Music Senior Integrated Projects

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This collection includes Senior Integrated Projects (SIPs, formerly known as Senior Individualized Projects) completed in the Music Department. Abstracts are generally available to the public, but PDF files are available only to current Kalamazoo College students, faculty, and staff. If you are not a current K College student, faculty, or staff member, email us at to request access to this material.


Recent Submissions

Now showing 1 - 5 of 79
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    Redefining Location: How Kendrick Lamar Expands Locality in Hip Hop Through DAMN
    (2022) Miller, Hope; Bothwell, Beau
    Kendrick Lamar has been a household name since 2012, when he released his critically acclaimed album, good kid, m.A.A.d. city. Lamar, born in Compton California, has released several classic hip hop albums since his rise to fame. This paper evaluates the impact of his most recent solo album, DAMN, on locality and the process of localization in the hip hop community. I argue that Lamar’s album pushes the barriers of traditional understandings of the process of localization and the tools used to achieve it. Lamar expands the concept of locality in hip hop beyond geographical populations, broadening it to include a community influenced by religion, race, education level, and musical style in addition to communities based on a geographical location. I will explore the influence of DAMN on the expansion of locality in regards to hip hop. First, I examine Kendrick Lamar’s past as an individual and an artist, his hometown of Compton, California and its past significant hip hop artists and adopted style. Then, by juxtaposing Lamar’s style to that of established Compton style, I will examine the unique features of Lamar’s music plus his incorporation of traditional Compton style that come together to expand locality in his music beyond Compton itself. I will measure Lamar’s influence on the expansion of the local community by examining the diverse collection of awards, accolades, and recognition received by the album, with attention to album sales and chart placement. Finally, I discuss the potential future influence DAMN could have on expectations regarding the use of locality and the process of localization in hip hop, specifically Compton hip hop.
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    A Business Strategy for Independent Record Labels in 2019
    (2019-11-22) Thomas, Josiah M.; Ludwa, Christopher J.
    This Hip Hop business strategy includes situational analysis, case studies, a marketing plan, and operational plan. The other concludes with ten important lessons learned in the process: 1. If I am going to be an entrepreneur then it is my job to dive into things head first. I can only do so much planning and thinking. I must accept that I do not have all the answers and over time I will need to adapt. 2. Document EVERYTHING! Writing everything down all the time allows me to develop ideas thoroughly and easily retrieve that information at a later date. My pen and notebook should become one of my most prized possessions. 3. I cannot be afraid to change my mind. I am human and I will make mistakes. I cannot let my ego or my pride hold me back from making a change for the better. 4. To take any business to scale it needs have a well thought out process for every piece of the business. An exact way of accomplishing tasks that can be repeated easily by anyone. Every part of your business needs to run automatically. 5. Business is a team effort and I will need to trust and rely on my teammates to accomplish what we could never accomplish by ourselves. of 73 81 A BUSINESS STRATEGY FOR INDEPENDENT RECORD LABELS IN 2019 6. A good leader’s job is make everyone else better at their job and make their jobs easier. As a leader of this company it is my responsible to take care of everyone. I work for my teammates not the other way around. 7. I am deadline oriented. Setting deadlines for myself helps me and my team helps push the projects forward at the pace that is needed. 8. I cannot let setbacks dramatically impact my mental state. Feel them and learn from them but do not dwell. Do not overvalue what has already happened. 9. Some of my biggest weaknesses is that I let my emotional state affect my work ethic too often, I get too competitive when I meet other talented people, I will try to compete with them at anything even when it is about something I am personally not interested in, and that I have yet to identify my life’s purpose which can affect my ability to think in the long term and even impairs the speed of which I work. 10. Some of my biggest strengths is my ability to charge ahead into any challenge and execute even when I doubt my ability to overcome the challenge, my ability to manage multiple projects and people at the same time, and my ability to strategize and adapt to accomplish goals.
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    The World is Yours : SIP Album
    (2020-04-12) Webb, Brandon D.; Decker, Douglas
    An original album. Tracks: Bless You (Intro)- (feat. Philippe Orbe) -2:54 || Close to me -3:13 || Deep- (feat. Meech) -2:17u || Humble- (feat. TinTin) -3:41 || Inner Thoughts (feat. Roezart) -3:17 || KB -3:11 || Listen (Big interlude)- (feat. Big Baby) -4:03 || Love you- (feat. Philippe Orbe) -5:19 || Switched Up- feat. Big Baby -2:33 || The World is Yours -3:17 || West End (OUTRO)- (feat. Phiippe Orbe) -2:55 || Links available on PDF.
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    SIP Piano Recital
    (2020-05-31) Sherman, Jenna
    Program | Three Preludes for Piano--George Gershwin I. Allegro ben ritmato e deciso II. Andante con moto e poco rubato III. Allegro ben ritmato e deciso | The Demon Barber (after "The Ballad of Sweeney Todd" from Sweeney Todd)--Stephen Sondheim and Kenji Bunch | Impromptus. Op. 90--Franz Schubert No. 2, in Eb Allegro No. 4, in Ab Allegretto | Piano Sonata No. 17 in D minor Op. 31, No. 2 ("The Tempest")--Ludwig van Beethoven Mvt. I. Largo--Allegro | Chapelle de Guillaume Tell (No. 1 from Annees de Pelerinage I: Suisse)--Franz Liszt | Le Cygne (The Swan) from The Carnival of the Animals--Camille Saint-Saens | Livestreamed Sunday, May 31st, 2020, 3pm,
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    “Sailing Seas Depends on the Helmsman” : Songs of the Cultural Revolution in China
    (2016) Shin, Geon-Ah; Bothwell, Beau
    This paper examines how music was utilized as a political tool during the Cultural Revolution in China (1966-1976) by analyzing musical compositions from three different time periods: pre Cultural Revolution, early years of Cultural Revolution (1966-1969), and the late years of Cultural Revolution (1971-1976). The analysis shows that music during the Cultural Revolution was mainly used to unite and mobilize the masses under a single political ideology: Maoism. However, research suggests that despite the utilitarian approach to music, the overwhelming nostalgia that the older generations in China have for the Cultural Revolution shows that there is a higher purpose to music than a simple political tool.
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