According to the dictionary music is having rhythm, melody, or harmony. But it's really underestimated, more so than anyone actually realizes! Music is a learning, a therapy, and teaching tool. Music adjusts our moods, and used throughout our lives. To lead a healthy life, we need to incorporate music. Whether playing it, listening to it, or using it.
Music is therapy because of its positive changes in human behavior. The therapy consist of singing, playing instruments, moving to music, and listening to music. This builds your communication skills, motor skills and emotional development.
Music comes into our lives at an early age. I wake up crying from a terrifying nightmare, looking around for my mommy. The light turns on. She comes up and sits on the bed, saying everything is O.K. I tell her a monster was coming after me, in between my heavy breathing, A light peaceful voice starts coming out of her mouth. "Rock a bye baby on the tree top, when the wind blows the cradle will rock." My eyes slowly shout and I'm back to sleep again.
We learn music in Elementary School. Don't you remember learning your first song and singing it to all the parents? It's a great learning tool for the teachers.
Music is everywhere including in an elevator. As I step in to an elevator, sea of staring faces and in an enclosed space, my heart beats a little faster. The first thing heard is the music, with its relaxing and calms melody. We have something for our mind to focus on, and not all the people around you or to remember that we're claustrophobic.
Music is every where we go, even in store. What the purpose of this? Why that is easy, it's to make the customer as comfortable as possible. When we are comfortable we're in a good mood, ready and willing to spend our money.
If you like it or not music is a huge part of our lives. The good out weighs the bad. Music leads to a healthy life. One would need to incorporate music; whether playing it, listening to it, or using it.
Tuesday, August 10, 2010
Music and Moods
Tim Armstrong- Tim is the mastermind behind the powerful lyrics. He started his musical career in a band called Operation Ivy, but after three years of music, the band found it hard to continue. Tim was caught up in drinking and drug use and needed to get his life back together. Along with Matt, he formed Rancid, and many of his problems where solved. He has been put into the spotlight of the band, mainly because of his 12-inch mohawks and stylish dress. But dont be fooled by his looks, he is a great musician and knows how to make beautiful music.
Lars Fredrickson- Lars was the last member to join Rancid. He wasn't actually part of the band until days before the first record was recorded. Before Rancid, Lars played guitar in a band called U.K. Subs. Since joining Rancid, his guitar skills have improved, as well as his writing abilities. He also became close friends with Tim, and helped Tim kick his bad habits. Lars plays a vital role in Rancid, as a musician, and a friend.
Matt Freeman- Matt, in my opinion, is the best bass player to ever play. His harmonizing riffs give Rancid a wonderful background, and completely change the feel of the music. He was also part of Operation Ivy and his talents are obvious even in his early years. He was one of the original members of Rancid, and helped build the foundation that Rancid offers in the world of music. Rancid would not be the same without him.
Brett Reed- Brett, like most drummers, does not recieve the credit he deserves. He adds a vital part to Rancid by keeping a beat easy to follow and fun to listen to. His role could not be filled by anyone else without drastically changing the success of Rancid's music.
Lars Fredrickson- Lars was the last member to join Rancid. He wasn't actually part of the band until days before the first record was recorded. Before Rancid, Lars played guitar in a band called U.K. Subs. Since joining Rancid, his guitar skills have improved, as well as his writing abilities. He also became close friends with Tim, and helped Tim kick his bad habits. Lars plays a vital role in Rancid, as a musician, and a friend.
Matt Freeman- Matt, in my opinion, is the best bass player to ever play. His harmonizing riffs give Rancid a wonderful background, and completely change the feel of the music. He was also part of Operation Ivy and his talents are obvious even in his early years. He was one of the original members of Rancid, and helped build the foundation that Rancid offers in the world of music. Rancid would not be the same without him.
Brett Reed- Brett, like most drummers, does not recieve the credit he deserves. He adds a vital part to Rancid by keeping a beat easy to follow and fun to listen to. His role could not be filled by anyone else without drastically changing the success of Rancid's music.
Dance with the Music
When we think of gifts, we picture little boxes covered with shiny wrapping paper and a cute little ribbon on top. For my fifth birthday, my present didn’t exactly fit these “requirements”.
Sitting down in front of the piano every night, I can remember the time
when one little girl’s dream came true. Immediately after I woke up on the day of my fifth birthday, my parents blind-folded me and led me to the dining room. Taking off the handkerchief, I stood in front of the most beautiful piano I had ever seen. In front of me was a brown, upright Wurlitzer, my very own piano. I immediately pulled out the chair
from under the piano and opened the lid. I took a deep breath and played Jingle Bells, the only song I could memorize at the time. Gliding my fingers over the smooth piano keys, I couldn’t believe that this was actually happening.
