MUS 2433 Writing Assignment Critical Review of World Music .docx
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MUS 2433 Writing Assignment: Critical Review of "World Music" Recording Choose either Topic A or Topic B. • Suggested length: 3 pages or 600 words. • Final Paper Due in Module 5 • Completion Time: Final draft – 4 hours. Topic A: A defining feature of "world music," "world beat," or "ethno-pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below: 1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians? 2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music? 3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording? 4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown? 5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not? 6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get Page 2 of 5 a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales? 7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative? The Assignment: Choose either a recording from the attached list or a recording not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work. Write a critical review of the recording in which you do the following: 1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?" 2. Discuss the way in which "roots" music is incorporated into the musical sound. 3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relationship between aesthetics (wh.
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Writing Assignment Critical Review of World Music Essay.docx
Writing Assignment:
Critical Review of "World Music" Essay
Choose from Topic A.
• Suggested length:
3 pages or 600 words and a reference page
.
• Final Paper Due
Topic A:
A defining feature of "world music," "world beat," or "ethno-pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below:
1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians?
2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music?
3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording?
4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown?
5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not?
6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative?
The Assignment:
Choose either a recording from the attached list or a recording not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work.
Write a critical review of the recording in which you do the following:
1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?"
2. Discuss the way in which "roots" music is incorporated into the musical sound.
3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relationship between aesthetics (what is beauty?) and ethics (what is good?). You are welcome to consider issues on the.
Writing Assignment Critical Review of World Music Recording C.docx
Writing Assignment: Critical Review of "World Music" Recording
Choose from Topic A.
• Suggested length:
3 pages or 600 words and a reference page
.
• First Draft Due in Module 4
• Final Paper Due in Module 6
• Completion Time: First draft – 4 hours. Final draft – 3 hours.
Topic A:
A defining feature of "world music," "world beat," or "ethno-pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below:
1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians?
2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music?
3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording?
4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown?
5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not?
6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative?
The Assignment:
Choose either a recording from the attached list or a recording not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work.
Write a critical review of the recording in which you do the following:
1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?"
2. Discuss the way in which "roots" music is incorporated into the musical sound.
3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relati.
Audio lesson plan jazz
This document provides a lesson plan about music in America during the early 20th century, focusing on jazz, blues, and prominent composers/artists of the time period such as Duke Ellington and George Gershwin. The plan introduces students to different genres that emerged during this era, including how they developed from earlier styles and related to broader social changes. Students will listen to audio examples and discuss images/appeal conveyed by different styles. The lesson aims to help students understand the origins and rise of uniquely American forms of popular music in the 1920s-1930s.
A defining feature of world music, world beat, or ethno pop, a.docx
A defining feature of "world music," "world beat," or "ethno pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below: 1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians? 2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music? 3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording? 4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown? 5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not? 6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
.
Jazz vs. Rock n Roll
Jazz originated in New Orleans in the late 1800s, combining African rhythms, American band traditions, and European harmonies. It is characterized by improvisation, syncopation, solo performances, and small combos with frontline melody instruments and backing rhythm sections. Important jazz instruments include brass, reeds, piano, bass, guitar, and drums. Legendary jazz composers and musicians who helped develop the genre include Louis Armstrong, Duke Ellington, Dizzy Gillespie, and Thelonious Monk. Rock and roll developed in the 1950s from blues and country music, popularized by artists like Chuck Berry, Little Richard, and Elvis Presley. It spread through the US and British Invasion, using electric guitars
APM Chapter 11
The 1970s saw the rise of several new popular music genres like disco, southern rock, and jazz rock. The music industry consolidated and specialized formats to appeal to different audiences. Singer-songwriters like Carole King and James Taylor found success. Rock evolved with albums becoming art forms and technology enhancing studio production. Disco emerged from nightclubs and by the late 1970s had become the mainstream, exemplified by the film Saturday Night Fever. The rise of genres reflected broader cultural trends in the US during this decade.
Birth of Korean rock
Shin Joong Hyun was a pioneering Korean musician born in 1938 who was fascinated by jazz and rock music. He was influential in sharing American styles of music with Korean youth in the 1960s. [END SUMMARY]
Songs that Saved my Life Intro - Britpop Case Study
The document discusses various topics related to music and culture, including how music fits into our lives and acquires identity, theoretical perspectives on analyzing music, and a case study on Britpop in the 1990s and how it helped create a sense of cultural identity in Britain. It provides discussion questions and assignments exploring these topics through both primary and secondary sources, with a focus on how certain genres of music reflect the culture and ideologies of their time.
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Writing Assignment Critical Review of World Music Essay.docx
Writing Assignment:
Critical Review of "World Music" Essay
Choose from Topic A.
• Suggested length:
3 pages or 600 words and a reference page
.
• Final Paper Due
Topic A:
A defining feature of "world music," "world beat," or "ethno-pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below:
1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians?
2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music?
3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording?
4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown?
5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not?
6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative?
The Assignment:
Choose either a recording from the attached list or a recording not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work.
Write a critical review of the recording in which you do the following:
1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?"
2. Discuss the way in which "roots" music is incorporated into the musical sound.
3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relationship between aesthetics (what is beauty?) and ethics (what is good?). You are welcome to consider issues on the.
Writing Assignment Critical Review of World Music Recording C.docx
Writing Assignment: Critical Review of "World Music" Recording
Choose from Topic A.
• Suggested length:
3 pages or 600 words and a reference page
.
• First Draft Due in Module 4
• Final Paper Due in Module 6
• Completion Time: First draft – 4 hours. Final draft – 3 hours.
Topic A:
A defining feature of "world music," "world beat," or "ethno-pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below:
1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians?
2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music?
3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording?
4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown?
5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not?
6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative?
The Assignment:
Choose either a recording from the attached list or a recording not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work.
Write a critical review of the recording in which you do the following:
1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?"
2. Discuss the way in which "roots" music is incorporated into the musical sound.
3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relati.
Audio lesson plan jazz
This document provides a lesson plan about music in America during the early 20th century, focusing on jazz, blues, and prominent composers/artists of the time period such as Duke Ellington and George Gershwin. The plan introduces students to different genres that emerged during this era, including how they developed from earlier styles and related to broader social changes. Students will listen to audio examples and discuss images/appeal conveyed by different styles. The lesson aims to help students understand the origins and rise of uniquely American forms of popular music in the 1920s-1930s.
A defining feature of world music, world beat, or ethno pop, a.docx
A defining feature of "world music," "world beat," or "ethno pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below: 1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians? 2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music? 3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording? 4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown? 5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not? 6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales?
.
Jazz vs. Rock n Roll
Jazz originated in New Orleans in the late 1800s, combining African rhythms, American band traditions, and European harmonies. It is characterized by improvisation, syncopation, solo performances, and small combos with frontline melody instruments and backing rhythm sections. Important jazz instruments include brass, reeds, piano, bass, guitar, and drums. Legendary jazz composers and musicians who helped develop the genre include Louis Armstrong, Duke Ellington, Dizzy Gillespie, and Thelonious Monk. Rock and roll developed in the 1950s from blues and country music, popularized by artists like Chuck Berry, Little Richard, and Elvis Presley. It spread through the US and British Invasion, using electric guitars
APM Chapter 11
The 1970s saw the rise of several new popular music genres like disco, southern rock, and jazz rock. The music industry consolidated and specialized formats to appeal to different audiences. Singer-songwriters like Carole King and James Taylor found success. Rock evolved with albums becoming art forms and technology enhancing studio production. Disco emerged from nightclubs and by the late 1970s had become the mainstream, exemplified by the film Saturday Night Fever. The rise of genres reflected broader cultural trends in the US during this decade.
