Abstract
The paper examines the film "SLC Punk", with the atmosphere of America in the 1980s, in the middle of the Reagan administration, used as a setting for the film. The paper looks at how the film deals with the issues of punk politics versus mainstream American ideology and the battle between staying true to one's beliefs and selling out to the system. The paper looks at these issues in the context of a specific scene from the film which depicts the interaction of punks at a party. It also introduces the movement called punk rock, an often misunderstood and much maligned group.

From the Paper
"Beyond the text of this scene, we have the editing as a vessel for the message of punk's rebellious nature. The scene is made to look like one continuous pan across the room, but it is in fact 8 jump cuts. Every time the camera stops on a subject there is a jump cut, as if the camera was stopped, moved a foot or two to one side, and restarted. Some of these are smooth and barely noticeable, while others like the 3 distinct shots of Steveo at the end of the scene, are very obvious and slightly disorienting. So what does this have to do with punk? Is this just not bad editing, or perhaps simply shot to look different? Perhaps, but this kind of editing stands against every standard filmic convention, much like punk stands against ideological conventions. This is not the only scene in the film in which there are prominent jump cuts. Like punk, the editing was done to subvert conventions, to create it's own aesthetic that was unique. Unfortunately, also like punk, the defiance of convention becomes very systematic by the end, and ends up becoming an institution in itself."

Tags:political, movement, Satanic, Surfers, The, Dead, Kennedy?s, Steveo, MTV

Abstract
This paper discusses the social phenomenon of American rap star Eminem. It investigates if he exposes hypocrisy in our society through social criticism, or is merely profiting from shock value. The paper questions the entire genre of rap music and it's supposed negative cultural affects.

From the Paper
"Crichlow, in his study entitled "Rap Music: Agents for Social Change and Agents for Social Destruction" (1990), cites Stanley Aronowitz's idea that popular culture produces cultural relevance, as he defines popular culture as "really the property of the sphere in which people" of whatever class or racial group "actually produce their own cultural artifacts and their own cultural relations" (Crichlow, 1990: 6). There are many different forms of popular culture which produce many different cultural effects: some intentional, and some unintended. One area that is hotly contended today involves the effects of rap music on youth. The questions are raised: Does rap music have a negative impact on youth? Does it promote hate and violence? Are these acts of hate and violence also committed by heroes and villains, good and bad people? Are there too many controversial issues in the type of music and music lyrics that people in our culture like? In seeking to find answers, rappers, like Eminem, are often blamed as agents of social destruction."

Tags:mysogyny, homophobia

Abstract
The writer asks and answers questions concerning digital radio. Will this format be here to stay or will it just become a stepping stone technology? Will the world decide on a single transmitting format? And most importantly, will the general consumer accept this new technology? The beginnings of digital radio have already been seen. These stations, which are received via satellite, have been used by businesses to provide a variety of digital, commercial-free, music to be enjoyed by their customers.

From the Paper
"The future of digital radio in Canada relies mostly on the L-Band which Canada introduced to world in 1992. The L-Band is basically a carrier that uses both terrestrial and satellite signals for wireless transmissions. This makes for a carrier that far exceeds that of its predecessors, the FM and AM band, which the government plans to replace by 2010. After digital radio becomes the standard, the CRTC plans on using the AM/FM frequencies for other purposes of wireless transmission. AM radio covers the frequencies of 530KHz to 1630Khz for a bandwidth of 1.1MHz. The bandwidth needed, though, for each channel is 0.01MHz. FM covers the band of 88MHz to 108MHz for a total bandwidth of 20MHz, with 0.25MHz needed per channel. The L-Band on the other hand ranges between 500MHz to 1500MHz, although for digital radio only frequencies from 1452MHz to 1492MHz. are slated. This leaves digital radio with the bandwidth of 40MHz, where 1.5MHz of bandwidth is needed for the 48KHz, 16bit uncompressed audio."

Tags:transmitter, music, technology, satellite, station

Abstract
The writer begins with the origins of this essential bass instrument, going into what instruments and inventions led to the creation of the tuba. It then talks about its use in both the band and orchestra settings. Finally, it shows the importance of the tuba through its uses and demands.

From the Paper
"Polka, "Oompa", whole notes, blatty, and always behind the beat: the unfortunate, but common images of tubas have often been thus. Even the players have been pictured as nothing that would improve upon the idea of the tuba. These people are usually pictured as geeky, adolescent, fat pimple-faced boys in a high school band, which is full of pig tales, snotty noses, and pocket protectors. Although I am a tuba player, and I have heard and seen such references to these images I would like to show the world, or at least those who read this paper, that the tuba and its family are very important and independent instruments in music and music literature."

Tags:brahms, brass, instruments, mahler, music, musical, wagner

Abstract
This essay shows how two different composers, Schubert and Wolf, with a varied knowledge of "Mignon" relied on their own interpretation of the literature. The essay also explains and develops the differences between the two musical versions of Mignon.

