Expressing love takes a lot. Love is one thing that can spark a lot of debate and still leave generations of things to say about it. It is a beautiful thing and expressing it can also be beautiful. Love is fused with many things to create a masterpiece; one that is unmistaken. Songs are a universal language and so is love. Therefore, when you merge the two together you get love songs. They are special songs sang to show appreciation and describe what deep affection is all about. Every culture of the world has its own set of love songs which are favorites to many. There are several advantages that love songs have and they include the following. First, they save many the words to express to their lovers because the words have been spoken already. They also inspire those who are not in relationships to find themselves love. They seek to strengthen relationships by giving vital advice that you should listen to. There are lover songs that highlight the problems in relationships and from them; you get to learn a lot. The songs will often times be relaxing and therapeutic to many. Love itself is enough to heal a broken heart.
Therefore, a I cannot explore all the many advantages of the songs. There are songs which manage to top charts and they are referred to as the most popular songs for love. In your home area, you will also have a selection of songs that you might consider very popular. Many such songs are mainly composed by artists or people in the music industry. Through their music, a lot of talent shines through and you will be amazed at some of the tunes. When you fall in love, you want to offer your man or lady the best. Most couples identify a certain song in which they can always sing to remind them of their love. There is nothing sweeter than this. Many songs that we know remind us or take us back to a particular time in history where we can just reminisce and enjoy the memories. Many songs for love are positive. This is to say that they give a positive image to love. However, there are songs that you can call sad songs for love. They are not often bad; just a reflection of reality.
Breakup songs are also very popular and they bring us back to a time of hardship and pain. The best songs do not always have the best tunes but, they have the right words. Words pierce like a knife and are very effective. It is through quoting songs of love that many people have managed to win the hearts of their loved ones. Above all things, their inspiring nature is most recognized and loved. If you are a musician, it is vital that you study the mood of your fans and deliver only those songs that will be loved. Songs will live on as they inspire generations to come; they never die. Sing along to a good song for love today and notice the difference it mak
Showing posts with label Article. Show all posts
Showing posts with label Article. Show all posts
Tuesday, December 16, 2008
Saturday, November 15, 2008
Why Lyrics Are Important
What makes a good song so appealing to the people who buy CDs and MP3 files? Is it the background beats or the guitar riffs played? Is it the voice of the lead singer or how high he or she can take his vocals to? The truth is that the most important part of most songs, techno possibly being an exception, is the lyrics, or the words of the song. The lyrics are the meat of any song, and are usually the part that is most recognizable from any song. They are an integral part of any music tune and it would be a mistake for any artist to take them lightly.
As mentioned before, the most recognizable part of any song is usually the lyrics. What this means is that when someone is looking for a song they heard on the radio, they will probably remember some key lines from the chorus. They are not, however, likely to remember a well-done guitar solo or something of that sort. While instrumental play is important as well, people usually link songs with the words inside the music. This is because words are not only much easier to remember than instrument music is, they are also easy to translate to someone else. For example, it would be much easier to find a CD if you know the words to a song than if you knew the drum beats from a song.
Lyrics are often commonly considered to be the single artistic part of music as well. While this is certainly not true from a musicians standpoint, as guitars and drums take a lot of practice and time to master, it doesn't change the fact that many people feel that a good song must have quality lyrics. Good lyrics will relate to a person's life and make them feel better about a bad situation. Bad lyrics will focus on trivial parts of life that really don't matter and will have no deeper meaning to them after the song is over. Artists will find that after a while people tire of hearing the same old stuff about showing off gold chains and shaking behinds. Many music fans are looking for songs that have meanings, and this in turn means that artists need to spend more time on their lyrics.
Remember that before it was stated that lyrics are important because of how they can be recognized. This is double-fold when you consider that good lyrics in one song can sometimes single-handedly assure an artists legacy. Journey is one good example of this, as their biggest hit in "Don't Stop Believing" is a pop culture hit that has never lost fans throughout the decades since it's release. On the other hand, artists without a standout lyrical song will often find themselves fade out of the picture as their era in music ends.
All in all, lyrics are an important part of any song and the words are the part fans look to the most for inspiration and meaning. Artists who come up with great lyrics are usually the ones most revered long past their prime, so it is important that they focus on this part of a song!
As mentioned before, the most recognizable part of any song is usually the lyrics. What this means is that when someone is looking for a song they heard on the radio, they will probably remember some key lines from the chorus. They are not, however, likely to remember a well-done guitar solo or something of that sort. While instrumental play is important as well, people usually link songs with the words inside the music. This is because words are not only much easier to remember than instrument music is, they are also easy to translate to someone else. For example, it would be much easier to find a CD if you know the words to a song than if you knew the drum beats from a song.
Lyrics are often commonly considered to be the single artistic part of music as well. While this is certainly not true from a musicians standpoint, as guitars and drums take a lot of practice and time to master, it doesn't change the fact that many people feel that a good song must have quality lyrics. Good lyrics will relate to a person's life and make them feel better about a bad situation. Bad lyrics will focus on trivial parts of life that really don't matter and will have no deeper meaning to them after the song is over. Artists will find that after a while people tire of hearing the same old stuff about showing off gold chains and shaking behinds. Many music fans are looking for songs that have meanings, and this in turn means that artists need to spend more time on their lyrics.
Remember that before it was stated that lyrics are important because of how they can be recognized. This is double-fold when you consider that good lyrics in one song can sometimes single-handedly assure an artists legacy. Journey is one good example of this, as their biggest hit in "Don't Stop Believing" is a pop culture hit that has never lost fans throughout the decades since it's release. On the other hand, artists without a standout lyrical song will often find themselves fade out of the picture as their era in music ends.
All in all, lyrics are an important part of any song and the words are the part fans look to the most for inspiration and meaning. Artists who come up with great lyrics are usually the ones most revered long past their prime, so it is important that they focus on this part of a song!
Tapping Into Your Musical Side - Writing Song Lyrics
Have you ever thought about writing a song? Do you love music? We all know that a song is so much more than the musical background you hear throughout. No, the whole song comes together with the lyrics. The lyrics make the song it makes the music. Typically, the lyrics are written before the melody and music are added. The lyrics and the idea behind the lyrics lay the ground for the music to come afterwards.
Think about your favorite songs. Why are they your favorite? For many people, the words within the song grab their attention. For me personally, my favorite songs are those that have meaning. Rather, it evokes a particular feeling within me or it tells about a specific time in my life. The lyrics tell a story. They can tell any story, rather it be about love gone bad, an ever-lasting love, a person, a group of people, or a time in ones life. You are telling a story to the listeners and hoping they can relate to that story in some way.
Getting Lyrical Ideas
Most lyrics you hear in song come from the everyday life of the lyricist. It's a good idea, if you are serious about writing song lyrics, to get yourself a journal and keep it with you throughout the day, jotting down your ideas. You never know when a lyrical idea will come to you. Be watchful and mindful of your interactions throughout the day. Some areas that may bring you ideas for lyrics may include:
. General conversation - While speaking to anyone throughout the day, such as friends, family, or colleagues, you may find that something they have to say gives you an idea.
. Happenings in your surroundings - Your environment can tell as story as well. While you're in the cab, while walking down the street, on the subway, or anywhere you might be. Something might occur, even the slightest thing, which could jog a lyrical idea.
. Newspaper - Current events, articles, or even advertisements.
. Magazines - Real life stories, fashion, and other events could spark an idea.
