Composers write the music that they want to write because of the way they perceive mus... ... middle of paper ... ...and changes or alters the concepts and perceptions of music. This genre seeks to experiment with sounds in a completely different way than conventional music does. Everything from the audience to musical notation is reconsidered and presented in a new, original manner. It is an important part of the perception and development of music. As musical concepts and technology change, experimental music will continue to modify and broaden the definition of music.
Even though music does have some basic component, everyone has different opinion on music. The definition of music should satisfies the subjective of music. "To be successful, a definition of music must balance these various stories, defining music in terms of its traditions"(Davis 552). The HIP approach solve this difficulty by reserving the subjective of music and balance various musical cultures and traditions in the world. This definition lets the audience judge if they think the sound belongs to music.
Composition music theory has a longing history of how it was brought up and the way it has evolved into new cultures. “Musical Composition, the act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation.” (Crossley-Holland, Peter) Composition music theory is the study of which you learn to write and develop a creative ability to compose. There are many ways for you to learn about what it can lead to in a career and to create a greater understanding in music.
What makes us enjoy one type of music or artist and not another? Whether you make music or simply enjoy it by listening to it, we are all connected to music in a variety of ways. When we listen to music a number of things occur: we process sound through the auditory complex, an artist’s movement through the visual cortex, dancing and other rhythmical movement through the cerebellum. The Motor Cortex also enables movement such as foot tapping or hand clapping. Our Hippocampus stores our experiences through music and enables musicians to remember musical pieces.
That is why life is absurd. With such a deep, complex philosophy, it is important that it is studied, investigated, and explained. The same can be said for jazz music. The complexity may be why existentialism is still being explored today. There are many modern works that set up existential experiments, attempt to define the existential character, and display consequences of the philosophy being ignored.
The difficulty of assessing musical performance Musical Performance poses many difficulties in terms of assessment. In a maths exam there is typically one answer to a problem but there are many ways to perform a Beethoven symphony, a contemporary song, a traditional tune or a jazz piece. Obviously basic concepts for a musical performance must be observed but each individual’s interpretation is likely to be different. Therefore one person’s assessment of a performance may differ to another’s. As a result a list of specific dimensions of the performance needs to be set up in order to achieve consensus and to avoid subjectivity.
In studying the music of the ancient Mesopotamians, in all its facets, we can come to understand a great deal about their society and culture. In particular, how they thought about music, and the manner in which it was used and performed. By examining the way the Mesopotamians thought about music, and their ideas of what it was for and where it came from, we can better understand their views of different forms of communication, the gods, and of the world. Assyrian Reliefs of instruments In order to understand the way the Mesopotamian people and society understood and used music, we must first examine the instruments that they used, as these were the basic structure which allowed their music to come into being, and to become an ingrained part of the culture. Much of the evidence for musical instruments comes to us from Assyrian Reliefs of Musicians and instruments, as well as the environments in which their music would have been present, in particular, one well-known Assyrian relief, the garden party relief, from the North Palace of Ashurbanipal, shows musicians playing for Ashurbanipal and his wife, soon after he has returned from battle, and is hosting a g... ... middle of paper ... ...t Nations.
These symbols may include; rhythm, sound, instruments etc. Sociologist can view music in many ways to see the behavior or effect it could have in society. These ranges from many theories and preferences (genres) to have a determination of how people could react/interact within one another. Even though, music plays a big part of our individual lives it also contributes to society as a whole. Society has a set of norms and rule where each individual should partake, and those who do not choose to will be labeled.
In short, both Vanity Fair and A Room of One’s Own withhold many cultural values that are represented in a diverse manner due to the stark contrast of their styles and the time in which they were written. However, both composers make comments on societal and cultural values that reveal truths in association to the dynamic of the current time period. They both choose to illustrate these values through the ways of thinking that are evident in their compositions and make note of important significances which, in themselves, are a development of our universal culture that we live amongst today.
Finally is the investigation of the conditions and appropriate environment for the effective presentation of the artwork. This requires the artist to have extensive knowledge of the specific art industry. In the context of the music industry music promoters and designers will have a greater role to play in order to have good presentation and promoting the music artwork. Works Cited Richard Colwell, Carol Richardson. The New Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference.