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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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THE origins of traditional Japanese music reach back more than a thousand years. Included are classical or refined music, chamber music, theater, folk and festival music, as well as a host of vocal forms. This treasury of music was passed on from generation to generation without the help of musical scores.

Between the third and fifth centuries C.E., Buddhist missionary priests came to Japan to spread their views. The chants and background music associated with their religion gradually merged with the Shinto traditional music, forming a basis for nearly all native Japanese music.

By the seventh century this music of Japan developed into what became known as Gagaku, the classical (literally, “elegant”) music. From Gagaku, which became the music of the imperial court, the secular use of instrumental music grew, as did theatrical music. Meanwhile, folk and festival music appeared, with its loud drumming and lively rhythm, contrasting sharply with the quiet music of Gagaku.The Instruments Today many instruments are employed in traditional Japanese music. The three most commonly heard are the koto, shakuhachi and shamisen.

The koto, imported from China around the ninth century, is a long wooden box-type instrument about six feet (1.8 meters) long and one foot (.3 meter) wide. With the instrument lying before him, the seated player plucks its 13 strings with a plectrum. A skillful player can produce music that pleasantly resembles that of the harp. The Japanese bamboo flute, measuring about 21 inches (53 centimeters) in length, is called shakuhachi. This instrument has five finger holes, and a mouthpiece at the upper end. The player holds the shakuhachi vertically. By skillfully adjusting his lips to the mouthpiece at varying angles and moving his neck into different positions as he covers the holes with his fingers, the instrumentalist is able to produce three octaves of tones. The plaintive wail produced by this flute may generate feelings of vagueness and melancholy.

The shamisen has no counterpart among Western musical instruments. It came to Japan from China by way of Okinawa around the year 1560 C.E. But only the instrument is an import. The manner in which the shamisen is played, the kind of music produced with it and the construction of the instrument itself are strictly Japanese. It looks somewhat like a banjo, is made of wood covered with cat skin, and has three gut strings. The shamisen is played by striking the strings with a large plectrum.

When music is produced on the shamisen, the most important thing is not the sound of the instrument but the words for which the music provides the background. Without the words, the music has little meaning. It varies according to the meaning of the song. When words fail to express what is to be conveyed, such as the cold of falling snow or the trickling of a brook, the shamisen is used to “imitate” these things, and the story is told without words.

Appreciating the Music What is the composite effect produced by Japanese instrumentalists? If you are listening for the first time, your reaction may be that you are hearing the same thing over and over again. It may seem that you are listening to a kind of melody, and yet there appear to be conflicting melodies. But there is something delightful about seeing the musicians perform. Their movements, posture and expressions all appear to be choreographed and in perfect harmony. Yes, in Japan, not just the music, but how it is played and how the performance looks to the observer are important.

Japanese music is very different from the music common in Western lands. This difference includes the scale, the rhythm and the sound. In Western orchestral music, sounds from the various instruments blend, producing harmony. But in Japanese music the individual instruments can be heard playing conflicting melodies. Nevertheless, together they create an aesthetic balance.

In the last 100 years, the Western style of music has become the norm in Japan. Under Emperor Meiji’s reform, music began to be taught in the schools, and it was the music of the West. In spite of this, there is no danger that the ancient traditional music will die out. Many Japanese people want to preserve the traditional music. Therefore, the various guilds that perpetuate this music and teach it continue to thrive.

Because music of the Western world has become so much a part of Japanese culture, one can find old Japanese songs written in Western notation and scored for the piano or guitar. Also, in the last century many new Japanese songs have been written according to the Western style. But it cannot be said that these are truly Western songs. Rather, the Japanese simply have used a medium to enrich their own musical heritage. The development is music with a distinct Japanese flavor, though scored and played in the Western style.

