Effects of Music Therapy on Children with Autism

The Effects Of Music Therapy On Children With Autism...
From 1997 to about 2007 the number of children with autism spectrum disorder has increase from 42,517 to about 258,305 and has risen since
(Reschke–HernГЎndez, 2011). With this rise of children who have autism, the rise of music therapy has since appeared greatly. When music therapy
was first documented, the music was used in both group and individual settings. It was used with those who lacked social skills, those who needed
rehabilitation, for self–expression, for psychological improvement and also recreational purposes (Rescheke– HernГЎndez, 2011). Music therapist use
techniques such as improvisation music therapy, dancing and singing, speech dynamics, and rhythm to help clients with social skills, body awareness
and communication skills (Rescheke– HernГЎndez, 2011). Children who are diagnosed with Autism Spectrum Disorder can be treated through music
therapy to enhance their social skills, learning skills, and coordination.
Through the use of music children with autism are able to express themselves better in these social situations. Children with autism are found to not be
as engaged with others in social situations as other children. Children with autism are found to have impairment in their communication skills when
they want to express themselves in a social situation (Gattino, dos Santos Riesgo, Longo, Leite, & Faccini, 2011). A study done by Kim, Wigram, and
Gold found that music therapy promotes social skills, motivational and emotional development in children with
... Get more on HelpWriting.net ...

Meaning Of Music Meaning
In "Music, Language, and Composition" Adorno, Theodor W. argues that "To interpret language means to understand language; to interpret music
means to make music. Musical interpretation is the act of execution..."(115). However, in The Souls of Black Folk, W.E.B Du Bois seems to point out
that music carries intention, history, and experiences. Music could be a way to share one's feelings and experiences that could not be expressed with
the same emotional impact if they were just told through speaking. In other words, Du Bois seems to argue that music does have meaning and to
understand music is to be able to express the intention behind or in the music. It is important to note that Adorno's focus of music in "Music,
Language, and Composition" is primarily classical music and Du Bois' focus appears to be on music with lyrics. Therefore, music for Adorno had no
explicit signifying words. However, rhythm and tone exist in both cases.
In "Music, Language, and Composition" Adorno acknowledges that music is like signifying language in many ways, from its structure to how it is
formed. However, music is different from signifying language because it does not have to be created with a solid intention or meaning. In signifying
language, the structure and combination of phrases to speech is, to some extent, strategic. The formation of signifying language is strategic because the
goal of the formation of the phrase is to express something solid and with certainty as to what it's meaning is. The words that are selected and the
sentences that are formed from those words, were chosen and created because meaning needs to be told to others in an accurate manner, so that they'll
be able to understand that same meaning. As for music, Adorno seems to claim that, contrary to signifying language, the intent of which is to
communicate a solid meaning, music does not need to have any firm goals related to meaning or solid intentions. Instead, the musician will make the
music vague because in making the music ambiguous, the music will have the potential to link to multiple meanings that will vary based on the
listener. In other words, the listener will be the one to decide the meaning.
To add to this, when Adorno says, "tthe whole is

Music Is All Around Us
Music is all around us. At the start of the 21st century, technology in industrialised societies provides us with easy access to a vast amount of recorded
music. We can listen to our favourite music at home, in the car, on the train; on home stereos, personal stereos, and through our computers. We are also
often surrounded by music which we have not chosen, at the shops, waiting for a train, even at the doctor's.
Research is beginning to show how music has the power to change the way we feel, think, and behave. We know that music can lift our mood, and
certain kinds of music can temporarily boost specific kinds of intelligence. Listening to our favourite music can even help us tolerate high levels of pain.
What do we know about how young children engage with music? There has been quite a lot of research looking at the very early years. We know
that babies can remember music from even before birth. My own study with the Child of Our Time group in 2001 showed that exposure to a particular
piece of music before birth had long–lasting effects, as the babies seemed to prefer listening to that music up to 15 months after birth. Other studies
have explored the features of maternal singing, showing how this can make the baby feel calm.
There are also studies of babies' responses to music in the lab that show them to be really very sophisticated listeners. In their first year, babies can
notice all kinds of small differences in musical sequences, and are even better than

Ridge A Cappella Choir Analysis
"The word "carry" must be eliminated from all our minds when we think of Ridge A Cappella Choir. That word "carry" actually has an extremely
negative impact on our attitude towards making fabulous choral music."
It is late November, the week before the first performance for our choir. Even though we've had ourmusic since June, we were woefully unprepared.
Each section, including mine, was wrought with apathy. Choir wasn't fun anymore.
Ever since I was accepted into A Capella Choir, I felt like the smallest fish capable of survival in the big pond. The seniors were actually good– they
practiced, and they have been members for 4 years; I could never aspire to even equal these larger than life figures. Rather than working with us
underclassmen,

Collective Improvisation: New Orleans And Chicago Dixieland
Collective improvisation is when a group of musicians improvise to form a complete, multilayered song. While it comes with rules, it also comes
with the freedom of individual expression. "Improvisation should not be equated with total freedom" (Collective Improvisation Lecture, Part 1). In
other words, it is a group effort, not an allowance for musical anarchy. This lesson covered 2 types of collective improvisation: New Orleans Dixieland
and Chicago Dixieland. Today, there are still examples of collective improv. in multiplemusic styles.
The process of collective improvisation is a flexible interaction between musicians to create a unique, textured piece of music. While some of the
players were able to add their own interpretation of the music, they had to stay close to the original piece. When it comes to early Dixieland, not
everyone was allowed to improvise, just the front line which was made up of the cornet (trumpet), clarinet, and trombone. The trumpet played the
melody, the trombone played ... Show more content on Helpwriting.net ...
First of all, the saxophone was added to the Chicago style, which had a role similar to the clarinet only it played a countermelody below the trumpet.
Secondly, the rhythm section picked up the guitar instead of the banjo. Third, Chicago paid more attention to the soloists vs. the entire ensemble, and
the players were more intense and driven, compared to the relaxed, laid back feel of the New Orleans Dixieland. Take for example the difference
between "West End Blues" by Louis Armstrong and Bix Beiderbecke's "Singin' the Blues". "West End Blues", which is New Orleans style Dixieland,
has short solos and keeps the rhythm section at a steady, flat–four beat. "Singin' the Blues", on the other hand, has much longer solos, allowing the
players to elaborate. Last, the Chicago style started throwing in intros and endings that were more

