Music and technology presentation
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The document discusses how music technology and sociology are interrelated. It provides a brief history of music technology from the phonograph in the late 1800s to modern digital formats. It argues that technology has greatly influenced how society interacts with music and that understanding these concepts can help people appreciate different musical tastes rather than being critical. The document concludes that appreciating the relationship between music sociology and technology makes it easier to have an open mind about music.
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Music is found all around the world, with each country having its own unique styles. Popular music originated in the US and UK, with iconic pop artists including The Beatles, Michael Jackson, and Madonna. Country music also came from America and features the banjo, violin, and harmonica, with notable country singers being Patsy Cline, Dolly Parton, and Willie Nelson. Classical music flourished in the late 18th and early 19th centuries under composers like Bach, Mozart, and Beethoven. Rock music evolved from rock and roll in the 1960s in the UK and US, with Elvis Presley as a seminal rock and roll singer. Jazz originated in African American communities in the early 20th
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2. Research on prenatal music stimulation provides evidence that it can positively influence fetal development and newborn behaviors. Babies exposed to music in the womb tend to be more advanced in motor skills, language, and cognition.
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Music has been shown to enhance learning and have relaxing effects. Studies have found that music with at least 60 beats per minute activates both sides of the brain, aiding brain development in infants and children. Students who play a musical instrument are also more likely to succeed academically due to increased brain activity. Different music genres can help relax the body by slowing the heart rate and breathing rate, but may also increase blood pressure and heart rate depending on the music's energy. Listening to music more often could help reduce needs for anti-stress treatments.
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The document provides guidance on setting up a Music and Movement center in an early childhood education program. It recommends including a variety of musical instruments, recorded music, computers with music software, song books, and homemade instruments. It emphasizes including materials from diverse cultures. The teacher's role is to lead daily music and movement activities and ensure enough instruments are available for half the class. Music and movement can help develop children's language, cognitive, social, emotional and motor skills while being enjoyable.
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- 35.3% of high school students dropout each year according to statistics
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Music plays an important role in binding people together through shared experiences at concerts, parties, and religious events. It can evoke strong emotions like motivation, sadness, and euphoria. For some, music can even induce trances or hallucinations. Music therapy has also been shown to benefit those with motor and cognitive disorders like Parkinson's, Alzheimer's, and autism. The document concludes that music has incredible power to affect people on many levels.
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Elvis Presley was an early popularizer of rockabilly music and one of the most influential musicians of the 20th century. Frank Sinatra was known as "The Voice" and was a founding member of the Rat Pack. Michael Jackson's 1982 album Thriller is the best selling album of all time. Metallica is an American heavy metal band known for songs like "Master of Puppets" and "Nothing Else Matters".
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This document provides a list of 7 journal articles relevant to the topic of music. The articles cover a range of subtopics including how digital technology has changed how musicians and fans interact globally, the phenomenology of listening to music with understanding, the influence of musical performance on music perception, individual differences in music preferences, heckling at music performances, the relationship between worship styles and social identity, and the link between media violence and aggression.
1 study of popular music 2014(2)
Popular music can be studied academically by defining it, examining why it should be studied as part of higher education, and analyzing its history, production, consumption, and social impact. Key areas of focus include the development of the popular music industry; critiques of mass culture theory which viewed audiences as passive; and sociological analyses of genres like rock music and how they relate to youth culture. Academic study has grown since the 1970s and now includes departments, centers, and methods for analyzing popular music's musical and extramusical elements.
Tom Rule Music Appreciation 20th c
The document discusses developments in music in the 20th century. It covers many new styles that emerged such as Impressionism, Expressionism, Serialism, and Minimalism. Composers experimented with tone color, harmony, rhythm, and melody. New technologies like recording and broadcasting also influenced music and brought it to wider audiences. The music of this period was characterized by breaking from tradition and exploring new sounds and styles of composition.
The Music Of Electronic Dance Music
The document discusses the relationship between electronic dance music and drugs, specifically ecstasy. It notes that different genres of music have historically been associated with different drugs, such as jazz with opium in the 1940s and psychedelic rock with LSD in the 1960s. In the late 1980s and early 1990s, ecstasy became closely linked with the emerging genres of techno, house, acid house, and rave culture. Electronic dance music and ecstasy developed a strong bond, as ecstasy use was rampant at the electronic music performances of the time and influenced the music. Without ecstasy, it is argued that electronic dance music, raves, and rave culture would not have developed in
Music, Society and its Changing Dynamics | Sandhya Thapa
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.
ACO Music Data & Analysis: interdisciplinary stuies, converting information t...
The music industry is subject to hype. Statistics can separate the hype from the reality. Of interdisciplinary, ACO Music Data & Analysis enables clear assessment of the impact of music on society. Used at universities around the world in music courses, business courses and social studies as well as modern history (What was the impact of protest songs during the Vietnam war?)