Summary of a report on the effect of specially composed music on fetuses, infants, toddlers and parents  “We were just visited by a couple and their 8 months-old girl. At one point during the evening she was restless and distressed. I put on the CD “Tales of the Ocean” from the CD series “Music for Mother & Child”, and she began to listen, and calmed down with her mother. After a short time she was asleep – and my unborn child “danced” in my womb.” (Ann, mother-to-be)

Background and objective In the summer of 1999 the two musicians and composers, Claus D Jensen and Henrik Birk Aaboe, produced the CD series Music for Mother & Child, which contains music specially composed and designed to calm fetuses, infants, toddlers and parents. In the course of the process henrik and Claus received such exciting responses from people that they decided to undertake a private study of the effect of the music on pregnant women, infants and their parents.

They wanted to study the direct effect on fetus/infant, as well as the indirect effect: whether the music could calm down the parents, and whether the tranquillity of the parents could positively affect or be imparted to the fetus/child.

In addition to studying how the music affected the participants in the study, they wanted information on how often and when the music was used and for how long at a time. The participants were given the CDs and a questionnaire in the form of a checklist with space for supplementary comments.

Study Group 44 people participated in the 12-week study. The 44 participants were divided into three groups:

1. Mothers-to-be, some of whom gave birth during the course of the study.
2. Parents with infants and toddlers from 0-3 years of age.
3. Practitioners who work with infants and/or pregnant women.

How the music originated

The idea for the CDs arose from a common desire of the musicians to compose music that could give fetuses/infants a good start in life.  For it is recognized as an extreme upheaval to leave the mother’s secure womb and suddenly face the “real” world. They wanted to compose music that could impart security and inner as well as external peace and tranquillity.One thing that impressed the composers was that during their research they read an articleabout the widely recognized French physicist Tomatis, and learned that hearing is the first sense that is developed, and that the fetus already has a fully developed sense of hearing by the 6th month.

Conclusion of the study Of the pregnant women questioned, 88% were positively affected by the music. Most of them described the effect with words such as “relaxing”, “calming” and the like. One found that by listening to the music her fear of the childbirth was replaced with confidence in a positive birth experience.  One created a personal space with the music, so that instead of depression she found solutions for what she could do. 79% of the pregnant women could feel a reaction from the fetus, either often or occasionally or infrequently. Several could directly perceive that the fetus was calmed and that it was responsive to the music.  Two of those participating used the music during the childbirth, and they both had a positive experience with it, because the music was both relaxing and distracting.Of the new parents questioned, 93% were positively affected by the music, and typical reactions were that the music was exceptionally relaxing and good against stress, that it was energizing, etc. No one was negatively affected.

The study shows that the music, besides having a clear effect on the fetus, had a significantly positive effect on infants and toddlers. 72% of the respondents found that the music had a positive effect on their children. Many experienced very significant and powerful reactions.

55% of the respondents noticed the positive reaction from the children immediately, while 17% replied that the reaction came after the child had heard the music several times.The typical reactions were noticeable contentment, “a calm, listening child”, “the child is calmed”, “the child falls asleep more quickly”, etc. One replied that “the music is the ultimate medicine when my child is sick”. No one in this group noticed negative reactions to the music from their children. However there was one child who did not like the dolphin sounds.The practitioners all noticed significant reactions not only from the children they treated, but also often from the parents. One noticed a reaction every time a child was in treatment, while the two others answered “often”. Words such as “peace”, “tranquillity”, “inner presence and calm”, that “the music produces calm and attentive children”, etc., were used to describe the children’s reactions.

As to the indirect effect on infant/toddler, which is the effect achieved when the parents are calmed and their state is imparted to the infant/toddlers, we cannot draw any certain conclusion from our study. However we refer to the section on stress, where 57% of the parents questioned believe that there is a connection between their stress and their children’s restlessness.

Since 93% believed that the music had a positive effect on the parents themselves, and reduced their stress, we can draw a guarded conclusion that the music must also have an indirect, positive effect on the children/fetus.About the CDs
The CD series Music for Mother & Child consists of three CDs:

1. Windchimes, indicated for pregnant women, the unborn child and infants
2. Tales of the Ocean, for the 0-1 year-olds and their parents
3. Lullabies, for 1-2 year-olds and their parents

The composers talk about the CDs:

“The music on the CDs Music for Mother & Child contains elements chosen specifically to be relaxing for fetuses and infants, and elements that are more generally relaxing for all age-groups. Thus the music can be used by both the unborn, infants/toddlers and adults.