It is important to keep in mind that your lyrics should have meaning to you. They should flow in a seamless way. You see, as mentioned earlier, lyrics tell a story. Therefore, treat your lyrics as a story first. Write your story, then you can begin to break them up in to song lyrics with rhyming other important aspects after your story is finished.
Lyrical Tools
Throughout the years, lyricists have relied mostly on the trusty old pen and paper to write lyrics. To many, they will not use anything but pen and paper to write their lyrics. However, in the computerized world of today, more and more lyricists are turning to the computer to write songs.
There are a variety of tools available to any songwriter on the computer and off. For example, rhyming dictionaries are great when you are having troubles coming up with rhymes to specific words. On the computer, rhyming and replacing words is extremely easy, and most often performed with a simple click of the mouse. Many programs such as Microsoft Word and other specific songwriting software programs offer an integrated thesaurus that is perfect for coming up with alternative words and phrases to increase the impact of your lyrics.
However, the most important tools are your own thoughts and ideas. You can choose the pen and paper method or the computerized method; however, your ideas are what make the lyrics to begin with.
Crafting Your Ideas Into Song Lyrics
You have your ideas; you've chosen your method of writing, now what? Now it is time to start forming your lyrics. This is likely the hardest part of writing the song, much harder than coming up with ideas. Now you have to work verses and choruses to form your songs. Rhyming is ultimately important. This is where your rhyming dictionary comes in handing.
Typically, the end of the second line rhymes with the end of the first. However, in some cases, the end of the third line will rhyme with the first.
For example:
As we grow older,
The world gets colder,
Because the love is gone
Though we keep going on
And keep our love in a song.
Don't forget your chorus; this is what brings the song together. You decide where your versus go and where the chorus comes in and repeats. Writing lyrics to a song is a wonderful way to express yourself. It tells a story in the way you see it and feel it.
Think about your favorite songs. Why are they your favorite? For many people, the words within the song grab their attention. For me personally, my favorite songs are those that have meaning. Rather, it evokes a particular feeling within me or it tells about a specific time in my life. The lyrics tell a story. They can tell any story, rather it be about love gone bad, an ever-lasting love, a person, a group of people, or a time in ones life. You are telling a story to the listeners and hoping they can relate to that story in some way.
Getting Lyrical Ideas
Most lyrics you hear in song come from the everyday life of the lyricist. It's a good idea, if you are serious about writing song lyrics, to get yourself a journal and keep it with you throughout the day, jotting down your ideas. You never know when a lyrical idea will come to you. Be watchful and mindful of your interactions throughout the day. Some areas that may bring you ideas for lyrics may include:
. General conversation - While speaking to anyone throughout the day, such as friends, family, or colleagues, you may find that something they have to say gives you an idea.
. Happenings in your surroundings - Your environment can tell as story as well. While you're in the cab, while walking down the street, on the subway, or anywhere you might be. Something might occur, even the slightest thing, which could jog a lyrical idea.
. Newspaper - Current events, articles, or even advertisements.
. Magazines - Real life stories, fashion, and other events could spark an idea.
It is important to keep in mind that your lyrics should have meaning to you. They should flow in a seamless way. You see, as mentioned earlier, lyrics tell a story. Therefore, treat your lyrics as a story first. Write your story, then you can begin to break them up in to song lyrics with rhyming other important aspects after your story is finished.
Lyrical Tools
Throughout the years, lyricists have relied mostly on the trusty old pen and paper to write lyrics. To many, they will not use anything but pen and paper to write their lyrics. However, in the computerized world of today, more and more lyricists are turning to the computer to write songs.
There are a variety of tools available to any songwriter on the computer and off. For example, rhyming dictionaries are great when you are having troubles coming up with rhymes to specific words. On the computer, rhyming and replacing words is extremely easy, and most often performed with a simple click of the mouse. Many programs such as Microsoft Word and other specific songwriting software programs offer an integrated thesaurus that is perfect for coming up with alternative words and phrases to increase the impact of your lyrics.
However, the most important tools are your own thoughts and ideas. You can choose the pen and paper method or the computerized method; however, your ideas are what make the lyrics to begin with.
Crafting Your Ideas Into Song Lyrics
You have your ideas; you've chosen your method of writing, now what? Now it is time to start forming your lyrics. This is likely the hardest part of writing the song, much harder than coming up with ideas. Now you have to work verses and choruses to form your songs. Rhyming is ultimately important. This is where your rhyming dictionary comes in handing.
Typically, the end of the second line rhymes with the end of the first. However, in some cases, the end of the third line will rhyme with the first.
For example:
As we grow older,
The world gets colder,
Because the love is gone
Though we keep going on
And keep our love in a song.
Don't forget your chorus; this is what brings the song together. You decide where your versus go and where the chorus comes in and repeats. Writing lyrics to a song is a wonderful way to express yourself. It tells a story in the way you see it and feel it.
Friday, November 14, 2008
How Lyrics Set The Mood For A Song
Lyrics or the words of a song are one of the most important parts of a song. The words of a song form the most recognizable part of a song and they can be considered as the meat of the song. Background beats, voice of the lead singer, sound of guitar are some of the important parts of a song but the lyrics are the most recognizable part of a song. They are an integral part of any music tune and they turn a song into an appealing song.
It takes good amount of time to come up with appealing and meaningful words for a song and it would be a mistake for any artist to take lyrics lightly. Lyrics have a significant importance and so, it's very important to take them seriously. When someone listen a song on radio, he's likely to remember some key lines of the song instead of the background beats and other sounds. It's much easier to recognize a song with the help of its words instead of using the drum beats to recognize it.
However, the background music is equally important and it should not be neglected. A good song is a song with appealing lyrics and background beats. People usually relate their own life with lyrics of the song, and some people enjoy songs that convey some message or have some meaning. So, it's very important for an artist to take lyrics seriously. An artist should spend quality time to make sure that the song has appealing lyrics.
It's very important to understand the words of a song in order to understand the meaning of the song. Some people find it tough to remember the lyrics completely and this is the reason why most of the artists publish the lyrics. Some artists usually giveaway lyrics with the CD, and some artists publish lyrics on their web sites. Also, there are a number of web sites that maintain a collection of lyrics. Some web sites charge a small fee for providing the music lyrics whereas some web sites provide lyrics for free. So, if you're looking for lyrics of a particular song then you should use the Internet to find the lyrics.
However, you should make sure that you use a legitimate web site for finding and downloading lyrics as there are a number of web sites which provide lyrics without the artist's permission. Also, a number of web sites use different kinds of spyware to infect an end-user's system. They try to infect the user's system so as to collect the personal information of the user. So, an individual should use reputed web sites for finding and downloading lyrics.
An individual should use web sites which provide legal and licensed music lyrics. It is also safe to use web sites which provide licensed music lyrics. A simple web search can get you hundreds of web sites which provide music lyrics and you can also use the reviews to find a reputable site. It is also very easy to search lyrics on a web site as a search box is usually available on a web site. An end-user needs to fill-in the required details in the search box in order to search the lyrics of a particular song.
At the end, the words of a song are very important as people remember songs by the words, and you can use the Internet to find the music lyrics.
It takes good amount of time to come up with appealing and meaningful words for a song and it would be a mistake for any artist to take lyrics lightly. Lyrics have a significant importance and so, it's very important to take them seriously. When someone listen a song on radio, he's likely to remember some key lines of the song instead of the background beats and other sounds. It's much easier to recognize a song with the help of its words instead of using the drum beats to recognize it.