The Mystery of Jazz and its Powerful Impact on the Community
The mystery of Jazz and its powerful impact on the music community can be explained largely by the context of it's creation. Jazz was born in the
United States, and because of this, many have referred to Jazz as "America's music." Like America, Jazz has a balance between structure and
spontaneity. It capitalizes on the fluidity of the musicians, having several different instruments with independent spirits, coming together as one to
form a great piece of music. Unlike other styles of music, Jazz has a certain way about it that makes it stand–alone in the world of genres. It improvises,
moves, and transforms itself in a moment's notice based on the musician's intuition. Just as America harbors democracy, so too does a jazz ensemble,
showing both the responsibility to a larger group, yet still allowing room for individual freedom. It all comes down to how well others can respect the
overall framework and structure of the jingle. Once we understand how improvisation plays a role in the overall tune of jazz, we can then look to how
jazz is communicated. To musicians, jazz is a language. It doesn't limit to a yes or a no, but instead it communicates feelings that show our anger,
happiness, sadness, and everything in the middle. It is unique in that it seems to transcend tradition language barriers. Though a man who speaks
Spanish and another who speaks English cannot understand what the other is trying to say, jazz has a way that communicates the feelings behind the
words, that

Drama Improvisation
Drama Essay
"To be good at improvisation, it doesn't really matter how talented you are, but more about giving it your best shot"
Improvisation is the art of being able to create ideas in a split second, with little or no warning as to what you are making up. In drama the art of
improvisation, and being a good improviser, is absolutely essential. However, there are many different views on what it takes to be good at
improvisation. To be good at improvisation, it relies very little on how talented theactor is, but more importantly, it relies on them trying they're very
hardest to be a good improviser, on them giving it their best shot. This can be determined by how hard the actor is concentrating, on wether or not they
have knowledge ... Show more content on Helpwriting.net ...
Above all other factors of improvisation, having knowledge of the basics is absolutely vital. This is knowing about the concept of "make, accept,
extend". This is where one person makes the offer, it is accepted by another, and then is extended by the actors playing out the scene. An excellent
example of this was shown in class today, during an improvisation game. One group set up a scene for another group to act in (this was where the
offer was made), and in this scenario, it was a game show. Straight away, the group that wasacting picked up on what scenario they had been put into
(this was where the offer had been accepted) and continued on with the scene without hesitation (this was where the offer was extended). Another
excellent, and hilarious example of "make, accept, extend" was when in class, we acted out the scenario of waiting at a bus stop. Jerrah had acted out
that she was pregnant and in labour. Suddenly, Gabby decided she would be the baby. Jerrah had to quickly accept the offer made by Gabby, which
she did, and they both extended it in an incredibly hilarious fashion.
Another important factor of improvisation is the idea of giving it your best shot to interact with your fellow actors. Without interacting with one
another, there could be no scene, no scenario, nothing at all. When tyring your very best to interact with your fellow actors, improvisation is definitely
at it's best. This was seen during our

Questions On Teaching And Classical Players
This article discusses 8 vital things to remember as improvisers – whether advanced or just getting started:
1. Your technique is probably miles ahead of your ability to think.
This isn 't just true for classical players. I 've known lots and lots (and lots) of jazz players who have let their technique run the show as opposed to
their brains.
Happens all the time.
With players who are just beginning to improvise, this is vital to keep in mind. Slow down! Even at furious tempi, you can "long meter" melodic
phrases that dance and skip over the fast tempo – thinking them in real time. And you can have great precision and musicality in doing so.
FYI, most players who play so fast you are asking yourself how can they think that stuff in real time – probably aren 't really thinking that stuff in real
time. Most are performing a memorized, yet impressive move. Sort of a human software, "sub– routine call." To me, not the real thing.
Personally, I 'd rather listen to simple ideas that are inspired than impressive, over– thought, over–prepared ideas any day. Particularly when they are
masquerading as
"improvisation."
2. You will be playing unexpected notes (mistakes) in the best of situations.
Yes, I know, we 're supposed to KNOW what we are doing. But to get good at anything, we have to stretch, and stretching means taking risks, and
taking risks means making mistakes.
Over time, you really will be able to hear a melody and execute it flawlessly. But by then, you 'll be

Comparing the Modern Organizational Theory and...
"Organization theory deals with the formal structure, internal working, and external environment of complex human behavior within organizations. As
a field spanning several disciplines, it prescribes how work and workers out to be organized and attempts to explain the actual consequences of
organizational behavior (including individual behavior) on work done and on the organization itself."(Gordon and Milkavoich, 147) It has been
evolving for centuries on how should work be done in the public administration and how the organization should be. "Research findings have emerged
about what motivates workers and how different incentives affect various tasks, employees, and situations; and the environments in which they
operate." (Gordon and... Show more content on Helpwriting.net ...
Improvisation is made inevitable in a situation where problems must be dealt with expediently and on the spur of the moment. Taking into
consideration the conflict between the Arabs and the Israelis, improvisation is essential to running administrations. The formal theory such of Max
Weber cannot apply since its framework of rules and procedures are to ensure stability, predictability, and reliability of performance; yet, with no
stability or predictability in the environment these theories only fall short of their expectations. Rational panning has already been pointed out a
century ago by Herbert Simon (1976) to be "bounded" by many factors such as: "skills, habits, and reflexes, values, etc, which makes it impossible to
achieve rational planning that is suited for the situation…Moreover, rational planning does not have primary value in Israel's cultural heritage.
Survival in the Diaspora often depended on an ability to act quickly, with limited resources, under harsh, changing, and uncertain
conditions."(Sharkansky and Zalmanovitch, 2) With endless terrorism, continuous war, and a population growth that shifts from month to month there
is the perpetual challenge to respond to each situation expediently and ingeniously. Even with the scientific management organizational theory, the
formal structure and rules, the highly centralized top management levels, and especially the standardizing procedures would make policy–making

3a Demonstrate Selected Musical Ideas For A Simple...
Subject:Music
Title:Cornerstone 3 – Day 1
Grade:3
Standards
MU:Cr1.1.3bGenerate musical ideas (such as rhythms and melodies) within a given tonality and/or meter.
MU:Cr2.1.3aDemonstrate selected musical ideas for a simple improvisation or composition to express intent, and describe connection to a specific
purpose and context.
Essential Question
How can we use music to tell a story?
How do lyrics and melody come together to show expressive intent?
Rationale
Students will gain an understanding of how composers write music. Students will work their way through the composition process including lyric
writing, improvisation and melodic composition. Through this process students will gain a deeper understanding of the text they are drawing from.
Students will use expressive elements to effectively tell their stories by using music.
Task
TimeStudent actionsTeacher actions ... Show more content on Helpwriting.net ...
Paper and Pencils (if desired)
10 min.Students will share out ideas, give each other feedback, and decide on a final lyric selection.Teacher will have students share out ideas and
record all workable ideas on the board. Teacher will then facilitate discussion about which lyrics fit best together, and lastly help the class decide on
their final 4 lyrics.
Assessment

