Native American music is the creative, and beautiful product of a proud and ancient people. Elements of this style of music have been increasingly popping up in the popular genre of World Music. There is something about Native American music that is kind of mesmerizing. Almost induces a trancelike state of mind. Simple, yet somehow complex and harmonious at the same time, Native American music has a soothing quality to it that can make a stressful day seem somehow not so bad.
While its probably not my favorite kind of music, I’ve found that adding some Native American music to my collection has given it a great amount of added depth that I’m getting to be proud of. These days, its becoming trendy to have a lot of ‘worldly’ music in your collection.
Above and beyond just being trendy, Native American music actually sounds good and is great for relaxing. A lot of Native American music released today has a modern twist to it that really blends well with the simple and ancient harmonies. Native American music is being worked into even faster paced rhythms, and is appearing in club and party mixes as well. You know its trendy when young people are dancing to it all over the place!
While the newer faster paced Native American music blends sound great, I prefer the slower more soothing pieces. While they were and are a people with problems like everyone else, Native Americans often seem to have a sort of wisdom and serenity that is unique to them. These qualities come out in Native American music, and are temporarily shared with the listener. The world just seems to make more sense when you’re listening to Native American music.
If you’re finding yourself stressed out or anxious a lot, like me, pick up some Native American music, put it on, take some Prozac, drink some Chinese herbal tea, light some aroma therapy candles, and chant along with the words until you feel light headed and pass out. When you wake up, you’ll feel loads better about everything! If you don’t, well then join a cult and get ready because the aliens are coming to take you on their spaceship soon.
While I’m joking, it’s our self-help culture I’m making fun of and certainly not Native American music. Jesting aside, simple meditation techniques can actually go a long way to reducing anxiety, and I’ve found the right music, like Native American music, can be a great way to enhance such techniques. Even just fifteen minutes of relaxing and listening to some soothing music everyday can help you keep your feet on the ground.
Jumat, 06 Juni 2008
A Well Rounded Musical Education Includes Theory
Within the musical community, there is a debate about the value of music theory that will probably never ends. Is it important to study music theory scales, or is it much better to just dive into the music and experience it viscerally. The proponents of learning the theory regarded it as an essential part of knowing how to play music. You can learn by trial and error, they say, but you would do much better to benefit from the knowledge of other people. Not learning music theory when you play music is like refusing to learn arithmetic when you are studying math.
The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.
I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn't even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn't really need someone telling me what the structures meant. I could tell what they meant with my entire soul.
As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.
I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don't know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?
The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.
I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn't even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn't really need someone telling me what the structures meant. I could tell what they meant with my entire soul.
As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.
I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don't know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?
Practising Music - What To Do Outside Your Music Lesson
Practice makes perfect. These three words are heard every day and time after time these words are ignored. But why? Music is such a vast subject that for anyone, even the professionals, mastering it is near impossible. With years of work one can be very knowledgeable in specific areas of music but it would take more than a lifetime to fully understand every aspect of an instrument or music theory.
With that in mind hopefully people should start to understand that having a one hour lesson once a week is not even close to enough to gain substantial progress and development on a musical instrument.
This series of articles offer tips on practicing music which will hopefully demonstrate the benefits, enjoyment and fulfilment that can be gained through practicing music.
1. Goals are key. It is human nature to take pride in reaching a goal whether a promotion at work or winning a competition. If you have a set goal to reach you will be more willing to put in the work required to achieve it. Some examples of goals could be to learn the latest song you’ve fallen in love with, to be able to sight read in a certain key, to develop faster, more technical playing or to reach a certain exam grade before a certain period.
2. Little often is better than a lot occasionally. One key point to remember is that repetion is the quickest way to learn something due to your brain and muscles ability to develop and store a so called ‘muscle memory’. It will take a substantially longer time to learn and retain your new knowledge if you practice for a long period but only occasionally. See tip 3 on how to easily incorporate regular practice sessions into your daily routine.
Another benefit of practicing a little often is that your concentration levels are kept up throughout your practice session. Brass players will understand this the most – after playing a trumpet or any brass instrument for approximately an hour your lips start to feel numb which in turn begins to restrict your playing abilities. The knock on effect of this is that the longer you practice without a break, the more harm ultimately you will cause yourself – both mentally and physically – it will knock your spirit and could even do damage to your embouchure. Obviously this applies to all instrument groups; as is well documented repetitive strain injury is common among musicians. The primary cause of this is improper technique but as the name implies too much repetition through a movement can create serious effects. Therefore if you are practicing for longer periods be sure to take regular breaks – 5 to 10 minutes for every 50 minutes for adults and 10 to 15 minutes for every 25 minutes for children.
3. Routine. Imagine this – every morning you wake up, maybe make a cup of coffee or sort through the post and eventually at some point you will go to the sink and brush your teeth. Now most people do this without any thought – it is just something that gets done. This is the effect of getting into a routine. If you set aside a time each day to practice, away from distractions if possible, you will get into this routine making it much easier to practice, it becomes a part of your day to day life.
4. Practice with a partner. Most humans love competition – especially if you know you are the winner – and by tapping into this you’re making your practice session less of a chore and more of a game. Set challenges between you both and find some reward for the winner. The other benefits are that you gain an outsiders opinion and criticism on your playing, the opportunity to practice duets and you will have some company rather than being locked away in your bedroom.
This is just a glimpse at the different methods you can adopt to improve your practice and in the next article I will demonstrate some more music based tips to help you improve; using a metronome to develop your internal body clock, a fun method for scales and arpeggios and how and why you should be incorporating sight reading and music theory into your practice sessions.
For now just focus on your desires and on the reasons why you started music and give the tips above some thought.
This article is free for reproduction providing it maintains its original form and an active link to www.realmusicproduction.com/pl.php is present. Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit www.realmusicproduction.com or email info@realmusicproduction.com
With that in mind hopefully people should start to understand that having a one hour lesson once a week is not even close to enough to gain substantial progress and development on a musical instrument.
This series of articles offer tips on practicing music which will hopefully demonstrate the benefits, enjoyment and fulfilment that can be gained through practicing music.