However, the background music is equally important and it should not be neglected. A good song is a song with appealing lyrics and background beats. People usually relate their own life with lyrics of the song, and some people enjoy songs that convey some message or have some meaning. So, it's very important for an artist to take lyrics seriously. An artist should spend quality time to make sure that the song has appealing lyrics.
It's very important to understand the words of a song in order to understand the meaning of the song. Some people find it tough to remember the lyrics completely and this is the reason why most of the artists publish the lyrics. Some artists usually giveaway lyrics with the CD, and some artists publish lyrics on their web sites. Also, there are a number of web sites that maintain a collection of lyrics. Some web sites charge a small fee for providing the music lyrics whereas some web sites provide lyrics for free. So, if you're looking for lyrics of a particular song then you should use the Internet to find the lyrics.
However, you should make sure that you use a legitimate web site for finding and downloading lyrics as there are a number of web sites which provide lyrics without the artist's permission. Also, a number of web sites use different kinds of spyware to infect an end-user's system. They try to infect the user's system so as to collect the personal information of the user. So, an individual should use reputed web sites for finding and downloading lyrics.
An individual should use web sites which provide legal and licensed music lyrics. It is also safe to use web sites which provide licensed music lyrics. A simple web search can get you hundreds of web sites which provide music lyrics and you can also use the reviews to find a reputable site. It is also very easy to search lyrics on a web site as a search box is usually available on a web site. An end-user needs to fill-in the required details in the search box in order to search the lyrics of a particular song.
At the end, the words of a song are very important as people remember songs by the words, and you can use the Internet to find the music lyrics.
Wednesday, November 5, 2008
Music & Emotions: Can Music Really Make You a Happier Person?
How many times have you turned to music to uplift you even further in happy times, or sought the comfort of music when melancholy strikes?
Music affects us all. But only in recent times have scientists sought to explain and quantify the way music impacts us at an emotional level. Researching the links between melody and the mind indicates that listening to and playing music actually can alter how our brains, and therefore our bodies, function.
It seems that the healing power of music, over body and spirit, is only just starting to be understood, even though music therapy is not new. For many years therapists have been advocating the use of music in both listening and study for the reduction of anxiety and stress, the relief of pain. And music has also been recommended as an aid for positive change in mood and emotional states.
Michael DeBakey, who in 1966 became the first surgeon to successfully implant an artificial heart, is on record saying: "Creating and performing music promotes self-expression and provides self-gratification while giving pleasure to others. In medicine, increasing published reports demonstrate that music has a healing effect on patients."
Doctors now believe using music therapy in hospitals and nursing homes not only makes people feel better, but also makes them heal faster. And across the nation, medical experts are beginning to apply the new revelations about music's impact on the brain to treating patients.
In one study, researcher Michael Thaut and his team detailed how victims of stroke, cerebral palsy and Parkinson's disease who worked to music took bigger, more balanced strides than those whose therapy had no accompaniment.
Other researchers have found the sound of drums may influence how bodies work. Quoted in a 2001 article in USA Today, Suzanne Hasner, chairwoman of the music therapy department at Berklee College of Music in Boston, says even those with dementia or head injuries retain musical ability.
The article reported results of an experiment in which researchers from the Mind-Body Wellness Center in Meadville, Pa., tracked 111 cancer patients who played drums for 30 minutes a day. They found strengthened immune systems and increased levels of cancer-fighting cells in many of the patients.
"Deep in our long-term memory is this rehearsed music," Hasner says. "It is processed in the emotional part of the brain, the amygdala. Here is where you remember the music played at your wedding, the music of your first love, that first dance. Such things can still be remembered even in people with progressive diseases. It can be a window, a way to reach them."
The American Music Therapy Organization claims music therapy may allow for "emotional intimacy with families and caregivers, relaxation for the entire family, and meaningful time spent together in a positive, creative way".
Scientists have been making progress in its exploration into why music should have this effect. In 2001 Dr. Anne Blood and Robert Zatorre of McGill University in Montreal, used positron emission tomography, or PET scans, to find out if particular brain structures were stimulated by music.
In their study, Blood and Zatorre asked 10 musicians, five men and five women, to choose stirring music. The subjects were then given PET scans as they listened to four types of audio stimuli – the selected music, other music, general noise or silence. Each sequence was repeated three times in random order.
Blood said when the subjects heard the music that gave them "chills," the PET scans detected activity in the portions of the brain that are also stimulated by food and sex.
Just why humans developed such a biologically based appreciation of music is still not clear. The appreciation of food and the drive for sex evolved to help the survival of the species, but "music did not develop strictly for survival purposes," Blood told Associated Press at the time.
She also believes that because music activates the parts of the brain that make us happy, this suggests it can benefit our physical and mental well being.
This is good news for patients undergoing surgical operations who experience anxiety in anticipation of those procedures.
Polish researcher, Zbigniew Kucharski, at the Medical Academy of Warsaw, studied the effect of acoustic therapy for fear management in dental patients. During the period from October 2001 to May 2002, 38 dental patients aged between 16 and 60 years were observed. The patients received variations of acoustic therapy, a practice where music is received via headphones and also vibrators.
Dr Kucharski discovered the negative feelings decreased five-fold for patients who received 30 minutes of acoustic therapy both before and after their dental procedure. For the group that heard and felt music only prior to the operation, the fearful feelings reduced by a factor of 1.6 only.
For the last group (the control), which received acoustic therapy only during the operation, there was no change in the degree of fear felt.
A 1992 study identified music listening and relaxation instruction as an effective way to reduce pain and anxiety in women undergoing painful gynecological procedures. And other studies have proved music can reduce other 'negative' human emotions like fear, distress and depression.
Sheri Robb and a team of researchers published a report in the Journal of Music Therapy in 1992, outlining their findings that music assisted relaxation procedures (music listening, deep breathing and other exercises) effectively reduced anxiety in pediatric surgical patients on a burn unit.
"Music," says Esther Mok in the AORN Journal in February 2003, "is an easily administered, non-threatening, non-invasive, and inexpensive tool to calm preoperative anxiety."
So far, according to the same report, researchers cannot be certain why music has a calming affect on many medical patients. One school of thought believes music may reduce stress because it can help patients to relax and also lower blood pressure. Another researcher claims music allows the body's vibrations to synchronize with the rhythms of those around it. For instance, if an anxious patient with a racing heartbeat listens to slow music, his heart rate will slow down and synchronize with the music's rhythm.
Such results are still something of a mystery. The incredible ability that music has to affect and manipulate emotions and the brain is undeniable, and yet still largely inexplicable.
Aside from brain activity, the affect of music on hormone levels in the human body can also be quantified, and there is definite evidence that music can lower levels of cortisol in the body (associated with arousal and stress), and raise levels of melatonin (which can induce sleep). It can also precipitate the release of endorphins, the body's natural painkiller.
But how does music succeed in prompting emotions within us? And why are these emotions often so powerful? The simple answer is that no one knows yet. So far we can quantify some of the emotional responses caused by music, but we cannot yet explain them. But that's OK. I don't have to understand electricity to benefit from light when I switch on a lamp when I come into a room, and I don't have to understand why music can make me feel better emotionally. It just does – our Creator made us that way.
Music affects us all. But only in recent times have scientists sought to explain and quantify the way music impacts us at an emotional level. Researching the links between melody and the mind indicates that listening to and playing music actually can alter how our brains, and therefore our bodies, function.