Teacher observation of students' contributions to the lyrics
StandardExceeds ExpectationMeets ExpectationNeeds Improvement
MU:Cr1.1.3bThe student generates lyrics that make rhythmic sense without the need for teacher assistance
The student generates lyrics that make rhythmic sense with little assistance from the teacher
The student does not generate lyrics that make rhythmic sense.
MU:Cr2.1.3aThe student chooses lyrics that connect with the purpose and context.
The student almost always chooses lyrics that connect with the purpose and context.The student does not choose lyrics with regards to purpose or

Improvisation Theatre History
Improvisational theatre, often called improv or impro, is the form of theatre, often comedy, in which most or all of what is performed is unplanned or
unscripted: created spontaneously by the performers. In its purest form, the dialogue, action, story, and characters are created collaboratively by the
players as the improvisation unfolds in present time, without use of an already prepared, written script. Improvisational theatre exists in performance as
a range of styles of improvisational comedy as well as some non–comedic theatrical performances. It is sometimes used in film and television, both to
develop characters and scripts and occasionally as part of the final product. Improvisational techniques are often used extensively in drama programs to
train ... Show more content on Helpwriting.net ...
History The earliest well documented use of improvisational theatre in Western history is found in the Atellan Farce of 391 BC. From the 16th to the
18th centuries, commedia dell'arte performers improvised based on a broad outline in the streets of Italy. In the 1890s, theatrical theorists and
directors such as the Russian Konstantin Stanislavski and the French Jacques Copeau, founders of two major streams of acting theory, both heavily
utilized improvisation in acting training and rehearsal. Modern Modern theatrical improvisation games began as drama exercises for children, which
were a staple of drama education in the early 20th century thanks in part to the progressive education movement initiated by John Dewey in 1916.
Some people credit American Dudley Riggs as the first vaudevillian to use audience suggestions to create improvised sketches on stage.
Improvisation exercises were developed further by Viola Spolin in the 1940s, 50s, and 60s, and codified in her book Improvisation For The Theater,
the first book that gave specific techniques for learning to do and teach improvisational

Improvisation And Techniques Of Nonviolent Protest, By...
Improvisation In My Artistic Life This semester, English 1 has taught me what improvisation is. Improvisation is the determination of improvising
actions and improvised artistic practices like music and drama are being created without ready–made process. Through reading several articles and
in–class practices with Hip–Hop artists and a guest dancer, I have understood this concept deeply. I was also inspired by what I learned and I used this
concept in my own art practice such as my hip–hop dancing and comedy comic story writing. Having classes with Hip–Hop MC, rapper and
choreography artist is a very important experience that helps me to understand improvisation practically. They asked us to interact with their live
performance in the way of translating the objective condition like the sound we made into their own language of rap and dance movement. We were
learning improvisation by viewing the process of improvisation as improvisers just like these artists. On March 11th, Hip Hop artists Cool Out Chris
and Amina came to our class. I am a hip–hop dance lover so I absolutely like Hip Hop and I had a good time in that class. They introduced Hip Hop
history, performed their ... Show more content on Helpwriting.net ...
The article I read, "Bodies on the Line: Contact Improvisation and Techniques of Nonviolent Protest" was written by Danielle Goldman. It aims to
discuss the connections between the body techniques that freestyle riders use and the early creativity in contact improvisations that is about bodies
respond to each other with examples of body practices and quotations from philosophers. The article shows contact improvisation is an exercise of
making oneself ready for a variety of ever exchanging surprises and restrictions, which is the most important point of body improvisation. The reading
gave me a basic understanding of body improvisation while dancer Rachel Damon let me understand the concept

Great Del Close Influence On Improvisational Theatre
There are five simple rules to improv, follow these rules and more than just the art changes, your life changes. Improvisational comedy has been
around far longer than most people suspect, it can be traced back to the days of Commedia Dell'Arte. This style of theatre was popular throughout
Europe for almost 200 years starting in the mid–1500s. Performers would travel building makeshift stages and create dialog and plot lines on the spot.
Later, Keith Johnstone and Viola Spolin would re–invent the art into what we see today on shows such as "Who's Line is it Anyway" and "Wild and
Out". Improvisational comedy is more than a tool to give people laughter, it also allows children to learn in new ways and has helped shape society
and should ... Show more content on Helpwriting.net ...
Stuart Jeffries wrote an article entitled, "The Science of Comedy: can humour make the world a better place?" In this article, he discusses how
"Thinking about comedy is becoming a big academic industry" and this is true, it is also important. The founder of the Centre for Comedy Studies
Research, Dr. Sharon Lockyer, studies how comedy can be socially beneficial. She says, "The media fixates on comedy controversies where comedy
has been deemed to be problematic or offensive". Much of comedy seems to be at the expense of someone else, but not all comedy has to be that way.
Improv is unique in that it does not poke fun at individual groups or people, not directly anyway, it pokes fun at situations. Meaning, it often puts
average people in unique situations and the fun is seeing how a normal person would

Budget Cuts are Destroying Music Education: Music...
Throughout history music has played an important role in society, whether it was Mozart moving people with his newest opera or the latest album
from the Beatles. Where would society be today without music? With schools cutting their music programs, the next Mozart may not get his chance to
discover his amazing talent. Music programs are essential to education. To fully understand this one must understand how music helps the human body,
why schools have cut music programs, and why people should learn music. According to Laurence O'Donnell, "Music is thought to link all of the
emotional, spiritual, and physical elements of the universe." This proves that music is more than a simple class teaching random notes. It is a common
denominator ... Show more content on Helpwriting.net ...
Music can affect the body negatively. One of these effects is the fact that music can be addictive (Severance). According a scholar, if people go to long
without their preferred music they can have headaches. The same scholar later stated that this is caused by disharmonic tones. Disharmonic tones are
found most often in hard rock music and popular pop music (Severance). However, it seems as though the positives of music out weighs the negatives.
In harsh economic times, schools tend to cut music classes first. The current economic situation has not helped music classes. In an Arizona school
district, the first classes cut were music classes (Rhoden). Rhoden states, "Tuesday evening, the Humboldt Unified School District Governing Board
made the difficult decision to reduce the elementary music program..." When times get tough it seems to people that music is just not important
enough to keep in the daily schedule. Current society puts a stress on reading and math. An article from CNN states,
"Shrinking state and local education budgets matched with the added pressure of the No Child Left Behind Act of 2001, which sets rigid standards in
reading and math that schools must achieve in order to receive federal funding, have created a new challenge for districts" (Van Harken).
The National Conference of State Legislatures said, "School budget crunches have been a trend over the past couple years and span the entire nation"
(qtd. in Van