Turning five, I was only interested in music. While other children would sit in front of their televisions and bug their eyes out watching Barney and Sesame Street, I became engrossed in watching tapes of ballets, concerts, and musicals. It was evident that I was a child who would grow to love music and its art; however no one could ever imagine that this interest would evolve into a significance that would change my childhood forever.
At around the same time, I realized that my cousin Caroline was my role model. She was a tall girl that would blow people away as soon as she
stepped into a room; you could sense her magnificence from a mile away. Caroline was attracted to just about everything that I was, and excelled at all the things that she attempted, which included the art of piano. Once I learned that she was such a brilliant musician, I started to beg to learn how to play the piano. Most of my family members thought that this was just some childhood stage that I would quickly get over and drop.
My mother brought me to my first keyboard teacher, Scott. He taught me about all the essentials including the notes, their values, and some simple songs. Although I learned nothing more then the basics, I was overjoyed, treating the uncomplicated steps as gold. Every week after
lessons, I would rush to my parents, skipping with delight, eager to show them what I had learned.
When my fifth birthday was just around the corner, I was positive that I wanted to continue with my studies. I had proved all of my family
member’s beliefs wrong; I wasn’t one of those children who started something then immediately gave up once they lost interest. While at the
same time admitting defeat, my parents decided that it was the perfect time to take me to the next level of what would become my life-long
passion for music. Even though I didn’t receive a miniature box wrapped in luminous paper, the piano that I received as my fifth birthday
present was the cherry on top of the perfect year.
Lifting up my hands and fingers to begin playing my Mozart sonata, I used my amazing reminiscence as motivation to practice even harder and play even better. The incentive that I received from the time surrounding my fifth birthday was put into good use as a catalyst for my success as a musician. My achievement is evident not only in the fact that I have grown from unadorned songs like Jingle Bells and advanced to more complicated pieces that look much like the composer spilled ink all over the page but also that I have learned not only to think of the sounds I make as just beautiful music, but to cherish it as an affection
that I will carry with me for the rest of my life.
Never have I ever had such a memorable present afterwards. The introduction to my love for music will never leave my mind, nor will it
leave my heart.
Sitting down in front of the piano every night, I can remember the time
when one little girl’s dream came true. Immediately after I woke up on the day of my fifth birthday, my parents blind-folded me and led me to the dining room. Taking off the handkerchief, I stood in front of the most beautiful piano I had ever seen. In front of me was a brown, upright Wurlitzer, my very own piano. I immediately pulled out the chair
from under the piano and opened the lid. I took a deep breath and played Jingle Bells, the only song I could memorize at the time. Gliding my fingers over the smooth piano keys, I couldn’t believe that this was actually happening.
Turning five, I was only interested in music. While other children would sit in front of their televisions and bug their eyes out watching Barney and Sesame Street, I became engrossed in watching tapes of ballets, concerts, and musicals. It was evident that I was a child who would grow to love music and its art; however no one could ever imagine that this interest would evolve into a significance that would change my childhood forever.
At around the same time, I realized that my cousin Caroline was my role model. She was a tall girl that would blow people away as soon as she
stepped into a room; you could sense her magnificence from a mile away. Caroline was attracted to just about everything that I was, and excelled at all the things that she attempted, which included the art of piano. Once I learned that she was such a brilliant musician, I started to beg to learn how to play the piano. Most of my family members thought that this was just some childhood stage that I would quickly get over and drop.
My mother brought me to my first keyboard teacher, Scott. He taught me about all the essentials including the notes, their values, and some simple songs. Although I learned nothing more then the basics, I was overjoyed, treating the uncomplicated steps as gold. Every week after
lessons, I would rush to my parents, skipping with delight, eager to show them what I had learned.
When my fifth birthday was just around the corner, I was positive that I wanted to continue with my studies. I had proved all of my family
member’s beliefs wrong; I wasn’t one of those children who started something then immediately gave up once they lost interest. While at the
same time admitting defeat, my parents decided that it was the perfect time to take me to the next level of what would become my life-long
passion for music. Even though I didn’t receive a miniature box wrapped in luminous paper, the piano that I received as my fifth birthday
present was the cherry on top of the perfect year.