On Windchimes there are purposely long, continuous passages. Through dialogue with a reflexologist who has specialized in work with infants, we learned that the continuity is an important element for calming young children. Too many breaks in the music can be very disturbing to young children.

Therefore the CD consists of two long passages connected by light, melodious wind chimes. The music has a light and airy quality and is thought of as a soothing blanket of sound. Besides the continuous wind chimes, the instruments we have chosen are Native American drums, which according to the original Americans represent the heartbeat of Mother Earth, the human voice as a primordial instrument, and the acoustic guitar for its transparent tone. The music is composed both with an intuitive approach and a search for a balance in the harmonious structures from a more analytical angle.

Thus, among other things, Windchimes consciously consists of a melodious, five-tone structure, which is completely devoid of tension.

On Tales of the Ocean we use dolphin sounds and the sound of the waves as recurrent elements. Through the ages many people have been powerfully affected emotionally by listening to the fascinating sounds of the dolphins, and we felt that they would help give the music the right expression.

We all come from the watery element, and we quickly found that the child who is now more conscious, reacted very positively to the naturally created, soothing rhythm of the sounds of the sea.

In addition, on this CD we use Tibetan singing bowls and bells, which have a unique tone and contain an element of primordial strength, which is soothing for both children and adults. Tales of the Ocean is thought overall as a journey of the consciousness from the surface down to the deeper layer (under the sea) ending with a homecoming symbolized in the composition The Sea is my Home.

The last CD, Lullabies, is, as the name says, a sequence of newly composed lullabies, each of which tells its own little story. Compared to the other two CDs, the melodic material is significantly advanced, so they harmonize with the child’s enhanced consciousness and ability to comprehend actual melodic sequences.

At the same time we have sought to preserve the tranquil and secure atmosphere by purposely using repetition as an artistic effect. Some of the compositions on Lullabies have an almost hypnotic expression, something that naturally also influences the listening experience of the adults.”

About the composers:

Claus D Jensen is a qualified  guitarist amnd composer with a degree from The Music Conservatory of Jutland.  He has played professionally since 1984 and has taught at music school, college and evening school.  He is involved with several scientific researches about the effect of music and relaxation audioprograms on hospitals and self hypnosis-audioprograms for pregnant.

Henrik Birk Aaboe was educated at the Musicological Institute at the University of Århus, and has taught both at the university and in music schools.  In addition he functions as arranger and composer in various contexts.  He has his own company, Corona Music (www.coronamusic.dk), with a recording studio and music publishing house. He has released several music collections in his own name.

Quotes from the report:

“Because of a previous traumatic childbirth, I have some fear of childbirth.  The music was a centering and calming influence on me, and I had more confidence in a positive childbirth experience.”  (a mother-to-be)“If there was restlessness, the fetus became more calm when I played the music.” (a mother-to-be)

“With sickness, when the child was restless and unhappy, this music was the ultimate medicine.” (mother of infant)“They are delightful CDs. Not only for the mother-to-be and toddlers. Also for adults.”  (reflexologist)“My clients achieve a feeling of lightness so that they feel they are floating over the mat, and they experience a feeling of presence more quickly than with other music.  For the best effect in this process I have used the CD, Tales of the Ocean.” (reflexologist)“Wonderful stimulation against stress, hip-hop, radio commercials and such.  Very relaxing!” (mother of infant)

“I relax more – drop my shoulders, etc. while nursing.  Beautiful to listen to – uplifting and relaxing.” (mother of infant)“She often becomes calmer and stops crying. She falls asleep quickly when I play the music when it is time for her to sleep.”  (mother of infant)