Birth of Korean rock
Shin Joong Hyun was a pioneering Korean musician born in 1938 who was fascinated by jazz and rock music. He was influential in sharing American styles of music with Korean youth in the 1960s. [END SUMMARY]
Songs that Saved my Life Intro - Britpop Case Study
The document discusses various topics related to music and culture, including how music fits into our lives and acquires identity, theoretical perspectives on analyzing music, and a case study on Britpop in the 1990s and how it helped create a sense of cultural identity in Britain. It provides discussion questions and assignments exploring these topics through both primary and secondary sources, with a focus on how certain genres of music reflect the culture and ideologies of their time.
Mac351 module intro - why study popular music?
This document provides an overview of a university module on the history, theories, genres, and performers of popular music. It discusses how the module builds on concepts of popular culture studied previously and examines various musical genres through related socio-political theories. The module will cover topics like rock and roll, soul music, reggae, progressive rock, punk, and more. It defines popular culture and discusses why the study of popular music is important, such as using theories to analyze cultural practices and test understandings.
ASSIGNMENTINFORMATION.PLEASE READ CAREFULLY AND ALWAYS CITE. No co.docx
ASSIGNMENTINFORMATION.PLEASE READ CAREFULLY AND ALWAYS CITE. No copying off from the internet. ALWAYS CITE
· What constitutes American music? (The first thought that comes to my mind when I ask this question is that if there were a true American music, it would have to be that of the American Indians who were the original inhabitants of this part of the world. This is true but as we all know, the European settlers savagely repressed the Native Americans and so little of their music was absorbed into the Euro/American culture.)
It is impossible to answer this question without considering the effect of African traditions on our musical heritage. Consider this quote from the Czech composer Antonin Dvorak, who spent several years in the United States teaching and conducting concerts of his own music:
“I am now satisfied that the future music of this country must be founded upon what are called "negro melodies". This must be the real foundation of any serious and original school of composition to be developed in the United States."
He was correct of course but I doubt he could ever have imagined the direction and diversity that school of composition would take. The "negro melodies" he was referring to are Negro Spirituals, work songs, field "hollers" and other such styles that developed in the South during the years of slavery. These songs are a blend of European musical traditions and African influences and are unique to the United States. They are rooted in the African American experience of slavery and the continuing struggle for freedom but if you think they are primarily political in that sense or racially exclusive, consider another quote for Dvorak:
"In the Negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or any purpose. There is nothing in the whole age of composition that cannot be supplied with themes from this source."
These "Negro melodies"- Spirituals, work songs, ragtime and the blues- are in fact at the heart of what American music has become. Everything from popular songs to jazz to "rock and roll" owe something to the style and energy of these songs.
The goal of this paper is to get an understanding the origins of what has become, with all due respect to native Americans, a truly American music.
To do this, I want you to research and write about the following topics:
1. The Negro Spiritual (pp. 44-46 in the text)
a. What are they and where did they come from?
b. What is their relation to Gospel music?
c. Describe the basic musical elements of Spirituals as best you can, using the concepts of melody, rhythm, harmony, timbre, texture and form as discussed in the text.
d. What elements of these .
Choose one of the questions from the list below. 1) Reflect o.docx
Choose one of the questions from the list below.
1) Reflect on the question by writing a 2-3 paragraph response.
2) Include the reference (APA Formate) to an educational website other than Wikipedia that helped you to form your response, with a 2-3 sentence description of how this website enhanced your learning for the week.
3) Select and add an image to your post that reflects your learning, including the specific reasons you chose the image.
Questions are:
An integral relationship between language and music is a feature of many styles and traditions of music worldwide. How do language and music combine and reinforce one another in the kinds of music you listen to? Can you think of instances in which the line between what constitutes speech and constitutes music blurs?
So-called musical Africanisms are pervasive features of many music traditions outside of Africa, especially traditions that belong to or have been influenced by African diasporic culture. Listen to and discuss a range of music that is familiar to you. What Africanisms do you hear in the music from our course materials? What effect do they have on how the music sounds and makes you feel?
The American musician Taj Mahal has made a career of breaking down conventional musical boundaries and redefining world music as worldly music. Do some research on Mahal and locate recordings and videos of his that represent the range and diversity of his music. Write a report describing how Mahal has combined his musical founding in blues music, his broad conceptions of “African” music as encompassing all forms of African and African diasporic music expression, and his cosmopolitanism as a world music adventurer and pioneer.
Locate videos and recordings representing several different African and African diasporic music traditions such as Brazilian samba, Trinidadian calypso, American funk and hip-hop, Ghanaian highlife and South African mbaqanga. What distinctive features do you hear in each? Are there any underlying elements that cut across some or all of them?
What role does a jeli serve in Mande society? What does he or she sing about, and what is the principal musical instrument in our course materials that is used in the jeliya art form?
...
DiscussionOver the past two weeks, our readings and discussions
Discussion
Over the past two weeks, our readings and discussions have been focused on establishing a baseline for understanding wellness. In this module, we'll begin our tour through the four lenses, beginning with history. As we dive into the four lenses, keep in mind that each lens is framed as a way of seeing the issue and is not necessarily tied to the associated discipline. So, looking through the historical lens isn't just about History Channel documentaries—it's also about how you use the lens to understand the past and present. As you write your initial post, answer the following questions:
· In what ways does looking through the history lens enhance your understanding of wellness?
· Consider a current event in the news that has a historical counterpart. How does looking through the history lens influence how you perceive both the current and historical events? Please share a news link to your events.
· How does analyzing the relationship between history, culture, and wellness have an influence on your discipline of study, Psychology?
MUS 308 History of Jazz Unit 5 – 1970s and 1980s
1
Musical Example: Chase, “Open Up Wide”
I. Appealing to the youth market/Blending jazz and rock
A. Historical precedence
1. Previous attempts to bridge the gap between jazz and classical
music: James P. Johnson, Duke Ellington, Stan Kenton,
Gunther Schuller, Charles Mingus,
B. Revival of big bands
1. Mid- to late-60s
a) Former Harry James Drummer Buddy Rich forms a band in
1966
(1) Comprised of a few experienced jazz soloists and young
musicians fresh out of college – this becomes the
template for many of these revived big bands.
(2) In 1966 and 67 records Stevie Wonder’s “Up Tight,” the
Beatles “Norwegian Wood,” and Sonny and Cher’s “The
Beat Goes On.”
Musical examples: Buddy Rich Big Band, “Love for Sale”
and “Something”
b) Clarinetist Woody Herman revives his late 40s band “The
Thundering Herd.”
(1) Like Rich, uses mostly young musicians.
(2) The Herd covers The Doors, “Light My Fire.”
c) Former Stan Kenton high note trumpet player, Maynard
Ferguson.
(1) Pop chart success with his versions of “MacArthur Park”
in 1970 and “The Theme to Rocky” in 1976.
Musical example: Maynard Ferguson, “Hey Jude”
d) Don Ellis (1934-1978), also forms a more avant
garde/youth oriented version of Kenton.
(1) Many of these bands covered rock tunes. Don Ellis plays
Isley Brothers “It’s your Thing,” Three Dog Night’s
“Eli’s Coming” and wins an Oscar for his score to The
French Connection.
(2) Ellis was fascinated with odd and unusal time signatures.