Lifting up my hands and fingers to begin playing my Mozart sonata, I used my amazing reminiscence as motivation to practice even harder and play even better. The incentive that I received from the time surrounding my fifth birthday was put into good use as a catalyst for my success as a musician. My achievement is evident not only in the fact that I have grown from unadorned songs like Jingle Bells and advanced to more complicated pieces that look much like the composer spilled ink all over the page but also that I have learned not only to think of the sounds I make as just beautiful music, but to cherish it as an affection
that I will carry with me for the rest of my life.
Never have I ever had such a memorable present afterwards. The introduction to my love for music will never leave my mind, nor will it
leave my heart.
Music Manupulation
I feel that a CD player is a manipulative device. There are many ways a CD player can manipulate, but I have chosen to talk about three specific methods. The first method is the commercial success of the artist. If an artist has found popularity or a lot of recognition a person may think its cool to feel the way the artist does about certain things. A person may change their fashion or anything to show they want to be as cool as the artist is or has as much popularity as the artist is. These are the main ways a person may become manipulated from listening to a certain group or person.
The second way I believe, is how appealing the music is to that particular person. For example, if someone is not a jazz fan then jazz music will not have as much of an impact on him or her as jazz would on a jazz fan. You will listen to what the person is saying and their beliefs if you like the music in the first place. A person must like the music for it to sink into their mind enough to cause the manipulation to occur. The next manipulation is lyrical content.
This lyrical content method is the most influential in my opinion. As mentioned before, if you like the music then you will be more likely to listen to it more closely to hear what the artist is trying to portray. You can be manipulated by the lyrics by starting to believe them yourself or feel a certain way about a social issue. The lyrics can change your moods and your whole outlook on certain parts of life. For example, if your down about something and you listen to a blues song, you will probably agree with what the artist is saying because you will believe that the artist feels that way to. These three ways of manipulation can change the listener somehow, so therefore the manipulation is successful.
The second way I believe, is how appealing the music is to that particular person. For example, if someone is not a jazz fan then jazz music will not have as much of an impact on him or her as jazz would on a jazz fan. You will listen to what the person is saying and their beliefs if you like the music in the first place. A person must like the music for it to sink into their mind enough to cause the manipulation to occur. The next manipulation is lyrical content.
This lyrical content method is the most influential in my opinion. As mentioned before, if you like the music then you will be more likely to listen to it more closely to hear what the artist is trying to portray. You can be manipulated by the lyrics by starting to believe them yourself or feel a certain way about a social issue. The lyrics can change your moods and your whole outlook on certain parts of life. For example, if your down about something and you listen to a blues song, you will probably agree with what the artist is saying because you will believe that the artist feels that way to. These three ways of manipulation can change the listener somehow, so therefore the manipulation is successful.
Music Appreciation
The musicians are divided into four main groups called sections: (1) the
string section, (2) the woodwind section, (3) the brass section, (4) and the
percussion section. The various instruments in the string, woodwind, and
brass section are pitched in different ranges, like voices in a choir. In the
following discussion, the instruments in each of these sections are listed in the
order from those of the highest range to those of the lowest. Some percussion
instruments are also tuned to definite pitches, but most of them have an
indefinite pitch.
The string section is the heart of a symphony orchestra. It has more
than half of the musicians and consists of from 20 to 32 violins, 8 to 10
violas, 8 to 10 cellos, and 6 to 10 string basses. The violinists are divided
into two groups of equal size. The first violins play the highest-pitched part
in the string section, and the second violin play the next highest. The leading
first violinist serves as concertmaster of the orchestra. the concertmaster
directs the other musicians in tuning their instruments and may also be the
orchestra’s assistant conductor.
The woodwind section consists chiefly of flutes, oboes, clarinets, and
bassoons. An orchestra has from 2 to 4 of each of these instruments. The
musicians in this section also play various other woodwind instruments when
a score requires them to do so.
The brass section consists of 2 to 5 trumpets, 2 to 8 French horns, 2 to
4 trombones, and 1 tuba.
The percussion section includes two or more timpani, or kettle drums,;
bells and cymbals; wood blocks; and bass drum, gong, snare drum, triangle,
tambourine and xylophone.
The conductor knows that each of these sections are crucial to the
sound necessary for the score, therefore, he or she designs the seating
arrangement to produce a certain blend of sounds. The basic seating
arrangements are as follows: the strings form a semicircle around the
conductor; the woodwind instruments are arranged in the center, with the
percussion and brass sections at the rear.
