This assignment explores music as a means of therapy for people living with dementia. Looking at the neurophysiological side of the disease, music therapy could be utilised as a way of changing behaviour that could be labelled as disruptive or unacceptable to the rest of society. Considering the important role that music plays in the lives of many people, cultures and societies and the need of people living with dementia to connect, engage, grow and flourish, music can and should play a much larger role in creating a life worth living for people with dementia. Music should be made part of the person-centred approach to care and not be simply used to entertain, distract or to blur out background sounds. The difficulty of capturing the true emotional spectrum of what music can do for and to the human soul is clear in the research. The practical implementation of music in the care setting should be carefully considered to take into consideration the individuality of each person living with dementia, as well as those who care for them.
Student 1 Student Dr. Harrison English 103 5 MoseStaton39
Student 1
Student
Dr. Harrison
English 103
5 February 2021
Hanging on in Quiet Desperation: Internal Tensions in Dark Side of the Moon
Da da da dum… The four opening notes of Beethoven’s Fifth Symphony, recognizable even
in written form, introduce a four-part composition which takes nearly forty minutes to perform and
comprises multiple movements interconnected by musical motifs. Thematically connecting parts of
a composition into a larger whole is a tradition which goes back centuries in Western classical
music, yet in most contemporary twentieth-century music, the focus was on much shorter works;
compared to an hour-long symphony, a three minute single is far more suitable for radio play or for
dancing. In the latter third of the twentieth century, however, rock music revisited the classical
tradition with the emergence of the concept album—a work whose “music, imagery, and … lyrics
are conceptually linked to a single overall theme or unified story” (Rose 8). Perhaps no musician
has been as dedicated to this form as former Pink Floyd front man and bassist Roger Waters, who
has masterminded ten concept albums (five Pink Floyd albums, four solo albums, and an opera).
Many of the recurring themes that he explored more deeply in his later work appeared initially in
Pink Floyd’s first concept album, Dark Side of the Moon, an album heavily influenced by Waters’
vision. This album explores the things which drive people mad, or as Waters puts it, the “pressures
which are anti-life” (Miles 92). This discourse on the stresses and strains of life—the passage of
time, work, money, war, madness, and death—takes the form of an oblique one-sided dialogue,
expressed as two voices seeking to guide a notional youth through adulthood. The dialogue
oscillates between hope and despair, between optimism and pessimism, between scornful censure
and soothing support. It does this not only lyrically but musically as the instrumental work on the
Student 2
album similarly fluctuates between conflicting emotional states. The vacillation of this dialogue
reveals a further and perhaps most significant stress—that of priorities and of pressures that, no
matter what, cannot possibly all be satisfied. Dark Side of the Moon, then, not only discusses
timeless themes of the human condition, but by implying that it is impossible to satisfy all of life’s
demands, it encourages the listener to distinguish in their own lives between those things that are
genuinely important and those things which may be seductively and immediately enticing yet are
ultimately inconsequential or even ruinous.
In December of 1971, in a London warehouse that belonged to the Rolling Stones, the
members of Pink Floyd had a jam session (Classic 00:08:13). Their goal was to start creating the
music to accompany bassist Roger Waters’ ideas for a concept album that, as Waters put it, would
“come down to earth a bit, get a bit less in ...
Omar AlghamdiMusic in Our LifeThis deliverable is directed at .docxcherishwinsland
Omar Alghamdi
Music in Our Life
This deliverable is directed at highlighting the effect that music has had on the social struggles and upheavals of the current time. It shows adequate resources that are crucial to the analysis of the pop culture in the United States, with the inclusion of the impact that such culture has beyond the borders of the country. It makes a reference to some sites on various forms of the pop culture, with the inclusion of music, television, advertisement, magazines, and cyber culture, among others.
Bloch starts his article by pinpointing the case of “abstraction” when it comes to art. It illustrates how this is simply some form of an illusion that can never be subjected to a thorough psychological analysis. The author stresses on his point of view regarding the artistic work, and even goes a step further to refer to them as being an “ideal graphology.” In that, it helps with the characterization of the author, in a way considered as most truthful and complete. Bloch continues by arguing that these occurrences even take place even if the artist is conscious of them or not. Art, music to be particular, helps in revealing the inmost nature, the virtues and several faults being upheld, temperament, and the degree of intellectuality and emotional faculties for the given artist. In conclusion, the writer argues that the richer the nature of the artist is, the more comprehensive his creation will become, hence showing the adequacy of his technique on craftsmanship.