Musica popular analisis metodo teoria y practica
This document discusses the need for serious academic study of popular music. It begins by summarizing skepticism from publications like The Times and New Musical Express about academics analyzing popular music. It then argues that popular music deserves serious study due to its large sociocultural influence and role in identity formation. The document outlines developments in music technology, media, and culture that require changes in how academics approach music. It proposes a model for popular music analysis that considers social and technological aspects alongside musical content.
Pages From Denoramusicineverydaylife
This book examines music's role in everyday social life through a series of ethnographic studies. It finds that music actively structures social situations and experiences in ways that are often overlooked. The introduction describes an encounter where a market manager from Nigeria emphasized how music was integrated into everyday tasks and social life in his home country. This highlighted how Western societies may underestimate music's social influence. The book aims to document music's many uses in daily life and develop a theory of its active role in constructing personal and social worlds. It is based on interviews with women in the US and UK, and ethnographic studies of aerobics classes, karaoke nights, music therapy, and background music in retail settings.
MQ1-g10.ppt
This document discusses 20th century musical styles such as impressionism, expressionism, neo-classicism, avant garde, and modern nationalism. It provides examples of composers that helped develop these styles like Debussy, Schoenberg, and Stravinsky. The document also discusses new musical styles in the 20th century including electronic music pioneered by composers like Varese and Stockhausen, and chance music which incorporates random sound elements. It concludes with a performance activity of singing songs from the musical West Side Story.
Senior Project Final Draft
This document provides an overview of the history and growth of the electronic dance music industry and Insomniac Events, a major electronic music festival promoter. It discusses how electronic music evolved from early experiments to becoming mainstream. It outlines key developments like the rise of raves and underground parties in the 1980s-90s that led to the growth of commercial festivals. The document then focuses on Insomniac Events, founded in 1993, and its role in popularizing festivals like Electric Daisy Carnival and Nocturnal Wonderland, which now attract tens of thousands of attendees annually. It also examines Insomniac's marketing strategies and partnerships that have contributed to its success in growing the electronic music festival business.
Prelude 7 Beyond Modernism
This document discusses postmodernism in art and music from the 1950s onward. It explores how postmodernism incorporated popular and traditional elements as well as quotation. In music, it led to chance-based aleatoric music and a globalization of influences, incorporating non-Western styles. New technologies also emerged, including musique concrète in Paris and electronic tape music pioneered by Edgard Varèse. In Cologne, figures like Herbert Eimert and Karlheinz Stockhausen developed electronische musik using oscillators, waveform manipulation, and early synthesizers.
Music technology
This document discusses the history and evolution of popular music and media technologies. It explores how recording technologies in the late 19th/early 20th century commodified music by separating the listener from the live performance. New technologies like radio broadcasting further changed listening experiences. The document then outlines the development of formats like records, tapes, MP3s, and streaming services and how they shaped music consumption. It also examines debates around how media/technologies deterministically shape culture or are shaped by social forces.
cultural_studies_syll_spring2010_MV
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The Evolution Of Music.pdf
Music has been around for centuries, and its evolution over time has been fascinating. From its roots in early American history to its contemporary impact on pop culture, music has changed and adapted to the times. In this blog post, we will explore the evolution of music and how it has been shaped by advances in technology and culture. We will look at how music has changed over the years, from the instruments used to the genres that have become popular. By the end of this post, you should have a better understanding of the history of music and how it has shaped the world we live in today.
Soviet time born Latvian punk: social origins and object of protest
Paper for 3rd INTERNATIONAL CONFERENCE, INTERDISCIPLINARY CULTURAL GROUP RESEARCH: Youth Subcultures, Worldviews and Lifestyles, Kaunas, Lithuania
Previous research on beginnings of Latvian punk, which was mostly done in fields of journalism and punk activism, indicates that first Latvian punks appeared in early 80-ies, but the first punk bands - in the first half of the same decade. This rises the first question: why punk came so late? Comparing with Estonia and Russia or with some Central European socialist countries, it was late (Troitsky 1988, Trubetsky 2009, Haas 2001). Comparing with some other Soviet Republics or some 3rd World Countries the first wave of Latvian punks cannot be labeled as late. There are some explanations why Latvian youth were behind the Estonians in adoption of punk style. Most popular is Estonia’s closeness to the capitalistic Finland. They were better informed about newest trends in the ‘free world’ because they get better access to the Finland’s broadcasting, including TV, and mass media, and to understand the communication was easier because of similar languages. Other explanation of lagging Latvian punk scene, and not only the punk, the same can be said about whole Latvian rock, is more conservative and strict local cultural policy.