The musicians have many responsibilities. Some of these
responsibilities are to be prepared to work hard to achieve the perfection that
the conductor needs to make the score sound right, be prepared and on time
to all rehearsals, to behave appropriately at a concert and rehearsals to insure
that the conductor has their total attention and the musicians are focused, and,
ultimately, listen to the conductor’s instructions. They must remember that
the conductor is the person in charge, and, although they may not always
agree with the way that he or she feels about the music, they are to play their
hearts out , but to play as the conductor has designated them to. They must
keep up with the music to make sure that the music flows and that the
harmony does not get mixed up with the melody and to insure that the music
will be played as intended or as instructed by the conductor.
The conductor directs the musicians by keeping time with the baton or
with his or her hands, and by means of gestures and facial expression.
However, the conductor do their most important work before a
performance-and even before rehearsing a composition. In most cases, the
conductor selects the music to be played at a concert. After selecting a work,
the conductor’s first job is t interpret the music by deciding exactly how it
should be played. Interpretation of a work includes such elements as tempo,
tonal quality, and phrasing. After determining these features of the score, the
conductor rehearses the music with the players.
During a rehearsal, the conductor asks individual musicians or sections
to play various parts of the score again and again until the desired effect has
been achieved. He or she strives for the correct balance among the many
instruments playing at the same time and adjusts the sound to suit to acoustics
of the performance hall. The finest conductors are respected not only for
their musical skill but also for their ability to inspire both musicians and
audiences.
The conductor has the right to determine the difficulty of the music.
Usually, the difficulty is determined upon the performance of the musicians
and how hard they work at the music. The music can range form simple and
easy music to hard and fast music, but the musicians must be willing to work
very hard to make sure that they contribute the same amount of effort if not
more to achieve the great sound of music that is written in the score. Believe
me that a conductor will use moderation and will not be harsh to his or her
students by giving a beginning class on the first day a piece of Beethoven or
an advanced orchestra simple plucking or breathing exercises, sometimes just
for fun. The conductor would like to see that all of his or her pupils are
mastering the music provided, and would like to see them grow musically.
But, in order to keep everything on a professional level, there must be a level
of respect between the both of them, and the musician must always remember
that the conductor has the right to tell you if you are able to play in the
orchestra and that playing in such a high esteemed place must be respected
and not abused by either of the parties included.
string section, (2) the woodwind section, (3) the brass section, (4) and the
percussion section. The various instruments in the string, woodwind, and
brass section are pitched in different ranges, like voices in a choir. In the
following discussion, the instruments in each of these sections are listed in the
order from those of the highest range to those of the lowest. Some percussion
instruments are also tuned to definite pitches, but most of them have an
indefinite pitch.
The string section is the heart of a symphony orchestra. It has more
than half of the musicians and consists of from 20 to 32 violins, 8 to 10
violas, 8 to 10 cellos, and 6 to 10 string basses. The violinists are divided
into two groups of equal size. The first violins play the highest-pitched part
in the string section, and the second violin play the next highest. The leading
first violinist serves as concertmaster of the orchestra. the concertmaster
directs the other musicians in tuning their instruments and may also be the
orchestra’s assistant conductor.
The woodwind section consists chiefly of flutes, oboes, clarinets, and
bassoons. An orchestra has from 2 to 4 of each of these instruments. The
musicians in this section also play various other woodwind instruments when
a score requires them to do so.
The brass section consists of 2 to 5 trumpets, 2 to 8 French horns, 2 to
4 trombones, and 1 tuba.
The percussion section includes two or more timpani, or kettle drums,;
bells and cymbals; wood blocks; and bass drum, gong, snare drum, triangle,
tambourine and xylophone.
The conductor knows that each of these sections are crucial to the
sound necessary for the score, therefore, he or she designs the seating
arrangement to produce a certain blend of sounds. The basic seating
arrangements are as follows: the strings form a semicircle around the
conductor; the woodwind instruments are arranged in the center, with the
percussion and brass sections at the rear.
The musicians have many responsibilities. Some of these
responsibilities are to be prepared to work hard to achieve the perfection that
the conductor needs to make the score sound right, be prepared and on time
to all rehearsals, to behave appropriately at a concert and rehearsals to insure
that the conductor has their total attention and the musicians are focused, and,
ultimately, listen to the conductor’s instructions. They must remember that
the conductor is the person in charge, and, although they may not always
agree with the way that he or she feels about the music, they are to play their
hearts out , but to play as the conductor has designated them to. They must
keep up with the music to make sure that the music flows and that the
harmony does not get mixed up with the melody and to insure that the music
will be played as intended or as instructed by the conductor.
The conductor directs the musicians by keeping time with the baton or
with his or her hands, and by means of gestures and facial expression.