Concerning Upheavals of the human's thoughts, Nussbaum provides a theory regarding one's emotions. She presents an argument that to best conceive emotions, one must first imagine them as ideas and then goes forth to state that emotion-thoughts have the ability to make some valuable additions to one's normal life (Cates, 2003). She goes forth to develop some large accounts of one’s compassion and the love as being the thoughts that provide the greatest moral support for an individual. The author majorly focuses on that which is meant for one to say that emotions contribute to the forms of thoughts by a person. It starts by raising some of the most critical questions regarding the conception of one’s structure regarding emotions, and also on the conception regarding compassion of an individual, individually (Cates, 2003). The author concludes by showing the importance of conducting an analysis of the structure, and the moral value, of one's emotions and how it requires one to start observing some religious practices, and maybe start listening to certain kinds of music.
The article by Kokonis, (2017), highlights some of the major crisis that Hollywood had to face in the recent memory. Although some consequences resulting from the significant problems encountered by Hollywood were mitigated, there are some which are still felt to this day. One such case is that of the post-war period that had much effect on the entire landscape of Hollywood and subsequently leading .
Descriptive Essay On Music
Music and Personality
Chicano Music : Memorable Music
Music Is A Universal Language
Essay about Music and Society
Essay on music and emotions
Essay on Musical Instruments
Music in the Classroom Essay
Classification Of Hip-Hop Music
Rap Music Essay
The Portrayal Of Women In The Music Industry
Reflection About Music
Attention Getter For Music Essay
Classification Essay-Its Wrong With Fuse Music
Classification of Music
Reflective Essay About Music
Classification of Music Essay
Classification Essay On Rap Music
find an online recording of three primary forms of modern music fol.docxbryanwest16882
find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
Art Music
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
Folk Music
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docxvannagoforth
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
Dr. Sandhya Thapa, Associate Professor at the Department of Sociology talked on 'Music, Society and its Changing Dynamics' at the XIIth session of the Special Lecture Series - Rediscovering Music through Different Lenses' of the Department of Music, Sikkim University on 02 May, 2019.
The lecture Abstract:
Music, Society and its Changing Dynamics
Music, society and culture are inextricably interlinked . Despite its all pervasiveness and ubiquitous nature existing in all societies in some forms, music reflects wide diversity and great deal of multiplicity significantly impacted and moulded by culture, ethnic traditions, time and space. The varied socio- cultural context widely shapes the way music is created, produced and consumed. With the social transformation and emerging socio- cultural realties which led to massive restructuring of every aspects of life and society : from culture to social relations, from politics to economy, it has extensively impacted the music as a cultural element , redefining the relationship between music and society. The presentation is an attempt to rediscover relationship between music and society in the backdrop of social change and wider structural transformation.
CHAPTER 1 • Thinking about Music if you can speak you .docxketurahhazelhurst
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
positioning of one (sometimes it is both) ...
Fonts play a crucial role in both User Interface (UI) and User Experience (UX) design. They affect readability, accessibility, aesthetics, and overall user perception.
Visual Style and Aesthetics: Basics of Visual Design
Visual Design for Enterprise Applications
Range of Visual Styles.
Mobile Interfaces:
Challenges and Opportunities of Mobile Design
Approach to Mobile Design
Patterns
This assignment explores music as a means of therapy for people living with dementia. Looking at the neurophysiological side of the disease, music therapy could be utilised as a way of changing behaviour that could be labelled as disruptive or unacceptable to the rest of society. Considering the important role that music plays in the lives of many people, cultures and societies and the need of people living with dementia to connect, engage, grow and flourish, music can and should play a much larger role in creating a life worth living for people with dementia. Music should be made part of the person-centred approach to care and not be simply used to entertain, distract or to blur out background sounds. The difficulty of capturing the true emotional spectrum of what music can do for and to the human soul is clear in the research. The practical implementation of music in the care setting should be carefully considered to take into consideration the individuality of each person living with dementia, as well as those who care for them.
Student 1 Student Dr. Harrison English 103 5 MoseStaton39
Student 1
Student
Dr. Harrison
English 103
5 February 2021
Hanging on in Quiet Desperation: Internal Tensions in Dark Side of the Moon
Da da da dum… The four opening notes of Beethoven’s Fifth Symphony, recognizable even
in written form, introduce a four-part composition which takes nearly forty minutes to perform and
comprises multiple movements interconnected by musical motifs. Thematically connecting parts of
a composition into a larger whole is a tradition which goes back centuries in Western classical
music, yet in most contemporary twentieth-century music, the focus was on much shorter works;
compared to an hour-long symphony, a three minute single is far more suitable for radio play or for
dancing. In the latter third of the twentieth century, however, rock music revisited the classical
tradition with the emergence of the concept album—a work whose “music, imagery, and … lyrics
are conceptually linked to a single overall theme or unified story” (Rose 8). Perhaps no musician
has been as dedicated to this form as former Pink Floyd front man and bassist Roger Waters, who
has masterminded ten concept albums (five Pink Floyd albums, four solo albums, and an opera).