Second question asks about the social origins of first soviet Latvia’s punks. There are two prevailing lines in explanation of the birth of subcultures, including punk. The first is original Birmingham subcultural theory, which talks about relations of youth class and resistance through the style and rituals (Hebdige 1979). More modern approach to the analysis of subcultures brings so called post-subcultural theory, stating that youth involvement in different taste cultures or subcultural groups are matter of individual choice, not determined by the factual class affiliation (Bennett 1999; Muggleton 2000).
If we are investigating early Latvian punk, we can detect both aspects and motivations, but also new factors emerges. Significant part of the first Latvian punks were strongly connected with the art school circuits. It might be said that these middle class kids were better informed about current cultural trends in the West and just appropriated punk style as a sign of distinction. At the same time actual resistance in soviet-time Latvian punk was always apparent. Arguing with the political regime the main battlefield was so called national question. Ethnic Latvian punks expressed their national oppression turning to the right, in direction of nationalism. This was one of the main reasons why they adopted swastika and nazi imagery. This also initially lead to the separation of newly forming punk scene into two: Latvian singing and Russian singing. This again contest the notion of style as purely aesthetic value.
5 Electronic Music
Electronic music emerged in the late 19th and early 20th centuries with the development of electromechanical instruments like the Telharmonium and theremin. In the 1940s-1950s, musique concrète pioneered tape music composition using recorded sounds. In 1953, the WDR Cologne studio for electronic music was established, differentiating "elektronische Musik" produced with electronic signals from musique concrète's use of recorded sounds. Pioneers like Schaeffer, Henry, Stockhausen, and Eimert developed the genres of musique concrète and elektronische Musik.
Music Education Research. Vol. I, No. 1, I999 9Musicking‐t.docx
Music Education Research. Vol. I, No. 1, I999 9
Musicking‐the meanings of performing and
listening. A lecture
CHRISTOPHER SMALL, Calle Rafael Uopart 45. l" 2“, 08870 Sitges, Barcelona,
Spain
(e-mail: [[email protected])
ABSTRACT The essence of music lies not in musical works but in taking part in
performance. in social action. Music is thus not so much a noun as a verb, ‘to music'.
'l'o music is to take part in any capacity in a musicalperfiirmance. and the meaning of
musicking lies in the relationships that are established between the participants by the
performance. Music/ting is part of that iconic, gestural process of giving and receiving
information about relationships which unites the living world, and it is in fact a ritual
by means of which the participants not only learn about. but directly experience. their
concepts of how they relate. and how they ought to relate, to other human beings and
to the rest of the world. These ideal relationships are often extremely complex. too
complex to be articulated in words. but they are articulated effortlessly by the musical
performance, enabling the participants to explore. affirm andcelebrate them. Musicking
is thus as central in importance to our humanness as is taking part in speech acts, and
all normally endowed human beings are born capable of taking part in it, not just of
understanding the gestures but of making their own.
I offer here some thoughts on some abiding issues concerning the nature of the musical
act and its function in human life. I have been thinking about this for the last few
years as l have been writing my third book, which bears the same title as this
paper‐Musicking: The Meanings of Performing and Listening. In doing so I make no
claim to speak ex cathedra or to tell anyone what they ought or ought not to be doing;
rather I want to offer such philosophical support asI can in these confused and worrying
times to those who are actually out there doing the work. to clarify as best I can the
reasons why I am certain that music is of central importance in human life and to be
defended stoutly, not only in the education of the young but as a lifelong practice.
For more years than I care to think about I have been worrying away at the question.
or rather, a pair of questions: “What is the nature of music?" and “What is the function
of music in human life?"‐‐in the life. that is, of every single member of the human
species? I have reached some tentative conclusions. I make no apology for throwing my
l4(il-3808/99/0l(XX)9-l3 ©l999 Christopher Small
10 C. Small
two cents' wonh into a pair of questions that seem to have defeated some of the best
minds in Western thought, at least since the time of Plato, since I feel I do have
something to contribute to the formulation of the questions and possibly even to the
quest for an answer.
In the search of that answer I have. over the years, read as widely as I could in the
philosophy, the aesthetics and history. and the sociolo ...
The History Of Western Music
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Popular music 1900 30 2013
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みなさんこんにちはこれ何文字まで入るの？40文字以下不可とか本当に意味わからないけどこれ限界文字数書いてないからマジでやばい文字数いけるんじゃないの？えこ...
みなさんこんにちはこれ何文字まで入るの？40文字以下不可とか本当に意味わからないけどこれ限界文字数書いてないからマジでやばい文字数いけるんじゃないの？えこ...
Presentation of the OECD Artificial Intelligence Review of Germany
Presentation of the OECD Artificial Intelligence Review of Germany
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?
20 Comprehensive Checklist of Designing and Developing a Website
20 Comprehensive Checklist of Designing and Developing a Website
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...
Alt. GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using ...
Alt. GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using ...