However, the conductor do their most important work before a
performance-and even before rehearsing a composition. In most cases, the
conductor selects the music to be played at a concert. After selecting a work,
the conductor’s first job is t interpret the music by deciding exactly how it
should be played. Interpretation of a work includes such elements as tempo,
tonal quality, and phrasing. After determining these features of the score, the
conductor rehearses the music with the players.
During a rehearsal, the conductor asks individual musicians or sections
to play various parts of the score again and again until the desired effect has
been achieved. He or she strives for the correct balance among the many
instruments playing at the same time and adjusts the sound to suit to acoustics
of the performance hall. The finest conductors are respected not only for
their musical skill but also for their ability to inspire both musicians and
audiences.
The conductor has the right to determine the difficulty of the music.
Usually, the difficulty is determined upon the performance of the musicians
and how hard they work at the music. The music can range form simple and
easy music to hard and fast music, but the musicians must be willing to work
very hard to make sure that they contribute the same amount of effort if not
more to achieve the great sound of music that is written in the score. Believe
me that a conductor will use moderation and will not be harsh to his or her
students by giving a beginning class on the first day a piece of Beethoven or
an advanced orchestra simple plucking or breathing exercises, sometimes just
for fun. The conductor would like to see that all of his or her pupils are
mastering the music provided, and would like to see them grow musically.
But, in order to keep everything on a professional level, there must be a level
of respect between the both of them, and the musician must always remember
that the conductor has the right to tell you if you are able to play in the
orchestra and that playing in such a high esteemed place must be respected
and not abused by either of the parties included.
Industrial Music
Rock and roll is dead. It's a fact. During the eighties romp of techno
and fashion bands, people forgot all about it. In the late eighties and early nineties alternative music tried to save rock and roll, but it was too big of a category. If a band didn't sing country or rap, they were considered alternative. Every alternative band had their own idea of music, and it all spread apart, running farther away from rock. Finally, when alternative became more defined and broke off into categories, one specific type of alternative offspring, industrial music, made the best attempt in a decade to revive thelong forgotten era of rock and roll. The only problem with this new rock is that it was angered from being forgotten for over a decade and now it's back, filled with angst and hatred. Industrial music has weaved rock and roll with evil and misery.
The founder and leader of the industrial revolution is the band Nine Inch
Nails. Most people do not classify Nine Inch Nails as a band though. The
writer, producer, lead vocalist, keyboarder and guitarist of the band is Trent Reznor. For the past two years, Trent has been the artist of the year in Spin magazine and NIN has been the number two band of the year. In 1994, Nine Inch Nails was announced MTV's band of the year. This was a great honor because MTV spends most of it's time with rap and hip-hop. When NIN's first album came out in 1989, it was mostly rock and roll with a techno twist, containing songs full of depressing, suicidal lyrics. Then as the next two albums arose, Trent became more evil with his music, using machines and pretty much anything he could find that would make his music sound angered and irritated. This hard, twisted music, backed up by words of pure hatred started the industrial ball rolling.
One band that has tried to lighten up industrial just a tad is KMFDM, a
German industrial band. The band name stands for Klein Mitlied Fuhr Das
Merhiet, which is Little pity for the tyranny. Instead of using the suicidal, evil lyrics, KMFDM has used their music as more of a philosophical communication. They sing about how screwed up they think the world is and how much we are controlled by people we didn't know existed. The lyrics may sound depressing still, but the music is a little more upbeat. KMFDM got rid of the tortured machine sounds and added horns and synthesizers, making the music sound more digital and less like grinding gears. Doing this, KMFDM was able to appeal to a larger group.
After the invasion of rap and hip-hop, rock and roll was never the same, and when it tried to make a comeback, it exploded into numerous little musical categories, all with rock components, but none with the same hard flare of the original. But now, rock and roll is back, and it's mad as hell. Industrial is the closest thing to rock that we have, just a little more demented. Now that people are getting bored of the same old pointless rap songs, all of the little alternative categories are getting looked into more seriously and industrial music is thriving, creating a new future for the once destroyed rock and roll.
and fashion bands, people forgot all about it. In the late eighties and early nineties alternative music tried to save rock and roll, but it was too big of a category. If a band didn't sing country or rap, they were considered alternative. Every alternative band had their own idea of music, and it all spread apart, running farther away from rock. Finally, when alternative became more defined and broke off into categories, one specific type of alternative offspring, industrial music, made the best attempt in a decade to revive thelong forgotten era of rock and roll. The only problem with this new rock is that it was angered from being forgotten for over a decade and now it's back, filled with angst and hatred. Industrial music has weaved rock and roll with evil and misery.
