of mind and body.

For Plato, as for Confucius, aesthetics were in the service of morality, and indeed he argued that it was more important for a poet to be a good person than a good musician. The conservative philosophies of Confucius and Plato were born of concern about the perceived downfall of their respective societies, and both thinkers believed music history research paper changes in the musical cultures of their times were indicative of, as well as causes of, social decline.

Religious worship around the world frequently involves music, sometimes as ornamental to worship services, and other times as the very vehicle for praising and communicating with a higher power.

Yoruba religions in West Africa, Cuba, Brazil, and Trinidad begin services with music as a means of praising the orishas gods and welcoming them into houses of worship; these traditions also use music and dance as vehicles for inducing altered states of consciousness in which one of the orishas may inhabit the body of a believer for a brief time. In Sufism, a mystical branch of Islam, music is used in the sema ceremony in order for participants to achieve an ecstatic state so that they may communicate with god.

Biblical references to music include the use of music in worship, and the Christian Church was the main patron of Western classical music up through the eighteenth century.

Connections between music and spirituality are often made explicit in legends, myths, and parables, and this other-worldly derivation suggests the importance of music for social groups.

This Indian ballad articulates the Hindu belief that music is devotion; through music one can attain the highest connection with god. Other groups advocate the separation of music and spirituality. Despite the exception of Sufism, in most Muslim religious services music is forbidden. In Europe, the influence of Enlightenment philosophy in the eighteenth century encouraged secularization in the arts, music history research paper Western classical musicians began relying less on Church patronage.

By the end of the century, Wolfgang Amadeus Mozart — was able to work essentially as a free agent in Vienna, and students of Western classical music hold his music in high regard due to his individual genius, rather than any connections between his music and spirituality. In the era of European colonial expansion, beginning around the sixteenth century, many groups of people, along with their music, were subjected to European economic, political, and cultural dominance.

Music has been integral to colonial and postcolonial processes. For Europeans, music was occasionally used as tool for the subjection of foreign peoples, and it was often used for religious conversion, music history research paper.

For societies seeking to escape from European hegemony, music served a crucial role, particularly in nationalist and independence movements in India, Africa, the Caribbean, music history research paper, and Latin America.

There is little doubt that the notion of European cultural superiority greatly facilitated European hegemony, and in this sense music was an aid to colonization. In the late eighteenth and early nineteenth centuries, for instance, Spain sent music teachers along with missionaries to California in order to teach European polyphonic choral singing to Amerindians in the region.

In addition to teaching and proselytizing, these emissaries of the music history research paper often forbade the performance of indigenous musical practices.

Strategies for opposing European colonial power often included the reclamation of local musical practices. In India, for example, British colonialism had hastened the decline of court patronage of Hindustani and Karnatak classical music traditions. The rise of nationalism, which culminated in independence inhowever, included a renewed interest in and public patronage of traditional arts, and the period saw a rise in education and public performance of Indian music, music history research paper.

In Trinidad, music history research paper music played a most active role in the independence movement. In his political campaign, Williams appointed steel-band musicians as his personal assistants, arranged for steel-band performances at PNM political rallies, and, in general, advocated for the steel-band as a symbol of Afro-Trinidadian national culture, ultimately cementing the notion of the steel drum as the national instrument of Trinidad, music history research paper.

Similarly, cultural nationalist movements in Brazil and Cuba both countered legacies of Eurocentrism by focusing on the cultural contributions of their African-descended populations. Composers trained in Western classical music were important in nationalist movements, notably Heitor Villa-Lobos music history research paper in Brazil.

From the mid-nineteenth century on, the world of music has been increasingly impacted by the rise of the commercial popular music industry, especially as it has developed in the United States, beginning in the s with blackface minstrelsy.

As it has progressed into the twenty-first century with global pop music, commercial popular music has been created in the context of electronic mass media, the increasing connectedness of previously isolated groups of people due to communication and travel opportunities, and the growth of multinational corporations. As commercial popular music from the United States has been marketed abroad, musical cultures from outside the United States have in large part been faced with decisions about whether or not to incorporate this music into their own practice.

Oftentimes, the decision has been to integrate aspects of Western popular music with the sounds and symbols of local musical practices, thus creating hybrids which are simultaneously international and local. In the s and s in Zimbabwe, for instance, popular musicians such as Thomas Mapfumo created music that was based on rock music instrumentation— drum kit, electric guitars, and keyboards—but which also included aspects of local Shona culture, such as the Shona language and an electrified version of the traditional thumb-piano, mbira Turino Mapfumo was, himself, a pioneer performer in the world music industry.

In some ways, world music is just another example of the commercial market exploiting cultural difference for economic music history research paper. On the other hand, individuals and their communities music history research paper have greater potential access to remote social groups; that exposure has the consequence of loosening the bonds of identification with certain organizations, such as the music history research paper, in exchange for others, such as a diaspora group.

In the late twentieth and early twenty-first centuries, individuals and social groups have often used music as a strategy to form a collective identity. Beginning in the s, children of South Asian immigrants in Music history research paper Britain began mixing traditional Indian music with European and North American electronic music, creating a number of hybrids, of which the most well-known is perhaps bhangra.

Such hybrids have great significance for young South Asians, allowing them to feel connected, across the diaspora, both to their homeland in India as well as to contemporary Western youth culture. Meanwhile, the U. If music reflects society, and allows individuals the chance to create society, then it also surely offers glimpses of how people imagine the world should be.

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Best Topics For Music Research Papers in College | blogger.com

research paper assignment provided in his article about peer learning, exem-plifies this traditional approach: Write a research paper, ten to fifteen pages in length, on a specific topic related to music in European culture before and appropriate to the objectives of this course. Your paper must be a detailed study of whatever To address this, we analyze three British weekly music papers of the s and s: Melody Maker, New Musical Express and Sounds. We find relatively little consensus regarding the use and meaning of the term 'progressive' in these papers, though its most common uses are to signify musical quality and to indicate a move away from the 'underground' scene of the Music History Music History research papers look at the baroque and classical period. Textbook: The Enjoyment of Music 10th Edition. Joseph Machlis and Kristine Forney. This book is not required but the Norton Music Website may be useful. Music History Essay Questions (Approximately words per response for Questions.)