“Our child seems more relaxed, and he appears to lie and listen because it sounds good.” (mother of infant)“She listened quite intensely and calmed down, especially during nursing, if she was a little hysterical or over tired.” (mother of infant)

“If she cries, she stops quickly when we play the music.” (mother of infant)“The child became calm, listening, searched a little within himself, where fantasies and dreams grow.” (mother of infant)

Music is the most awesome source of entertainment. Without music life would be dull and dry. Everybody loves to listen to music and since ages it has been the most integral part of our lives. Over the years, different styles and kinds of music have evolved. However, the real essence of music is to provide rejuvenation and joy. It has the ability to soothe and calm our minds. It is probably the best way to soothe our senses and relish life. When the massive development and advancement in technology has influenced every arena of our lives, how can music stay untouched? Technology has also lead to amazing changes in the world of music. The latest trend in music is the advent of online music stores. Now some really great music is available on the World Wide Web through internet. The presence of online music stores has given new dimension and great hype to the modern music. The internet has broken the barriers of distance and people across the world can enjoy their favourite music without worrying about their geographical locations. The Online portals and websites offer amazing services to the customers across the globe as they have awesome collection of incredible music. Users can have amazing music at low prices.

This concept of online music gained immense popularity during 2000 and since then it has increased membership and subscriptions many times. More and more people are relying on the online stores for latest and quality music. These days, numbers of online websites are increasing which have enormously large collection of songs and albums of all genres. You can get the latest music on these websites .You can easily find songs and music videos of your favourite pop star and artistes. The most exciting part of these sites is that one can listen to music before ordering it. These days various websites offer the facility of listening music online. They feature robust music players with which songs can be shuffled, replay, fast forwarded and re-winded. Users can also create their play-lists of chosen songs and listen it online. The online stores have a number of categories with different music classifications. This robust segregation helps one to easily find particular song or album.

Imagine one day you feel like listening to some old romantic classic song which is not much known or popular however you like it. You know the songs lyrics however you are not sure of the artists name or the album title. It may be quite difficult for you to find the particular song in the nearby music store. You need not get disappointed, because you can easily find your favourite track on the internet. These online stores have a very huge collection of songs from old classics to modern hit numbers. Tracks of different genres and music styles are available. You can search for Pop songs, Jazz, Rock music and many other different kind of music depending upon your choice.

These music stores strictly follow the various copyright laws which ensure that you get the original and high quality soundtracks. They have a central large and efficient music repository which helps you find music more easily and quickly. The companies that offer music downloads to customers are accountable to the users. They offer reliable services unlike the usual file sharing programs on the internet.

The major reason for the increasing popularity of the online music stores is due to the fast and efficient availability of the music. You can find desired tracks and albums without much hassle. These online shops are available all the time so you can search for music at any hour of the day. Imagine great music is at your fingertips 24 hours, seven days of the week. Online music portals are attaining tremendous success in the UK. Music stores on the internet are quite famous in London. People ardently admire this novel concept as it saves time and provides great music without much effort.