The founder and leader of the industrial revolution is the band Nine Inch
Nails. Most people do not classify Nine Inch Nails as a band though. The
writer, producer, lead vocalist, keyboarder and guitarist of the band is Trent Reznor. For the past two years, Trent has been the artist of the year in Spin magazine and NIN has been the number two band of the year. In 1994, Nine Inch Nails was announced MTV's band of the year. This was a great honor because MTV spends most of it's time with rap and hip-hop. When NIN's first album came out in 1989, it was mostly rock and roll with a techno twist, containing songs full of depressing, suicidal lyrics. Then as the next two albums arose, Trent became more evil with his music, using machines and pretty much anything he could find that would make his music sound angered and irritated. This hard, twisted music, backed up by words of pure hatred started the industrial ball rolling.
One band that has tried to lighten up industrial just a tad is KMFDM, a
German industrial band. The band name stands for Klein Mitlied Fuhr Das
Merhiet, which is Little pity for the tyranny. Instead of using the suicidal, evil lyrics, KMFDM has used their music as more of a philosophical communication. They sing about how screwed up they think the world is and how much we are controlled by people we didn't know existed. The lyrics may sound depressing still, but the music is a little more upbeat. KMFDM got rid of the tortured machine sounds and added horns and synthesizers, making the music sound more digital and less like grinding gears. Doing this, KMFDM was able to appeal to a larger group.
After the invasion of rap and hip-hop, rock and roll was never the same, and when it tried to make a comeback, it exploded into numerous little musical categories, all with rock components, but none with the same hard flare of the original. But now, rock and roll is back, and it's mad as hell. Industrial is the closest thing to rock that we have, just a little more demented. Now that people are getting bored of the same old pointless rap songs, all of the little alternative categories are getting looked into more seriously and industrial music is thriving, creating a new future for the once destroyed rock and roll.
Music Writer
The job of being a music writer entails many things. As most people believe, they do more then criticize artists work. In an email interview between Steven Ward, and David McGee (a music writer), David tells of how he works for BarnesandNoble.com as a country music editor. He states, "What we do at bn.com is not music criticism—because bn.com hopes to sell these albums, the reviews emphasize the albums' positive aspects." This shows us how music writers aren't always criticizing new artists, and old artists. Some jobs require you to do that, such as certain magazines. David McGee also talks about how the best part of his job is being able to interview to artists, and getting to see what their personalities are like when they are not performing, or not in front of a camera. To me I think that would be the most interesting part. He got to interview such country stars as, Shelby Lynne, Trisha Yearwood, and Charlie Daniels. Between the interviews, and research of the albums, the music writer describes the album, and what aspects of it may appeal to people, and what aspects may not appeal to people. Most jobs may set restrictions on how much you can say about one album, meaning the bad stuff written about the album.
I feel that being a music writer would be a fun job to have. You would get to meet all the famous stars, along with local stars that are just beginning. You would be able to understand how they started, and how they lived their lives before they hit it big in the music industry. Being able to listen to the albums, and let people know what to look for before buying it, or trying to get people to buy it by telling them how good the album really is, interests me.
I feel that being a music writer would be a fun job to have. You would get to meet all the famous stars, along with local stars that are just beginning. You would be able to understand how they started, and how they lived their lives before they hit it big in the music industry. Being able to listen to the albums, and let people know what to look for before buying it, or trying to get people to buy it by telling them how good the album really is, interests me.
Music Sharing
The music industry has prospered for many years in the past with few copyright problems. However, with the rise of the Internet in the late 1990s, the music industry began to face a new foe like no other. With the combination of software such as Napster and the MP3 technology, users can now download songs with near CD quality at no cost. With all this new computer technology(Internet, MP3, Napster), moral issues have been subject to debate like never before.
Is downloading free music stealing from the music industry? From the way I see it, the music industry has brought this upon themselves due to overpriced CD’s. A CD costs on average 12 dollars. The CD’s usually have one or two good songs that are worth listening to. For over twenty years, the industry has not changed their marketing methods. If a person were given a choice, either to buy a 12-dollar CD for one song or download that same song free of charge, this person would most likely choose the latter. This essay will go into depth on the moral aspect of this issue. For example, whether or not it is right to download music for free while artists lose money. Artists after all, have spent a lot of time and effort into producing a CD Indeed, this technology hurts the artists and those involved in the music industry the most. Lawsuits have recently gone on and off, in my opinion, without purpose. The reason being that there are many ways to download music from the Internet and many file swapping softwares being created at the same time.