MUS 308 History of Jazz Unit 5 – 1970s and 1980s
2
(3) “33 222 1 222” from Live at Monterey, is in 19/8 time
(the number corresponds to the metrical subdivisions of
the piece).
Musical example: Don Ellis, “33 222 1 222”
e) Thad Jones/Mel Lewis Jazz Orchestra
(1) Composer, arranger, trumpeter Thad Jones (brother of
Elvin and Hank Jones) with drummer ...
Musical genres by Francisco Barquero
This document defines and describes the different musical genres. It identifies 7 main genres: vocal, instrumental, instrumental and vocal, religious, functional, and cinematographic. Vocal genres include a cappella music performed without accompaniment. Instrumental genres include jazz and electro performed without voices. Instrumental and vocal genres include pop and rock that mix voices and instruments. Religious genres are composed for religious use. Functional genres are used in ceremonies and events. Cinematographic genres are film soundtracks meant to convey emotions.
Music genres
This is my powerpoint analysing my stye of music. This is one idea that i have however i so have another one.
Genre
The document defines several music genres including pop, rock, country, alternative rock, hip hop, and others. For each genre, it provides a brief description of the genre's origins, stylistic elements, and evolution over time. Key information included are the genres' origins in the 1950s-1970s, common musical techniques and instrumentation used, and how some genres like alternative rock and hip hop became mainstream popular music styles in the 1990s.
Native american youths today and their native music
This document discusses Native American music among youth today. It provides a brief history of traditional Native music using instruments like drums and flutes. It then notes how Native music was viewed by colonizers and discusses how modern Native youth engage with their cultural music, such as through organizations that teach traditional forms. The document also explores how some Native artists now incorporate hip hop and rap to share their culture and history with youth.
Justin crocker
Through Native American music, one can understand their history and culture pre-colonization. Music served important spiritual and practical roles, and gender roles were reflected. During assimilation in the 1800s-1900s, some Natives blended styles while others resisted. Today, music expresses identity and past pain while raising awareness of issues. Artists like A Tribe Called Red preserve culture through modern genres. Overall, Native music sheds light on their distinct worldviews and ongoing contributions to American culture.
Module 3Country and Western MusicThe Folk Origins of Cou.docx
Module 3
Country and Western Music
The Folk Origins of Country Music
Social, racial and religious elements that comprise country music
• The labor conditions in the South and the ethnic diversity. Isolation
• City vs. rural life. Contrast
• Differences in the urban development of North and South
• Infrastructure of nineteen-century southern society. “Blue bloods”
Poor whites supremacy myths:
• The white’s natural supremacy to blacks.
• Machismo o macho (Latino term), a condition of male strength and virility
Fundamentalist Christianity:
• Shaped and control all other attitudes in the South
• Second Awakening, or Great Revival
• Contradictory behavior or dual moralism
• “Gift of gab”
How Country Music
Reflects Rural Characteristics
• Topics in country music.
• Inner conflicts= Success
• Plain language vs. elegant poetics
• “White blues”
• South’s increasing urbanization of the 1920s.
The Tradition of British and American Balladry
Ballads:
Child ballads.
• Structure of the British ballads.
• Topics
• Key
Broadside.
• Songsters
• Topic
A distinctive trait of American Ballads
Ethnic Influences of the
Anglo-American Music Tradition
• Cultural interchange that distinguishes southern music.
• Blacks and Anglo-American ballads. Differences.
Instruments in the Early Country Music
Anglo-Celtic and Anglo-American
Fiddles
The Guitar
The Banjo
The Mandolin
Urban Influence on
Pre-commercial Country Music
• The process of change due to contact with the commercial products of urban culture.
• Repertoire borrowed from sacred songs.
• City musical styles mixed with country
• Indicatives of the Anglo-American cultural dominance.
• Sense of conservatism. Isolationism.
• Christianity
Early Commercialization of
Country Music
Radio gave popular local entertainers a new medium for reaching their
audience.
Atlanta:
WSB the first radio station in the south.
First country recording stars:
Fiddlin’ John Carson, Reverend Andy Jenkins, and Gid Tanner
Ralph Peer
Early recording expeditions to the South conducted by Ralph Peer
The country and “race” music records: the record industry’s efforts to appeal to various regional and ethnic groups.
“Fiddlin’” John Carson: The first commercial country recording artist. “Little Old Log Cabin in the Line” sold over 500,000 copies
Hillbilly: A term used for people who dwell in rural
Hillbilly music: A label for what is now known as country music.
Rube costumes: Dress in straw hats and ragged clothes
Producer, engineer, and talent scout
Listening of “Little Old Log Cabin in the Line”
Lyric: A typical minstrel fare:
Sung by a blackface character, it is nostalgic and sentimental, in a formal, church-delivered manner and does not act out the lyric or display emotion in his rendering
He plays the melody in his fiddle as he sings.
He use the melody of the verse as an instrumental introduction,
as an interlude between verses and as ending
http://en.wik ...
APM Chapter 14
“Smells Like Teen Spirit”: Hip-Hop, Alternative Music, and the Entertainment Business—through Alternate Currents
MED332 introduction to the module
This module examines popular music cultures through several lenses. Students will critically analyze the relationships between musical, cultural, social, economic and technological factors in popular music history. Various theories of popular culture will be developed and applied to the production, consumption and enjoyment of popular music, and how these have related to socio-political changes in society. Specific musical genres and performers will then be examined using these conceptual and theoretical frameworks. Students will complete two case studies and a final essay to demonstrate their understanding.
Codes and conventions
Rock music originated in the 1950s as rock and roll developed from genres like blues and country music. It is characterized by electric guitars, bass guitar, and drums in a typical verse-chorus form. Conventions of rock music include song lengths of 5-8 minutes compared to the average pop song of 3 minutes. The genre has a large, primarily male audience aged 16-24. Key artists include Elvis Presley, The Rolling Stones, The Who, and albums like Elvis Presley's debut album and The Rolling Stones' Exile on Main St. Rock music is covered across media like radio stations, websites, and rock music festivals.
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This document provides context about the rise of "world music" as a genre in the late 1980s and early 1990s. It discusses how the term was coined to categorize musical styles from outside Western cultures that did not fit into existing genres. It also analyzes the shifting discourses around authenticity that accompanied the marketing and consumption of world music in the West. Specifically, it describes three forms of authenticity that were important in the late 1980s/early 1990s - authenticity of positionality, emotionality, and primality. However, it notes that by the late 1990s, what was seen as an authentic hybrid sound between non-Western music and Western pop styles was praised. The document examines how musicians and
The Songs That Saved Your Life - AS COMMS
The document discusses several ways that music is used to transmit culture and identity, including through defining times, places, events, and social groups. It also examines how the rise of popular music and new technologies in the 1950s led music to become more accessible and separated styles into popular and classical. Finally, it prompts the reader to consider the music that has been most meaningful to them and how musical preferences may differ between generations.
Page 255 8.1 objeCTives• Basic knowledge of the histor.docx
This document provides an overview of objectives and key terms related to popular music styles in the United States. It discusses the origins and development of popular styles like ragtime, blues, and jazz. Specifically, it describes how ragtime originated from syncopated piano music in the 1890s, with Scott Joplin being an influential composer. It also explains that the blues developed from work songs and spirituals, utilizing characteristic chord progressions, scales, and the "bending" of notes. The document emphasizes that New Orleans was a melting pot where African and European musical traditions blended to give rise to early jazz.