1. Goals are key. It is human nature to take pride in reaching a goal whether a promotion at work or winning a competition. If you have a set goal to reach you will be more willing to put in the work required to achieve it. Some examples of goals could be to learn the latest song you’ve fallen in love with, to be able to sight read in a certain key, to develop faster, more technical playing or to reach a certain exam grade before a certain period.
2. Little often is better than a lot occasionally. One key point to remember is that repetion is the quickest way to learn something due to your brain and muscles ability to develop and store a so called ‘muscle memory’. It will take a substantially longer time to learn and retain your new knowledge if you practice for a long period but only occasionally. See tip 3 on how to easily incorporate regular practice sessions into your daily routine.
Another benefit of practicing a little often is that your concentration levels are kept up throughout your practice session. Brass players will understand this the most – after playing a trumpet or any brass instrument for approximately an hour your lips start to feel numb which in turn begins to restrict your playing abilities. The knock on effect of this is that the longer you practice without a break, the more harm ultimately you will cause yourself – both mentally and physically – it will knock your spirit and could even do damage to your embouchure. Obviously this applies to all instrument groups; as is well documented repetitive strain injury is common among musicians. The primary cause of this is improper technique but as the name implies too much repetition through a movement can create serious effects. Therefore if you are practicing for longer periods be sure to take regular breaks – 5 to 10 minutes for every 50 minutes for adults and 10 to 15 minutes for every 25 minutes for children.
3. Routine. Imagine this – every morning you wake up, maybe make a cup of coffee or sort through the post and eventually at some point you will go to the sink and brush your teeth. Now most people do this without any thought – it is just something that gets done. This is the effect of getting into a routine. If you set aside a time each day to practice, away from distractions if possible, you will get into this routine making it much easier to practice, it becomes a part of your day to day life.
4. Practice with a partner. Most humans love competition – especially if you know you are the winner – and by tapping into this you’re making your practice session less of a chore and more of a game. Set challenges between you both and find some reward for the winner. The other benefits are that you gain an outsiders opinion and criticism on your playing, the opportunity to practice duets and you will have some company rather than being locked away in your bedroom.
This is just a glimpse at the different methods you can adopt to improve your practice and in the next article I will demonstrate some more music based tips to help you improve; using a metronome to develop your internal body clock, a fun method for scales and arpeggios and how and why you should be incorporating sight reading and music theory into your practice sessions.
For now just focus on your desires and on the reasons why you started music and give the tips above some thought.
This article is free for reproduction providing it maintains its original form and an active link to www.realmusicproduction.com/pl.php is present. Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit www.realmusicproduction.com or email info@realmusicproduction.com
Why Is Most Music So Bad Today? Why Is Most Music So Bad Today?
Everything that can be invented has been invented." ~ Charles H. Duell, Commissioner of the US Patent Office in 1899.
"Children nowadays are tyrants. They contradict their parents, gobble their food and tyrannize their teachers." ~ Socrates
Why is popular music so bad today? I mean, I'm not that old, but jeez, the music of today, with only a few rare exceptions, kinda stinks. Some would say that when New Year's Eve 1979 ended, we were ushered into an era of lame music that we still haven't escaped from today.
I grew up in the 80's and remember listening to the Beatles, John Lennon, Simon & Garfunkel, Roger Waters and Pink Floyd, the Rolling Stones, Bob Marley, and David Bowie, to name a few, with my brothers or my dad. I remember seeing album covers strewn about my brother's bedroom. Albums, not CD's. (If you're a really young reader, albums are like CD's in that they're flat and round, but black, and a lot bigger. The get scratched and don't work just like CD's though).
Some say that the 60's were a turbulent time in the U.S. and the world and thus created a perfect environment and culture for innovative and creative music. But let's face it. These days are pretty turbulent as well. So where's the Crosby, Still, Nash and Young of today to sing about our involvement in Iraq? Or where is the Paul Simon of today to protest the government's stance on stem cell research? All we've gotten recently is the new Paris Hilton CD. Paris Hilton? Isn't she just famous for being famous? And her new CD actually got some good reviews.
Before anyone accuses me of painting a broad brush stroke condemning all music after the 70's, let me say that in more recent times there has been a small amount of good stuff like Phish or Midnite, and even politically-minded music such as U2, but no where near the creative amount of earlier times.
I remember when the Dixi Chicks came out against President Bush and the Iraq war. While not a bad band, they're hardly going to achieve iconic status. And they paid dearly at the hands of big business for their outspoken views. That's a far cry from the politically-charged days of Woodstock where many artists were speaking out, and changing things.
If you think about it, there are only a select few artists or bands that can regularly sell out huge arenas today. These are the icons. And the vast majority of those artists are bands from before the 80's! Between last summer and this summer, here are some of the really big concert ticket sellers: The Rolling Stones, Roger Waters of Pink Floyd, Paul McCartney, Barbra Streisand, Eric Clapton and The Eagles.
I recently read an article that suggested that music and tour promoters, large venue owners and ticket companies are all worried about concert sales taking a plunge after the legendary artists stop touring. They realize it's going to be hard to sell out big arenas after the dinosaurs become extinct. Who are the artists of today who will reach that status tomorrow?
In a recent interview with Joe Walsh on Sirius Radio Joe said there is not nearly as much improvisational rock anymore. And I agree. When asked what bands he thought were decent these days, he couldn't think of any for a while, and then finally said he thought the Goo Goo Dolls were good. Hmmm.
Maybe I'm some kind of curmudgeon, but Top 40 today is just not as good as it used to be. Is Kevin Federline really talented? I just found out recently that his nickname is K-Fed. How about fed up? I think K-Fed, J-Lo, X-tina (Christina Aguilera, no joke) and A-Rod all need to get together ASAP and rethink their feeble nicknames, just an FYI.
