Robert Schumann was born in Zwickau, Germany on June 8, 1810 to Friedrich August Schumann and Johanna Christiane Schnabel. Robert Schumann was the fifth and youngest child of a bookseller. He began to compose when he was seven. At school, Schumann showed a keen interest in music and literature . His family wanted him to be a lawyer, so he went to Leipzig to study law but he hardly ever went to any lectures. He was much more interested in music and literature. Schumann took piano lessons from Friedrich Wieck.
Wieck agreed to take Schumann under his wings provided that Schumann take daily piano lessons and study music theory.Schumann proceeded to stay at the Wieck residence and developed his piano technique to a virtuoso standards. Schumann fell in love with Wieck’s daughter Clara. Clara was a brilliant pianist and often accompanied her father on concert tours.Years later, when Robert asked Friedrich Wieck for Clara’s hand in marriage, Friedrich refused.
Robert was able to marry Clara only after obtaining court orders. Schumann started to compose short piano pieces and songs. He often practised the piano for seven hours a day. However, he started to have problems with his fingers. It has often been said that he hurt his hands because he made something to stretch his fingers, but it is possible that this was due to mercury poisoning as he was under treatmet for syphilis.
Schumann spent the rest of his life composing and writing about music.He started a journal called Neue Zeitschrift für Musik (New Journal for Music) In 1853 he met Brahms then just 20 years old. Schumann was so impressed that he published an article in the Neue Zeitschrift für Musik with the heading “Neue Bahnen” (“New Paths”) in which he said that Brahms was going to be a very great composer. Brahms was to become a great friend of the Schumann family.
Schumann had often thought of trying to kill himself. In February 1854 he threw himself into the river Rhine. He was rescued by some boatmen and admittted to an asylum where he spent the last two years of his life. He died on 29 July 1856.
Piano Solo>Theme on the Name of "Abegg" with Variations, Opus 1. (1830) >Papillons, Opus 2. (1829-1831) >Intermezzi, Opus 3. (1832) >Toccata in C major, Opus 7. (1830) >Sonata in G minor, Opus 22. (1833-1835) >Carnaval. Scènes mignonnes sur quatre notes, Opus 9. (1834-1835) >Sonata in F sharp minor, Opus 11. (1835) >Davidsbündlertänze, Opus 6. (1837, revised 1850) >Fantasiestücke, Opus 12. (1847) >Fantasiestücke, Opus 111. (1851) >Etudes enforme devariations, Opus 13. (twelve Etudes symphoniques.) (1834, rev. 1852) >Kinderscenen, Opus 15. (1838) >Kreisleriana. Fantasien, Opus 16. (1838, revised 1850) >Fantasy in C major, Opus 17. (1836) >Arabesque in C, Opus 18. (1838-39) >Humoreske in Bb major, Opus 20. (1839) >Novelletten, Opus 21. (1838) >>No. 1, F major.
>>No.2, D major.
>>No.3, D major.
>>No.4, D major.
>>No.5, D major.
>>No.6, A major.
>>No.7, E major.
>>No.8, f# minor-D major.
>Faschingsschwank aus Wien. Fantasiebilder, Opus 26. (1839)
>Waldszenen, Op. 82. (1848-49)
Piano Concerto
>Concerto, piano and orchestra, A minor-major, Opus 54. (1841 and 1845)
>Concerto, violoncello and orchestra, A major, Opus 129. (1850)
>Fantasy, violin and orchestra in C major,Opus 131. (1853)
Saturday, October 15, 2011
From Hindustani To Vedas
Hudustani classical music and traditional dance abounds in India. Travelers to the country enjoy it for the sake its beauty, never realizing that the music and dance is steeped in history, each movement conveying a message. Often worship rituals involve dances created hundreds of years ago. Each step, gesture and musical note brings with it a meaning, however subtle. The dances or India are an art.
Rajasthan is one of the most richly rewarding regions for folk dances, devotional songs and music. Professional tribal performers in brilliantly colored costumes entertain visitors and residents throughout the area. Their performances include fire dances, dramas on mock horses and cymbal and drum dances. All this is accompanied by haunting ballads and handcrafted instruments.