APM chapter7
The document summarizes popular music in the postwar era from 1946-1954. It discusses the rise of crooners like Frank Sinatra and Nat King Cole. Novelty songs and light music were popular. The music industry targeted young people and payola was common. Technologies like LP records and tape recording emerged. Rhythm and blues expanded as a market for black popular music. Artists like Louis Jordan, Charles Brown, and Muddy Waters helped develop new styles.
Genre research indie
Indie pop originated in the UK in the 1980s, tracing its roots to Scottish post-punk bands on independent labels like Postcard Records and The Smiths. It was inspired by punk's DIY ethic and generated an active independent music scene. Key to the development of indie pop was the 1986 C86 compilation tape, which featured bands like The Pastels and helped establish the genre's conventions of jangly guitars and melodic power pop structures. Indie pop continues to have a strong following worldwide and inspire new musicians across independent labels, clubs, and festivals devoted to the sound.
Popular Music - AS COMMS
This document provides a history of popular music in Britain from the 19th century to the 1980s. It discusses the rise of popular music genres like rock 'n' roll, skiffle, blues, and punk and their associated subcultures such as mods, rockers, and skinheads. It also examines the influence of American music and the growth of the pop music industry in Britain. Theoretical perspectives on popular music are briefly outlined relating to feminism, Marxism, post-colonialism, and postmodernism.
Popular music
This document provides a history of popular music in Britain from the 19th century to the 1980s. It discusses the rise of popular music genres like rock 'n' roll, skiffle, blues, and punk and their associated subcultures such as mods, rockers, and skinheads. It also examines the influence of American music and the growth of the pop music industry in Britain. Theoretical perspectives on popular music are briefly outlined regarding feminism, Marxism, post-colonialism, and postmodernism.
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Mac351 module intro - why study popular music?
This document provides an overview of a university module on the history, theories, genres, and performers of popular music. It discusses how the module builds on concepts of popular culture studied previously and examines various musical genres through related socio-political theories. The module will cover topics like rock and roll, soul music, reggae, progressive rock, punk, and more. It defines popular culture and discusses why the study of popular music is important, such as using theories to analyze cultural practices and test understandings.
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· What constitutes American music? (The first thought that comes to my mind when I ask this question is that if there were a true American music, it would have to be that of the American Indians who were the original inhabitants of this part of the world. This is true but as we all know, the European settlers savagely repressed the Native Americans and so little of their music was absorbed into the Euro/American culture.)
It is impossible to answer this question without considering the effect of African traditions on our musical heritage. Consider this quote from the Czech composer Antonin Dvorak, who spent several years in the United States teaching and conducting concerts of his own music:
“I am now satisfied that the future music of this country must be founded upon what are called "negro melodies". This must be the real foundation of any serious and original school of composition to be developed in the United States."
He was correct of course but I doubt he could ever have imagined the direction and diversity that school of composition would take. The "negro melodies" he was referring to are Negro Spirituals, work songs, field "hollers" and other such styles that developed in the South during the years of slavery. These songs are a blend of European musical traditions and African influences and are unique to the United States. They are rooted in the African American experience of slavery and the continuing struggle for freedom but if you think they are primarily political in that sense or racially exclusive, consider another quote for Dvorak:
"In the Negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or any purpose. There is nothing in the whole age of composition that cannot be supplied with themes from this source."
These "Negro melodies"- Spirituals, work songs, ragtime and the blues- are in fact at the heart of what American music has become. Everything from popular songs to jazz to "rock and roll" owe something to the style and energy of these songs.
The goal of this paper is to get an understanding the origins of what has become, with all due respect to native Americans, a truly American music.
To do this, I want you to research and write about the following topics:
1. The Negro Spiritual (pp. 44-46 in the text)
a. What are they and where did they come from?
b. What is their relation to Gospel music?
c. Describe the basic musical elements of Spirituals as best you can, using the concepts of melody, rhythm, harmony, timbre, texture and form as discussed in the text.
d. What elements of these .
Choose one of the questions from the list below. 1) Reflect o.docx
Choose one of the questions from the list below.
1) Reflect on the question by writing a 2-3 paragraph response.
2) Include the reference (APA Formate) to an educational website other than Wikipedia that helped you to form your response, with a 2-3 sentence description of how this website enhanced your learning for the week.
3) Select and add an image to your post that reflects your learning, including the specific reasons you chose the image.
Questions are:
An integral relationship between language and music is a feature of many styles and traditions of music worldwide. How do language and music combine and reinforce one another in the kinds of music you listen to? Can you think of instances in which the line between what constitutes speech and constitutes music blurs?
So-called musical Africanisms are pervasive features of many music traditions outside of Africa, especially traditions that belong to or have been influenced by African diasporic culture. Listen to and discuss a range of music that is familiar to you. What Africanisms do you hear in the music from our course materials? What effect do they have on how the music sounds and makes you feel?
The American musician Taj Mahal has made a career of breaking down conventional musical boundaries and redefining world music as worldly music. Do some research on Mahal and locate recordings and videos of his that represent the range and diversity of his music. Write a report describing how Mahal has combined his musical founding in blues music, his broad conceptions of “African” music as encompassing all forms of African and African diasporic music expression, and his cosmopolitanism as a world music adventurer and pioneer.
Locate videos and recordings representing several different African and African diasporic music traditions such as Brazilian samba, Trinidadian calypso, American funk and hip-hop, Ghanaian highlife and South African mbaqanga. What distinctive features do you hear in each? Are there any underlying elements that cut across some or all of them?
What role does a jeli serve in Mande society? What does he or she sing about, and what is the principal musical instrument in our course materials that is used in the jeliya art form?
...
DiscussionOver the past two weeks, our readings and discussions
Discussion
Over the past two weeks, our readings and discussions have been focused on establishing a baseline for understanding wellness. In this module, we'll begin our tour through the four lenses, beginning with history. As we dive into the four lenses, keep in mind that each lens is framed as a way of seeing the issue and is not necessarily tied to the associated discipline. So, looking through the historical lens isn't just about History Channel documentaries—it's also about how you use the lens to understand the past and present. As you write your initial post, answer the following questions:
· In what ways does looking through the history lens enhance your understanding of wellness?
· Consider a current event in the news that has a historical counterpart. How does looking through the history lens influence how you perceive both the current and historical events? Please share a news link to your events.
· How does analyzing the relationship between history, culture, and wellness have an influence on your discipline of study, Psychology?
MUS 308 History of Jazz Unit 5 – 1970s and 1980s
1
Musical Example: Chase, “Open Up Wide”
I. Appealing to the youth market/Blending jazz and rock
A. Historical precedence
1. Previous attempts to bridge the gap between jazz and classical
music: James P. Johnson, Duke Ellington, Stan Kenton,
Gunther Schuller, Charles Mingus,
B. Revival of big bands
1. Mid- to late-60s
a) Former Harry James Drummer Buddy Rich forms a band in
1966
(1) Comprised of a few experienced jazz soloists and young
musicians fresh out of college – this becomes the
template for many of these revived big bands.
(2) In 1966 and 67 records Stevie Wonder’s “Up Tight,” the
Beatles “Norwegian Wood,” and Sonny and Cher’s “The
Beat Goes On.”
Musical examples: Buddy Rich Big Band, “Love for Sale”
and “Something”
b) Clarinetist Woody Herman revives his late 40s band “The
Thundering Herd.”
(1) Like Rich, uses mostly young musicians.