Here are the top 5 songs right now in the Summer of 2006:
- Fergie - London Bridge
- Gnarls Barkley - Crazy
- Nelly Furtado Featuring Timbaland - Promiscuous
- The Pussycat Dolls Featuring Snoop Dogg - Buttons
- Panic! At The Disco - I Write Sins Not Tragedies
And here were the top 5 albums of 2005:
- Mariah Carey - The Emancipation of Mimi
- 50 Cent - The Massacre
- Kelly Clarkson - Breakaway
- Green Day - American Idiot
- The Black Eyed Peas - Monkey Business
Here are the top 5 albums of 1976:
- Peter Frampton - Frampton Comes Alive
- Fleetwood Mac - Fleetwood Mac
- Wings - Wings At The Speed Of Sound
- Eagles - Eagles Greatest Hits 1971-1975
- Chicago - Chicago IX Greatest Hits
And here are the top 5 albums of 1966
- Original Soundtrack The Sound Of Music
- The Beatles - Revolver
- The Beatles - Rubber Soul
- The Rolling Stones - Aftermath
- The Beach Boys - Pet Sounds
Is it just me, or is there a glaring difference between the two 21st Century lists and the second two 20th Century lists? To be fair, I actually own Monkey Business and I like it. Also, Green Day is decent. Admittedly, Wings isn't the best Paul McCartney music around, but it is Sir Paul after all, and Chicago and The Beach Boys are a little weak. But overall, the lists just don't compare.
The music industry itself has changed so drastically that I think that is one of the main reasons there is such a chasm between today's music and the creations of yesteryear. Like sports and medicine, music in another industry that has been a casualty of big business and American capitalism.
No longer does the actual music quality drive the industry. Instead, the people with the money and power at the record companies notice some bad music selling well to young people for example, and therefore decide that from then on they're only going to find and promote that type of bad music since it made a few bucks. They've totally stopped listening to the music and instead only listen to the dollars.
No longer does the music they create determine the success of a band. Instead, entertainment conglomerates tell fans what to listen to, and that determines the success. They do this because they have such a strangle hold on the media. We only have the illusion of choice now. A vicious circle has begun where the whole industry is inexorably spinning down, unable to find purchase on the sides of some slimy corporate funnel, circling downward uncontrollably into the abyss of painfully bad music.
Some bands occasionally slip through the vortex relatively intact, sidestepping the almost institutionalized process of "making it" set in place by music executives. Phish is a great example of this. They became hugely successful in spite of the music industry. Because they were so good and so tenacious in touring and jamming, they attracted a large fan base. The sheer numbers of eventual fans Phish had gave them a power that most artists today can't have. Most other artists have to do what the people with the purse strings tell them to do. And that often makes for bad music. Unfortunately, Phish isn't even together any more. But they're a rare exception in that they came after the 70's and were highly creative and improvisational.
Another thing that contributes to the poor music of today is technology. These days, Hollywood actors who can't sing can have singing careers. The engineers touch up their voices, and use every digital sound technique there is to make an average product sellable, just like the magazines airbrush the models and actresses, trimming years off to complete the illusion. There are many ways in which the music engineers can do this in the studio and even for artists on tour.
Ashlee Simpson is a good example of this. First, we saw her on Saturday Night Live getting caught lip-sinking. Then I heard a recent interview where Joe Walsh's daughter, Lucy Walsh, admitted that as Ashlee's keyboard player, she always doubled Ashlee's voice while on tour.
I know that in any era there's going to be silly music acts like Ashlee Simpson, Kevin Federline and Paris Hilton. I realize that during Bob Dylan's time there were lots of feeble yet famous music artists then too. My complaint is that it seems like in any other era there was at least enough really fantastic and original music being created to balance things out.
Let's go backwards. We've looked at the popular music of the 21st Century a little in the lists above and I don't see any really original music in there at all. Some may argue that the grunge era of the 90's produced some great and original music. I argue that almost all of that music was so heavily influenced by the rock of the 60's and 70's that it really wasn't that original at all.
The music of the 80's matched the hair and clothes of the time, lame. The synthesizer was new then, but the music was reasonably bad, and certainly not timeless. But then we come to the 70's and 60's. Those are the decades that last held any hope for people like me who long for fresh, original, creative and improvisational music.
In 1899 the Commissioner of the US Patent Office wrote "Everything that can be invented has been invented." Alright, maybe he was a little off. But in a way, everything that seems new is really just new combinations of existing things. Music is no different. I'm hoping that we return to the days when the combinations of beats, rhythms, harmonies and melodies become as creative as they were in the 60's and 70's.
But maybe things haven't changed much since even Socrates' times. He thought kids were tyrants, as if his generation was the last of a dying breed of angelic children. Maybe he just didn't understand the kids of his era, and maybe I'm the same way.
Jason OConnor runs Rock and Pop Concert Tickets - A great place to buy tickets to cheap concerts across North America. www.bestshowticketslasvegas.com/
"Children nowadays are tyrants. They contradict their parents, gobble their food and tyrannize their teachers." ~ Socrates
Why is popular music so bad today? I mean, I'm not that old, but jeez, the music of today, with only a few rare exceptions, kinda stinks. Some would say that when New Year's Eve 1979 ended, we were ushered into an era of lame music that we still haven't escaped from today.
I grew up in the 80's and remember listening to the Beatles, John Lennon, Simon & Garfunkel, Roger Waters and Pink Floyd, the Rolling Stones, Bob Marley, and David Bowie, to name a few, with my brothers or my dad. I remember seeing album covers strewn about my brother's bedroom. Albums, not CD's. (If you're a really young reader, albums are like CD's in that they're flat and round, but black, and a lot bigger. The get scratched and don't work just like CD's though).
Some say that the 60's were a turbulent time in the U.S. and the world and thus created a perfect environment and culture for innovative and creative music. But let's face it. These days are pretty turbulent as well. So where's the Crosby, Still, Nash and Young of today to sing about our involvement in Iraq? Or where is the Paul Simon of today to protest the government's stance on stem cell research? All we've gotten recently is the new Paris Hilton CD. Paris Hilton? Isn't she just famous for being famous? And her new CD actually got some good reviews.
Before anyone accuses me of painting a broad brush stroke condemning all music after the 70's, let me say that in more recent times there has been a small amount of good stuff like Phish or Midnite, and even politically-minded music such as U2, but no where near the creative amount of earlier times.