Many of the recurring themes that he explored more deeply in his later work appeared initially in
Pink Floyd’s first concept album, Dark Side of the Moon, an album heavily influenced by Waters’
vision. This album explores the things which drive people mad, or as Waters puts it, the “pressures
which are anti-life” (Miles 92). This discourse on the stresses and strains of life—the passage of
time, work, money, war, madness, and death—takes the form of an oblique one-sided dialogue,
expressed as two voices seeking to guide a notional youth through adulthood. The dialogue
oscillates between hope and despair, between optimism and pessimism, between scornful censure
and soothing support. It does this not only lyrically but musically as the instrumental work on the
Student 2
album similarly fluctuates between conflicting emotional states. The vacillation of this dialogue
reveals a further and perhaps most significant stress—that of priorities and of pressures that, no
matter what, cannot possibly all be satisfied. Dark Side of the Moon, then, not only discusses
timeless themes of the human condition, but by implying that it is impossible to satisfy all of life’s
demands, it encourages the listener to distinguish in their own lives between those things that are
genuinely important and those things which may be seductively and immediately enticing yet are
ultimately inconsequential or even ruinous.
In December of 1971, in a London warehouse that belonged to the Rolling Stones, the
members of Pink Floyd had a jam session (Classic 00:08:13). Their goal was to start creating the
music to accompany bassist Roger Waters’ ideas for a concept album that, as Waters put it, would
“come down to earth a bit, get a bit less in ...
Omar AlghamdiMusic in Our LifeThis deliverable is directed at .docxcherishwinsland
Omar Alghamdi
Music in Our Life
This deliverable is directed at highlighting the effect that music has had on the social struggles and upheavals of the current time. It shows adequate resources that are crucial to the analysis of the pop culture in the United States, with the inclusion of the impact that such culture has beyond the borders of the country. It makes a reference to some sites on various forms of the pop culture, with the inclusion of music, television, advertisement, magazines, and cyber culture, among others.
Bloch starts his article by pinpointing the case of “abstraction” when it comes to art. It illustrates how this is simply some form of an illusion that can never be subjected to a thorough psychological analysis. The author stresses on his point of view regarding the artistic work, and even goes a step further to refer to them as being an “ideal graphology.” In that, it helps with the characterization of the author, in a way considered as most truthful and complete. Bloch continues by arguing that these occurrences even take place even if the artist is conscious of them or not. Art, music to be particular, helps in revealing the inmost nature, the virtues and several faults being upheld, temperament, and the degree of intellectuality and emotional faculties for the given artist. In conclusion, the writer argues that the richer the nature of the artist is, the more comprehensive his creation will become, hence showing the adequacy of his technique on craftsmanship.
Concerning Upheavals of the human's thoughts, Nussbaum provides a theory regarding one's emotions. She presents an argument that to best conceive emotions, one must first imagine them as ideas and then goes forth to state that emotion-thoughts have the ability to make some valuable additions to one's normal life (Cates, 2003). She goes forth to develop some large accounts of one’s compassion and the love as being the thoughts that provide the greatest moral support for an individual. The author majorly focuses on that which is meant for one to say that emotions contribute to the forms of thoughts by a person. It starts by raising some of the most critical questions regarding the conception of one’s structure regarding emotions, and also on the conception regarding compassion of an individual, individually (Cates, 2003). The author concludes by showing the importance of conducting an analysis of the structure, and the moral value, of one's emotions and how it requires one to start observing some religious practices, and maybe start listening to certain kinds of music.
The article by Kokonis, (2017), highlights some of the major crisis that Hollywood had to face in the recent memory. Although some consequences resulting from the significant problems encountered by Hollywood were mitigated, there are some which are still felt to this day. One such case is that of the post-war period that had much effect on the entire landscape of Hollywood and subsequently leading .