It seems that the healing power of music, over body and spirit, is only just starting to be understood, even though music therapy is not new. For many years therapists have been advocating the use of music in both listening and study for the reduction of anxiety and stress, the relief of pain. And music has also been recommended as an aid for positive change in mood and emotional states.
Michael DeBakey, who in 1966 became the first surgeon to successfully implant an artificial heart, is on record saying: "Creating and performing music promotes self-expression and provides self-gratification while giving pleasure to others. In medicine, increasing published reports demonstrate that music has a healing effect on patients."
Doctors now believe using music therapy in hospitals and nursing homes not only makes people feel better, but also makes them heal faster. And across the nation, medical experts are beginning to apply the new revelations about music's impact on the brain to treating patients.
In one study, researcher Michael Thaut and his team detailed how victims of stroke, cerebral palsy and Parkinson's disease who worked to music took bigger, more balanced strides than those whose therapy had no accompaniment.
Other researchers have found the sound of drums may influence how bodies work. Quoted in a 2001 article in USA Today, Suzanne Hasner, chairwoman of the music therapy department at Berklee College of Music in Boston, says even those with dementia or head injuries retain musical ability.
The article reported results of an experiment in which researchers from the Mind-Body Wellness Center in Meadville, Pa., tracked 111 cancer patients who played drums for 30 minutes a day. They found strengthened immune systems and increased levels of cancer-fighting cells in many of the patients.
"Deep in our long-term memory is this rehearsed music," Hasner says. "It is processed in the emotional part of the brain, the amygdala. Here is where you remember the music played at your wedding, the music of your first love, that first dance. Such things can still be remembered even in people with progressive diseases. It can be a window, a way to reach them."
The American Music Therapy Organization claims music therapy may allow for "emotional intimacy with families and caregivers, relaxation for the entire family, and meaningful time spent together in a positive, creative way".
Scientists have been making progress in its exploration into why music should have this effect. In 2001 Dr. Anne Blood and Robert Zatorre of McGill University in Montreal, used positron emission tomography, or PET scans, to find out if particular brain structures were stimulated by music.
In their study, Blood and Zatorre asked 10 musicians, five men and five women, to choose stirring music. The subjects were then given PET scans as they listened to four types of audio stimuli – the selected music, other music, general noise or silence. Each sequence was repeated three times in random order.
Blood said when the subjects heard the music that gave them "chills," the PET scans detected activity in the portions of the brain that are also stimulated by food and sex.
Just why humans developed such a biologically based appreciation of music is still not clear. The appreciation of food and the drive for sex evolved to help the survival of the species, but "music did not develop strictly for survival purposes," Blood told Associated Press at the time.
She also believes that because music activates the parts of the brain that make us happy, this suggests it can benefit our physical and mental well being.
This is good news for patients undergoing surgical operations who experience anxiety in anticipation of those procedures.
Polish researcher, Zbigniew Kucharski, at the Medical Academy of Warsaw, studied the effect of acoustic therapy for fear management in dental patients. During the period from October 2001 to May 2002, 38 dental patients aged between 16 and 60 years were observed. The patients received variations of acoustic therapy, a practice where music is received via headphones and also vibrators.
Dr Kucharski discovered the negative feelings decreased five-fold for patients who received 30 minutes of acoustic therapy both before and after their dental procedure. For the group that heard and felt music only prior to the operation, the fearful feelings reduced by a factor of 1.6 only.
For the last group (the control), which received acoustic therapy only during the operation, there was no change in the degree of fear felt.
A 1992 study identified music listening and relaxation instruction as an effective way to reduce pain and anxiety in women undergoing painful gynecological procedures. And other studies have proved music can reduce other 'negative' human emotions like fear, distress and depression.
Sheri Robb and a team of researchers published a report in the Journal of Music Therapy in 1992, outlining their findings that music assisted relaxation procedures (music listening, deep breathing and other exercises) effectively reduced anxiety in pediatric surgical patients on a burn unit.
"Music," says Esther Mok in the AORN Journal in February 2003, "is an easily administered, non-threatening, non-invasive, and inexpensive tool to calm preoperative anxiety."
So far, according to the same report, researchers cannot be certain why music has a calming affect on many medical patients. One school of thought believes music may reduce stress because it can help patients to relax and also lower blood pressure. Another researcher claims music allows the body's vibrations to synchronize with the rhythms of those around it. For instance, if an anxious patient with a racing heartbeat listens to slow music, his heart rate will slow down and synchronize with the music's rhythm.
Such results are still something of a mystery. The incredible ability that music has to affect and manipulate emotions and the brain is undeniable, and yet still largely inexplicable.
Aside from brain activity, the affect of music on hormone levels in the human body can also be quantified, and there is definite evidence that music can lower levels of cortisol in the body (associated with arousal and stress), and raise levels of melatonin (which can induce sleep). It can also precipitate the release of endorphins, the body's natural painkiller.
But how does music succeed in prompting emotions within us? And why are these emotions often so powerful? The simple answer is that no one knows yet. So far we can quantify some of the emotional responses caused by music, but we cannot yet explain them. But that's OK. I don't have to understand electricity to benefit from light when I switch on a lamp when I come into a room, and I don't have to understand why music can make me feel better emotionally. It just does – our Creator made us that way.
Saturday, October 18, 2008
Technology in and for the Instrumental Music Classroom(3)
SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home - let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.
Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home - let alone internet access?
Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?
David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:
We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)
A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.
There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.
Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.
Technology in and for the Instrumental Music Classroom(2)
Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)
Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)
While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.
There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.
Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.
With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.
Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)
Technology in and for the Instrumental Music Classroom(1)
Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)
Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)
In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,
The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)
In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)
Friday, October 17, 2008
How to Establish yourself as a Music Teacher
Many people who put their heart into music, put their business into music teaching. There are many fields of music education and if you are proficient in one or more you will surely find work. The first thing that a music teacher has to do is choose what he or she will focus on, be it an instrument, voice coaching, music theory or even music history. Next comes the time to assess your own knowledge on the topic. If you have a degree of Bachelor of Music, Bachelor of Music Education or Master of Music, you are probably comfortable enough teaching at any level. However if your learning did no go that far, you should be teaching at a more basic level. In any case, be sure you are qualified and are honest about your qualifications with your clients.
Consider also who you want to teach. Maybe you would love to help young children take their first steps in music. Or maybe you want to work with older kids or adults on continuing or just starting their education. Be sure you adapt your teachings and, if you need to, talk to pedagogues so you know how to deal with a child. The planning of the classes can be tricky and do not think for a second that only adults can spot if you did not prepare the lesson. A kid will notice and can get bored and even give up if they feel you are not making an effort.
Scheduling can also be difficult. Whatever you do, do not book more than one student for a time slot and try not to extend the lesson pass its designated time. It just screams that you are unprofessional. Remember during which hours kids are in school and are not available. Moreover, keep in mind that a 6 year-old attention span is not the same as a 16 year-old's so the time which lesson takes depends very much on the student. It also depends on you personally and on your teaching method.
On that topic, there are a lot of different music teaching methods out there. One of the most popular is the Suzuki Method, but others include the Dalcroze Method and the Yamaha Method. Even if you choose not to follow any of these, it is very interesting to learn a bit about each. It will open your eyes and you will see your work under a whole new prism. In the end, you probably will take some directions from these methods, even if subconsciously.
These are the basics you should take into account when setting up as a private music teacher. Others are simple, practical choices like the place you want to teach, the prices you will charge and how to keep your financial books. However, most of it comes from practice and time. You are a music teacher, so you know that everything does.