UiPath Test Automation using UiPath Test Suite series, part 5
UiPath Test Automation using UiPath Test Suite series, part 5
Communications Mining Series - Zero to Hero - Session 1
Communications Mining Series - Zero to Hero - Session 1
Music and technology presentation
- 1. Up to 1300s ~1334 ~1571
- 2. THESIS The sociology of music does not improve or degrade, it simply changes with differences in societies. OUTLINE 1 – The Evolution of Music Technology 2 – The Sociology of Modern Music 3 – So What?
- 3. Radio Magnetic Tape Cassette CD Invention: Phonograph Tape MP3 Player Year Popularized: 1877 1919 1950s 1990s 2000s 1960s
- 4. The Sociology of Modern Music “[M]usic, like all other human creations, is the product of the minds already shaped by particular cultures, and in this sense music could be said to reflect the society in which it was created.” Peter J. Martin, Ethnomusicologist For us, in a technologically driven world, it logically follows that our social dealings with music are greatly affected by technology.
- 5. How Technology Has Influenced Modern Music We perceive perfection where, in reality, there is none.
- 6. So What? By understanding the sociology of music and the effects of modern technology on it we more easily accept the tastes of others and become less critical of music as a whole. In other words… Appreciating these concepts makes it a lot easier to not be a jerk.
- 7. Blaukopf, Kurt. The Phonogram in Cultural Communication: Report on a Research Project Undertaken by Mediacult. Wien, Austria: Springer-Verlag, 1982. Print. S Davies, Hugh. "Electronic instruments." Grove Music Online. Oxford Music Online. 17 Feb. 2011 <http://www.oxfordmusiconline.com/subscriber/article/grove/music/08694>. Web. ESPN. “What Grade Would You Give The Black-Eyed Peas for Their Halftime Performance.” ESPN. ESPN, 2011. Web. O 17 Feb. 2011 <http://sports.espn.go.com/espn/fp/flashPollResultsState?sportIndex=pollindex&pollId=106466>. Web. Holmes, Thomas. The Routledge Guide to Music Technology. New York: Routledge, 2006. Print. U Katz, Mark. "Portamento and the Phonograph Effect." Journal of Musicological Research 25.3/4 (2006): 211-232. Academic Search Premier. EBSCO. Web. 27 Jan. 2011. Web. Martin, Peter J. Sounds and Society: Themes in the Sociology of Music. Manchester: Manchester University Press, 1995. Print. R Middleton, Richard and Manuel, Peter. "Popular music." Grove Music Online. Oxford Music Online. 17 Feb. 2011 <http://www.oxfordmusiconline.com/subscriber/article/grove/music/43179>. Millard, A J. America on Record: A History of Recorded Sound. Cambridge: Cambridge University Press, 2005. Print. C Moyer, Michael. "RECORDED MUSIC. (cover story)." Scientific American 301.3 (2009): 92. Military & Government Collection. EBSCO. Web. 27 Jan. 2011. Web. "Music's Rich Tech History." Billboard 25 Oct. 2003: 12. Academic Search Premier. EBSCO. Web. 8 Apr. 2011. Web. E Raynor, Henry. A Social History of Music, from the Middle Ages to Beethoven. New York: Schocken Books, 1972. Print. RIAA. “2009 Year-End Shipment Statistics.” RIAA. RIAA, 2010. Web. 10 Mar. 2011. <http://76.74.24.142/A200B8A7-6BBF- EF15-3038-582014919F78.pdf>. Web. S Shepherd, John, and Peter Wicke. Music and Cultural Theory. Cambridge, UK: Polity Press, 1997. Print. Shepherd, John. "Sociology of music." Grove Music Online. Oxford Music Online. 25 Feb 2011 <http://www.oxfordmusiconline.com/subscriber/article/grove/music/26085>. Web. Teachout, Terry. "Why Listening Will Never Be the Same." Commentary 114.2 (2002): 57. Academic Search Premier. EBSCO. Web. 8 Apr. 2011. Web. Young, Miriama. "Latent body—plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology." Contemporary Music Review 25.1/2 (2006): 81-92. Academic Search Premier. EBSCO. Web. 27 Jan. 2011.Web. I Robot with Trumpet (AP Photo|Sadayuki Mikami) M Marilyn Monroe Robot (AP Photo|Sadayuki Mikami) Bach Sheet Music (AP Photo|Jan Bauer) A Tomb of King Juan II and Isabel of Portugal (ARTstor|William Keighley) Portrait of the Mozart Family (ARTstor|Johann Nepomuk della Croce) G Return of the Prodigal Son (ARTstor|POURBUS Frans I) New York Skyline Vector (Creative Commons License|dragonartz.wordpress.com) E Live Music Vectors (Creative Commons License|Spoongraphics) Rebecca Black (AP Photo | Chris Pizzello) S