The Challenges Of Movement And Improvisation
Movement and Improvisation requires one to articulate his or her thoughts so that anything, no matter whether it's an emotion, an object, a situation, an
action, a reaction, or any other thing that comes to mind, can be expressed as a movement, no matter how weird or wonderful the movement turns out
to be.
When I was first introduced to Movement and Improvisation when I entered SOTA, I felt very self consious as I did not know if I was doing it "right",
or if others were judging me. However, I slowly started to feel more comfortable and realised that no one was judging anyone. I then felt the fun in
Movement and Improvisation, as we were free to explore whatever we wanted, and there were no "fixed" shapes like ballet. I started to like Movement
... Show more content on Helpwriting.net ...
One of the biggest challenge I faced was that I kept on losing focus halfway through improvising, then blank out. For example, once during contact
improvisation, the whole class was instructed to huddle up into a smaller ball. Once my partner and I entered the "ball", I was almost crushed by
someone else as I was on the floor. This made me panic and lose track of where my partner's hands was. However, after being able to participate in
improvisation classes with Mr Sascia, Giselle, Nicole, Cherie and Su Nin, I was able to really focus on myself and my surroundings, and not lose
focus no matter what circumstances. Another challenge I faced was that I was not able to react to music well, such as Mr Sascia's percussion. When we
were told to improvise according to Mr Sascia's music, I felt a sense of hesitation, which led to myself not really applying the music into my
movements. However after a few classes with Mr Sascia, I learnt to be more attentive to the music and listen until the music completely comes to a
stop. By listening to the small details of the music, I was able to let my body freely react to the music whether or not the movement was huge or very
small. All these challenges I was able to overcome thanks to my teachers Ms Phua and Mr Sascia, and also my encouraging classmates who pushed
me to do my

Project 3: Contempory Music Theatre
The project that I am analysing is Project 3: Contempory Music Theatre. This project detailed that we create and perform "a piece of contemporary
music theatre which will utilize live performance skills across the different media of the genre." (BAPA Level 4, 2016) The devised performance
should be based on making something ordinary, extraordinary by using the different aspects of ContemporyMusic Theatre. I will focus on analysing
how my duo used improvisation and collaboration to create our piece effectively and how professional practitioners use these creative devices.
To determine which everyday activity, we would make extraordinary in our performance. Kat and I listed several of them which we thought had
potential to be exploited for our ... Show more content on Helpwriting.net ...
Whether this is between actor and actor or actor and technician or technician and venue manager it doesn't matter. If all the people in the
Performing Arts World did not collaborate, performances would either be of very poor quality or simply not exist. "the great strengths of an
effective team lies in its blend of talents and abilities. Teams of individually brilliant people may still be ineffective if there is not a good balance
of team roles" (Team Roles, 2014) A good collaborative group includes a range of types of people. By having different types of people everyone
brings out the best in each other. By working in a group for the project Contempory Music Theatre, I got to explore my place in my group and see
the type of collaborative person I am; How working with other types of collaborative people to bring out mine and their strengths and weaknesses.
In terms of collaborative work, I tend to be the type of person who puts relationships before causing or solving problems. Due to this, I often accept
other people's ideas rather than fighting for my own or sometimes not sharing my ideas at all. Consequently, I become the loser when problems are
resolved because I am unassertive and want everyone to be happy. Whilst this may be good for most other types of collaborative people, for me it
means that I could get taken

Music And Classical Music
Classical music has been around for centuries, beginning ever since people could put notes onto paper. The art of fully notating and performing
compositions shaped classical music to become iconic pieces in modern day society. This music can be defined in many ways; one specifically is
categorizing it as the "common practice period." The Oxford Dictionary of Music uses this term to define a period encompassing the baroque
(1600–1750), classic (1750–1830), and romantic (1830–1900) eras. Between the 17th and 20th centuries, famous composers such as Mozart and
Beethoven combined the two common practices of "voice–leading" and "harmonic conventions" to create the unique sounds of classical music
(Tymoczko 213). Through this period, the birth... Show more content on Helpwriting.net ...
A live orchestra was recorded playing various pieces composed by Bach, Beethoven, Tchaikovsky, and many others (Clague, 2004, pp. 91
–93). Fast
forward 9 years, Looney Tunes released a short cartoon titled Rabbit of Seville inspired by and featuring Rossini's composition Barber of Seville.
This came almost 150 years after the piece was first performed yet became an iconic tune to those who watched the cartoon (Roberts, 2017). Then in
1968 Strauss' piece Also Sprach Zarathustra boomed in theaters in the opening credits of "2001: A Space Odyssey" (Wise, 2014). These three
examples show how well–known media used classical compositions successfully. Although the pieces were, at one point, not familiar to their audience,
after constant exposure they became a part of their musical knowledge. The recognizability of each song allowed connections and associations to be
made so that even if the film was not being shown, the listener could link it to what movie it was from.
The ability for teenagers to recognize classical hits is illustrated in a study done by Kimberly VanWeelden (2012), a music professor at Florida State
University. In the preface of her experiment, VanWeelden (2012) mentioned how using classical repertoire created paired associations for listeners (p.
14). Essentially, society has grown accustomed to hearing classical pieces and now associate them with certain feelings. Marketers and producers use

Reflection Paper On Observation
On September 26th, I observed class due to an injury. During my observations, I found myself reflecting on what was happening in class at the
moment and on my previous work in the class. I strongly feel that observing is beneficial to the study of dance because it forces students to study
not only the professor but also their classmates and ways they can connect what they see to what they need to do themselves. During my
observations, I noted many moments of instruction and critique that I can apply to my own movement, but also took time to notice the habits of
my classmates that I feel contribute to an enriching learning environment. Before I was injured, I felt that I was doing well in the class. Tap is
something I haven't studied since I was small, so it has been nice to revisit the art form. Looking back on the first few weeks, I found that I could
easily understand the theory and rhythm of a movement, but I often had a difficult time putting that knowledge into my body; I could explain to you
what needed to happen, but it didn't always translate to my feet. This could be frustrating as I knew what needed to happen but didn't know why I
wasn't able to do it physically. I decided that my time observing would be well spent trying see what other students and the professor were doing that
I might not be so that I may apply that knowledge to my own movement once I was back on my feet. One of the biggest ideas I observed was the
importance of effort and intention. In the