Consider also who you want to teach. Maybe you would love to help young children take their first steps in music. Or maybe you want to work with older kids or adults on continuing or just starting their education. Be sure you adapt your teachings and, if you need to, talk to pedagogues so you know how to deal with a child. The planning of the classes can be tricky and do not think for a second that only adults can spot if you did not prepare the lesson. A kid will notice and can get bored and even give up if they feel you are not making an effort.
Scheduling can also be difficult. Whatever you do, do not book more than one student for a time slot and try not to extend the lesson pass its designated time. It just screams that you are unprofessional. Remember during which hours kids are in school and are not available. Moreover, keep in mind that a 6 year-old attention span is not the same as a 16 year-old's so the time which lesson takes depends very much on the student. It also depends on you personally and on your teaching method.
On that topic, there are a lot of different music teaching methods out there. One of the most popular is the Suzuki Method, but others include the Dalcroze Method and the Yamaha Method. Even if you choose not to follow any of these, it is very interesting to learn a bit about each. It will open your eyes and you will see your work under a whole new prism. In the end, you probably will take some directions from these methods, even if subconsciously.
These are the basics you should take into account when setting up as a private music teacher. Others are simple, practical choices like the place you want to teach, the prices you will charge and how to keep your financial books. However, most of it comes from practice and time. You are a music teacher, so you know that everything does.
Does Music Help Children?
This question has been debated for as long as time has existed. Even the great Greek and Roman philosophers approached the question: is music something that should be taught and does it help the development of children? Plato answered "I would teach children music, physics, and philosophy; but most importantly music, for in the patterns of music and all arts are the keys to learning." And again “what then is the education to be? Perhaps we could hardly find a better than that which the experience of the past has already discovered, which consists, I believe, in gymnastic, for the body, and music for the mind.”
In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.
Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.
In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullaby’s than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.
The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.
I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.
In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.
Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.
In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullaby’s than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.
The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.
I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.
Wednesday, October 15, 2008
Learning How to Breath Correctly When Singing Trains your Vocal Chords
While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer. Being comfortable with the songs you are singing will show in terms of your self confidence. Keep in mind that even successful singers have learned some techniques that is why they were able to maintain well-modulated singing voices. Singing isn't all based on talent. Lose all your inhibitions. Karaoke singing is a wonderful way to entertain yourself and the others.
When singing songs that are up tempo you don't need the technical ability it is more entertainment like karaoke. A good choice of song can make his performance better because the singer is comfortable with the song. Doing so, he'd be able to deliver the notes better, and feel the song best. A beautiful rendition of a song is noted most of the times, not because the singer has sung it well, but he did it with the right emotions overflowing. Doing so, he'd be able to deliver the notes better, and feel the song best.
Professional singers practice all the time, if you practice you will be amazed how you're breathing and voice improves when singing and making different tones. Singers have the ability to know how to breathe correctly when singing. When singers learn how to sing they do not sing from the throat they sing from the abdomen, the reason for this is because the abdomen is a large and strong muscle compared to the throat. Do not limit yourself to teachers close to home or work. Working with a coach that can bring out the best in your voice is the goal. While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer.
Many people believe they can sing and they don't need voice lessons, the decision to go ahead and admit that lessons are needed is a big and important step. Once you train your voice it will become strong and vibrant and your voice will improve over time because you know the basics. It will be worth the extra distance. Find an environment where you can express yourself freely and one that offers open communication so training can be modified with your changing interests.
Singing is one practical way of expressing one's feelings. Possessing a skill in singing is also a good technique of overcoming shyness and gaining self-confidence. Singing is, indeed, one of the most profitable passions in the industry today.
Each day, a singer is born to the music industry. It isn't enough that you have been trained by the best music school or that you can shift from one musical genre to another. Knowing the vocal quality of a singer will enable him to choose songs that are appropriate for his singing voice. Once an appropriate song has been chosen, the singer should take time to develop his own style. He shouldn't try to choose a difficult song which will just showcase his lack of singing prowess. A good choice of song can make his performance better because the singer is comfortable with the song. The voice produces sound; the technical explanation is that the chords called vocal chords vibrate which in turn produces sound. Singers use these vibrations to make different sounds at different frequencies which allow them to make variation of notes.
With all the talents available for the taking, making it big in the recording industry can be attributed more to a very good manager rather than on pure talent alone. Thus, singers should never question the importance of getting professional help to further their singing careers. Taking into consideration the popularity of singing talent searches, good singers can actually make a successful career in the entertainment industry.
When singing songs that are up tempo you don't need the technical ability it is more entertainment like karaoke. A good choice of song can make his performance better because the singer is comfortable with the song. Doing so, he'd be able to deliver the notes better, and feel the song best. A beautiful rendition of a song is noted most of the times, not because the singer has sung it well, but he did it with the right emotions overflowing. Doing so, he'd be able to deliver the notes better, and feel the song best.
Professional singers practice all the time, if you practice you will be amazed how you're breathing and voice improves when singing and making different tones. Singers have the ability to know how to breathe correctly when singing. When singers learn how to sing they do not sing from the throat they sing from the abdomen, the reason for this is because the abdomen is a large and strong muscle compared to the throat. Do not limit yourself to teachers close to home or work. Working with a coach that can bring out the best in your voice is the goal. While a good singing voice can be a good start for a singing career, the voice alone doesn't make a good singer.
Many people believe they can sing and they don't need voice lessons, the decision to go ahead and admit that lessons are needed is a big and important step. Once you train your voice it will become strong and vibrant and your voice will improve over time because you know the basics. It will be worth the extra distance. Find an environment where you can express yourself freely and one that offers open communication so training can be modified with your changing interests.
Singing is one practical way of expressing one's feelings. Possessing a skill in singing is also a good technique of overcoming shyness and gaining self-confidence. Singing is, indeed, one of the most profitable passions in the industry today.
Each day, a singer is born to the music industry. It isn't enough that you have been trained by the best music school or that you can shift from one musical genre to another. Knowing the vocal quality of a singer will enable him to choose songs that are appropriate for his singing voice. Once an appropriate song has been chosen, the singer should take time to develop his own style. He shouldn't try to choose a difficult song which will just showcase his lack of singing prowess. A good choice of song can make his performance better because the singer is comfortable with the song. The voice produces sound; the technical explanation is that the chords called vocal chords vibrate which in turn produces sound. Singers use these vibrations to make different sounds at different frequencies which allow them to make variation of notes.
With all the talents available for the taking, making it big in the recording industry can be attributed more to a very good manager rather than on pure talent alone. Thus, singers should never question the importance of getting professional help to further their singing careers. Taking into consideration the popularity of singing talent searches, good singers can actually make a successful career in the entertainment industry.
Friday, October 10, 2008
Goals and Objectives of Singing
A clear statement of the goals to be reached should preface any approach to the study of singing. The single most important purpose in the training of a singing voice should be to develop or make possible the development of the utmost potential of that voice.
The ultimate goal to be reached is the ability to sing the literature for a particular type of voice - soprano, mezzo, or contralto; tenor, baritone or bass.
Vocal literature in itself sets up the goals or objectives for the singer to reach: quality, diction, agility, dynamic control, range, interpretation and style, and good vocal condition.
The technical goals or objectives involved in singing are as follows:
Normal quality - a ringing, resonant tone with a "cover" of beauty and a "metal" or point which carries or projects.
A diction that is understandable without sacrificing quality.