I remember when the Dixi Chicks came out against President Bush and the Iraq war. While not a bad band, they're hardly going to achieve iconic status. And they paid dearly at the hands of big business for their outspoken views. That's a far cry from the politically-charged days of Woodstock where many artists were speaking out, and changing things.
If you think about it, there are only a select few artists or bands that can regularly sell out huge arenas today. These are the icons. And the vast majority of those artists are bands from before the 80's! Between last summer and this summer, here are some of the really big concert ticket sellers: The Rolling Stones, Roger Waters of Pink Floyd, Paul McCartney, Barbra Streisand, Eric Clapton and The Eagles.
I recently read an article that suggested that music and tour promoters, large venue owners and ticket companies are all worried about concert sales taking a plunge after the legendary artists stop touring. They realize it's going to be hard to sell out big arenas after the dinosaurs become extinct. Who are the artists of today who will reach that status tomorrow?
In a recent interview with Joe Walsh on Sirius Radio Joe said there is not nearly as much improvisational rock anymore. And I agree. When asked what bands he thought were decent these days, he couldn't think of any for a while, and then finally said he thought the Goo Goo Dolls were good. Hmmm.
Maybe I'm some kind of curmudgeon, but Top 40 today is just not as good as it used to be. Is Kevin Federline really talented? I just found out recently that his nickname is K-Fed. How about fed up? I think K-Fed, J-Lo, X-tina (Christina Aguilera, no joke) and A-Rod all need to get together ASAP and rethink their feeble nicknames, just an FYI.
Here are the top 5 songs right now in the Summer of 2006:
- Fergie - London Bridge
- Gnarls Barkley - Crazy
- Nelly Furtado Featuring Timbaland - Promiscuous
- The Pussycat Dolls Featuring Snoop Dogg - Buttons
- Panic! At The Disco - I Write Sins Not Tragedies
And here were the top 5 albums of 2005:
- Mariah Carey - The Emancipation of Mimi
- 50 Cent - The Massacre
- Kelly Clarkson - Breakaway
- Green Day - American Idiot
- The Black Eyed Peas - Monkey Business
Here are the top 5 albums of 1976:
- Peter Frampton - Frampton Comes Alive
- Fleetwood Mac - Fleetwood Mac
- Wings - Wings At The Speed Of Sound
- Eagles - Eagles Greatest Hits 1971-1975
- Chicago - Chicago IX Greatest Hits
And here are the top 5 albums of 1966
- Original Soundtrack The Sound Of Music
- The Beatles - Revolver
- The Beatles - Rubber Soul
- The Rolling Stones - Aftermath
- The Beach Boys - Pet Sounds
Is it just me, or is there a glaring difference between the two 21st Century lists and the second two 20th Century lists? To be fair, I actually own Monkey Business and I like it. Also, Green Day is decent. Admittedly, Wings isn't the best Paul McCartney music around, but it is Sir Paul after all, and Chicago and The Beach Boys are a little weak. But overall, the lists just don't compare.
The music industry itself has changed so drastically that I think that is one of the main reasons there is such a chasm between today's music and the creations of yesteryear. Like sports and medicine, music in another industry that has been a casualty of big business and American capitalism.
No longer does the actual music quality drive the industry. Instead, the people with the money and power at the record companies notice some bad music selling well to young people for example, and therefore decide that from then on they're only going to find and promote that type of bad music since it made a few bucks. They've totally stopped listening to the music and instead only listen to the dollars.
No longer does the music they create determine the success of a band. Instead, entertainment conglomerates tell fans what to listen to, and that determines the success. They do this because they have such a strangle hold on the media. We only have the illusion of choice now. A vicious circle has begun where the whole industry is inexorably spinning down, unable to find purchase on the sides of some slimy corporate funnel, circling downward uncontrollably into the abyss of painfully bad music.
Some bands occasionally slip through the vortex relatively intact, sidestepping the almost institutionalized process of "making it" set in place by music executives. Phish is a great example of this. They became hugely successful in spite of the music industry. Because they were so good and so tenacious in touring and jamming, they attracted a large fan base. The sheer numbers of eventual fans Phish had gave them a power that most artists today can't have. Most other artists have to do what the people with the purse strings tell them to do. And that often makes for bad music. Unfortunately, Phish isn't even together any more. But they're a rare exception in that they came after the 70's and were highly creative and improvisational.
Another thing that contributes to the poor music of today is technology. These days, Hollywood actors who can't sing can have singing careers. The engineers touch up their voices, and use every digital sound technique there is to make an average product sellable, just like the magazines airbrush the models and actresses, trimming years off to complete the illusion. There are many ways in which the music engineers can do this in the studio and even for artists on tour.
Ashlee Simpson is a good example of this. First, we saw her on Saturday Night Live getting caught lip-sinking. Then I heard a recent interview where Joe Walsh's daughter, Lucy Walsh, admitted that as Ashlee's keyboard player, she always doubled Ashlee's voice while on tour.
I know that in any era there's going to be silly music acts like Ashlee Simpson, Kevin Federline and Paris Hilton. I realize that during Bob Dylan's time there were lots of feeble yet famous music artists then too. My complaint is that it seems like in any other era there was at least enough really fantastic and original music being created to balance things out.
Let's go backwards. We've looked at the popular music of the 21st Century a little in the lists above and I don't see any really original music in there at all. Some may argue that the grunge era of the 90's produced some great and original music. I argue that almost all of that music was so heavily influenced by the rock of the 60's and 70's that it really wasn't that original at all.
The music of the 80's matched the hair and clothes of the time, lame. The synthesizer was new then, but the music was reasonably bad, and certainly not timeless. But then we come to the 70's and 60's. Those are the decades that last held any hope for people like me who long for fresh, original, creative and improvisational music.
In 1899 the Commissioner of the US Patent Office wrote "Everything that can be invented has been invented." Alright, maybe he was a little off. But in a way, everything that seems new is really just new combinations of existing things. Music is no different. I'm hoping that we return to the days when the combinations of beats, rhythms, harmonies and melodies become as creative as they were in the 60's and 70's.
But maybe things haven't changed much since even Socrates' times. He thought kids were tyrants, as if his generation was the last of a dying breed of angelic children. Maybe he just didn't understand the kids of his era, and maybe I'm the same way.