Originating from the chanted hymns of the sacred Vedas, music evolved to express the seasonal cycles and the rhythm of agricultural work, became interlinked with dance forms to celebrate the harvest, greet a particular season or worship a specific god.Originally, these dances were performed in Hindu and Jain temples. In time, however, temple leaders began to consider the dances too suggestive and the ritual dancing was banned within the temples. Today, you can only find these traditional dances performed in temples at three events each year.
The Khajurako Dance Festival is held in March. December sees two festivals, the Konark Dance Festival and the Mamallapuram Dance Festival. Visitors to India at these times will enjoy a rare treat by attending one of these festivals.Two forms of dance worship bear mentioning, Kathakali and Odissi.
Kathakali of Kerala is a male-only dance form. The performers wear colorful costumes and the dances are full of intense drama. Odissi is Orissa's ancient dance form. The performers act out ancient myths in extravagant costumes, accompanied by musicians and singers. These dances can often be seen during the Konark Dance Festival in November.
Rajasthan is one of the most richly rewarding regions for folk dances, devotional songs and music. Professional tribal performers in brilliantly colored costumes entertain visitors and residents throughout the area. Their performances include fire dances, dramas on mock horses and cymbal and drum dances. All this is accompanied by haunting ballads and handcrafted instruments.
Originating from the chanted hymns of the sacred Vedas, music evolved to express the seasonal cycles and the rhythm of agricultural work, became interlinked with dance forms to celebrate the harvest, greet a particular season or worship a specific god.Originally, these dances were performed in Hindu and Jain temples. In time, however, temple leaders began to consider the dances too suggestive and the ritual dancing was banned within the temples. Today, you can only find these traditional dances performed in temples at three events each year.
The Khajurako Dance Festival is held in March. December sees two festivals, the Konark Dance Festival and the Mamallapuram Dance Festival. Visitors to India at these times will enjoy a rare treat by attending one of these festivals.Two forms of dance worship bear mentioning, Kathakali and Odissi.
Kathakali of Kerala is a male-only dance form. The performers wear colorful costumes and the dances are full of intense drama. Odissi is Orissa's ancient dance form. The performers act out ancient myths in extravagant costumes, accompanied by musicians and singers. These dances can often be seen during the Konark Dance Festival in November.
The Influence Of Indie Rock
Indie music, or Indie rock, is a term used to refer to artists who are unsigned or are signed with independent labels. In the beginning, Indie music was not a term used to reference to a specific genre of music. As years have passed, it has become the generic term for a sound of a particular band or bands that they have influenced. The styles associated with Indie rock is similar to regular rock music, but it is connected to a variety of underground culture. The genres and subgenres that are usually associated with Indie rock include post-rock, C86, math rock, sad core, and lo-fi. Shoegazing and Indie pop are also genres associated with Indie rock.
Artists who practice Indie rock are in complete control of their music, by releasing their own albums and often starting their own record labels. They rely on spreading the word of their music with touring around different areas, word of mouth, and airplay time on college radio stations or independent radio stations. After time, they eventually move to larger labels, but it takes a strong amount of determination and patience.
In the UK, ‘The Smiths’ are regarded as the most successful Indie artists of the 1980s, while the ‘Pixies’ were one of the main influences in the US. During this time period, Indie rock was referred to as a broad variety of musical styles, especially experimental. As we entered into the 1990s, Indie rock became more mainstream into the musical culture, as more Indie bands began to be successful with larger record labels. The US was slightly different, with Indie rock being a generic term for “underground” music.
In our world today, Indie rock attracts mostly college students. Many of the Indie bands have started their careers by offering free concerts at universities and colleges. Arts Councils have been large contributors to some of the independent bands, but the UK has benefits from the fact that the term “mainstream” and “Indie” have overlapped genres. There are many Indie bands, both in the US and in the UK, that continue to make experimental music without trying to achieve mainstream success.
Online companies, such as CFTA, or “CDs-From-The-Artist.Com” helps promote artists that specialize in Indie rock. The company’s mission is to help independent artists accomplish their own promoting website, list audio clips of their music, and sell their CDs. Companies such as CFTA are beneficial to Indie artists to help promote their work. Many of these sites were created by artists and music lovers alike with the mission to provide the latest and greatest web technology. The services are usually free, and often they are supplied by college students who are wanting to practice in their particular field of study.