Descriptive Essay On Music
Music and Personality
Chicano Music : Memorable Music
Music Is A Universal Language
Essay about Music and Society
Essay on music and emotions
Essay on Musical Instruments
Music in the Classroom Essay
Classification Of Hip-Hop Music
Rap Music Essay
The Portrayal Of Women In The Music Industry
Reflection About Music
Attention Getter For Music Essay
Classification Essay-Its Wrong With Fuse Music
Classification of Music
Reflective Essay About Music
Classification of Music Essay
Classification Essay On Rap Music
find an online recording of three primary forms of modern music fol.docxbryanwest16882
find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
Art Music
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
Folk Music
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docxvannagoforth
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
Dr. Sandhya Thapa, Associate Professor at the Department of Sociology talked on 'Music, Society and its Changing Dynamics' at the XIIth session of the Special Lecture Series - Rediscovering Music through Different Lenses' of the Department of Music, Sikkim University on 02 May, 2019.
The lecture Abstract:
Music, Society and its Changing Dynamics
Music, society and culture are inextricably interlinked . Despite its all pervasiveness and ubiquitous nature existing in all societies in some forms, music reflects wide diversity and great deal of multiplicity significantly impacted and moulded by culture, ethnic traditions, time and space. The varied socio- cultural context widely shapes the way music is created, produced and consumed. With the social transformation and emerging socio- cultural realties which led to massive restructuring of every aspects of life and society : from culture to social relations, from politics to economy, it has extensively impacted the music as a cultural element , redefining the relationship between music and society. The presentation is an attempt to rediscover relationship between music and society in the backdrop of social change and wider structural transformation.
CHAPTER 1 • Thinking about Music if you can speak you .docxketurahhazelhurst
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
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3. NAM is a super-category that includes many musical
sub-categories such as ethnic,
World, Trance, ambience, space, healing, meditation,
nature, minimalist, Muzak, environmental, and so on.
At AllMusic Internet site New Age is listed among
twenty one musical super-categories (such as Rock,
Jazz, and Classic) with twenty four “subgenres & styles.”
6. New Age Music (NAM) is a vocal and instrumental musical style,
which developed in the second half of the twentieth century as
minimalist music meant to create a particular atmosphere, usually
tranquil and meditative.
Among its first harbingers one may recall Brian Eno, Mike Oldfield,
and Wendy Carlos. In the 1980s NAM entered public awareness and
began to be an accepted category in the marketing language of
record companies.
In the early 1990s some people identified NAM as the one of the
most significant components of the music industry, although it also
became the most disputed musical also genre.
Brief History : New Age Music
Popular
Music
New Age
Culture
Cultural
Criticism
NAM
7. The current sociological profile
of New Agers fits the updated
inclination of the New Age
Movement towards the
mainstream: they belong to
the upper middle-class sector,
and are characterized by
relatively higher education.
This constitutes some of the
background of the academic
discourse regarding New Age,
which has been characterized
by a sharp polarization
between those who would
caution against contemporary
spiritualities’ dangers, and
those “apologists” who would
defend their research objects.
Audience
8. 'New Age’ as an umbrella term, covers
an extraordinarily vast array of eclectic
explorations in nature and possesses as
part of its belief system very' little that is
actually original or 'new’.
New Age is a range
of spiritual or religious practices and
beliefs which rapidly grew in Western
society during the early 1970s. Its
highly eclectic and unsystematic
structure makes a precise definition
difficult. Although many scholars
consider it a religious movement, its
adherents typically see it as spiritual or
as unifying Mind-Body-Spirit. Scholars
often call it the New Age movement,
although others contest this term and
suggest it is better seen as
a milieu or zeitgeist.
As part of the struggle surrounding
NAM’s cultural status, some researchers
and artists deny that NAM is a musical
genre. Thus, in the New Age
Encyclopedia, NAM is presented as a
“marketing slogan,” and it is explicitly
indicated that it is “not a musical
category”. The musician Wendy Carlos,
who tends to be identified as the creator
of the first New Age album (Sonic
Seasonings), uttered the same claims.
New Age Movement
9. The New Age movement emerged through a range of counterculture
phenomena in a continuous process that came of age in the 1970s,
such as alternative medicine, meditation, Far East doctrines and
practices, admiration of indigenous cultures, neoshamanism, and
neo-paganism, spiritual feminism, consciousness and self-help
groups, spiritual psychotherapies, and channeling. So, NAM contends
with double marginality in the academic discourse, the marginality of
New Age culture and that of popular music genres
An eruption from the New Age Movement
Popular
Music
New Age
Movement
NAM
10.
