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IT HAS often been said that music is an international language. Proof of this is the folk music of the world. Enjoyment of it is not confined to the land of its origin. People can and often do enjoy hearing the music of lands other than their own. Getting acquainted with the music of other lands can be a delightful experience.

If you were to travel to every section of our earth you would find that each nation or group of people has its own characteristic songs and dances. Each one has contributed its own “accent” to the “language” of music. And this “accent” is generally so distinctive that a person can identify the land in which a certain song or dance originated, in much the same way that he can tell a foreigner’s nationality by his accent.Most folk music was not composed by professional composers. Some of it has existed for thousands of years. In early times tunes were made up by musically inclined persons and these were handed down from generation to generation. The words of songs dealt with love, peace, war, drinking, fictional characters and amusing incidents. And people danced to the tunes, each group developing its own style.

So when people got together on social occasions in village marketplaces, in homes or around campfires, they sang and danced to music that had been handed down from their forefathers. Of course, the topography and climate of their land as well as their history, language, customs and temperament helped to mold their songs and dances. And these are the things that give each group’s folk music that peculiar “accent” that identifies it as belonging to them.

The Music of Europe Much of the greatest music of the Western world was produced in Europe. From the seventeenth century onward a number of outstanding musical composers wrote a great quantity of music both for instruments and the voice. Their orchestral music called for many stringed instruments, as well as the wind and percussion types. Their beautiful concertos featured a solo instrument with an orchestra for accompaniment. And there were moving works that called for a large chorus of voices along with an orchestra.

Europe is known for its operas. As the play is acted out on a stage, with sets and costumes, the presentation is made more moving because the words are usually sung rather than spoken. An orchestra accompanying the singers adds dramatic effect. Operettas, like operas, have plots, but they are lighter and the music is gay.Oratorios began in this part of the world. These compositions usually deal with Bible history. No stage props and costumes are used. Soloists sing the various parts, and a chorus and orchestra are employed. G. F. Handel wrote great Biblical oratorios dealing with Joseph and his brothers, Israel’s deliverance from Egypt, Joshua, Deborah, Jephthah, Samson, Saul, Solomon, Anthelia, Belshazzar and the fall of Babylon, Esther and the Messiah. In many of these thrilling masterpieces the divine name Jehovah appears.

At times these composers dug into the treasury of European folk music. They would either use a folk tune outright or would compose a melody having the distinctive characteristics of a nation’s folk music. At the beginning of their composition they often indicated that it was in the style of the music of a certain land.

As for the folk music of Europe, the most distinctive is that of Spain. The Moorish occupation of this land from the eighth to the fifteenth century C.E., as well as Gypsies, left their imprint on Spain’s music. Perhaps no other people have as many different kinds of dances as do the Spanish, yet that Spanish “accent” of vitality is evident in all of them. Adding to this “accent” are the instruments used by their folk musicians, namely, the guitar, the tambourine and the castanets with their clacking sound.The Western music of Europe might be said to find a basic representative in the German. It stresses the bright-sounding major scale and is rich in harmony. Italian music is generally more melodious than is German, and is much lighter. The folk music of the French is also very melodious; however, the emphasis in their music is usually more on rhythm.

The Oriental flavor in European music is especially apparent in that of Russia. This could well be due to the Mongols who overran that country in the thirteenth century. Also, the deprivation of the people under the despotic czars no doubt helped to give Russian music its minor, sad strain. Further, the long, bleak winters there contributed to this melancholy “accent.”

Scandinavian music might be said to lie somewhere between that of the Germans and that of the Russians. Finnish music seems to have an Oriental tinge about it. However, many folk tunes of Denmark and Holland are quite similar to German folk music. Polish folk music shows both Russian and French influences.

Today it is usually the Europeans living in the country who do not merely listen but sing and dance their folk music. Those living in the cities are more inclined to go to concert halls and to listen to music on the radio.

That Latin-American “Accent”Latin-American music is a combination of Spanish, African and, depending on the country, native Indian music. In this music the African influence is especially noticeable in the greater use of drums, the strong stress on rhythm and on variety in rhythm. Examples of these characteristics are found in such dances as the conga, the rumba, the samba and the beguine. In these dances, as well as others, the rhythm is sharply defined, being highlighted by drums and other percussive instruments. It is this quality that makes this music so catchy and moves one to want to dance to it.

Among Latin Americans there are many who like to have music all the time—and loud. So it is not unusual for them to have music on the radio all day long and frequently far into the night, with the volume turned up full blast. Cafés with jukeboxes and shops with radios add to the sound that can be heard by a good part of the neighborhood. At social affairs a band may be hired, or a phonograph turned up to full volume may provide the music. Of course, preferences vary. In some sections, people will pick up a guitar or accordion and provide their own music, singing or dancing together.

Music teachers should learn how to deal with students of all ages; otherwise, they might not be as effective as they could be. Hence, they must give time to read some music teachers resources and tips that are readily available online.Although there are many who specialize in teaching younger students, some still prefer to handle adult students for some reasons.

Generally speaking, adult students have vast experiences and knowledge about a variety of things and issues. These advantages provide a private music studio, a new horizon and window to the world outside. Also, these bring a more pleasurable atmosphere, not only to the class but to the music teachers as well. Exchanging insights and experiences related to the lessons that are certainly important to learning music can be a very good music teaching strategy.

Adult students may vary from one another. Some may just be beginners, while others may only want to increase their knowledge on their preferred instrument. On the other hand, there are some who may already have expertise in playing other musical instruments.Just like young students, adults can be fast learners. However, there are some of them who may need much time and effort before they can adopt and understand. Thus, most music teaching resources and tips advise that teachers must also learn how to listen to their adult students’ inquiries and suggestions. Further, music teachers must learn how to assess the skills of each of their students and devise the suitable lesson plans for them.

Indeed, adults usually have stronger motivation to learn. They are likewise more inclined to follow the outlined practice schedule. However, they are more articulate and vocal with their concerns, so music teachers should better prepare prompt response. Just a piece of advice: do not try to compare their skills and learning capacity with other students because most adults have greater tendency to be anxious. Instead, try to cite their previous accomplishments and learn how to recognize, appreciate and acknowledge their good efforts. This technique can boost their eagerness to learn and somehow make them aware that you commend their achievements.

In addition, music teachers should give their students an active participation in choosing what type of music they prefer to learn and use in practicing. Practice pieces must be enjoyable and pleasing to their adult students. Or else, they may have lesser motivation to learn and rehearse.cheap car hire

Lessons, resources and tips in teaching music to children and adult students are basically similar. They only differ in the stages of learning: children are more into the developmental stage while adults are more into the integral aspect of learning.

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