If you are an Indie rock artist who is trying to get your name out there, the best advice that could be given is to immerse yourself into your local scene. Be involved in any music aspect that you can find, especially the college scene. This is where true success lies. Look for music parties in your area where all different types of artists come together and practice their music. These are often companies that host the music parties and help to promote your music in the process.
Artists who practice Indie rock are in complete control of their music, by releasing their own albums and often starting their own record labels. They rely on spreading the word of their music with touring around different areas, word of mouth, and airplay time on college radio stations or independent radio stations. After time, they eventually move to larger labels, but it takes a strong amount of determination and patience.
In the UK, ‘The Smiths’ are regarded as the most successful Indie artists of the 1980s, while the ‘Pixies’ were one of the main influences in the US. During this time period, Indie rock was referred to as a broad variety of musical styles, especially experimental. As we entered into the 1990s, Indie rock became more mainstream into the musical culture, as more Indie bands began to be successful with larger record labels. The US was slightly different, with Indie rock being a generic term for “underground” music.
In our world today, Indie rock attracts mostly college students. Many of the Indie bands have started their careers by offering free concerts at universities and colleges. Arts Councils have been large contributors to some of the independent bands, but the UK has benefits from the fact that the term “mainstream” and “Indie” have overlapped genres. There are many Indie bands, both in the US and in the UK, that continue to make experimental music without trying to achieve mainstream success.
Online companies, such as CFTA, or “CDs-From-The-Artist.Com” helps promote artists that specialize in Indie rock. The company’s mission is to help independent artists accomplish their own promoting website, list audio clips of their music, and sell their CDs. Companies such as CFTA are beneficial to Indie artists to help promote their work. Many of these sites were created by artists and music lovers alike with the mission to provide the latest and greatest web technology. The services are usually free, and often they are supplied by college students who are wanting to practice in their particular field of study.
If you are an Indie rock artist who is trying to get your name out there, the best advice that could be given is to immerse yourself into your local scene. Be involved in any music aspect that you can find, especially the college scene. This is where true success lies. Look for music parties in your area where all different types of artists come together and practice their music. These are often companies that host the music parties and help to promote your music in the process.
Finding Your Wedding And Reception Band
On the most important day of your life, your wedding day, you want all of the details to be perfect. It is only natural for you to be worried about the reception details as well, including the entertainment. There are two choices for musical entertainment at a reception: a wedding band and a DJ. A DJ is someone who plays different tracks of music that you choose for your special day, and wedding band is live entertainment. The choice that many people choose is based on the overall budget of their wedding.
The best pictures taken at your reception will be of your loved ones and other guests dancing or enjoying the music. You need to choose accordingly and make sure that your choice will be the best for your wedding day. If you are video recording the entire event, then it is even more crucial that you take the wedding entertainment seriously.
Most people, especially women, already have a specific idea in mind for their reception when they are planning the wedding. However, if you and your spouse are completely stumped as to which choice to go about for the music, there are ways to decide. The Internet is a great place to start, and you can even compare prices for all of the local music entertainers in your area.
The choices are endless, especially for live wedding bands. There are group wedding bands, solo wedding musicians, classical wedding ensembles, and of course a wedding DJ. You then have to choose the specific genre. Group wedding bands usually have a much more vast choice of genres, such as cover bands, 80s bands, country bands, etc. Solo wedding musicians are those such as harpists, guitarists, a wedding singer, and a flutist.
Many couples hire a solo musician to play in the wedding and then have them play a set of music at the reception. Classical wedding ensembles are usually the same way, with a string quartet or chamber ensemble. The wedding DJ is often the easier choice because they can play whatever you want and they are a bit more affordable if you are on a tight budget. The basic price for a wedding music band or any other performer is around $300 to $1500. It depends on how long you want them to play, and many performers will calculate in how much it is to travel to your wedding event.
Keep in mind that if you are having your wedding and reception in a church or synagogue, you might have to stay within the appropriate guidelines that are set by the church. You should also plan your wedding music band early. The best talents are booked fast and you do not want to have to deal with finding another band at the last minute, especially those who are not as reputable. It is best to book your music at least a year in advance, but if not, try to have it planned six months before the wedding date.