Determining whether or not file sharing is stealing from the music industry will require moral issues to be discussed in depth.
Is downloading free music stealing from the music industry? From the way I see it, the music industry has brought this upon themselves due to overpriced CD’s. A CD costs on average 12 dollars. The CD’s usually have one or two good songs that are worth listening to. For over twenty years, the industry has not changed their marketing methods. If a person were given a choice, either to buy a 12-dollar CD for one song or download that same song free of charge, this person would most likely choose the latter. This essay will go into depth on the moral aspect of this issue. For example, whether or not it is right to download music for free while artists lose money. Artists after all, have spent a lot of time and effort into producing a CD Indeed, this technology hurts the artists and those involved in the music industry the most. Lawsuits have recently gone on and off, in my opinion, without purpose. The reason being that there are many ways to download music from the Internet and many file swapping softwares being created at the same time.
Determining whether or not file sharing is stealing from the music industry will require moral issues to be discussed in depth.
Music Therapy
Rynjulf Stige is the first Coordinator of the music therapy education program at Sogn og Fjordane University in Sandane, Norway, where he is an associate professor. With diverse experiences as a music therapist using a community based approach, Stige has written numerous articles and books on music therapy and music education. He is editor-in-chief of the Nordic Journal of Music Therapy, and co-editor (with Carolyn Kenny) of Voices: A World Forum for Music Therapy. He is one of the most insightful thinkers working within the music therapy profession. He believes that humans cannot escape culture. Through culture, we are provided the tools we need to deal with challenges of everyday life. Stige believes that culture has not been focused on enough and in his book, Culture-Centered Music Therapy, he brought the culture to the music therapy world.
His book is divided into four main parts excluding the introduction, preface, etc. Part One of the book, outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, "musicking," and the nature-nurture debate. Part Two highlights how culture-centered music therapy may be practiced. The scope varies from community music therapy (aimed in part on cultural change in the community), to ecological music therapy (focusing on communication at micro- and mesosystem levels), to individual music psychotherapy (considering the individual in cultural context). In Part Three, implications for describing and understanding music therapy are discussed, including a chapter on how to define music therapy as a practice, discipline, and profession. A culture-inclusive model of the music therapy process is also proposed. Part Four suggests approaches to music therapy research within a culture-centered context. A call for increased reflexivity, the ability to reflect upon one's social and cultural position, is at the heart of the discussion, along with a continuing theme of this book: the relations and tensions between local and more general perspectives on music therapy.
Focusing more on Part I, the first three chapters that make up that section educate the reader on key premises that arise throughout the rest of the text.. The first chapter explores an integration of themes from biology, history and culture. It opens with a concise and scholarly history of the concept of culture, discussing etymological roots and noting different uses and misuses throughout history. Reference is made to the disciplines of anthropology and ethnography, the latter playing a significant part throughout the text. The philosopher Wittgenstein is soon introduced, in particular his work on language games. Stige believes that we cannot discuss any definition of culture without recourse to understanding what it is to be human. He cites scholars integrating biological and psychological processes. The work of Stern and Trevarthen is well known to many as bio-psychological underpinnings to music therapy practice. I was interested to learn more of further links between music therapy and the work of Bruner and Vygotsky, in particular Vygotsky's notion of Zone of Proximal Development. In summarising some of this cultural background Stige outlines two central themes of his overall thesis: our inborn need to experience a sense of community and the process of reflexivity, 'the ability to think of oneself in relation to others' (p.33). He differentiates culture defined for music therapy with the various customs and technologies that regulate our existence from culture-centred music therapy (our awareness of music therapy as culture - page 42). Culture-specific music therapy is also defined as where the cultural identities of both client and therapist meet.
A major stress of the book is the need for cultural sensitivity because awareness of how various disorders and diagnostic labels are also relative to the local community and culture of the person. The personal and cultural levels of experience can be heard in a reflexive approach to music therapy.
His book is divided into four main parts excluding the introduction, preface, etc. Part One of the book, outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, "musicking," and the nature-nurture debate. Part Two highlights how culture-centered music therapy may be practiced. The scope varies from community music therapy (aimed in part on cultural change in the community), to ecological music therapy (focusing on communication at micro- and mesosystem levels), to individual music psychotherapy (considering the individual in cultural context). In Part Three, implications for describing and understanding music therapy are discussed, including a chapter on how to define music therapy as a practice, discipline, and profession. A culture-inclusive model of the music therapy process is also proposed. Part Four suggests approaches to music therapy research within a culture-centered context. A call for increased reflexivity, the ability to reflect upon one's social and cultural position, is at the heart of the discussion, along with a continuing theme of this book: the relations and tensions between local and more general perspectives on music therapy.