The Music Of Jazz And Commercial Music
Description This ensemble is comprised of an auditioned group of 7th and 8th graders who have had at least one complete year of musical instruction.
In this ensemble, the students will be exposed to different styles of the American musical art form of jazz which would include but not be limited to:
swing, bebop, ballads, Latin/Afro–Cuban, and Commercial (Rock). The big band will rehearse and perform pieces and arrangements of the preceding
styles as well as work on introductory jazz improvisatory skills (language, chord relationships, scale relationships, etc.). Along with being within a big
band setting, the students will have the opportunity to perform in combo settings to help refine their growing improvisation skills as well as nurture
critical listening skills. The course will also be supplemented with lectures on the history and development of jazz and commercial music as well as
listening sessions to place musical styles in appropriate contexts.
Standards and Objectives
The following standards are referenced from the 2014 National Association for Music Education music standards:
MU:Cr1.1.E.5a Compose and improvise melodic and rhythmic ideas or motives that reflect characteristic(s) of music or text(s) studied in rehearsal.
MU:Cr3.1.E.5a Evaluate and refine draft compositions and improvisations based on knowledge, skill, and teacher– provided criteria.
MU:Cr3.2.E.5a Share personally– developed melodic and rhythmic ideas or motives – individually or as an ensemble

The Effects Of Classical Music On Music
How to start listening to classical music and enjoy it.
The love of classical music is not dead; it's still active(alive?) in the sense that it is dying. To start listening to classical music, the concept is quite
simple actually, you first must press play on whatever music playing device you have and make special note that it be classical music. Although the
action to doing it is elementary, there are other factors you have to consider. For example: motivation, electricity/internet, and your mood, but I digress.
If only we lived in the 1750–1830s, when men wore fake luscious wigs and high heels, this would be our jam! First, you need to lower your
expectations and allow me to clear up some common myths.
The Paragraph of Truth
Classical music is boring only to those who are uneducated in music theory, similarly compared to those that watch football, but don't know what a
first down is. You understand the mass confusion that ensues. But you're in luck, because this foreign language can be translated, and you don't have
to take a music theory class. "Infamy!" you say. No, I assure you there is a cheaper way, and that is simply to learn to appreciate the music (and all
music) for what it is.
Turn Down (DJ Snake) For What?
Beethoven. Go ahead, ease into the change in music. You don't have to starve yourself of music you like by binging on classical music that you abhor.
Only a hardcore New Year's resolution person would do that–don't be that guy. Instead, decide whether you

Surprising Science: What Music Does To Our Brains By Belle...
Reflection of Music Music is a reflection of the human soul that encompasses the direct emotion of the inner being. Music has existed from the
beginning of time from the very creation of the universe, as the angles worshiped God. Throughout the centuries music has dramatically changed,
exposing our nature of each generation time and time again. Truth is, you can expose the mindset of an individual based on the music he or she is
currently listening to. The article "Surprising Science: What Music Does to Our Brains" by, Belle Beth Cooper makes eight points on how a person
reacts when listening to music. Each person will react to music differently depending on their generation and perception at the given moment and has
the ability to control ... Show more content on Helpwriting.net ...
The first point is definitely true, as mentioned above, I will listen to different music depending on my mood based on how it makes me feel. I
believe this to be true for most people that we will all perceive a piece of music differently. The second point makes a good claim that moderate
levels of music increases a person's creativity, but this could also be tied into the first point as people perceive things differently. Personally, I enjoy
listening to my music at a high level in my ear buds while painting, this allows all other distractions to be at a minimum and I can paint freely.
Additionally, I agree with the third point to an extent. I have listened to almost every different genre of music at one time or another throughout my
life, I have been known to listen to multiple genera's in the same day. Trying to label a persons' personality type with the music they listen to can
be controversial and a bias opinion. Point four makes a great statement that listening to music can be dangerous while driving depending on a
persons' enthusiasm. I personally rock out to music while driving; singing on top of my lungs and using my steering wheel as a drum is typical for
me while I drive alone. However, this has caused slight yet unnecessary swerving at times so I try to keep my excitement down to a reasonable level.
I feel that point five is extremely important. There have been a multitude of studies done reflecting the impact that music training is beneficial to
children. I never had the availability to learn a musical instrument as a child, where my sister who is fourteen years younger than me is currently
learning the piano. I see a significant difference in our creativity and learning habits. I agree with what point six mentions that music has a strong
connection to our brains, studies have proved that classical music improves the synapses in our brain which I suppose can improve our

Examples Of Improvisation In Drama
What is improvisation and how can it be used to create drama/theatre?
Jade Sullivan – Extended response
Improvisation is a foundational style which is used to create ensembles, it is the art of being in a scene/s with no preparation. Improvisation is used to
Refine theatrical pieces, create ensemble, and extend our own creativity. It forces us react imaginatively and immediately.Improvisation is used
effectively in the examples of Augusto Boal and his 'Theatre of the oppressed', the French company 'Theatre Du Soliel' and an example from my own
experience in class.
Theatre Du Soleil is a French drama company that started in the 1960's, it employs drama as the means of making performance and mainly uses
improvisations part of the process ... Show more content on Helpwriting.net ...
Using improvisation encourages play and spontaneous exchange of ideas/ process. It can be referred to as an 'extension of child's play' as it
stimulates offspring of child's play and it forces us to react imaginatively to offers; like a child might do in the playground. As a class, we have
explored this idea in a game we play called "Space Jump", there are many alterations to the game but the general idea is this; one student starts
miming an everyday activity and is told to freeze. A second player then volunteers to build another scene based on the frozen position of the first
player. The original space jump then gets played backwards. This game helps us as actors develop necessary improvisation skills such as being able
to accept offers, react to others and create ensemble. Games such as these, and improvisation in general allows you to explore your physicality and
abilities to present different characters on the spot.
To conclude, improvisation can be used to creates ensemble, explore an individuals expressive abilities, polish Individual or group performance, and
to generate ideas. In the creation of theatre, improvisation allows you to explore different personas/ life styles, and gives you the opportunity to see
the world through another person's eyes. Through the examples of Theatre Du Soliel, Boal and my own class experience, improvisation is shown to

Pitch Perfect And Glee Compare And Contrast
For years there has been this obsession between students in music. Whether it's high school and Glee clubs, or Colleges and acapella groups the
message is very clear. This reminds me of the movie pitch perfect and the tv show Glee. The movie Pitch perfect and the tv show Glee seem to fit hand
in hand.Or do they? With so many similarities and differences, you can't help but notice them as you watch. While Glee shares many things with Pitch
perfect such as songs, and embarrassing scenes, they have much more differences such as theme, setting, characters,and more. One major thing I
noticed was the similarity between the characters. Rachel to Aubrey? Both of these characters seem to fit the role as the female group leader. Well both
of them share