In some cases, certain wedding locations have a person in charge of taking care of the wedding band music and you will not have to search for long periods of time. If the ceremony is outdoors, then you will also need to make sure that there are electrical hook-ups for the special equipment if it is needed. The key here is to have each band perform for you and decide if they are acceptable. You should check their references, and if there is a contract agreement, make sure that the both of you are in agreement. Find out what their cancellation policy is as well as a refund policy. While all of these insignificant details might be the farthest from your mind when it comes to the wedding, it is crucial for your special day.
The best pictures taken at your reception will be of your loved ones and other guests dancing or enjoying the music. You need to choose accordingly and make sure that your choice will be the best for your wedding day. If you are video recording the entire event, then it is even more crucial that you take the wedding entertainment seriously.
Most people, especially women, already have a specific idea in mind for their reception when they are planning the wedding. However, if you and your spouse are completely stumped as to which choice to go about for the music, there are ways to decide. The Internet is a great place to start, and you can even compare prices for all of the local music entertainers in your area.
The choices are endless, especially for live wedding bands. There are group wedding bands, solo wedding musicians, classical wedding ensembles, and of course a wedding DJ. You then have to choose the specific genre. Group wedding bands usually have a much more vast choice of genres, such as cover bands, 80s bands, country bands, etc. Solo wedding musicians are those such as harpists, guitarists, a wedding singer, and a flutist.
Many couples hire a solo musician to play in the wedding and then have them play a set of music at the reception. Classical wedding ensembles are usually the same way, with a string quartet or chamber ensemble. The wedding DJ is often the easier choice because they can play whatever you want and they are a bit more affordable if you are on a tight budget. The basic price for a wedding music band or any other performer is around $300 to $1500. It depends on how long you want them to play, and many performers will calculate in how much it is to travel to your wedding event.
Keep in mind that if you are having your wedding and reception in a church or synagogue, you might have to stay within the appropriate guidelines that are set by the church. You should also plan your wedding music band early. The best talents are booked fast and you do not want to have to deal with finding another band at the last minute, especially those who are not as reputable. It is best to book your music at least a year in advance, but if not, try to have it planned six months before the wedding date.
In some cases, certain wedding locations have a person in charge of taking care of the wedding band music and you will not have to search for long periods of time. If the ceremony is outdoors, then you will also need to make sure that there are electrical hook-ups for the special equipment if it is needed. The key here is to have each band perform for you and decide if they are acceptable. You should check their references, and if there is a contract agreement, make sure that the both of you are in agreement. Find out what their cancellation policy is as well as a refund policy. While all of these insignificant details might be the farthest from your mind when it comes to the wedding, it is crucial for your special day.
How To Compose Music - Creative Ideas
Starting a composition is a difficult task. Getting your inspirations, thinking creatively, applying your creative thoughts to your music and supplementing your ideas with additional composition are all difficult tasks to accomplish.
For starters, your current state of mind will greatly affect the music you write – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.
Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.
The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.
• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.
• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors ‘ live ‘ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.
• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)
• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.
These are just a few sources for inspiration – use your imagination – it has never ending possibilities!
With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.
A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.
Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.
Some of the key areas you should know about and be constantly revising are:
• The Staff, Bar Lines, Clefs, Time Signatures.
• Note Values, Rests, Phrasing, Rhythm
• Articulation, Instrument Specific Techniques (pizz, con sord)
• Key Signatures, Circle of Fifths, Accidentals, Cadences
• Major, Minor, Diminished, Pentatonic, Diatonic Scales
• Modes
• Chords, Extensions, Inversions, Sequences, Arpeggios
• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)
Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.
Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.
Finally the last piece of advice in this article is to keep your composing active.
Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.
Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!
For starters, your current state of mind will greatly affect the music you write – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.
Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.
The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.
• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.
• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors ‘ live ‘ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.
• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)
• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.
These are just a few sources for inspiration – use your imagination – it has never ending possibilities!
With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.
A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.
Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.
Some of the key areas you should know about and be constantly revising are:
• The Staff, Bar Lines, Clefs, Time Signatures.
• Note Values, Rests, Phrasing, Rhythm
• Articulation, Instrument Specific Techniques (pizz, con sord)
• Key Signatures, Circle of Fifths, Accidentals, Cadences
• Major, Minor, Diminished, Pentatonic, Diatonic Scales
• Modes
• Chords, Extensions, Inversions, Sequences, Arpeggios
• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)
Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.
Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.
