Beatles’s performance of Roll Over Beethoven

Beatles's performance of Roll Over Beethoven
Beatles’s performance of Roll Over Beethoven

Beatles’s performance of Roll Over Beethoven

Section 1

YOUR ASSIGNMENT:

My musics are:

1.AHA Take On Me

2.Somebody that I used to Know Gotye

3.Beatles’s performance of Roll Over Beethoven

4.21 Savage ft J. Cole- A Lot

5.Spice Girls, Wannabe

Surveying the Unit 3, 4, and 5 listening lists in this course, choose songs from 2-3 artists or groups (don’t use the Temptations, sorry!) ó ranging from television’s earliest days in the mid-1950s ó who embody the “cuteness” factor to their audiences. Find a video for each of those (it doesn’t have to be exactly the same recording, just the same song), and then find music videos (not on our listening lists) of 1-3 other artists in the 21st century whose cuteness goes into overload.

If you follow those directions carefully, your post will refer to anywhere from 3-5 videos (it’s ok just to choose 3! Short and sweet… ), with at least two of them being songs from our course listening lists (even if the recordings aren’t exactly the same), and at least one being from another recent artist of your own choosing.

Then analyze at least one moment in each video both image and sound  and use it to attempt to define what makes that artist, or that moment, unbearably adorbs to the audience who crushed on that particular artist or group. “One moment” can be a line of lyrics, which you put into context, it can be a dance move that combines really well with an intoxicating beat, or it can be a facial expression between two beautiful notes of a melody. (The moment can be anything, really … BUT even if you think it’s just a visual thing, describe the sound as well using terms from our course.)

Up to 15 points of extra credit is available three points for each of the cuteness that you analyze. However, in order to earn any credit, you must not only use terms in the course to describe in detail the sound of what’s happening in the video (while you, the viewer, freak out from wanting to kidnap them, consensually of course, and make them and their perfect face eat breakfast with you for the rest of eternity) … but you must also attempt to use that moment to help you make the sense of the galactic vortex of lovability that the artist seems, at that moment, to have accessed.

Submissions should be somewhere between 150 to 750 words, depending on how many examples you have chosen.

Section 2

1.En Vogue, My Lovin’ (1992)

2.ìWhich Wrong is Right?î By Swing Out Sister

3.Jay-Z, Izzo (H.O.V.A.) (2001)

4.Dr.Dre, Still (ft. Snoop Dogg) (1999)

5.AC/DC ñ Highway to Hell

Surveying the Unit 3, 4, and 5 listening lists in this course, choose songs from 2-3 artists whose work you perceive to be popular today in other words, artists who, despite being from previous generations, have enjoyed a large following on social media, long beyond their days in the spotlight. Find the chosen songs on a music server like Spotify (or Pandora, or LastFM, Apple Music, Amazon Music, etc.) then check who “shows up” as suggestions/recommendations on your music device, after you listen to that choice. (You may also see who shows up on the Pandora radio station, or YouTube playlist.)

If you follow the directions above, you will have chosen from 3-5 recordings … with at least two of them being songs from our course listening lists, and at least one being from another recent artist or artists of your own choosing, who a music service “connected” to your first choices.

Then, describe each of these songs analytically and comparatively. Choose a focus such as the musical interpretation of lyrics, arrangement or accompaniment style, improvisation, rhythm, or melodic form. Make sure you describe at least one detail in each song, and preferably two. The connection between the songs is usually obvious. But how are the different? Do the differences reflect different value systems discussed in one of the readings? A different relationship to the material conditions of history?

Up to 15 points of extra credit is available points for each of the songs that you analyze. However, in order to earn any credit, you must not only use terms in the course to describe in detail what you hear, but you must draw connections to the learning of the course in order to make distinctions between the songs that are associated with one another. Perhaps consider it an opportunity to “critique” the service pointing out that the connections between the songs are superficial and conceal much deeper differences. Or explain why the connections between the songs are powerful or unexpected.

Submissions should be somewhere between 150 to 750 words, depending on how many examples you have chosen.

Section 3

My musics are:

1.St. James Infirmary Louis Armstrong

2.Etta James, Dance With Me Henry (1955),

3.”No Sleep Till Brooklyn” Beastie Boys

4.Stairway to Heaven (1971), by Led Zeppelin

5.Chuck Berry’s -too Much Monkey Business (1957)

Surveying all the listening lists in this course, choose 2-5 recordings that in some way seem to involve improvisation, or spontaneous composition conventional examples are in the “solos” of instrumentalists, e.g. a saxophone solo in a “swing” recording from the late 1930s, or a fiddle solo in a “country music” interpretation of an Anglo-American folk song, or a guitar solo in a hit by a “hair metal” band; however they can also involve apparently spontaneous speech, singing, or scatting, or an example in which a musician’s appears to be valued for its spontaneous reflection of an in-the-present state of mind.

In choosing the recordings, attempt to address the question of how the meaning or value of improvisation has changed from one ‘historical moment’ (represented by a single act of improvisation) to the next? For example, how did solos in various “blues” styles evolve from the time of Bessie Smith and Ma Rainey, to the blues of the 1940s and 50s? Or what kinds of guitar or piano solos seemed to be important to audiences in different genres and time periods of rock (be sure to specify your categories carefully, e.g. comparing British rock to garage rock, early 80s hair metal to late 80s hair metal, etc.

For each example chosen from the listening lists, you may choose one example not on the listening lists ó as long as you carefully cite the example (artist, song title, date of original recording) and include a link to a free online version. (If you’re analyzing 4-5 solos total, up to two of them may be from off the listening lists; if you analyze 2 or 3, one may be off the listening lists.)

Up to 15 points of extra credit is available points for each solo that you describe. However, in order to earn any credit, you must not only use terms in the course to describe the sound of each solo, in detail, but also attempt to address one of the questions above, using all of the chosen solos to support your point.

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