Agility - the ability to sing rapid and florid passages and difficult intervals.
Dynamic control - the ability to sing three gradations of loudness: pianissimo, mezzo piano, or mezzo forte or forte; and the ability to sing the messa di voce, from soft to loud and back to soft again through at least the lower three fourths of the singing range.
Range - the ability to sing approximately two octaves' range above the average normal pitch of the speaking voice.
Interpretation - the ability to change from the normal quality to other qualities for emotional effect.
Vocal hygiene - a technique of singing that not only tends to keep the voice in good condition but also tends to develop the voice to greater possibilities.
The goals and objectives are usually taken for granted, and yet they can be used as a measuring stick for a student's progress. Singing teachers hardly ever mention them. Most students when asked, "WHY are you studying singing?" can seldom give a straightforward answer.
There are other goals or objectives that one can list in addition to the literature and the technical goals.
Usually students of singing are interested in fields of singing, such as radio, church, concert, light opera, opera, and television, before they know where they will fit in vocally. In some instances, radio, for example, a vocal coach would be more helpful.
Many people are interested in singing for the enjoyment singing gives them. Many of these pride themselves on the fact that they just sing and know nothing about the technique of singing or how to read vocal music and don't want to know.
Others take singing lessons to improve their speaking voices, or to develop self confidence and poise, or for a keener appreciation of the art of singing and singers and of music in general.
The study of singing is thought by many to improve not only physical health by the practice of deep breathing, but also mental health by the emotional release and enjoyment singing affords; to strengthen and quicken the mental processes; to bring about good posture; and to develop personality. Perhaps the practice of singing should do all of these things, but there is considerable question whether it does, unless a relationship is brought out between singing and these objectives.
The singing teacher can easily justify his work as a singing teacher on emotional, mental, physical and personality grounds, but usually his approach is an artistic one. To some teachers, singing is an art and not a science; to others if is predominantly a science; and to still others, it is both an art and a science.
The modern singing teacher, if he is to keep step with the advances and discoveries in all fields related to singing and the teaching of singing, must combine the artistic and the scientific approaches. He must also suggest goals and objectives, such as those suggested above, for his singing student.
The ultimate goal to be reached is the ability to sing the literature for a particular type of voice - soprano, mezzo, or contralto; tenor, baritone or bass.
Vocal literature in itself sets up the goals or objectives for the singer to reach: quality, diction, agility, dynamic control, range, interpretation and style, and good vocal condition.
The technical goals or objectives involved in singing are as follows:
Normal quality - a ringing, resonant tone with a "cover" of beauty and a "metal" or point which carries or projects.
A diction that is understandable without sacrificing quality.
Agility - the ability to sing rapid and florid passages and difficult intervals.
Dynamic control - the ability to sing three gradations of loudness: pianissimo, mezzo piano, or mezzo forte or forte; and the ability to sing the messa di voce, from soft to loud and back to soft again through at least the lower three fourths of the singing range.
Range - the ability to sing approximately two octaves' range above the average normal pitch of the speaking voice.
Interpretation - the ability to change from the normal quality to other qualities for emotional effect.
Vocal hygiene - a technique of singing that not only tends to keep the voice in good condition but also tends to develop the voice to greater possibilities.
The goals and objectives are usually taken for granted, and yet they can be used as a measuring stick for a student's progress. Singing teachers hardly ever mention them. Most students when asked, "WHY are you studying singing?" can seldom give a straightforward answer.
There are other goals or objectives that one can list in addition to the literature and the technical goals.
Usually students of singing are interested in fields of singing, such as radio, church, concert, light opera, opera, and television, before they know where they will fit in vocally. In some instances, radio, for example, a vocal coach would be more helpful.
Many people are interested in singing for the enjoyment singing gives them. Many of these pride themselves on the fact that they just sing and know nothing about the technique of singing or how to read vocal music and don't want to know.
Others take singing lessons to improve their speaking voices, or to develop self confidence and poise, or for a keener appreciation of the art of singing and singers and of music in general.
The study of singing is thought by many to improve not only physical health by the practice of deep breathing, but also mental health by the emotional release and enjoyment singing affords; to strengthen and quicken the mental processes; to bring about good posture; and to develop personality. Perhaps the practice of singing should do all of these things, but there is considerable question whether it does, unless a relationship is brought out between singing and these objectives.
The singing teacher can easily justify his work as a singing teacher on emotional, mental, physical and personality grounds, but usually his approach is an artistic one. To some teachers, singing is an art and not a science; to others if is predominantly a science; and to still others, it is both an art and a science.
The modern singing teacher, if he is to keep step with the advances and discoveries in all fields related to singing and the teaching of singing, must combine the artistic and the scientific approaches. He must also suggest goals and objectives, such as those suggested above, for his singing student.
Wednesday, October 8, 2008
How To Write Songs That Your Audience Like
So you would like to write your own original songs. However the few attempts that you have made did not turn out as you would have liked because the tune or the melody were not flowing so well or were not catchy enough for your audience to like.
So how do you write songs that your audience will like or will sing and hum along as you are performing them? Well, brace yourself because one of the methods to write catchy and be rather controversial, but it not only works and works darn well!
Sometimes, when somebody's original melody sounds good, they also sounded like another song. But you just cannot figure out which other song it sounded like. There is this vaguely familiar feeling that you have heard a sort of similar song before. Have you had that feeling?
I am sure all of us had this feeling before and I can even dare to say that it will happen again and again with other new songs. Actually, this subconscious feeling is rather common as after all because every song is a somewhat recycled tune given the limited number of musical notation, chords and rhythms.
So all new songs will somehow or other overlap other songs that are already in existence. Therefore all songs will have parts of their tune similar with another song or even songs. Therefore it is perfectly alright if parts of your song sounds like another song although you did not intend it that way.
As a matter of fact, if your new song sounds familiar, that may be a good thing. Before you jump up and shout copyright infringement, please be aware that I am not talking about infringing other songwriter's copyright, I am talking about a part of your tune that sounds somewhat like another song.
So why is this similarity a good thing? Well, it is simply because people can relate to your tune even more and so, they will like the song and remember it. They will want to listen to your song because of the familiarity. Song familiarity invoke a pleasant feeling of emotion and most of the time, they don't even know why they felt good hearing your melody. This is why your song can easily be remembered and will keep humming in people's head.
Even if your listeners realized parts of your song is somewhat similar to another song, so what, no big deal because as a whole, the song is in your own original song with your own original lyrics, your own melody and expressions and thus it is your own original song!
I must stress the point that you must not intentionally infringe upon other songwriter's copyright. This is not about ripping off other composer's works. This is about creating your own melodies and tunes that sound like a familiar tune.
So how do I go about writing familiar sounding songs? Well, let's start by choosing a song that you like and is familiar with and hum the tune. Just hum it but don't sing the lyrics out. This will get you thinking 'melodically' and soon, you should be able to hum certain variations of that tune. Just let your imagination take over and toss the melody around as you imagined it and let your creative juices flow.
Once you can jumble out the tune nicely, then sing it aloud and this will become your own tune. It is really that simple.
Another way to do this is to choose a song that you don't even know or heard of before. Listen to this song once, and then listen to it again. The second time when you are listening to it, sing along with the song. Yes, you probably will not remember the tune very well, but nevertheless, just sing along and this is when you make up a melody line of your own with the melodic structure of this obscure song.
Whichever method you have chosen to write a song with a somewhat familiar tune, you must feel good about it. It is your gut feeling of feeling pleasant that you know you have written a good catchy original tune that your audience will like and remember.