(2) The Herd covers The Doors, “Light My Fire.”
c) Former Stan Kenton high note trumpet player, Maynard
Ferguson.
(1) Pop chart success with his versions of “MacArthur Park”
in 1970 and “The Theme to Rocky” in 1976.
Musical example: Maynard Ferguson, “Hey Jude”
d) Don Ellis (1934-1978), also forms a more avant
garde/youth oriented version of Kenton.
(1) Many of these bands covered rock tunes. Don Ellis plays
Isley Brothers “It’s your Thing,” Three Dog Night’s
“Eli’s Coming” and wins an Oscar for his score to The
French Connection.
(2) Ellis was fascinated with odd and unusal time signatures.
MUS 308 History of Jazz Unit 5 – 1970s and 1980s
2
(3) “33 222 1 222” from Live at Monterey, is in 19/8 time
(the number corresponds to the metrical subdivisions of
the piece).
Musical example: Don Ellis, “33 222 1 222”
e) Thad Jones/Mel Lewis Jazz Orchestra
(1) Composer, arranger, trumpeter Thad Jones (brother of
Elvin and Hank Jones) with drummer ...
Musical genres by Francisco Barquero
This document defines and describes the different musical genres. It identifies 7 main genres: vocal, instrumental, instrumental and vocal, religious, functional, and cinematographic. Vocal genres include a cappella music performed without accompaniment. Instrumental genres include jazz and electro performed without voices. Instrumental and vocal genres include pop and rock that mix voices and instruments. Religious genres are composed for religious use. Functional genres are used in ceremonies and events. Cinematographic genres are film soundtracks meant to convey emotions.
Music genres
This is my powerpoint analysing my stye of music. This is one idea that i have however i so have another one.
Genre
The document defines several music genres including pop, rock, country, alternative rock, hip hop, and others. For each genre, it provides a brief description of the genre's origins, stylistic elements, and evolution over time. Key information included are the genres' origins in the 1950s-1970s, common musical techniques and instrumentation used, and how some genres like alternative rock and hip hop became mainstream popular music styles in the 1990s.
Native american youths today and their native music
This document discusses Native American music among youth today. It provides a brief history of traditional Native music using instruments like drums and flutes. It then notes how Native music was viewed by colonizers and discusses how modern Native youth engage with their cultural music, such as through organizations that teach traditional forms. The document also explores how some Native artists now incorporate hip hop and rap to share their culture and history with youth.
Justin crocker
Through Native American music, one can understand their history and culture pre-colonization. Music served important spiritual and practical roles, and gender roles were reflected. During assimilation in the 1800s-1900s, some Natives blended styles while others resisted. Today, music expresses identity and past pain while raising awareness of issues. Artists like A Tribe Called Red preserve culture through modern genres. Overall, Native music sheds light on their distinct worldviews and ongoing contributions to American culture.
Module 3Country and Western MusicThe Folk Origins of Cou.docx
Module 3
Country and Western Music
The Folk Origins of Country Music
Social, racial and religious elements that comprise country music
• The labor conditions in the South and the ethnic diversity. Isolation
• City vs. rural life. Contrast
• Differences in the urban development of North and South
• Infrastructure of nineteen-century southern society. “Blue bloods”
Poor whites supremacy myths:
• The white’s natural supremacy to blacks.
• Machismo o macho (Latino term), a condition of male strength and virility
Fundamentalist Christianity:
• Shaped and control all other attitudes in the South
• Second Awakening, or Great Revival
• Contradictory behavior or dual moralism
• “Gift of gab”
How Country Music
Reflects Rural Characteristics
• Topics in country music.
• Inner conflicts= Success
• Plain language vs. elegant poetics
• “White blues”
• South’s increasing urbanization of the 1920s.
The Tradition of British and American Balladry
Ballads:
Child ballads.
• Structure of the British ballads.
• Topics
• Key
Broadside.
• Songsters
• Topic
A distinctive trait of American Ballads
Ethnic Influences of the
Anglo-American Music Tradition
• Cultural interchange that distinguishes southern music.
• Blacks and Anglo-American ballads. Differences.
Instruments in the Early Country Music
Anglo-Celtic and Anglo-American
Fiddles
The Guitar
The Banjo
The Mandolin
Urban Influence on
Pre-commercial Country Music
• The process of change due to contact with the commercial products of urban culture.
• Repertoire borrowed from sacred songs.
• City musical styles mixed with country
• Indicatives of the Anglo-American cultural dominance.
• Sense of conservatism. Isolationism.
• Christianity
Early Commercialization of
Country Music
Radio gave popular local entertainers a new medium for reaching their
audience.
Atlanta:
WSB the first radio station in the south.
First country recording stars:
Fiddlin’ John Carson, Reverend Andy Jenkins, and Gid Tanner
Ralph Peer
Early recording expeditions to the South conducted by Ralph Peer
The country and “race” music records: the record industry’s efforts to appeal to various regional and ethnic groups.
“Fiddlin’” John Carson: The first commercial country recording artist. “Little Old Log Cabin in the Line” sold over 500,000 copies
Hillbilly: A term used for people who dwell in rural
Hillbilly music: A label for what is now known as country music.
Rube costumes: Dress in straw hats and ragged clothes
Producer, engineer, and talent scout
Listening of “Little Old Log Cabin in the Line”
Lyric: A typical minstrel fare:
Sung by a blackface character, it is nostalgic and sentimental, in a formal, church-delivered manner and does not act out the lyric or display emotion in his rendering
He plays the melody in his fiddle as he sings.
He use the melody of the verse as an instrumental introduction,
as an interlude between verses and as ending
http://en.wik ...
APM Chapter 14
“Smells Like Teen Spirit”: Hip-Hop, Alternative Music, and the Entertainment Business—through Alternate Currents
MED332 introduction to the module
This module examines popular music cultures through several lenses. Students will critically analyze the relationships between musical, cultural, social, economic and technological factors in popular music history. Various theories of popular culture will be developed and applied to the production, consumption and enjoyment of popular music, and how these have related to socio-political changes in society. Specific musical genres and performers will then be examined using these conceptual and theoretical frameworks. Students will complete two case studies and a final essay to demonstrate their understanding.
Codes and conventions
Rock music originated in the 1950s as rock and roll developed from genres like blues and country music. It is characterized by electric guitars, bass guitar, and drums in a typical verse-chorus form. Conventions of rock music include song lengths of 5-8 minutes compared to the average pop song of 3 minutes. The genre has a large, primarily male audience aged 16-24. Key artists include Elvis Presley, The Rolling Stones, The Who, and albums like Elvis Presley's debut album and The Rolling Stones' Exile on Main St. Rock music is covered across media like radio stations, websites, and rock music festivals.
06889 Topic Financial Statement Analysis MemoNumber of Pages.docx
This document provides context about the rise of "world music" as a genre in the late 1980s and early 1990s. It discusses how the term was coined to categorize musical styles from outside Western cultures that did not fit into existing genres. It also analyzes the shifting discourses around authenticity that accompanied the marketing and consumption of world music in the West. Specifically, it describes three forms of authenticity that were important in the late 1980s/early 1990s - authenticity of positionality, emotionality, and primality. However, it notes that by the late 1990s, what was seen as an authentic hybrid sound between non-Western music and Western pop styles was praised. The document examines how musicians and
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The document discusses several ways that music is used to transmit culture and identity, including through defining times, places, events, and social groups. It also examines how the rise of popular music and new technologies in the 1950s led music to become more accessible and separated styles into popular and classical. Finally, it prompts the reader to consider the music that has been most meaningful to them and how musical preferences may differ between generations.