Jason OConnor runs Rock and Pop Concert Tickets - A great place to buy tickets to cheap concerts across North America. www.bestshowticketslasvegas.com/
How To Compose Music - Creative Ideas
Starting a composition is a difficult task. Getting your inspirations, thinking creatively, applying your creative thoughts to your music and supplementing your ideas with additional composition are all difficult tasks to accomplish.
For starters, your current state of mind will greatly affect the music you write – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.
Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.
The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.
• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.
• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors ‘ live ‘ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.
• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)
• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.
These are just a few sources for inspiration – use your imagination – it has never ending possibilities!
With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.
A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.
Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.
Some of the key areas you should know about and be constantly revising are:
• The Staff, Bar Lines, Clefs, Time Signatures.
• Note Values, Rests, Phrasing, Rhythm
• Articulation, Instrument Specific Techniques (pizz, con sord)
• Key Signatures, Circle of Fifths, Accidentals, Cadences
• Major, Minor, Diminished, Pentatonic, Diatonic Scales
• Modes
• Chords, Extensions, Inversions, Sequences, Arpeggios
• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)
Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.
Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.
Finally the last piece of advice in this article is to keep your composing active.
Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.
Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!
This article is free for reproduction providing that it maintains its original form and an active link to www.realmusicproduction.com is present. Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools as well as composing and arranging music for film, TV, and musical theatre. For more information or details on music composition please visit www.realmusicproduction.com/composition.php
For starters, your current state of mind will greatly affect the music you write – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.
Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.
The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.
• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.
• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors ‘ live ‘ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.
• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)
• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.
These are just a few sources for inspiration – use your imagination – it has never ending possibilities!
With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.
A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.
Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.
Some of the key areas you should know about and be constantly revising are:
• The Staff, Bar Lines, Clefs, Time Signatures.
• Note Values, Rests, Phrasing, Rhythm
• Articulation, Instrument Specific Techniques (pizz, con sord)
• Key Signatures, Circle of Fifths, Accidentals, Cadences
• Major, Minor, Diminished, Pentatonic, Diatonic Scales
• Modes
• Chords, Extensions, Inversions, Sequences, Arpeggios
• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)
Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.
Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.
Finally the last piece of advice in this article is to keep your composing active.
Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.
Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!
This article is free for reproduction providing that it maintains its original form and an active link to www.realmusicproduction.com is present. Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools as well as composing and arranging music for film, TV, and musical theatre. For more information or details on music composition please visit www.realmusicproduction.com/composition.php
The Interesting Connection Between Beethoven And Napoleon
Beethoven and Napoleon never met. However they played their individual roles in the new "Romantic Age" apparent in Europe at the beginning of the 19th Century.
Beethoven, the independent composer of his time, rather liked many of the ideas that Napoleon had. He had managed to build a strong new power with the will of the people, rather than that of the aristocracy whose lack of government as we would know it today was somewhat archaic, and certainly did not involve one’s average citizen.
Napoleon changed the laws of the land (very frequently); he restructured the Civil Service so that it was functional as well as being efficient; he had scientists from all areas working for him to bring France to a stage where it was technically the best in the world. He achieved much. His metric system is used in nearly all countries today. Most Europeans under 20 today would not recognise a gallon or a yard. Litres and metres, with 10 or 100 increments are actually much easier for your average chap (which the French population was at the time) rather than having to multiply by obscure fractions at which the French uneducated population would be inept.
A lot of people say that the reason for this hunger for scientific information was purely philanthropic. Possibly Beethoven thought so before 1804. Others, perhaps more perspicacious, showed that much of this work was put to almost purely military use. The man was a genius at warfare. Baring in mind the turbulent political climate after the French Revolution, the guillotine executions and the enormous strength of the Secret Police at the time, nobody dared say a thing. Napoleon just got on with it, on pain of death if it was not done.
Beethoven, meanwhile, had been looking at the good things coming out of France, particularly during the ‘truce’ of the early 1800’s. He could see the things that Napoleon was doing for the country and its infrastructure as well as its artistic side. Beethoven wrote other pieces during this period, but his Great Work’ at this time was the fabulously innovative ‘Eroica’ symphony.
This was dedicated to Napoleon and, no doubt, much of the musical content was composed as a result of the successes of this extraordinary leader.
However Napoleon, having re-armed his troops and ships during the ‘truce’ took his ambitions even further. He made himself an Emperor and his family his successors in perpetuity. The Napoleonic Wars resumed and Beethoven was not pleased with this ‘would be’ hero.
Beethoven apparently tore out the dedication page of his manuscript for the Third symphony, and simply dedicated it to celebrate a “great man”, whilst renaming the symphony as we know it today as the ‘Eroica’, rather than ‘The Napoleon’.
In 1809 Napoleonic forces bombarded Vienna, and Beethoven hid in a cellar with mufflers round his ears frightened that the dreadful noise would remove the last of his remaining ability to hear.
Beethoven, the independent composer of his time, rather liked many of the ideas that Napoleon had. He had managed to build a strong new power with the will of the people, rather than that of the aristocracy whose lack of government as we would know it today was somewhat archaic, and certainly did not involve one’s average citizen.
Napoleon changed the laws of the land (very frequently); he restructured the Civil Service so that it was functional as well as being efficient; he had scientists from all areas working for him to bring France to a stage where it was technically the best in the world. He achieved much. His metric system is used in nearly all countries today. Most Europeans under 20 today would not recognise a gallon or a yard. Litres and metres, with 10 or 100 increments are actually much easier for your average chap (which the French population was at the time) rather than having to multiply by obscure fractions at which the French uneducated population would be inept.
A lot of people say that the reason for this hunger for scientific information was purely philanthropic. Possibly Beethoven thought so before 1804. Others, perhaps more perspicacious, showed that much of this work was put to almost purely military use. The man was a genius at warfare. Baring in mind the turbulent political climate after the French Revolution, the guillotine executions and the enormous strength of the Secret Police at the time, nobody dared say a thing. Napoleon just got on with it, on pain of death if it was not done.