So how do you write songs that your audience will like or will sing and hum along as you are performing them? Well, brace yourself because one of the methods to write catchy and be rather controversial, but it not only works and works darn well!
Sometimes, when somebody's original melody sounds good, they also sounded like another song. But you just cannot figure out which other song it sounded like. There is this vaguely familiar feeling that you have heard a sort of similar song before. Have you had that feeling?
I am sure all of us had this feeling before and I can even dare to say that it will happen again and again with other new songs. Actually, this subconscious feeling is rather common as after all because every song is a somewhat recycled tune given the limited number of musical notation, chords and rhythms.
So all new songs will somehow or other overlap other songs that are already in existence. Therefore all songs will have parts of their tune similar with another song or even songs. Therefore it is perfectly alright if parts of your song sounds like another song although you did not intend it that way.
As a matter of fact, if your new song sounds familiar, that may be a good thing. Before you jump up and shout copyright infringement, please be aware that I am not talking about infringing other songwriter's copyright, I am talking about a part of your tune that sounds somewhat like another song.
So why is this similarity a good thing? Well, it is simply because people can relate to your tune even more and so, they will like the song and remember it. They will want to listen to your song because of the familiarity. Song familiarity invoke a pleasant feeling of emotion and most of the time, they don't even know why they felt good hearing your melody. This is why your song can easily be remembered and will keep humming in people's head.
Even if your listeners realized parts of your song is somewhat similar to another song, so what, no big deal because as a whole, the song is in your own original song with your own original lyrics, your own melody and expressions and thus it is your own original song!
I must stress the point that you must not intentionally infringe upon other songwriter's copyright. This is not about ripping off other composer's works. This is about creating your own melodies and tunes that sound like a familiar tune.
So how do I go about writing familiar sounding songs? Well, let's start by choosing a song that you like and is familiar with and hum the tune. Just hum it but don't sing the lyrics out. This will get you thinking 'melodically' and soon, you should be able to hum certain variations of that tune. Just let your imagination take over and toss the melody around as you imagined it and let your creative juices flow.
Once you can jumble out the tune nicely, then sing it aloud and this will become your own tune. It is really that simple.
Another way to do this is to choose a song that you don't even know or heard of before. Listen to this song once, and then listen to it again. The second time when you are listening to it, sing along with the song. Yes, you probably will not remember the tune very well, but nevertheless, just sing along and this is when you make up a melody line of your own with the melodic structure of this obscure song.
Whichever method you have chosen to write a song with a somewhat familiar tune, you must feel good about it. It is your gut feeling of feeling pleasant that you know you have written a good catchy original tune that your audience will like and remember.
Wednesday, October 1, 2008
How To Protect Your Singing Voice
Most people think that singers with good voices are born with them. Yes, although some people have better singing voices than others, most, if not all good singers undergo vocal training to improve their voices. Most of the singer's training is done through specific vocal exercises to achieve certain effects such as singing powerfully, getting vibrato into the singing voice or even expanding your vocal range so that singing higher notes is a breeze. Unfortunately, this article cannot do that as the exercises must be physically demonstrated and manually practised. So instead of learning how to get a good voice, this article will show you how to protect and preserve your singing voice because your voice quality can be destroyed by bad habits that you may not even know you have. Your voice is produced by a delicate mechanism and when used correctly, it rarely gives you any problem. So take good care of your precious voice and will serve you well for your lifetime. The first golden rule to having a good voice quality is not to take up smoking and if you are already a smoker, do quit smoking before this nasty habit destroys your singing voice further. The thousands of irritants and chemicals in cigarettes damage your voice and will certainly shorten your singing career and even your life unless you are a rock singer and need to have a raspy and coarse voice. Always stay hydrated and as such, you need to stay away from caffeine, alcohol and other substance that dehydrates you. The vocal folds must be hydrated at all times to stay healthy and lubricated. So drink plenty of drink as much water everyday to keep them hydrated.If you are on medication, check with your doctor or pharmacist whether the medicine you are taking is dehydrating. As a general guide, your body should be well hydrated when your urine is clear and not cloudy. Everyone's voice has its own limitations. So get to know yours. Shouting, talking loudly or even singing forcefully is damaging to your vocal cords, this is sheer common sense, but many singers still abuse their voices this way. So don't shout. Unfortunately, some people think that to sing powerfully, they have to shout. No, they don't have to. You can develop a powerful voice with the correct vocal exercises without having to shout. Your vocal cords collide with each other more than a million times everyday when you produce a sound and so, any extra harsh activities like shouting puts further strain on the already overused vocal cords.When recovering from a coarse voice like say, from a sore throat, avoid any unnecessary conversations or phone calls to let your voice fully recover. Otherwise your recovery will be slower and even then, small permanent damages may occur. You need to know that your vocal cords are muscles and therefore like any muscles, they need a thorough warm up before it can perform at its peak when you are singing. By the same token, they need to be cooled down with vocal exercises after your performances. Just because you get away without warming up or cooling down now does not guarantee that you will not damage your voice in the future. Next on the list is to avoid late night eating because this may end up with your stomach acid spilling into your larynx when you lie down to sleep and causing a hoarse voice and over the long term, permanent voice damage. These are just some of the many things that you should not do to preserve, protect and maintain your voice producing mechanism so that you can have a good singing voice permanently.
Author: Chris Chew
Author: Chris Chew
Tuesday, September 30, 2008
How Many Indie Genres Do People Need
Okay, indie is definitely a broad term for people to use but are you comfortable with calling bands by this large generic term or do you like to get more in-depth? One person's definition of an indie band may be vastly different to another person's opinion so if you are trying to describe a song or band, it could be worthwhile being able to use more expressive terms.
Have a look at the following genres and think about how many you recognize or can spot: Shoegazing, Britpop,Grunge, Noise rock, Lo fi, Indie pop, Math rock, Garage rock, Post rock, New Wave of New Wave, Post Punk Revival, Nu-Rave, Folk rock.
And if you were so inclined you could probably list many more. Are these genres genuine or have they been created by magazine editors in order to create a buzz and help some more copies of their publications?
Historical Terms are Easily DefinableThere is no doubt that some terms are used to define an era or particular style, with Shoegazing, Britpop and Grunge being largely historical terms now but you will have an idea in your head of what this genre is like. Some of the more recent names are a lot more confusing and harder to place which sort of makes the genre pointless.
The idea of a "scene" or "genre" is to ensure that bands are easily identifiable and can be pinpointed quickly. If you like one band who plays a particular style of music then there is every chance you will like a band that plays a similar sort of music. An example of this would be the crossover between fans of The Flaming Lips and Mercury Rev. Some bands can gain a lot of new fans and publicity from being linked to a style of music with many other bands.
Bands Want to be Seen as IndividualsYou will find that many bands are not happy at being pigeonholed into one particular style or genre. When you think about it, it is not a compliment to have your entire musical output summed up in a couple of words. Every band would hope that they have some originality and that they are not instantly recognizable to many other acts.
There are strong commercial reasons to allow your music to be defined with a few easy definitions.
It may open up support slots or festival appearances alongside other bands that play a particular style.
It may allow your music to be placed in record stores / online stores alongside other similar bands ensuring you can tap into other groups fan bases.
It will make it easier for magazines and online sites to write about a band if there are easy points of references to be made.
