Most people I know lean towards certain genres and have at least one they avoid completely. Sometimes, it is a certain band, artist, or sound that others find unappealing. I have always wondered why I seem to be so unbiased to music compared to other people I know. Why do so many people tend to limit themselves to only enjoy certain music? For me, enjoying music is about the experience and the feeling presented in a composition.
This goes back to Reich’s first thought of meaningful music arises from its ability to move you. The music has to be heard and understood to be felt. A gradual process “sustains one 's attention” as perceived by Reich. “Music should consist of a compositional process and sounding music that are one and the same thing” and “structural devices should be open, rather than be hidden.” I believe these statements that Steve Reich makes about musc reveals that for one’s music to be wholly appreciated and for the musician to be taken seriously and to make contact impersonally, the composer must strive to appeal to the audience on a whole other level. One of which that elicits emotion and interpretation of the
It has been justify by the researchers that music has a big impact on our emotions or mood. It is because of the rhythm and tone that we hear when we listen to music. When we listen to a rhythm, our heart beats actually begins to flow or synch with it. Tones are also highly significant, when you hear a pleasing tone and it is easy to remember you can do it actually. Music composed in a major key and usually sounds happier, joyful, lively etc.
He appeals to pathos in exemplary ways, such as marking the indescribable feeling of listening to music as “profoundly human”, and going further to state that music “lets us touch and understand some of our most complicated feelings.” By using artful words in conjunction with emotions, Greene is convincing. He demonstrates his understanding that people naturally just want to feel like part of a whole, something that is universally
For example, music which is familiar to people usually gives people positive emotions. Pereira, Teixeira, Figueiredo, Xavier, Castro, et al. (2011) asserted that familiarity matters for what kind of moods will be generated when people are exposed to music. They designed controlled experiment with one group listening to familiar music and another listening to unfamiliar music (p.3). Their results show that when people enjoy the familiar music, several areas of network in brain are significantly more active than their normal status.
According to the Merriam Webster dictionary, the term `definition' is a "statement expressing the essential nature of something"; keeping this exegesis in mind I aim to find an apt interpretation for the term `Ethnomusicology'. Let me first put forward the proposed definitions of the term as they stand today, and cite the inconsistencies that exist in them. `Ethnomusicology' has often been described as " a study of a music foreign to one's own", in pretext of widely held beliefs this definition might be true however it does have a loophole; that being, we find some scholars who study the music of their own culture, (usually the music of a group outside the framework of western, educationally elite strata), aware to this fact a formal use of this definition would not be appropriate. Another popular rendition of the term states that " `Ethnomusicology' is the study of music that exists in oral tradition", this particular explication in my opinion does not hold true since in many music cultures the world over, oral tradition is an important component that complements the use of notation. Moving on we find other schools of thought advocat... ... middle of paper ... ...he arguments put forth in their entirety that `Ethnomusicology' is the study of people making music in and as a culture; the study of the sounds of music they are making, and that of the whole process and contexts through and within which music is imagined, discussed and made.
Summarize main points of author’s argument In ‘Emotion and Meaning in Music’, Leonard Meyer discusses how meaning is communicated in music through emotion. His goal is to show the relationship between two different ways people understand meaning in music. The first is the formalist position which takes an intellectual approach and argues that the meaning of music lies in the perception and understanding of musical relationships. The second is the absolutist expressionist position which focuses more on the emotions elicited by these musical relationships. Meyer argues that both these positions are simply different ways of experiencing the same process because “both depend on the same perceptive processes, the same modes of mental organization, and the same musical processes give rise to and shape both types of experience.” (39) Neither approach has explained how perceived sound patterns become meaningful or elicit emotional responses.
Arguably, language is the one thing that sets humans apart from animals. The capacity to share thoughts and ideas through the spoken word allows humans to function as a group, enabling humanity to function as an entity greater than the sum of its separate individuals. Music shares similar properties, as it is also transmitted and perceived through sound. Both have the potential to connect people and are innate properties of the human being. The aim of this paper is to discover further links between the two based on empirical evidence.
There could not exist any real understanding of a specific music culture without firstly examining its concept and meaning of music. It is clearly agreed that every human society has music but the definition differs widely in many cultures. Bruno Nettl presents three ways in finding the definition of a society’s term of music. These are by asking an “expert”, who is the trained scholar of the society, or even a dictionary; by asking the members of society at large; and by observing people with the aid of fieldworking. He claims that dictionaries often avoid the explanation of music, and there are others who do explain it, but having their own Western concept in sight.
Schaeffer's theory of language may mask the communication between composer and liste... ... middle of paper ... ...eane's suggestion of explaining and expressing the intention to the listener through speech or literature (communication) seems like the most plausible way of making sure the listener will know the composer's intent. This way the listener could put the composer's intention together whilst listening, which may make the listening experience more enjoyable. 'The more informed the listener is about the music the more pleasurable and meaning the listening experience' (Burton, Cavalier, Hoffer, Hughes, 1997; p. 1). Although, there are listeners who want to make their own listening experience through their perception regardless of knowing the intention of the piece. The only listeners who enjoyed the pieces were the musically trained listeners.