Dance Reflection
After spending a semester in improvisation class, I can honestly say that this course has been one of the hardest, annoying, but probably the most
relevant and important dance classes I have taken thus far in my dancing life. This course also turned out to be the complete opposite of what I
originally thought it was going to be like. At the beginning of the semester, I was a firm believer thatimprovisation, was any movement that a dancer
does that is on the spot, random, wild, and without thought. I also had this big belief that when a dancer performed an improvisation, that it was
supposed to make sense and show the talents of the dancer. With that being said, I came into the class thinking that I was going to spend the semester
listening to different types of music and figuring out how to improvise to those music selections as well as learn how to improvise different dance
genres. Essentially, I thought I was going to learn how to improvise for the point of being showy and performing. Of course, through this course, I
realized that yes one can improvise for the point of performance, but in this class, we did so much more than just do showy improvisations. Instead, I
got the chance to really explore my natural self as a dancer and learn the science behind improvisation. Writing about improvisation is such a hard
thing to do because improvisation is such a complex and emotionally deep activity to participate in. However, what I am trying to get out, is that what
was

Theodor Adorno's Use Of Pseudo-Individualism In Popular Music
Theodor Adorno was an important member of the Frankfurt School, which developed ideas of critical theory and cultural Marxism. Adorno adopted a
Marxists approach in his work, especially among his work as a musicologist, seeing propaganda within popular music. He saw music as thought
provoking and believed that it prevented its listeners from having real thought, he wanted people to challenge the way they listened to popular music. In
his article On Popular Music, which he had written in 1941, Adorno speaks about how he believed there were two spheres of music, popular and
serious music. About the standardisation in popular music, in which it followed certain patterns which created pseudo–individualism. Also on how
popular music affects its listeners in different ways compared to serious music. As a Marxist philosopher, Adorno was an idealist for the idea of
capitalism, also as a Marxist sociologist he had an understanding of society and the idea of there being two different classes in all aspects of culture and
society.
Firstly Adorno addresses the differences between 'popular' and 'serious' music. Adorno described classical music as classical, although he does say
that much of what people would place in the classical category is really just popular. [1] Also when Adorno refers to popular music he is refers to
anything that is composed purely for entertainment. David Held points out the different characteristics of 'serious' and 'popular' music. For 'serious'
music "Every

Npr And Classical Radio For The 3-4 Pm Hour Of Classical...
Evan Yip
Professor Diaz
MUHL 124
24 January 2017
Radio Assignment On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3–4 pm hour of classical music. The radio host
was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a
comment or two about some extra–musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of
listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I
actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without ... Show more content on
Helpwriting.net ...
Johann left the Josef's group in 1825. Josef Lanner quickly became highly regarded and very popular for his waltzes. He began giving concerts in the
Vienna Volsgarten in 1831 and he conducted the chamber ball in the Hofburg beginning in the year 1840. Hismusic spread all over Europe and even to
the USA where it was very popular. His popularity eventually waned in the shadow of Johann Strauss. Lanner composed the piece Die
Mozartisten for the 15th anniversary of Mozart's death as a tribute. The second piece I listened to was the Concierto Madrigal by Joaquin Rodrigo.
The piece was very, very long. As a listener, it was easy to tell there were many separate works or sections within this piece. The overall feel was a
Spanish theme with a lot of great guitar playing. As expressed by Oxford Music Online, Joaquin Rodrigo became blind at the age of three and
remained so until his death. He lived almost exactly a century later than Josef Lanner. Joaquin was born in Sagunto on the 22nd of November in the
year 1901. He studied music in France and married a Turkish pianist. Soon after his first composition entitled the Concierto de Aranjuez, he became
widely recognized as a leading composer in Spain. He is accredited with an estimated 170 compositions, 11 of which are concertos. Towards the end of
the 60's, Rodrigo composed the Concierto Madrigal for two guitars. It is said that the piece was based on a Renaissance love

Analysis Of Rudolf Laban's Theory Of Dance
Born in Austro–Hungary in 1879, Rudolf Laban developed a theory that provided a means to exploring and expanding one's movement vocabulary.
Although frequently used in choreographic processes, this toolset helps one explore different aspects of dance improvisation. Worldwide, his theory of
analyzing movement has helped dancers grow more creative in their improvisation. When improvising, dancers often use varying levels of structure to
control the direction of improvisation, and this particular structure based in Europe is used in almost every setting of dance in academia. Much of our
exploration of dance improvisation involved delving into the eight movement "efforts" that Rudolf Laban developed, and these eight effort qualities
can be categorized into four different groups: direction, weight, speed, and flow. For direction, movements can either be direct, which means there is
intention and thought before every movement, or indirect, where the direction of one movement does not necessarily correspond to that of the next.
For weight, movements can be either heavy, which can often be visible or the weight of the limbs and the awareness of gravity and the floor, or
light, where a sensation of weightlessness or floating is often used. For speed, movements can either be quick, where movements rapidly progress
from one to the next, or slow, where the urgency of time is neglected. For flow, movements can be either bound, where there is a sense of an imaginary
outside force acting

The Improvisational Brain By Amanda Martinez
Learning to create music or a speech spontaneously is not an easy task. Any professional musician will say that improvisation is not as easy as just
making it up as one goes along. In fact, the musicians that make improvisation look simple are the ones who have put in countless hours of time and
study to make it look effortless. The Improvisational Brain by Amanda Martinez tells about a neuroscientist that studied the science behind how the
brain works in order to improvise. In order to be able to be a good improviser, one must learn to shut down the dorsolateral prefrontal cortex and let
the creativity and skill take over. What about those that have limited ability? Should they learn to improvise as well? One would argue that it is not
important to learn to improvise, whether it be music or otherwise. However, improvising can give a person a sense of freedom from the ordinary. "This
notion of trying to tell your own story, without the constraints of caring how well it's going as you're saying it, was really pretty intriguing" (Martinez
p. 7). Although many struggle being able to shut down the part of your brain that allows one to improvise, it is important to teach children and adults
alike how to improvise because it teaches creativity, divergent thinking, and encourages better communication skills.
Improvising is defined by Merriam–Webster dictionary as, "to make, invent, or arrange offhand." A classical pianist, Robert Levin said ofimprovisation
, " It's an act of

Music Is A Magical Piece Of History
Music is a magical piece of history, and has changed throughout history with the changing of generations. As culture changes music changes as well.
Artists have found a way to use music, art, and fashion throughout history as a way to convey feelings of love, sadness, frustration, and death.
Musicians find a way to move their listeners with the sounds they hear. With every rise and fall of a note and change in melody or tempo, listeners
find themselves holding their breath or possibly wiping away tears.
Aaron Copland is a man who has truly done just that. His love for music started when he was very young when his sister taught him how to play piano
(Encyclopedia). From that point on, his thirst and passion for music grew. At the age when most boys are outside playing, getting dirty Copland
decided he would become a composer. Attending Boy's High School he began to study music (Encyclopedia). In 1921, Copland moved to France to
further study music at the American Conservatory in Fontainebleau. It is there he would experience the different style of European music. Schoenberg
and Stravinsky had always inspired him, and his stay in Paris gave him the opportunity to enhance his love and understanding of their music.
When Copland returned to America he wrote his first major piece of music named simply the Symphony for Organ and Orchestra. This was just the
beginning of Copland's early writings. He wanted to experiment with music in his compositions. Copland began to blend music

Music Therapy Within Children And Adolescent Bereavement
Music Therapy Within Children and Adolescent Bereavement
While the bereavement process may be a universal chapter of life, the experience itself is conclusively subjective. Specifically for younger
individuals, bereavement is a very complex encounter because developmental factors must be considered. The loss of an individual in a child's life is
heavily influenced by the time in which it occurs because coping mechanisms may or may not be developed. For example, if a child does not
understand the context of death, they most likely will not have adequate coping skills to process this life–changing experience. Children and
adolescents who are facing bereavement may face developmental relapse as well as changes in social, behavioral, ... Show more content on
Helpwriting.net ...
In their article, McFerran et al. gives a great representation of the role of music within the realm of children and adolescent bereavement:
The function of music can be metaphorically represented as both a mirror and a window for the teenager. The idea of music serving as a mirror
reflects an emphasis on the personal, including the intrapersonal and private roles that music can fulfill when there is no expectation of an audience for
their musical engagement... The contrary idea of music serving as a window encompasses the social, interpersonal, and cultural functions that music
naturally serves for young people." (McFerran et al, p. 543–544).
Within the world of a teenager, the desire to feel normal is very natural. When going through the bereavement process, these individuals undoubtedly
need support, but this must be approached with caution. By providing these individuals with a familiar variable, they may feel more comfortable with
sharing what emotions they may be experiencing. Various studies have concluded that the relationship between children, adolescents, and music is very
synonymous. Adolescents in today's modern world tend to familiarize themselves with music in which they can relate. Furthermore, this preferential
music may provide that validation for teenagers who are grieving, making it known that what they are feeling is not atypical.

Music : The Means Of Music And Music?
Art is an important part in human society. But what is the definition of art? It is something that has been with us since the beginning of mankind and
has been evolving ever since. Since that time, arts have been a changing frontier and can imply many things. It can mean art through painting,
architecture, video games, movies, etc.. People resonate with a specific kind of art they partake in and in this case music is my prefered form of art
because it is meaningful to me in a spiritual, academic, and creative way. However most communities are extremely wary about music and its effects
on us. They are saying that it is just a hobby and what we are experiencing is a placebo effect that educators in music have placed in our heads. But in
this attempt to persuade and state the truths about the non–coincidental things happening in the minds of a musician. To show that playing music is no
hobby but almost a necessity as we progress into the future. I must show off my personal and logical/statistical evidence to explain that the effects of
music is real. The power of music can affect a person's brain neurologically. This means how they think and what their mood is completely different
than ones of a non–musician. Music can be applied to other things and not to music itself. It is a topic which can be connected to other things such as
things in academia. (In this case math, science, english, etc..) But most importantly is what folks seem to undermine the most and that is the power

Music Therapy Within Children And Adolescent Bereavement
Music Therapy within Children and Adolescent Bereavement While the bereavement process may be a universal chapter of life, the experience
itself is conclusively subjective. Specifically for younger individuals, bereavement is a very complex encounter because developmental factors must
be considered. The loss of an individual in a child's life is heavily influenced on the time in which it occurs because coping mechanisms may or may
not be developed. For example, if a child does not understand the context of death, they most likely will not have adequate coping skills to process this
life–changing experience. Children and adolescents who are facing bereavement may face developmental relapse as well as changes in social,
behavioral, emotional, and physiological domains (Osterweis, 1984).
As with many issues identified in the world of children and adolescents, early intervention is imperative. In our modern world, there are numerous
treatment options complementary to various approaches that have been empirically proven to be beneficial to these individuals. Respectively, creative
therapies may be valuable in addressing several of the domains mentioned previously. One creative method of treatment that has been proven to
positively facilitate the grieving process is music therapy. Music therapy is typically implemented in a group setting, although some clients benefit
greater from individual interventions. Group music therapy has the capability to promote sharing, facilitate

Musical Analysis Of Fantasia
is the animated musical sequel to its originator in 1940, Fantasia. It was released in December of 1999 and was produced by Walt Disney Feature
Animation and Walt Disney Pictures. Walt Disney's brother, Roy E. Disney was the helm of producing it and so was Donald W. Ernst, who
co–produced it. The movie includes many celebrities that introduced the live action parts with the classical music counterpart. It took many, many
years to get the approval to make the sequel and it did really well in the box office. But the more important part from this movie is the music behind
it, the music really goes along with all seven of the segments shown and they all have an art style behind it.
The orchestra behind the film was performed by Chicago Symphony Orchestra and was conducted by James Levine. The movie contains seven
segments and has an important musical piece behind it, which they are written by somebody significant in the classical music world. Fantasia 2000
opens with the most famous concert music of all, Beethoven's Symphony No. 5 in C minor. Following the first film in 1940, this first segment
follows abstract images that form the ideas of the heavens, butterflies, bats, and darkness. The second sequence is "Pines of Rome" by Ottorino
Respighi, which follows the journey of humpback whale calf as it learns to fly (only because of a supernova). The whale is separated from its parents,
but manages to reunite with the entire school, that ends up coming through the fluffy clouds

Improvalizing The Song 'Anything Goes' By Ella Fitzgerald
"Anything Goes" Topic 2
In the song "Anything Goes" performed by vocalist Ella Fitzgerald, the band plays without vocals around one–minute and fifty–four seconds. The band
is improvising because it is a new melody playing over the original chord progression. The aspects of the music that helped me determine this was
because when it switched to the band solo, I could hear the original tune of the song and could sing along as if the vocalist was still singing, even
though there was a new melody. Improvising in jazz has a slightly different meaning than how most people use it today. Before taking this course, I
would've thought that improvising was to perform something spontaneously. Whereas in jazz, although it still is somewhat spontaneous,

Anand Thaker: A Concert Analysis
This is my first piece, and I thank Anand Thaker for the idea and encouragement. In February 2014, I did something I hadn't done before. I didn't
know what to expect, and I couldn't guess the future impact it would have...I went to an improv show. At the time, attending a show seemed
insignificant. Not knowing what to expect, I saw how hilarious and entertaining improv shows can be, and I learned that scenes were the result of
audience suggestions. I was amazed seeing characters coming to life unscripted. The best way to describe a show is adult playtime. After seeing the
show, I entertained the idea of taking a class, but other pursuits took me away. However in Fall 2015, I listened to a podcast revolved around a guy
undergoing personal development. Improv was one... Show more content on Helpwriting.net ...
Knowing that you have fellow improvisers will "Yes, and" you and you returning the favor will allow you to be emboldened in the choices you make.
Personal and social relationships won't exist without trust and knowing those close to you support you even if they might not agree with what you are