Focusing more on Part I, the first three chapters that make up that section educate the reader on key premises that arise throughout the rest of the text.. The first chapter explores an integration of themes from biology, history and culture. It opens with a concise and scholarly history of the concept of culture, discussing etymological roots and noting different uses and misuses throughout history. Reference is made to the disciplines of anthropology and ethnography, the latter playing a significant part throughout the text. The philosopher Wittgenstein is soon introduced, in particular his work on language games. Stige believes that we cannot discuss any definition of culture without recourse to understanding what it is to be human. He cites scholars integrating biological and psychological processes. The work of Stern and Trevarthen is well known to many as bio-psychological underpinnings to music therapy practice. I was interested to learn more of further links between music therapy and the work of Bruner and Vygotsky, in particular Vygotsky's notion of Zone of Proximal Development. In summarising some of this cultural background Stige outlines two central themes of his overall thesis: our inborn need to experience a sense of community and the process of reflexivity, 'the ability to think of oneself in relation to others' (p.33). He differentiates culture defined for music therapy with the various customs and technologies that regulate our existence from culture-centred music therapy (our awareness of music therapy as culture - page 42). Culture-specific music therapy is also defined as where the cultural identities of both client and therapist meet.
A major stress of the book is the need for cultural sensitivity because awareness of how various disorders and diagnostic labels are also relative to the local community and culture of the person. The personal and cultural levels of experience can be heard in a reflexive approach to music therapy.
Music Industry
Over the years the music industry has grown from a fairly profitable
industry with a few major stars into a billion dollar industry with many major stars.
The music industry has evolved in many different ways through such
inventions as the television and music videos. In order to become a star in the industry today it is almost essential that you have a good music video and a great marketing campaign. With these pressures on new artists I believe it makes it hard for them to be themselves and not change there music or image in order to sell records. I believe it is possible not to sell out in the music industry today.
Stars such as Aerosmith, Billy Joel, and Sting for example have always put out quality music and have not strayed far from there original musical roots in order to sell records. Other artists like Madonna are constantly reinventing themselves and there musical style and have been very successful in doing so. But the question is are they doing this because they are a talented artist or in order to stay popular and sell records. I believe there is a thin line between reinventing your musical style and changing just to stay popular. I believe that in order not to sell
out in the industry today you have to love your music and want others to love it as well, not for them to love you but instead your music. That I think is the problem with today's artists, they want to become super stars and they loose sight of the music and concentrate to much on there image and flashy performances. The great musicians are loved for there music first and then fans fall in love with them and there performances. Music is a business though and in order to sell records today you have to have the total package, which I think makes it extremely hard for musicians to stay true to themselves and there music over the long hall.
In conclusion I think it is possible not to sell out in today's industry, but the artists has to be dedicated to the music and not concerned about the money. These to qualities are almost impossible to find in today's artists. It is the called the music business after all and in any business the goal is to make money which leads many of these artists to loose there musical integrity and inevitably sell out.
industry with a few major stars into a billion dollar industry with many major stars.
The music industry has evolved in many different ways through such
inventions as the television and music videos. In order to become a star in the industry today it is almost essential that you have a good music video and a great marketing campaign. With these pressures on new artists I believe it makes it hard for them to be themselves and not change there music or image in order to sell records. I believe it is possible not to sell out in the music industry today.
Stars such as Aerosmith, Billy Joel, and Sting for example have always put out quality music and have not strayed far from there original musical roots in order to sell records. Other artists like Madonna are constantly reinventing themselves and there musical style and have been very successful in doing so. But the question is are they doing this because they are a talented artist or in order to stay popular and sell records. I believe there is a thin line between reinventing your musical style and changing just to stay popular. I believe that in order not to sell
out in the industry today you have to love your music and want others to love it as well, not for them to love you but instead your music. That I think is the problem with today's artists, they want to become super stars and they loose sight of the music and concentrate to much on there image and flashy performances. The great musicians are loved for there music first and then fans fall in love with them and there performances. Music is a business though and in order to sell records today you have to have the total package, which I think makes it extremely hard for musicians to stay true to themselves and there music over the long hall.
In conclusion I think it is possible not to sell out in today's industry, but the artists has to be dedicated to the music and not concerned about the money. These to qualities are almost impossible to find in today's artists. It is the called the music business after all and in any business the goal is to make money which leads many of these artists to loose there musical integrity and inevitably sell out.
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