Finally the last piece of advice in this article is to keep your composing active.
Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.
Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!
Bruton Music Library Label
Bruton Music (sometimes known by its full name, the Bruton Music Library), was founded in 1977 by Robin Phillips, who was at the time employed by ATV Music chief Lou Grade. The name of the company comes from its address at the time of founding; namely, 12 Bruton street in London. The label was started as a subsidiary of ATV music, but at this time is owned by the BMG/Zomba company.
The label features the work of composers including Francis Monkman, Brian Bennett and others. The music released by the label has found something of a cult following, with tracks from the label being a favorite among many, particularly in electronic formats for downloads. In more recent years, Bruton tracks have also found a following with hip hop and electronic music DJs, who sample the works for use in their own compositions.
Much of the releases of the Bruton Music label fall into what many like to call "copsploitation"; that is, music which would sound not at all out of place in the context of a 1970's police drama film or television program. The music, especially the works by composer Brian Bennett bring to mind filmic chase scenes and other action sequences.
The label has also released music specifically composed for television and radio use, in the form of jingles. These not quite a minute long compositions are a special favorite with fans of the label and are frequently downloaded for enjoyment at home or on the go (in the interests of full disclosure, there are some of these tracks on the author's iPod at the moment).
Another interesting fact about the label is that none other than the self-proclaimed "King of Pop" himself, Michael Jackson is a fan of the releases on the label and was in fact for a time the owner of the company! Jackson purchased the company in 1982, but resold the firm in 1985 to the Zomba group (now a part of BMG).
The Bruton Music Library is a functioning label to this day and with its releases enjoying more popularity than ever before, it is a certainty that people will continue to listen to and enjoy the music they have released over the past three decades for some time to come. Whether as downloads, CDs or even the collectible vinyl releases, these records are something which are treasured by many all over the world.
The label features the work of composers including Francis Monkman, Brian Bennett and others. The music released by the label has found something of a cult following, with tracks from the label being a favorite among many, particularly in electronic formats for downloads. In more recent years, Bruton tracks have also found a following with hip hop and electronic music DJs, who sample the works for use in their own compositions.
Much of the releases of the Bruton Music label fall into what many like to call "copsploitation"; that is, music which would sound not at all out of place in the context of a 1970's police drama film or television program. The music, especially the works by composer Brian Bennett bring to mind filmic chase scenes and other action sequences.
The label has also released music specifically composed for television and radio use, in the form of jingles. These not quite a minute long compositions are a special favorite with fans of the label and are frequently downloaded for enjoyment at home or on the go (in the interests of full disclosure, there are some of these tracks on the author's iPod at the moment).
Another interesting fact about the label is that none other than the self-proclaimed "King of Pop" himself, Michael Jackson is a fan of the releases on the label and was in fact for a time the owner of the company! Jackson purchased the company in 1982, but resold the firm in 1985 to the Zomba group (now a part of BMG).
The Bruton Music Library is a functioning label to this day and with its releases enjoying more popularity than ever before, it is a certainty that people will continue to listen to and enjoy the music they have released over the past three decades for some time to come. Whether as downloads, CDs or even the collectible vinyl releases, these records are something which are treasured by many all over the world.
A Well Rounded Musical Education Includes Theory
Within the musical community, there is a debate about the value of music theory that will probably never ends. Is it important to study music theory scales, or is it much better to just dive into the music and experience it viscerally. The proponents of learning the theory regarded it as an essential part of knowing how to play music. You can learn by trial and error, they say, but you would do much better to benefit from the knowledge of other people. Not learning music theory when you play music is like refusing to learn arithmetic when you are studying math.
The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.
I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn't even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn't really need someone telling me what the structures meant. I could tell what they meant with my entire soul.
As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.
I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don't know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?
The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.
I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn't even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn't really need someone telling me what the structures meant. I could tell what they meant with my entire soul.
As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.
I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don't know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?
music for fun
Mp3 digital music is one of the most popular forms for music to take these days. Digital music just seems to make sense, and is a natural step forward in the music world today. Everything else is digital these days, why wouldn’t our music be?