Beethoven, meanwhile, had been looking at the good things coming out of France, particularly during the ‘truce’ of the early 1800’s. He could see the things that Napoleon was doing for the country and its infrastructure as well as its artistic side. Beethoven wrote other pieces during this period, but his Great Work’ at this time was the fabulously innovative ‘Eroica’ symphony.
This was dedicated to Napoleon and, no doubt, much of the musical content was composed as a result of the successes of this extraordinary leader.
However Napoleon, having re-armed his troops and ships during the ‘truce’ took his ambitions even further. He made himself an Emperor and his family his successors in perpetuity. The Napoleonic Wars resumed and Beethoven was not pleased with this ‘would be’ hero.
Beethoven apparently tore out the dedication page of his manuscript for the Third symphony, and simply dedicated it to celebrate a “great man”, whilst renaming the symphony as we know it today as the ‘Eroica’, rather than ‘The Napoleon’.
In 1809 Napoleonic forces bombarded Vienna, and Beethoven hid in a cellar with mufflers round his ears frightened that the dreadful noise would remove the last of his remaining ability to hear.
Baby Grand Piano Wouldn't You'd Rather Play A Baby Grand?
Being able to play a musical instrument is a talent that many people wish they had. The piano is an elegant instrument and once you learn how to play it will stay with you for the rest of your life.
Although a grand piano is the dream of many people who do play, it is a large and cumbersome instrument. Unless you have a very large space you simply won’t be able to accommodate one in your home.
A perfect alternative is a baby grand piano. A baby grand piano has all of the same features as a grand piano but just on a smaller scale. Many people choose to purchase a baby grand piano for their child as they begin lessons. This is a wonderful motivator for the child as they feel proud to be playing such an impressive instrument. The child will continue to play the baby grand piano as they mature. With proper care and maintenance the piano will actually last the child their entire life.
Purchasing a baby grand piano can seem like a daunting task especially if you’ve never bought a piano before. It’s not difficult though and there are several avenues available when it comes to buying one.
Many baby grand pianos can be purchased used. People lose interest in playing or someone passes away and the piano sits quietly collecting dust.
Your local newspaper may be a good resource for finding a used baby grand piano. You’ll want to contact the person selling it and inquire about its condition and price. If you are impressed by what you hear over the phone you should schedule an appointment to view the piano.
If you do choose to purchase a used baby grand piano you’ll need to contact a piano mover. Piano movers are unique in that they are skilled in moving pianos without causing any damage to the instrument.
Baby grand pianos can also be purchased at many music stores. In this case you may even be able to specially order the color of the piano as well as the piano bench. Although black is still the most popular color in baby grand pianos many people like the beauty of a white piano as well. Another benefit of purchasing from a music store is that they will be able to arrange delivery of the piano for you.
It takes a good deal of time to learn how to play the piano. Investing in a quality instrument will showcase your talent. It also spurs you to practice more when you have the baby grand piano in your home just waiting to be heard.
Although a grand piano is the dream of many people who do play, it is a large and cumbersome instrument. Unless you have a very large space you simply won’t be able to accommodate one in your home.
A perfect alternative is a baby grand piano. A baby grand piano has all of the same features as a grand piano but just on a smaller scale. Many people choose to purchase a baby grand piano for their child as they begin lessons. This is a wonderful motivator for the child as they feel proud to be playing such an impressive instrument. The child will continue to play the baby grand piano as they mature. With proper care and maintenance the piano will actually last the child their entire life.
Purchasing a baby grand piano can seem like a daunting task especially if you’ve never bought a piano before. It’s not difficult though and there are several avenues available when it comes to buying one.
Many baby grand pianos can be purchased used. People lose interest in playing or someone passes away and the piano sits quietly collecting dust.
Your local newspaper may be a good resource for finding a used baby grand piano. You’ll want to contact the person selling it and inquire about its condition and price. If you are impressed by what you hear over the phone you should schedule an appointment to view the piano.
If you do choose to purchase a used baby grand piano you’ll need to contact a piano mover. Piano movers are unique in that they are skilled in moving pianos without causing any damage to the instrument.
Baby grand pianos can also be purchased at many music stores. In this case you may even be able to specially order the color of the piano as well as the piano bench. Although black is still the most popular color in baby grand pianos many people like the beauty of a white piano as well. Another benefit of purchasing from a music store is that they will be able to arrange delivery of the piano for you.
It takes a good deal of time to learn how to play the piano. Investing in a quality instrument will showcase your talent. It also spurs you to practice more when you have the baby grand piano in your home just waiting to be heard.
Guitar Strings Care The Care And Maintenance Of Your Guitar Strings
Metal guitar strings are subjected to many conditions that shorten their life. The life of guitar strings can be extended with care and proper maintenance. This article will help you extend the life of your guitar strings.
Guitar strings can lose their tonal quality prematurely due to factors that include:
*Stretching
*Wear
*Corrosion
Stretching: Guitar strings naturally stretch during tuning and while playing the guitar. Over time strings slowly lose their elasticity and their tone quality. Guitar strings that are stretched no longer produce rich tone or harmonic overtones. As a result, the guitar becomes difficult to tune and the sound of the strings become dull and lifeless.
Wear: Guitar strings wear during the process of playing. This process comes from moving the metal strings against the metal frets on the fretboard. Of the two most common types of strings, wound and plain steel, wound strings are more susceptible to fret wear. Wound guitar strings tend to "flat-spot" more rapidly than plain steel strings. If left unchecked, the flat spots can create breaks in the windings of the strings. Flat spots and broken windings will decrease tonal quality and can also cause the strings to "buzz".
Corrosion: Metal guitar strings are subject to tarnish, rust and corrosion. Metal guitar strings are also subject to the body chemistry of the individual guitar player. Individuals with higher acid levels in their pH will get less life from their guitar strings due to an accelerated rate of string corrosion.
There are several things guitar players can do to get extended life from their guitar strings. Taking the time to follow these simple steps will ensure that you get the most from your strings and reduce the cost associated with premature string failure.
*Do not over-stretch your strings during the tuning process.
*Be careful not to crimp the strings at the tuner peg when replacing the guitar strings.
*Periodically, check the condition of the guitar bridge and bridge saddle to avoid breaking a string during the replacement process.