There are Commercial Reasons for GenresAll of these reasons would appeal to a manager as they would increase the chances of a band being recognized by more consumers which should lead to the possibility of more sales. Deep down performing music should be about the love of the art and doing something worthwhile but bills will always have to be paid and bands need to earn money to stay alive.
It may go against your purist beliefs for being in a band and making music but creating noticeable links between yourself and other acts may generate awareness in your act that could not have been created elsewhere.
Author: Ian Dougherty
Have a look at the following genres and think about how many you recognize or can spot: Shoegazing, Britpop,Grunge, Noise rock, Lo fi, Indie pop, Math rock, Garage rock, Post rock, New Wave of New Wave, Post Punk Revival, Nu-Rave, Folk rock.
And if you were so inclined you could probably list many more. Are these genres genuine or have they been created by magazine editors in order to create a buzz and help some more copies of their publications?
Historical Terms are Easily DefinableThere is no doubt that some terms are used to define an era or particular style, with Shoegazing, Britpop and Grunge being largely historical terms now but you will have an idea in your head of what this genre is like. Some of the more recent names are a lot more confusing and harder to place which sort of makes the genre pointless.
The idea of a "scene" or "genre" is to ensure that bands are easily identifiable and can be pinpointed quickly. If you like one band who plays a particular style of music then there is every chance you will like a band that plays a similar sort of music. An example of this would be the crossover between fans of The Flaming Lips and Mercury Rev. Some bands can gain a lot of new fans and publicity from being linked to a style of music with many other bands.
Bands Want to be Seen as IndividualsYou will find that many bands are not happy at being pigeonholed into one particular style or genre. When you think about it, it is not a compliment to have your entire musical output summed up in a couple of words. Every band would hope that they have some originality and that they are not instantly recognizable to many other acts.
There are strong commercial reasons to allow your music to be defined with a few easy definitions.
It may open up support slots or festival appearances alongside other bands that play a particular style.
It may allow your music to be placed in record stores / online stores alongside other similar bands ensuring you can tap into other groups fan bases.
It will make it easier for magazines and online sites to write about a band if there are easy points of references to be made.
There are Commercial Reasons for GenresAll of these reasons would appeal to a manager as they would increase the chances of a band being recognized by more consumers which should lead to the possibility of more sales. Deep down performing music should be about the love of the art and doing something worthwhile but bills will always have to be paid and bands need to earn money to stay alive.
It may go against your purist beliefs for being in a band and making music but creating noticeable links between yourself and other acts may generate awareness in your act that could not have been created elsewhere.
Author: Ian Dougherty
Monday, September 29, 2008
Music Networks - How Bands and Musicians Use Music Networks for Band Promotion
The internet continues to revolutionize the music industry and the creation of music networks has helped musicians to promote their bands, sell their music, find band members, buy and sell musical instruments, chat to fellow musicians in the forums, post photos, their music, videos and so much more.There are many benefits to joining one of the top music networks. It is best to focus on two or three at the most and create, as well as maintain, a standout profile page for your music or band. If you spread yourself too thin and try to join every music site you come across then you will find yourself struggling to maintain an active profile. If you join one of these music networks then you will gain a massive amount international exposure for your music.Try to devote 30 minutes each month in updating your profile with new photos, gig dates, videos or music samples. On a more regular basis you may want to respond to forum posts, reply to comments posted on your page and also respond to any emails sent to you. You need to treat these music networks as an advertisement and great way to promote your band. Therefore spending some time on the site could bring about some lucrative and life changing publicity for you.The key point to gaining the most exposure for your music on these sites is to be proactive and make the most of the features available to you. You will want to post recent photos of yourself or your band. You should add some new photos each month. Try and add some bright and colourful photos of each of your band members as well as some group shots. Ask a friend or partner to take some high quality photos of you while performing.Music videos are all the rage due to YouTube. You can use a camera to take some footage of the band performing one of their most popular songs. Just as a great video can make your band; a bad video can have a negative impact on your music. If a music venue manager is not the network to look for a band for a gig and they listen to a poor quality live performance then they will just move on to the next band. So make sure the video you submit is one that will impress your viewers.Why spend time in the forums? Because you never know who is online and who is reading the forum posts. Many of the top music forums not only allow bands and musicians to sign up and create a profile but also music promoters, managers, music venue owners, music producers and professionals from the music industry. As a result, you may just catch the eye of one of these promoters who could give you the lead you need. Post positive and informative posts that will require a similar response. Avoid getting into any personal attacks or conflicts with other forum members. Maintaining a high level of professionalism is of the utmost importance in building the reputation you want to succeed.What about writing an article? It is quite easy to write an article about a topic you are passionate about and have knowledge in. How can this help you? Well in a music network you have members who are musicians and are therefore craving information to help them with their band or music. As a result you can gain some valuable exposure by adding your name and active link at the bottom of the article. You can basically piggy back these top music networks who already achieve high page rankings in the search engines for your own benefit. Search engines love quality content about a specific topic. As a result these search engines will pick up the keywords used in your article and rank it highly as the article is located on a reputable site. Both these combined will give it a good chance of being spread throughout the internet.One of the best features is the ability to post your upcoming gigs or events. What other way can you get free advertising for your gigs! When posting your gig make sure all information is correct and if any of it changes be sure to return to your profile and update it. There will be fans that listen to your music samples, watch your videos and then decide on attending one of your gigs if they like what they hear. You don't want to upset them by having them go out of their way to attend your event only to find that the details were changed and there is no gig! Try to include the date, time, cost and location of the event. Some of the top networks will have a feature where your fans can "subscribe" or add their name to an attendance list. This will also allow you to send emails with specific details to these members. This is networking and building a fan base.Classifieds are also a great way to buy and sell instruments, equipment, search for new band members, post jobs or look for a gig, sell tickets to events and so much more. Make sure you only add the information you want people to see and only use a respectable payment solution provider in the transaction. Most sites leave transactions up to both parties and are not responsible for any disputes or problems with the sale. Are there dangers associated with music networks? Yes, but only if you post personal information that hackers or people involved in criminal activity can use to spam you or rip you off. The top sites will have internal email systems where your personal email address is protected. They also have a feature that allows you to block any members you wish not to correspond with. Remember that you use these music networks to promote your music and not your personal life and details as a lot of the "Social Networks" do. This is why you should stick to the top music networks that operate with the sole purpose of assisting bands and musicians in promoting their music.If you maintain an active profile you may just be lucky enough to gain additional exposure from the site. For example, the music networks highlight and profiles a new band each month. This profile puts the band on the front page, generates extra hits for the band's profile page, spreads their band across the internet due to the quality content in the profile and provides a reputable promotion for the band by a music industry leader. Want to make your own luck? Then be proactive and contact the site team and let them know that you would like to have your band or music be considered to be profiled. One more great tip is to use "Keywords" in your title for photos, events, profiles etc as these keywords will appear in that page's URL. This will help for better search engine exposure as they love keywords and targeted content.The key is where to start when selecting which music networks to join? There are many ways to promote your music and three of the best methods for music and band promotion is by creating a profile on MyBandMate and MySpace Music or posting your music videos on YouTube Music.So if you want to showcase your music to the world and are not active in these top two music networks then you better get on to it. It takes time, some effort and a desire to make your music reach a global audience. Be proactive, utilize all of the key features to gain maximum exposure and build a fan base by responding to their emails and comments. Don't include any information in your profile that you don't want the world to see. Treat your profile page as an advertisement for your music. You may only have one chance to catch the eye of a music promoter, producer or music venue owner looking for a band so make your profile look professional
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