What Is The Intimate Act Of Choreography
The theme of The Intimate Act of Choreography by Lynne Anne Blom and L. Tarin Chaplin is to inform the audience on what choreography is
and how to go about the creative process of dance. This book's purpose is to be a guide into choreographic process. The choreographic process,
which is a series of steps that create dance and classify dance as a whole, helps the authors break down the major ideas to form smaller concepts
which are used to initialize a dance. The work provides an analytical view on dance as an artform but also in making the process to simple to
understand and how to use. They do this using three steps to simplify the choreographic process–– divide, expand, and use. These three steps are
relatively simple but allow for the audience to understand the purpose of the book and transfer their newfound knowledge into the world. The Intimate
Act of Choreography acts as lecture, setting up the structural bones for those interested in choreography. This is informative and opinionated but
nonetheless a guide into the domain of dance. ... Show more content on Helpwriting.net ...
At this point in time the controversy of what dance means and what creates good dance was a much debated subject. There was multiple ideas and
theories of motion and kinesphere which have all contributed into the revolution seen today in dance. In the eighties the big idea was meaning. The
question being does dance need meaning or can it just exist. The book The Intimate Act of Choreography takes the of meaning. Though they must
prove how exactly that meaning must be shown and why meaning is essential to artistry. They does this through the support of

Peterson's Influence On My Ministry
It is difficult to choose a single book or author that has influenced me. Miroslav Volf helped me to understand grace and forgiveness in a new way
that has impacted my ministry (Volf, 2005). Eugene Peterson showed me that ministry looks different for every person and in every context
(Peterson, 1992). Donald Miller reminded me of how Christianity looks from the outside (Miller, 2004). And Fernando Arzola Jr. gave me an entirely
new paradigm for youth ministry (Arzola, 2008). But the book that most resonated with my own calling was Slow Church, written by C. Christopher
Smith and John Pattison a few years ago. This book told many stories and covered a diversity of topics, but the few that stood out the most to me were
their understanding of... Show more content on Helpwriting.net ...
Smith and Pattison reminded us that an "emphasis on homogeneity seems to imply that [the church growth movement] sets its sights on something less
than God's reconciliation of all humanity and all creation (Smith & Pattison, 2014, p. 110). In my own ministry, I have focused on reconciliation
between generations and ethnic groups, but there is still so much work in those areas and others that needs to be done. And a change of heart is
needed for many of us, as we learn to let go of our most sacred cows for the sake of God's kingdom.
I desire to be part of a community that values creativity in how we partner with God in ministry, commitment to a particular people and place, and
the necessary work to facilitate reconciliation between all people and God. Slow Church helped me to better articulate these ideas, but I am still
learning how to lead others in living them out. As Smith and Pattison reminded me repeatedly through their book, these are all ordinary things, lived
out in our day to day lives (Smith & Pattison, 2014, p. 223). It is my intention and my hope, by the grace of God, to keep practicing them for as long
as I have

Musical Event In Preparation For This Event, I Was Somewhat
Musical Event In preparation for this event, I was somewhat versed in classical music. Many of the pieces I heard were either referenced in the text,
or I have heard them before. I did not have any preconceived notion as to what the playlist would consist of before I attended the event. There were
many classical tracks played throughout the event, most of which had jazz influences from the members of the Englewinds. It was all very refreshing
and spontaneous, something which I did not expect from the event. There were times in the beginning when they were primarily focused on the
classical era of music, but they soon mixed the music into a fusion of both classical and jazz, and eventually moved into jazz. Since both classical and
jazz ... Show more content on Helpwriting.net ...
The first half of the classical era focused on simple and decorative music, while the second half witnessed the rise of thematic development, which
focused on manipulating melodies for the intellectual enjoyment of exploring the possibilities inherent in a tune (Chiego, 2014, pg 11). This was
evident in some of the pieces played throughout the concert. Some of the most notable composers for this time were Franz Joseph Haydn, Wolfgang
Amadeus Mozart, Ludwig van Beethoven and Franz schubert. Jazz is dated back to the early twentieth century in America. It incorporates ragtime,
blues, repeating chord progressions and improvisation (Chiego, 2014, pg 139). There are many different subgenres of Jazz, from New Orleans, to
Chicago Style, to Big Band or Swing (Chiego, 2014, pg139–141).
The musical performance I viewed was at the Shea Center at William Paterson University. The performance was called "Englewinds' BEES,
PLEASE!". It was a very clean auditorium and the atmosphere was filled with a suppressed excitement. As I took my seat, it was only a matter of
time before the music started. The attire of the performers was also casual, but in a uniform sense. The announcer came on stage and welcomed
everyone, and soon after, the Englewinds came out and played various classical pieces using various woodwinds, brasswinds, and a percussion
instrument.
This event was played with all woodwinds, brasswinds, and a percussion

Popular Music: The Creative Process Essay
The Oxford Dictionary defines creativity as "the use of imagination or original ideas to create something; inventiveness". Stemming from this, the
creative process is the way in which an individual develops their creative ideas. Under this umbrella is improvisation and, in particular, free
improvisation (or free jazz). "Improvisation is about... truthfully responding to changing circumstances, and about.... enjoying the process without
straining to get a known result. It is about creation." Creativity and improvisation come from deep within, almost decided by our subconscious, only to
be directed by conscious thought and the happenings around us at the given time. "Even without thinking, [musicians] can make musical gestures that
direct the ... Show more content on Helpwriting.net ...
I hold improvising close to me, and use it as a technique for creating original songs, and turning cover songs into my own. When one improvises, they
make choices that are unique to them, which leads into the question of where ideas in improvising come from.
Singer–songwriter Matt Corby spoke about the idea that inspiration does not come from you, rather "it's something that you channel. Song writing,
being able to create something new, is a regurgitation of everything that you have experienced musically in your entire life. Your ideas [are] just a
product of what you know and what you place value upon musically or artistically". Though he is speaking more so about song writing, this
especially resonates in improvisation, as the process is even more free flowing and spontaneous than creating a song. In improvising, this concept of
"the body acting prior to thought" is key, however when taking part in free improvisation, it is often difficult to continue coming up with different
ideas and variation, and I feel I am often too similar and somewhat predictable in my improvising. A musician's "personal conventions [can become]
too familiar" and it is often necessary to "search for a wider spectrum of ideas." I wanted to put myself out of my comfort zone, in order to explore new
things, and was able to do so in the workshops.
In one of the first free improvisation workshops I was given an image that looked like a string of

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