Page 255 8.1 objeCTives• Basic knowledge of the histor.docx
This document provides an overview of objectives and key terms related to popular music styles in the United States. It discusses the origins and development of popular styles like ragtime, blues, and jazz. Specifically, it describes how ragtime originated from syncopated piano music in the 1890s, with Scott Joplin being an influential composer. It also explains that the blues developed from work songs and spirituals, utilizing characteristic chord progressions, scales, and the "bending" of notes. The document emphasizes that New Orleans was a melting pot where African and European musical traditions blended to give rise to early jazz.
APM chapter7
The document summarizes popular music in the postwar era from 1946-1954. It discusses the rise of crooners like Frank Sinatra and Nat King Cole. Novelty songs and light music were popular. The music industry targeted young people and payola was common. Technologies like LP records and tape recording emerged. Rhythm and blues expanded as a market for black popular music. Artists like Louis Jordan, Charles Brown, and Muddy Waters helped develop new styles.
Genre research indie
Indie pop originated in the UK in the 1980s, tracing its roots to Scottish post-punk bands on independent labels like Postcard Records and The Smiths. It was inspired by punk's DIY ethic and generated an active independent music scene. Key to the development of indie pop was the 1986 C86 compilation tape, which featured bands like The Pastels and helped establish the genre's conventions of jangly guitars and melodic power pop structures. Indie pop continues to have a strong following worldwide and inspire new musicians across independent labels, clubs, and festivals devoted to the sound.
Popular Music - AS COMMS
This document provides a history of popular music in Britain from the 19th century to the 1980s. It discusses the rise of popular music genres like rock 'n' roll, skiffle, blues, and punk and their associated subcultures such as mods, rockers, and skinheads. It also examines the influence of American music and the growth of the pop music industry in Britain. Theoretical perspectives on popular music are briefly outlined relating to feminism, Marxism, post-colonialism, and postmodernism.
Popular music
This document provides a history of popular music in Britain from the 19th century to the 1980s. It discusses the rise of popular music genres like rock 'n' roll, skiffle, blues, and punk and their associated subcultures such as mods, rockers, and skinheads. It also examines the influence of American music and the growth of the pop music industry in Britain. Theoretical perspectives on popular music are briefly outlined regarding feminism, Marxism, post-colonialism, and postmodernism.
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Need a one response for each discussion post in 50 to 75 words
Discussion post 1
Payback Period: The payback period refers to the amount of time it takes to recover the cost of an investment. Simply put, the payback period is the length of time an investment reaches a break-even point. The desirability of an investment is directly related to its payback period. Shorter paybacks mean more attractive investments. The payback period is the cost of the investment divided by the annual cash flow. The shorter the payback, the more desirable the investment. Conversely, the longer the payback, the less desirable it is.
Net Present Value: Net Present Value (NPV) is the value of all future cash flows (positive and negative) over the entire life of an investment discounted to the present. NPV analysis is a form of intrinsic valuation and is used extensively across finance and accounting for determining the value of a business, investment security, capital project, new venture, cost reduction program, and anything that involves cash flow.
Internal Rate of Return: Internal rate of return (IRR) is the discount rate that makes the net present value of all cash flows (both positive and negative) equal to zero for a specific project or investment.
IRR: What Is It Used For?
The internal rate of return is used to evaluate projects or investments. The IRR estimates a project’s breakeven discount rate or rate of return, which indicates the project’s potential for profitability.
Based on IRR, a company will decide to either accept or reject a project. If the IRR of a new project exceeds a company’s required rate of return, that project will most likely be accepted. If IRR falls below the required rate of return, the project should be rejected.
IRR Formula?
You can use the following formula to calculate IRR:
0 (NPV) = P0 + P1/(1+IRR) + P2/(1+IRR)2 + P3/(1+IRR)3 + . . . +Pn/(1+IRR)n
Profitability Index Definition: Profitability index method measures the present value of benefits for every dollar investment. In other words, it involves the ratio that is created by comparing the ratio of the present value of future cash flows from a project to the initial investment in the project. The Profitability Index Method is often times compared similarly to the Net Present Value Method for their close proximity. One should use caution when utilizing both the NPV and profitability index methods in tandem. Often times, it has been found that both methods can rank projects in a different way. One project could possibly be ranked number 1 for one of the methods while it ranks dead last in the other. Use digression when using both in tandem.
There is relationship between profitability index and net present value method. If profitability index >1, the NPV is positive. If profitability index <1, NPV is negative. The profitability index is a relative measure of an investment’s value while NPV is an absolute measure.
Discussion Post 2
The payback period depicts the dur.
Need 20 -25 pages Identify the key problems and issues in .docx
Need 20 -25 pages
Identify the key problems and issues in the case study.
Problems :
1. McD placed itself in the middle with overall-cost leadership and broad differentiation to please everyone. They lost focus on existing business.
2. Bussiness/Marketing strategy unable to provide well-perceived customer experience, did not engage customer’s expectationa and feedback
.
Need a research paper with ANY ONE of the below topicsT.docx
Need a research paper with
ANY ONE
of the below topics:
The Research Report, select one of the following research areas:
i) Cyber Security and INTRANET Cloud Computing
ii) Cyber Security and EXTRANET Cloud Computing
iii) Cyber Security and Machine Learning
iv) Cyber Security and Artificial Intelligence
v) Cyber Security and Internet of Things (IoT)
vi) Cyber Security and Robotics
vii) Cyber Security and Medical Technology
Please see the attached document on the instructions that have to be followed for this research paper.
.
Necesito un essay en espanolTema Explique algunas de las inst.docx
Necesito un essay en espanol
Tema: Explique algunas de las instituciones sociales de mayor importancia y sus funciones para el desarrollo del individúo y la comunidad.
Instrucciones: Minimo de una pagina, con Introduccion, desarrollo y concluciones. Estilo APA, Lo necesito para el jueves 09/24/2020 a las 6:00 pm.
.
Need 400 wordsBy October of 2017, Yahoo estimated that 3 billion.docx
Need 400 words
By October of 2017, Yahoo estimated that 3 billion user accounts were compromised. Users' passwords in clear text, payment card data and bank information were not stolen. Yet, it remains one of the largest data breaches.
What that teach us as a security professional and as regular user ?
.
Need 1500 words Dissertationresearch method on the impact of C.docx
Need 1500 words Dissertation/research method on the impact of Cryptocurrencies in the UAE. The format will be:
1)
Background
2)
Research Question, Aim and Objectives
3)
Potential impact of the dissertation
4)
Theoretical Context
5)
References
I have uploaded sample past papers, so please check them to understand the format of the essay. I have also uploaded some dissertation on cryptocurrencies in the Uae to help you out.
.
Need 250 words Initial Post and two replies of 100 words each. Will .docx
Need 250 words Initial Post and two replies of 100 words each. Will post the replies later when they become available.
The Importance of Infrastructure
Based on your readings this week, in 200 to 300 words, describe two difficulties that an international logistician could experience in moving goods from a country with a developed infrastructure (transportation, communication, and utilities) to a country with a deficient infrastructure. Be sure to respond to at least two of your classmates’ posts.
.