From the Paper
"Throughout history, composers have turned to the poetry of celebrated poets when composing vocal music. Therefore, it is not uncommon to see the same poetry set to music by different composers within the same era. Such an example of this is the setting to music of the Mignon's Lieder from Johann Wolfgang Von Goethe's "Wilhelm Meisters Lehrjahre." Several composers, including Beethoven, Schubert, Schumann, and Wolf have set this group of four poems to music. However, each composer's interpretation of the text varies in a different manner. This is based mostly on the personal understanding of the text, and how each composer perceives it. For the purposes of this discussion, we will be comparing the settings of both Schubert and Wolf. "

Tags:dis, franz, goethe, heiss, hugo, kennst, kennt, land, lasst, lehrjahre, lied, lieder, meisters, mich, mignon, nicht, nur, reden, scheinen, schubert, sehnsucht, so, song, wer, wilhelm, wolf

Abstract
This paper analyzes the Latin-jazz piece "110 St. and 5th Ave" by Puerto Rican composer, Noro Morales, in terms of texture, metre, timbre and various other musical qualities. The paper includes background information on the emerging Latin scene in 1940s New York City, as well as traditional instruments used in Latin music.

From the Paper
"Noro Morales' piece, "110th Street and 5th Avenue" was created in the 1940's amid a thriving Latin music scene in New York City. Morales was born in San Juan, Puerto Rico to a family of prominent musicians (Morales). He achieved success as a composer and musician in his homeland, then later moved to New York in 1935. During this time period, many now-famous Latin musicians such as Tito Puente and Morales composed and experimented with various forms of Latin music. These forms included salsa, meringue, mambo, and rumba. These forms of music incorporated brass and woodwind instruments, mostly in minor keys such as the Cuban tres, above percussion. These forms of music were also lively, up-tempo, and heavily rhythmic, essentially meant for dance (Mambo). Mambo, as well as its predecessors, danzon and salsa, was derived from Afro-Cuban rhythms (Mambo). These sounds and rhythms can be heard in this piece."

Tags:clave, cuba, mambo, puente, salsa, saxophone

Abstract
Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.

From the Paper
"The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."

Tags:armstrong, coltrane, race, racism, shaw

Abstract
This is an essay dealing with the injustices against rapper Eminem in September of 2000. The artists attempts to enter Canada for his concert but the politicians try to ban his entry using Canadian laws as protection. This essay looks at the negative aspects of our law and shows how it can be used to mistreat certain individuals. The arguments discussed are the incorporation of law, the people's controversy and vile lyrics.

From the Paper
"In Canada, we have the freedom to an opinion, speech, and belief, but how far does this freedom go? Many times, artists' and singers' lyrics are censored because what they have to say cannot be heard by all. In a particular case, involving a concert at Sky Dome on October 2000, a strong attempt was made to ban rapper Eminem from entering Canada because of the content and themes of his musical lyrics. Eminem was not being granted his rights to freedom of speech and was being punished for it. New and viler lyrics, the people's controversy, and incorporating the law, are factors which almost made Canada strip Eminem of his fundamental freedom to express his opinion through his lyrics. "

Tags:canada, charter, concert, freedom, lyrics, mysogynist, rap, speech

Abstract
This paper examines how one important mode of expression that emerged during the Modern period was Surrealism. By looking at several scholar's definition of surrealism, the writer discusses how this movement has affected popular society, focusing on the music industry.

From the Paper
"Commenting on the longer influence of Surrealism up to the present with reference to socio-political phenomena it is clear that underground and popular culture in the West have both been changed to a certain extend by this mode of expression. Although the visual arts, especially film, have not escaped the wraith of Surrealism it would seem that music in the twentieth and twenty-first centuries has been even more profoundly affected by Surrealism. Many genres of popular music including modern classical, jazz, hip-hop, and ambient spawn musicians who compose music with a Surrealist edge. Yet it may be the genre of rock & roll where Surrealism has had the most impact."

Tags:psychedelic, symbolism, modern, society

Abstract
This paper discusses the cultural icon, Madonna and how she has maintained her popularity by consistently challenging popular perceptions of herself and representations of other women, offering an outward, public identity that defies male control and asserts herself as a sexual subject rather than an object. She is a woman who has reached the peak of celebrity without giving into the structural inequalities or traditional representations that female success in the past has relied upon. It raises the question of whether she can be viewed as a feminist or not since, as a performer and artist, she has undertaken subjects and themes that are controversial, especially in terms of mass public reaction.

From the Paper
"The fact that the meaning that Madonna transmits and receives are rooted in representational language and performance causes some problems for her. Some feel that the "real" Madonna is hidden behind her image and stage show, and that her real identity is one that is sublimated behind her public identity. The importance of representation in Madonna's identity is evident as one author, cited by E. Deidre Pribham in her essay on the film "Truth or Dare," questions whether it is all just a big, contrived act, "Everywhere the fabricated, the inauthentic and the theatrical have gradually driven out the natural, the genuine and the spontaneous until there is no distinction between real life and stagecraft" (195). "

Tags:postmodern, singer