Rock music has always had its critics and those that wish that rock and pop music would just go away. But over the years rock has proven to be pretty resilient and has withstood the test of time. Pop music is a bit of a different animal than rock music although the two genres do tend to cross over a great deal. Rock music is usually classified as music driven by electric guitar and all the various sub-genres of rock are usually identified with electric guitar driven music. Rock usually has a certain angst or message to it and many in the rock music industry take their music and their message very seriously. Pop music is usually a little more encompassing than rock music. Pop music is used to identify music that seems to be universally popular with a large audience and can cross over from genre to genre. Pop is usually accepted as being short for popular so what we are really dealing with here is what the music industry considers to be popular music which translates into music that has greater potential to sell a lot of records. Pop music is music that is designed to be catchy to the ear and grab a large audience right away. Many newer country artists are starting to write songs that are country but are also being classified as pop because of their universally catchy hooks. Sometimes pop can create other genres of music due to the growing popularity of the music within the pop genre. Disco was pop music until it evolved into its own music genre and became very popular in the 1970′s. Hip Hop is a mixing of rap and pop music that has become an extremely popular sub-genre of pop and stands today as one of the most popular genres of music in the industry. But rock music always seems to be there whether it is in the background as it was in the 1980′s or in the foreground as it was in the 1960′s and seems to be again today. Rock music seems to work in cycles and those cycles are definitely influenced by the popularity of pop music at the time. It seems that there is a large audience within the music industry that likes to jump from one genre to the next and that audience is the one that creates the pop music crazes that rule from year to year and that audience also dictates when rock music is at its peak and when rock music seems to be in decline. In the days when Britney Spears and Christine Aguilera were at the peak of their popularity pop music was at its peak which cause people to lose interest in rock music. Artists such as Pearl Jam and Metallica seemed to lose their luster and their record sales shifted to those acts offering a more pop music sound. Today acts like The White Stripes and The Killers are starting to bring rock music back to the forefront and it won’t be long before rock music is giving hip hop and other forms of pop music a run for their money. For more information on music,

Sheet music began as musical notations written on clay tablets by ancient Babylonians. It was used by the ancient Greeks, survived the Dark Ages, and became an important musical force during the Renaissance Period. With the advent of the printing press, printed sheet music affected the music industry in ways unimaginable by past generations. Yes, the history of sheet music is a long one, at least four thousand years, and it has been a story of evolution and growing dissemination. Yet if all those ancient musicians could see the form that sheet music has taken today, they would find it impossible to fathom. In modern times, sheet music has, like most other forms of communication, joined the digital age.

Beginning in the end of the 20th century, there was a great deal of interest in representing sheet music in a computer-readable format, as well as downloadable files. Software that can “read” scanned sheet music, called music optical character recognition (music OCR), has existed since 1991. Needless to say, this software created a completely new manner of dissemination for sheet music which, in this format, was referred to as virtual sheet music.

Further progress was made in 1998 when virtual sheet music became digital sheet music. The difference between the two is that digital sheet music, for the first time, allows copyrighted sheet music to be purchased via the internet. Additionally, and perhaps more importantly, digital sheet music files can be manipulated and altered as their virtual and hardcopy counterparts never could. Such an attribute makes digital sheet music ideal for instrument changes, transposition, and even musical instrument digital interface, or “midi,” playback. Digital sheet music is the musical notation of the 21st century.

The popularity of digital sheet music has revitalized the sheet music industry, which has been languishing since the invention of the phonograph. Digital sheet music has even made inroads into professional orchestras, which are perhaps one of the most traditional remaining arenas of printed sheet music. In 1999, an electronic system for the coordination of orchestral music was invented by Harry Connick, Jr. This system uses a device with a screen to display the musicians’ sheet music. The advantages of not having to use traditional sheet music during a performance, when the rustle of paper can be very distracting, are easy to see. Other musicians and software engineers continue to experiment with the digital display of sheet music.

Digital sheet music has made musical notation available on a scale the likes of which its creators could never have dreamed. It is the future of sheet music, and no where is this more apparent than with the Mutopia project. Mutopia is a volunteer-run effort to create a library of free content digital sheet music, which is reproduced from old scores that are out of copyright. Although there are only about 1400 pieces of music available at present, this project is makes it easy to imagine that there will come a time in the foreseeable future when digital music libraries will be very, very extensive indeed.

I would probably say that I was not the only one, who got bored looking at musical notes during a Music class years ago. Perhaps, it is because children just do not get fascinated with pages of lines and notes, colored black and white. Now, that I am no more a kid, I admit that it’s still dull to look at those stuffs and I still feel the same way.

I have nothing against reading musical notes but I would just rather sing than struggle dealing with such complicated matters. Music teaching tips might help me learn music easier, but I would also need of a very patient teacher to assist me so.

When I was in grade school, I used to be a member of a drum and lyre band. I experienced playing both the lyre and the drums and found the latter easier. However, I ended up playing the lyre. It was fun especially when we won awards in exhibition competitions. We also did caroling during Christmas holidays and played in different events and occasions.