*Monitor the condition of your guitar frets and replace any frets that develop excessive wear or sharp edges.
*Always clean your guitar strings when you finish playing the guitar.
It is impossible to say how long a new set of guitar strings should last. The life of guitar strings depend on many factors and variables. It is possible to extend the life of guitar strings through proper care and maintenance. Be sure to take the time to care for your guitar strings and you will get the longest life from each set.
When the time comes to replace the strings, choose quality replacements and change the strings carefully.
A. Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.
Guitar strings can lose their tonal quality prematurely due to factors that include:
*Stretching
*Wear
*Corrosion
Stretching: Guitar strings naturally stretch during tuning and while playing the guitar. Over time strings slowly lose their elasticity and their tone quality. Guitar strings that are stretched no longer produce rich tone or harmonic overtones. As a result, the guitar becomes difficult to tune and the sound of the strings become dull and lifeless.
Wear: Guitar strings wear during the process of playing. This process comes from moving the metal strings against the metal frets on the fretboard. Of the two most common types of strings, wound and plain steel, wound strings are more susceptible to fret wear. Wound guitar strings tend to "flat-spot" more rapidly than plain steel strings. If left unchecked, the flat spots can create breaks in the windings of the strings. Flat spots and broken windings will decrease tonal quality and can also cause the strings to "buzz".
Corrosion: Metal guitar strings are subject to tarnish, rust and corrosion. Metal guitar strings are also subject to the body chemistry of the individual guitar player. Individuals with higher acid levels in their pH will get less life from their guitar strings due to an accelerated rate of string corrosion.
There are several things guitar players can do to get extended life from their guitar strings. Taking the time to follow these simple steps will ensure that you get the most from your strings and reduce the cost associated with premature string failure.
*Do not over-stretch your strings during the tuning process.
*Be careful not to crimp the strings at the tuner peg when replacing the guitar strings.
*Periodically, check the condition of the guitar bridge and bridge saddle to avoid breaking a string during the replacement process.
*Monitor the condition of your guitar frets and replace any frets that develop excessive wear or sharp edges.
*Always clean your guitar strings when you finish playing the guitar.
It is impossible to say how long a new set of guitar strings should last. The life of guitar strings depend on many factors and variables. It is possible to extend the life of guitar strings through proper care and maintenance. Be sure to take the time to care for your guitar strings and you will get the longest life from each set.
When the time comes to replace the strings, choose quality replacements and change the strings carefully.
A. Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.
The And Heartaches Of Ludwig Van Beethoven
If you turn on the TV in any country in the world, and listen for a while, you will hear a bit of Beethoven played. OK it may be a parody of it in a soap opera but the tunes written 200 years ago are still good today.
If you get Classic music from the UK on FM and the net you will know that every Easter a poll is taken of the 2 million or so listeners who decide which are the ‘top’ 300 classical pieces of music that people want to listen to. Ludwig van Beethoven came second this year, with Mozart first. He would have been pleased if he was still alive, of course, because Mozart was his original inspiration. Mozart, despite the fact that he died at a much younger age, was a prodigious composer. Rather like Bach he could knock out a sonata before dinner-time or a whole quartet in a few days (when pressed). Beethoven, on the other hand really grafted hard to put together something new in the musical community. He would often, particularly in more complex music, have many draft ideas written down before finalising orchestration, which could take months.
Beethoven, once he was able to get away from his family, went about things in a different way from his mentors. (Haydn, his teacher, helped him to be one of the foremost pianists of his time, the forte-piano being a newly invented instrument whose refinements lead to the pianoforte we know today).
Ludwig van Beethoven became a known name in music at the time. He was one of the first ‘independent’ composers, making his money from concerts, music and conducting, rather than from the patronage that many previous successful composers enjoyed (or worked very hard to keep). However his music inspired several people over his life to sponsor him both before and after his deafness created new problems. Money was difficult at times purely because he would spend whatever he had and either hope for more or have to work very hard for it. During his several depressive periods a shortage of money could not have helped.
After a spell of, perhaps understandable, depression at his deafness he studied hard to be able to keep composing. He was familiar with Bach’s keyboard works, and having studied composition and counterpoint with Handel, he went ahead to change music, in its classical form, into new music for the 19th Century.
His music is generally thought by music critics nowadays to be the transition between the ‘classical’ and ‘romantic’ genres, but of course these apparently sacrosanct terms belie the truth. Beethoven gave to other composers the ability to develop music for the new century whilst giving his audience something to really enjoy. Some of his later works could not really be called ‘romantic’ perhaps? Different though.
Early works, if not known by the listener, could be confused with Hayden and Mozart, but his ‘middle’ period showed a vast development of the symphony as well as his technique on the piano (an instrument still in its comparative infancy), whilst at the same time taking music for small ensembles such as quartets and sonatas to new heights.
By 1811 he had stopped performing, his deafness being too severe, but his genius and musically technical brilliance did not in any way prevent his composing ability. He was able to ‘hear’ the music in his head and his mind. He even went on in his ‘late’ period to compose new styles of music which were greeted with great accolade by contemporary composers, although initially less so by some of his audiences, perhaps because they did not appreciate the subtleties of these new forms. This would come later.
This great composer, and indeed Ludwig van Beethoven was one of the truly ‘Great’ composers of all time, died at the age of 57 after a lifetime of illness and during a thunderstorm. If you listen to his music you may consider this an appropriate finale to a somewhat tempestuous life.
20,000 people turned up for his funeral in Vienna, his home of choice.
If you get Classic music from the UK on FM and the net you will know that every Easter a poll is taken of the 2 million or so listeners who decide which are the ‘top’ 300 classical pieces of music that people want to listen to. Ludwig van Beethoven came second this year, with Mozart first. He would have been pleased if he was still alive, of course, because Mozart was his original inspiration. Mozart, despite the fact that he died at a much younger age, was a prodigious composer. Rather like Bach he could knock out a sonata before dinner-time or a whole quartet in a few days (when pressed). Beethoven, on the other hand really grafted hard to put together something new in the musical community. He would often, particularly in more complex music, have many draft ideas written down before finalising orchestration, which could take months.
Beethoven, once he was able to get away from his family, went about things in a different way from his mentors. (Haydn, his teacher, helped him to be one of the foremost pianists of his time, the forte-piano being a newly invented instrument whose refinements lead to the pianoforte we know today).
Ludwig van Beethoven became a known name in music at the time. He was one of the first ‘independent’ composers, making his money from concerts, music and conducting, rather than from the patronage that many previous successful composers enjoyed (or worked very hard to keep). However his music inspired several people over his life to sponsor him both before and after his deafness created new problems. Money was difficult at times purely because he would spend whatever he had and either hope for more or have to work very hard for it. During his several depressive periods a shortage of money could not have helped.
After a spell of, perhaps understandable, depression at his deafness he studied hard to be able to keep composing. He was familiar with Bach’s keyboard works, and having studied composition and counterpoint with Handel, he went ahead to change music, in its classical form, into new music for the 19th Century.
His music is generally thought by music critics nowadays to be the transition between the ‘classical’ and ‘romantic’ genres, but of course these apparently sacrosanct terms belie the truth. Beethoven gave to other composers the ability to develop music for the new century whilst giving his audience something to really enjoy. Some of his later works could not really be called ‘romantic’ perhaps? Different though.
Early works, if not known by the listener, could be confused with Hayden and Mozart, but his ‘middle’ period showed a vast development of the symphony as well as his technique on the piano (an instrument still in its comparative infancy), whilst at the same time taking music for small ensembles such as quartets and sonatas to new heights.
By 1811 he had stopped performing, his deafness being too severe, but his genius and musically technical brilliance did not in any way prevent his composing ability. He was able to ‘hear’ the music in his head and his mind. He even went on in his ‘late’ period to compose new styles of music which were greeted with great accolade by contemporary composers, although initially less so by some of his audiences, perhaps because they did not appreciate the subtleties of these new forms. This would come later.
This great composer, and indeed Ludwig van Beethoven was one of the truly ‘Great’ composers of all time, died at the age of 57 after a lifetime of illness and during a thunderstorm. If you listen to his music you may consider this an appropriate finale to a somewhat tempestuous life.
20,000 people turned up for his funeral in Vienna, his home of choice.
Music Articles And Life Enrichment
Articles Of Note | Music Article
Whether you admit it or not, music imbeds our daily life, weaving its beauty and emotion through our thoughts, activities and memories. So if you're interested in music theory, music appreciation, Beethoven, Mozart, or other composers, artists and performers, we hope you'll spend some time with here and learn from these music articles of note for all ages and tastes.
When I first started studying the history of music, I did not realize what I was getting into. I had thought that music history was somewhat of a trivial pursuit. In fact, I only took my history of classical music class because I needed the credits. I did not realize how completely fascinating music history is. You see, in our culture many of us do not really learn to understand music. For much of the world, music is a language, but for us it is something that we consumed passively. When I began to learn about the history of Western music, however, it changed all that for me. I have had some experience playing musical instruments, but I have never mastered one enough to really understand what music is all about. This class showed me.
When most of us think about the history of music, we think of the history of rock music. We assume that the history is simple because the music is simple. In fact, neither is the case. The history of music, whether you're talking about classical music, rock music, jazz music, or any other kind, is always complicated. New chord structures are introduced bringing with them new ways of understanding the world. New rhythmic patterns are introduced, bringing with them new ways of understanding time. And music reflects all of it.
Even when the class was over, I could not stop learning about the history of music. It had whetted my appetite, and I wanted more. I got all the music history books that I could find. I even began to research forms of music that had not interested me before in the hopes of enhancing my musical knowledge further. Although I was in school studying toward something very different – a degree in engineering – I had thought about giving it up and going back to get a degree in musicology. That is how much I am fascinated by the subject.
If you have never taken a course in the history of music, you don't know what you are missing out on. The radio will never sound the same to you again. Everything will seem much more rich, much more luminous, and much more important. A new song can reflect a new way of being, and a new way of imagining life in the world. This is what learning about the history of music means to many of us.
Whether you admit it or not, music imbeds our daily life, weaving its beauty and emotion through our thoughts, activities and memories. So if you're interested in music theory, music appreciation, Beethoven, Mozart, or other composers, artists and performers, we hope you'll spend some time with here and learn from these music articles of note for all ages and tastes.
When I first started studying the history of music, I did not realize what I was getting into. I had thought that music history was somewhat of a trivial pursuit. In fact, I only took my history of classical music class because I needed the credits. I did not realize how completely fascinating music history is. You see, in our culture many of us do not really learn to understand music. For much of the world, music is a language, but for us it is something that we consumed passively. When I began to learn about the history of Western music, however, it changed all that for me. I have had some experience playing musical instruments, but I have never mastered one enough to really understand what music is all about. This class showed me.
When most of us think about the history of music, we think of the history of rock music. We assume that the history is simple because the music is simple. In fact, neither is the case. The history of music, whether you're talking about classical music, rock music, jazz music, or any other kind, is always complicated. New chord structures are introduced bringing with them new ways of understanding the world. New rhythmic patterns are introduced, bringing with them new ways of understanding time. And music reflects all of it.
Even when the class was over, I could not stop learning about the history of music. It had whetted my appetite, and I wanted more. I got all the music history books that I could find. I even began to research forms of music that had not interested me before in the hopes of enhancing my musical knowledge further. Although I was in school studying toward something very different – a degree in engineering – I had thought about giving it up and going back to get a degree in musicology. That is how much I am fascinated by the subject.
If you have never taken a course in the history of music, you don't know what you are missing out on. The radio will never sound the same to you again. Everything will seem much more rich, much more luminous, and much more important. A new song can reflect a new way of being, and a new way of imagining life in the world. This is what learning about the history of music means to many of us.
Minggu, 01 Juni 2008
10 Ways to Discover New Music
I listen to music all the time; at home, at work, in the car, sometimes even to help me sleep. But without the ability to find new music, I would soon .... interest in what other people are listening to, as it helps you diversify your listening habits, and explore something you wouldn't usually listen to.
Langganan:
Postingan (Atom)