11. New Age Music
Sound Health
Chakra Balancing
Healing Frequencies
Meditation
Yoga and Relaxation
Binaural Beats
Environmental
Sound Imagination
Nature sounds
“music for hot tubs”
World
Ethnic
Minimalist
Sound Imagination
Nature sounds
“music for hot tubs”
Ambient
Commercial
Trance
Muzak
Electronic
Psychedelic
Subgenres and their Niche
12. In Chapter 10 of Sound Health, Halpern takes up the subject of the
“sound imagination,” noting the “healing power of imagery” (Halpern
and Savary 1985: 101). As part of a guided exercise on “how to relax
with inner imagery,” Halpern prescribes a particular series of steps.
After finding a location and time to get in a comfortable position and
close one’s eyes, Halpern suggests one play music and “allow your
imagination to visualize pleasant surroundings — a beautiful meadow
filled with flowers, a sparkling bubbly stream, the beach and ocean,
or your own favorite scene.”
Dr. Steven Halpern’s Sonic Supplements
13. The music and its extramusical
components speak to the
importance of visually and
textually framing sounds in ways
that subsume both the body and
the musical content itself.
Inevitably, the product for sale is
a lifestyle that seemingly
contains musical sound within
the envelope of visual and
textual components.
These ideas of sound as
contained and image as
container are contrary to
sound theorist and composer
Michel Chion’s observation that
sound is in fact uncontainable.
Unlike the filmic image, which is
contained by an actual frame,
Chion argues that film sound,
when listened to independent of
the image, “feels like a formless
audio layer” (2009: 226-227)
By emphasizing sound’s
uncontainable quality, we can
approach the framing devices
used by Windham Hill as
attempts to contain the
uncontainable.
Container / Contained =
Uncontainable Spatial
Atmosphere
14. Intertwining environmental text and imagery with
spacious, comforting sounds finds the aim of both forms
of New Age explored herein solidifying vague notions of
ecological abstractions. Such abstractions share equally
anonymous traits with the role played by stock imagery
and music, PowerPoint templates, and model homes. In
each approach, whether painstakingly prescribed or
encouraged to disappear, the New Age subject is
pressed to embrace an ecological scenario of anonymity
and spaciousness.
This “safer buying choice” provides a comfortable space
to first purchase then sonically immerse oneself. With no
threats to specific bodies (of a specific sex and ethnicity),
the listener can fully (dis) engage and trust their
consumptive relationship with sonic environments.
Key to the New Age ethos is the delicate balance of
emphasizing the personal and individual through
anonymity and predictable musical choices.
Artist Anonymity vs. Stylistic Resemblances
15. Music scholar Helfried Zrzavy notes that an “examination of the New Age
phenomenon is hampered by a general unfamiliarity with New Age artists whose
names, unlike those of pop or rock n’ roll stars, largely remain subordinate to the
record labels for which they perform” (1990: 35).
It is this erasure of the artist and listener which founder and flagship where several
New Age music makers tout as a central component of bringing people together.
The music under investigation presents acts of multitextual representation which
attempt to make analogies to the natural world. In the process, the listener is shaped
into an environmentally-attuned subject, hinging on circular philosophies of
commerce and spirituality. The construction of this complex subjectivity is contingent
on repeated interactions with such analogies, thus solidifying particular relationships
to environments. Whether through specific, prescriptive means or generalized
scenarios, New Age music’s processes of domestication naturalizes the co-presence of
technologies alongside seemingly natural phenomena. In this way, New Age makes
manifest its unique brand of ambivalence, a brand reflective of attitudes toward the
current environmental crisis
Transcendental / transformational
16. Music scholar Helfried Zrzavy notes that an “examination of
the New Age phenomenon is hampered by a general
unfamiliarity with New Age artists whose names, unlike
those of pop or rock n’ roll stars, largely remain subordinate
to the record labels for which they perform” (1990: 35). It is
this erasure of the artist and listener which founder and
flagship where several New Age music makers tout as a
central component of bringing people together.
The music under investigation presents acts of multitextual
representation which attempt to make analogies to the
natural world. In the process, the listener is shaped into an
environmentally-attuned subject, hinging on circular
philosophies of commerce and spirituality. The
construction of this complex subjectivity is contingent on
repeated interactions with such analogies, thus solidifying
particular relationships to environments. Whether through
specific, prescriptive means or generalized scenarios, New
Age music’s processes of domestication naturalizes the co-
presence of technologies alongside seemingly natural
phenomena. In this way, New Age makes manifest its
unique brand of ambivalence, a brand reflective of
attitudes toward the current environmental crisis
Transcendental / transformational
Monism
pantheism
One with God / nature / coincidental with Green Peace and
WWF / Gaia Hypothesis / ecomusicology