I enjoyed playing those instruments although there were times I got embarrassed when I made mistakes. There came some instances when I escaped attending band practices because I knew I would be called by our bandmaster. I did not like the feeling of receiving special attention. Worst, I got such because I messed up.

We had our band practices a group at a time. Usually, the lyrists practiced first then the drummers, or otherwise. Then, we played in a classroom as a whole – all together. Our bandmaster used different music teaching tips and strategies to help us learn music pieces easily. What was remarkable to me was that of Psychology’s Operant Conditioning.

Does it ring a bell? Or does it sound unique? I somehow have a clue how Music is related to Psychology but the other way around, I am not really sure. But I can say it was effective in my case.

Our bandmaster gave us two options: (1) we had to perform in our exhibition drills as if we were in the actual competition-meaning having minimal mistakes as possible- so we could get home early. We used to have practices a couple of whole consecutive days and those were really exhausting; or (2) he would pull our sideburns for every mistake we would commit. The former condition is a ‘reward’ while the ‘latter’ is a punishment. Of course, we would go for the reward. After all, who would want to be punished?

There are lots of accessible music teaching tips and strategies anywhere. You can look for books at the nearest bookshop from your home or visit a fellow music enthusiast and ask for useful tips. Also, you can surf the Internet for easier access of general or specific information.

(This article was written by a friend named Morgan Hall)

Know more applicable music teaching tips, log on to Music Teachers website.

 

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)

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)

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.

 

References

Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers

Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.

Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.

Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.

Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York

Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York

Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates

Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.

Rhodes, Stephen L. (2007). A History of the Wind Band – The American School Band Movement. Lipscomb University.

Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.

Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.

Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.

Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.

Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).

MP3 music downloading is the music buying wave of the future. The entire music industry is being forced to catch up to consumers in the era of music downloads. The MP3 music store is quickly replacing the traditional music store, and the MP3 album may one day replace the traditional album.MP3 is a digitally encoded audio which is compressed, so that the entire music data collection is smaller without any change in the quality of sound and music. The sound quality of an MP3 music file is generally the same as that of a CD, just in a much smaller format.

MP3 music downloads have given consumers easy access to a greater variety of music any time, any place. People can also listen to MP3 music file wherever they go, because thousands of MP3 songs can be stored in one tiny MP3 player. Bulky CD cases seem out of date now. While the neighborhood record shop may always have its place in the niche market, the MP3 music download site is replacing the major music retailers in the consumer market.

Once upon a time, people had to store music collections of CDs, tapes and records in entire sections of their homes. In those days, the only way to buy music was to go to the local music store and dig through rows of CDs in the hopes of finding the right album. And if someone only wanted one song, they might have been out of luck. With MP3 music downloads, consumers can download music per song or purchase an MP3 album, all from the privacy of their homes. People can even download music lyrics and album art to complete the MP3 album experience.

Music consumers can store their MP3 music files on both a personal computer and a portable MP3 player. MP3 music files can be transferred to CDs, for those who cannot bare the thought of giving up their CD stereo systems. Collections of CDs can also be transferred to MP3 music files. MP3 technology makes integrating old and new music collections a simple process.

The popularity of MP3 music files has led to a flood in the market of music for downloading. Consumers can find much more music online than they would in a traditional music store. With so much music online, consumers can also find free song downloads. Many new music recording artists market their songs through different Web sites where they can offer free song downloads, so people can sample new music they might otherwise not have heard. Many sites offer quality MP3 song downloads by charging a one time fee or a monthly subscription fee.

MP3 song downloads have been a cause for fear from major players music recording industry, whose success will have to come from the ability to adapt. MP3 music downloads are quickly becoming the most popular way to buy music. With the popularity of MP3 music downloads taking over the industry, there’s no denying the dominance of MP3 technology.

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.

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.

Are you looking for more reliable music teachers resources and tips? Visit this music teachers website.

Realities and Realizations