While music is still purchased in the form of CDs, it is very often converted into mp3 digital music for use on a computer or mp3 player. Indeed, sometimes it seems like CD players are all but obsolete now, and I almost never use mine anymore. However, it is nice to have music backed up on CDs, and I try to keep my CD collection current even if I’m not listening to them directly very much. I have a sort of inherent distrust of computers and all things purely digital, and I’m just waitng for my digital music players to explode one day.
Mp3 players have a lot of nice advantages to them over CDs. First of all, they are of course much smaller. Most mp3 players can easily fit into your pocket, unlike bulky CD players. Even the smallest portable CD player is enormous compared to the average mp3 player. Also, mp3 digital music can be stored on a hard drive of an mp3 player or computer, and so no CDs are needed. You can load up all the mp3 digital music you want on your computer, and never have to worry about losing or scratching any of it.
One of the most popular portable digital music players today is Apple’s iPod, and since it’s made by Apple it just has to be different. Therefore it does not use the mp3 digital music files other players use, and instead uses its own spiffy Apple format exclusive to iPods. As an owner of both an mp3 player and an iPod, this fact continuously frustrates me, as it is nothing short of a pain in the ass to transfer music from one player to the other.
Mp3 digital music is also of a fairly small file size, which is handy. My laptop has a 120 GB hard drive on it, and I can fit my entire music collection on it in the mp3 digital music format without making a dent in the overall space available. The mp3 digital music format poses some serious threats to the music industry, as it is so easy to share and pass around.
While music is still purchased in the form of CDs, it is very often converted into mp3 digital music for use on a computer or mp3 player. Indeed, sometimes it seems like CD players are all but obsolete now, and I almost never use mine anymore. However, it is nice to have music backed up on CDs, and I try to keep my CD collection current even if I’m not listening to them directly very much. I have a sort of inherent distrust of computers and all things purely digital, and I’m just waitng for my digital music players to explode one day.
Mp3 players have a lot of nice advantages to them over CDs. First of all, they are of course much smaller. Most mp3 players can easily fit into your pocket, unlike bulky CD players. Even the smallest portable CD player is enormous compared to the average mp3 player. Also, mp3 digital music can be stored on a hard drive of an mp3 player or computer, and so no CDs are needed. You can load up all the mp3 digital music you want on your computer, and never have to worry about losing or scratching any of it.
One of the most popular portable digital music players today is Apple’s iPod, and since it’s made by Apple it just has to be different. Therefore it does not use the mp3 digital music files other players use, and instead uses its own spiffy Apple format exclusive to iPods. As an owner of both an mp3 player and an iPod, this fact continuously frustrates me, as it is nothing short of a pain in the ass to transfer music from one player to the other.
Mp3 digital music is also of a fairly small file size, which is handy. My laptop has a 120 GB hard drive on it, and I can fit my entire music collection on it in the mp3 digital music format without making a dent in the overall space available. The mp3 digital music format poses some serious threats to the music industry, as it is so easy to share and pass around.
What Does This Program Offer?
Within this multi-book and multi-year lesson plan there are ten little characters that help draw the child into the lesson plan. These little creatures actually can be used to help the child grasp basic concepts n music. The series starts out in the preschool years and provides day by day lessons that can aid the child or a classroom of children right through early adolescence.
The series is a designed for both classroom and preschool use and for those at home with homeschoolers. It contains a series of books along with audio CD's, flash cards, and other visual aids that can help very young children develop an ear and an eye for music.
The series is a designed for both classroom and preschool use and for those at home with homeschoolers. It contains a series of books along with audio CD's, flash cards, and other visual aids that can help very young children develop an ear and an eye for music.
Introducing Music For Little Mozarts
Music for Little Mozarts is a program designed to help your little ones develop a love of music. Learning music at an early age helps develop little minds and expands their cognitive ability. While listing to music can certainly help your youngster pick up songs, actually learning to play the piano can expand areas of the mind that are responsible for fueling later leaps in the childes education development.
This program was developed for the little ones attention spans in mind. It focuses on little creatures that both entertain and teach. By grasping the attention of a young child's mind and engaging them with stories along with hands on experience, you can provide them with a positive experience that just may fuel a little Mozart in later years.
This program was developed for the little ones attention spans in mind. It focuses on little creatures that both entertain and teach. By grasping the attention of a young child's mind and engaging them with stories along with hands on experience, you can provide them with a positive experience that just may fuel a little Mozart in later years.
Subscribe to:
Posts (Atom)