Nazi GermanyBrenda Thomas LaShuntae JacksonThe R.docx
Nazi Germany
Brenda Thomas
LaShuntae Jackson
The Rise of Nazi Germany
Hitler’s Expanding Axis
The United States’ Intervention
The Collapse of Nazi Germany
Key Points
The Rise of Nazi Germany
Hitler (Chancellor) January 30, 1933
Created A Secret Police Force
No Election
No Labor Unions
No Strikes
Cont. Hitler’ Expanding Axis
1. The Battle of Great Britain
German bombers attack Great Britain: The Blitz
b.In July and August 1940, the German Air Force launched day and night bombing raids against military targets across Southeast England. The air raids killed some 43,000 civilians, wounded thousands more, and left 2 million homeless.
Hitler’s Expanding Axis
Cont. Hitler’s Expanding Axis
2. Invades The Soviet Union
a. In April 1941 invading Nazi armies overwhelmed Yugoslavia and Greece. With Hungary Romania and Bulgaria under Nazi control, Hitler ruled nearly all of Europe.
b. On July 22, 1941 without warning massive German armies invaded their supposed alley, the Soviet Union, in “Operation Barbarossa.” Hitler's decision to attack the Soviet Union was the defining moment of the European war, for the German eventually would be worn down and thrown back by the Soviets.
Cont. Hitler’ Expanding Axis
3. The Attack on Pearl Harbor
American battleships were sunk disabled along with eleven other ships, japanese bombers also destroyed 180 American warplanes.
The raid which lasted less than two hours, killed more than 2,400 American servicemen and civilians and wounded nearly 1,200 more.The surprise Japanese attack on the U.S. fleet at Pearl Harbor on December 7, 1941 which prompted the immediate American entry into the war.
The United States’ Intervention
1. The Manhattan Project
Dr. J. Robert Oppenheimer led the team of almost 200,000 people which consisted of distinguished scientists scattered among several secret facilities across the country to develop an atomic bomb before the German did.
This was a top secret effort set up by the President June 1940 called the National Defense Research Committee to coordinate military research.
Cont. The United States’ Intervention
2. The Lend Lease Bill
Introduced in Congress on January 10,1941.
Allowed the President to lend or lease military equipment to any country whose defense of the United States.
Cont. The United States’ Intervention
3. The Tripartite Pact
September 27, 1940 the Tokyo government signed a pact with Germany and Italy.
Each pledged to declare war on any nation that attacked any of them.
Cont. The United States’ Intervention
4. The Atlantic Charter 1941
Joint statement crafted by Franklin D. Roosevelt and British prime minister Winston Churchill listed the war goals of the allied powers.
The Collapse of Nazi Germany
Soviet troops enter Berlin.
Germany surrenders.
Hitler married his mistress, she poisoned herself, and he killed himself two days later.
May 2, Berlin fell. Five days later, on May 7 the ch.
Need a paper with atleast 1000 - 1200 words.you can find the del.docx
Need a paper with atleast 1000 - 1200 words.
you can find the deliverables in the "Final Research Assignment Doc".
References in the "References Doc".
And attached an additional DOC for the "challenges of IoT security".
Note: I need this paper by Friday(10/09/2020) Evening before 9pm EST.
.
Necesito un Essay en español, alguien puede ayudarmeTema ¿Cuál.docx
El documento solicita ayuda para escribir un ensayo en español de al menos una página sobre los temas que se pueden analizar dentro de la sociología en relación con la preferencia sexual, siguiendo el formato APA y necesitado para el miércoles.
Nature GeNetics VOLUME 46 NUMBER 10 OCTOBER 2014 1 0 8 9.docx
Nature GeNetics VOLUME 46 | NUMBER 10 | OCTOBER 2014 1 0 8 9
A suite of forces and factors, including mutation, recombination,
selection, population history and gene duplication influence patterns
of intraspecific genetic variation. Distinguishing which factors have
shaped sequence variation across a genome requires extensive whole-
genome sequencing of multiple individuals, which has only recently
become tractable1. Most large-scale whole-genome resequencing
studies have focused on model and domesticated species1–5. However,
extensive sequencing of natural populations holds great promise for
advancing understanding of evolutionary biology, including identify-
ing functional variation and the molecular bases of adaptation. Recent
work in a number of species has identified genomic regions that show
signatures of positive selection, suggesting that such regions contain
loci that control adaptive traits4,6–8. Relatively few studies, however,
have combined genome-wide scans with phenotypic data to determine
whether computationally identified selected regions influence adap-
tive phenotypic variation5,9–13. Genome-wide studies of large natural
populations combined with phenotypic measurements are necessary
to determine which factors shape patterns of genetic variation within
species and, therefore, enhance understanding of adaptation.
With large geographic ranges spanning wide environmental gradi-
ents and a long history of research showing local adaptation14, forest
trees are ideal for examining the processes shaping genetic variation
in natural populations. Forest trees cover approximately 30% of ter-
restrial land area15, provide direct feedback to global climate15 and
are often foundation species that organize entire biotic communities
and biogeochemical systems16,17. Clearly, biotic and abiotic interac-
tions have influenced population sizes and distributions of forest
trees, leaving diagnostic signatures in the genomes of present-day
populations14,18,19. A deeper understanding of the evolutionary and
ecological forces that shaped these patterns will offer insights and
options for ecosystem management, applied tree improvement and
accelerated domestication efforts20.
Black cottonwood, Populus trichocarpa Torr. & Gray, is a dominant
riparian tree that has become a model for the advancement of genome-
level insights in forest trees21. The sequencing of 16 P. trichocarpa
genomes revealed widespread patterns of linkage disequilibrium (LD)
and population structure22 and extensive genecological studies have
revealed a high degree of adaptive phenotypic variation in growth,
vegetative phenology and physiological traits such as water-use effi-
ciency and photosynthesis23–25, suggesting that local adaptation is
prevalent. To date, candidate gene–association analyses have revealed
loci with significant effects on phenotypic traits26,27. However, thus
far there have been no publications describing whole-genome asso-
.
Nature VS NurtureResearch writing 310Joi Tucker.docx
Nature VS Nurture
Research writing 310
Joi Tucker
Wilmington University
Nature VS Nurture
Abstract
Nature vs Nurture is one of the oldest arguments known to the Psychology genre. For those who do not know; simply put, the underlying question is, can behaviors be inherited? Initially, upon answering the question without any regard to the actual research and experiments done in this field a conclusion was drawn that Nature outweighs Nurture and that the behaviors of men are innate in that they are inherited genes that have influence over our behaviors. Upon further investigation and deeper insight, it is of my belief that the behaviors of men are based not solely on the behavior of their parents and their genetic makeup but also, by socioeconomic, traditional, educational, religious, and many other external factors. This paper will demonstrate the multiple schools of thought and their perspective on behaviorism, specifically when it comes to the argument of Nature vs Nurture. These perspectives will be used in order to justify the position that was previously stated, that the behaviors of men are influenced not only by their biology but also by their upbringing and multiple external factors.
Nature versus Nurture is one of the oldest debates within Psychology. It is concerned with the extent to which aspects of behavior are a product of either inherited (i.e., genetic) or acquired (i.e., learned) characteristics. Previous to delving into this topic I took the stance that Nature outweighed Nurture and that human behaviors were innate in that they were solely influenced by one’s genetic makeup. After vigorous research on the topic an attempt to take the stance that aspects of behavior are a product of inherited characteristics. Most people no matter what their upbringing and socioeconomical positions are prone to specific types of behaviors due to their genetic makeup. Within this argumentative essay, the attempt to write about Nature vs Nurture taking the perspective that human behaviors are derived from a combination of the two. The plan is to investigate multiple schools of thought in regards to the topic in order to prove the theory which was previously stated; human behaviors are a product of both genetic and environmental influences.
Within the world of biology, it is widely known that physical characteristics as well as one’s vulnerability to certain illnesses are because of one’s genetic makeup. It is of no surprise that one may share the color their mother’s eyes while inheriting their father’s diabetes. If you are a male, you may be prone to balding in your early 30’s just as your father did and women whose mother suffered from Breast Cancer have a higher likelihood of acquiring the same illness. Understanding how genetics works and now knowing how its functioning contributes to physical attributes as well as biological ailments, the question of whethe.
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Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
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Chapter 5
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Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) Curriculum
Mule event processing models | MuleSoft Mysore Meetup #47
Mule event processing models | MuleSoft Mysore Meetup #47
MUS 2433 Writing Assignment Critical Review of World Music .docx
- 1. MUS 2433 Writing Assignment: Critical Review of "World Music" Recording Choose either Topic A or Topic B. • Suggested length: 3 pages or 600 words. • Final Paper Due in Module 5 • Completion Time: Final draft – 4 hours. Topic A: A defining feature of "world music," "world beat," or "ethno- pop," as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below: 1. How do a recording's musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians? 2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and
- 2. credits suggest about rights to, and ownership of, the music? 3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording? 4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is "musical respect" and how might it be shown or not shown? 5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not? 6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get Page 2 of 5 a fixed "session" fee for participating in a recording, or should they be paid royalties based on sales? 7. Are cross-cultural "world music" and "world beat" projects inherently opportunistic and exploitative? The Assignment: Choose either a recording from the attached list or a recording
- 3. not on the list that meets the criteria of "a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own." If you choose a recording not on the list, please let me know what it is before you begin your work. Write a critical review of the recording in which you do the following: 1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, "What did the artists or producers set out to do?" 2. Discuss the way in which "roots" music is incorporated into the musical sound. 3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relationship between aesthetics (what is beauty?) and ethics (what is good?). You are welcome to consider issues on the list provided above as well as issues not on the list. 4. Offer your critical judgment about ways in which the project succeeds or fails as music and as an exercise in developing cross-cultural understanding and relationships.
- 4. Topic A: Suggested Recordings: • Paul Simon, "The Rhythm of the Saints" (with Latin American musicians). • David Byrne, "Rei Momo" (with Latin American musicians) • Peter Gabriel, "Passion" (created for the soundtrack to "The Last Temptation of Christ" based on Middle Eastern Music); (may discuss together with Gabriel's "Passion Sources") • Kate Bush, "The Sensual World" (with Bulgarian women) • Mickey Hart, "Planet Drum" and "At the Edge" ("world percussion") • Paul Winter, "Earthbeat" (jazz and Russian village music) • Outback: "Dance the Devil Away" and "Baka" (Aboriginal music combined with folk guitar) • "Spirit of the Forest" (Baka Beyond) jam sessions with Baka Pygmies and composer/guitarist Martin Cradick • Linda Ronstadt, "Canciones de mi padre" (with Mexican and Mexican-American musicians) Page 3 of 5 • Talking Heads, "Reamin in Light" (appropriation of scratch, funk, Afro-Beat and jùjú rhythm) • "A World out of Time" Vols. 1 and 2 (Pop/avant-garde guitarists Henry Kaiser and David Lindley join musicians in Madagascar) • "Talking Timbuktu" (Guitarist Ry Cooder grooves with griots from the Sahara) • Robbie Robertson and the Red Road Ensemble, "Music for the
- 5. Native Americans" • "The Sweet Sunny North" (avant-garde musicians Henry Kaiser and David Lindley jam with traditional musicians in Norway) • Paul Simon, "Graceland" • Robert Plant and Jimmy Page, "No Quarter." (collaboration with musicians from Egypt) Topic B: The mirror image of the "world music" phenomenon described in Topic A is the appropriation of Western musical instruments, sounds, structures, and styles by musicians whose cultural origins are outside the West. Recording by such musicians -- also frequently referred to generically as "world beat," "ethno pop," or "world pop" -- raise issues that are the obverse of those listed under topic A. For example: 1. Do musicians from non-Western cultures tend to sell their own musical traditions short when they merge these traditions with Western styles and techniques, usually in a pop or jazz groove? 2. Can music remain "traditional" while incorporating elements of Western musical modernity? What are the criteria for classification as "traditional" music? 3. Does the commercial success of fusion recordings tend to
- 6. undermine the cultural authority of more traditional musicians in the non-Western countries from which these projects emerge? 4. Do these projects tend to produce music that wears well with time, or does the music appear in hindsight to have been slapped together quickly as a response to the music industry's hunger for fads and novelty? 5. Even though native musicians are ostensibly in control of the projects, do they invariably end up being exploited by the entertainment business? (i.e., recruited, recorded, and rejected as soon as they fail to meet marketing goals). The Assignment: Choose a recording from the attached list or a recording not on the list that meets the following criteria (if the recording you choose is not on the list, please let me know what it is): Page 4 of 5 • The featured artist is either from outside the United States or has musical roots in a style or repertory outside mainstream American music (e.g., jazz, blues, pop, Anglo folk). • The recording merges elements of traditional ethnic music with more mainstream musical styles and structures. Write a critical review of the recording in which you: 1. Offer a concise description of the musical project presented on the recording.
- 7. 2. Explain how the resources of Western musical traditions (e.g., instruments, styles, textures, cultural references, recording techniques) are merged with those of the featured non-Western tradition(s). 3. Discuss musical, aesthetic, and ethical issues that the recording raises, taking into account the list provided above. 4. Offer your critical judgment about ways in which the project succeeds or fails as music and as an exercise in developing cross-cultural understanding and relationships. Topic B: Suggested Recordings: • The Ravi Shankar Project: Tana Mara (a fusion of Indian raga, the technology of synthesizers and digital sampling keyboards, and Western popular music. Vocalists include George Harrison) • Sheila Chandra (a fusion between Indian classical and film music and English pop) • Ofra Haza: "Kirya" and "Fifty Gates of Wisdom" (Yemenite Jewish songs performed in a pop style) • R. Carlos Nakai: "Feather, Stone & Light" (New Age Native American music featuring flutist R. Carlos Nakai, guitar player William Easton, and percussionist Will Clipman)
- 8. • King Sunny Ade and his African Beats: "Juju Music" and "The Return of the Juju King" ("Afro-Pop") • Ebenezer Obey: "Get Yer Jujus Out" ("Afro-Pop") • Baaba Maal "Firin' in Fouta" ("Afro-Pop") • Yat Kha, "Yenisei Punk" (Tuvan "techno-ethnic-acid-folk music") • Shakti, "The Best of Shakti" with John McLaughlin, Shankar, Zakir Hussain, T.H. Vinayakram (fusion of Indian classical music and jazz) • Deep Forest, "Boheme" (samplings of music from Transylvania) • "Deep Forest" (samplings of pygmy music) • "Dead Man Walking" soundtrack album: cuts by Nusrat Fateh Ali Khan with Eddie Vedder [see me for source recordings of Nusrat Fateh Ali Khan] Page 5 of 5 • The Bulgarian Voices "Angelite" Featuring Huun-Huur-Tu and Sergei Starostin, "Fly, Fly My Sadness" (Bulgarian female choir joins forces with Tuvan overtone singers) • "Planet Soup: A Stirring Collection of Cross-Cultural
- 9. Collaborations and Musical Hybrids" [3 CDs] (from the liner notes: "Three hours of compelling global music created by over 200 musicians in over 35 countries)