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Singing How The Good?

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interpretation

Interpretation is an attempt singers, musicians to capture the intent and meaning of the composition of composer; either express or implied, by notation or expressed by the meaning of his words. The ability to analyze and understand a song will be reflected in the expressions and body language exhibited by the singer.

dynamics

Dynamics is a gentle song sung loudly. Dynamics create a composition that brought more lively. The signs of the dynamic statement there are three points:

Soft dynamics: piano, pianisimo, mezopiano, pianisisimo
Loud dynamics: forte, fortesimo, mezoforte, fortesisimo
Dynamics of moving: cressendo, decressendo, diminuendo, morendo

rhythm and agogik

# Rhythms is a soul or character contained in the motion melody. This rhythm is the holder of an important role in the music because it is a "pulse" heart music. So the rhythm is already implicit in the human pulse, too. This comes from the rhythm of what we call the tempo or bars.

# Tempo is the speed or the slowness of a song sung.
It is important to understand the tempo of the singer will sing to support the innate character of the song.

# Bar is a division of note values that are the realization of the rhythm or the rhythm itself is limited by what is called bar lines.

# Agogik are things related to the tempo in a song, whether slow or speed up in accordance with the emotions portrayed.

Phrasering or wording

Phrasering is beheading word in a sentence, verse or sentence sentence language songs. Sentences the song (musical sentences) that must be considered is to keep the feel of the melody line intact so take a breather when the sentence should take into account the existing music by writing marks in a coma scores and songs like the point.
Language sentences (sentences of text) to note is that the overall meaning of the poem in achieving unity in achieving the sentence so the sentence has always supported the unity of meaning implicit in the existing poem.
It should be noted that the essence of a known point phrasering or coma; a period or comma is the place to take breath. Thus may not take the breath out of the sign that was given to the integrity of the sentence and the song sung perfectly achievable.

Articulator or Pronunciation

Articulation is a term associated with the pronunciation of words that are driven by said instruments. Pronunciation of words in singing should be clear so that the message of the song can be understood audience. A good articulation is to try to make all the letters into vowels sounds.
Letter life should not turn on in projecting the voice, so that does not sound broken. But consonant (consonant) must be turned on.
General functions of articulation is as a transmitter of sound production and delivery of a variety of sounds, which is closely connected with the formation of language sentence consisting of a series of words.

# Produce Sound
There are 2 types of sounds, namely: voice to speak and voice to sing. Main differences are as follows:

a.sound speaking (speaking voice):
loud, rude, does not resonate, dirty (Noises), weight, spent a lot of breath.

b.sound singing (singing voices):
smooth, clean, clear, translucent, lightweight, resonate, all out of breath into sound.

To get the votes needed to sing the imagination and exercises as follows:
Imagine the sound is placed on top, in front of the forehead, so that the resulting sound impressive light and bright, clear and lucid.
Get the sound vibration (ringing) on the forehead of the ring "ng" or "n".
Can use the high tone of how to throw up and swirling with vocal "u" or other vocal sounds but do not shout!
The sound of a good vocal sound that sounded bright, clean, light and bright, warm, thick enough, without being compelled to, the words clearly.
Vowel sounds bad is the sound that sounded: rough, dirty, stiff, tense, dark, blurry, not contain, wheezing.

Resonator

Resonator is a sound that arises because of the space with hard walls that reflect sound back. Cavity resonance is 3 kinds, namely:

# Cavity resonance Top
Often called the resonant head (head voice). The sound produced by a brilliant singer and content of the head and face were full.

# Middle resonance cavity
Ie mouth cavity resonance and throat. The nature of this cavity bridge displacement registers, between the lower and upper registers, so do not fault the sound occurs.

# Cavity resonance Down
Is chest cavity resonance. Nature makes a loud voice and thick, especially in lower tones. Chest vibrate more dominant.

Function cavity resonance:
1. Increasing the loudness level due to encouragement from the motor
2. Distinguish types of voices (SATB)
3. Distinguish colors sound (timbre)
4. Distinguish the various vowel sounds and placements
5. The sound is placed in the correct space will result in:

5.1 echoing sound (ringing)
5.2 vibrates (vibrant)
5.3 thick (rich)
Forward projections 5.4 (forward direction)
5.5 full (full)

Imagination is needed to help put the sound in the correct position. Each singer must be thinking that the neck and throat relax in total and open wide to make way air from the lungs to the upper and finally reached the end of the head and then out in full. Resonance is placed at the top of the face: forehead, nose up or niche, the upper teeth, cheekbones, as if appointed to the top.

Vibrator or vibrator

What is meant by a vibrator is a source of noise occurs due to gusts or breathing a sigh that shook the vocal cords.
Pita Vote: human vocal cord is 2 pieces, namely the false vocal cords (thick) and the original sound tape (thin). The larynx is composed of 2 strong bands and woven elastic and yellowish color. Man's vocal cords was longer and thicker (20-35mm) compared with female vocal cord short and thin (15-20mm). Vocal cords are very flexible and sensitive. Therefore, its use must be maintained.

Motor or Drive

Which become the motor of singing is breathing. Breathing is vital and basic (primary) because the energy of the vocals though. There are 4 types of respiration:

# Claviculer Breathing (Respiratory shoulder)
At the time of air, breathing in through your nose pressed into his shoulders and upward. Catch one's breath is very shallow way, because it did not last long and posture become less beautiful.

# Costal Respiratory (chest breathing)
Decision breath using lungs as a reservoir of air that thrust the chest forward, because the breath fully accommodated by the lungs. The weakness of this tract are the lungs become quickly tired of holding air, so the sound becomes unstable because of breath control is weak.

# Respiratory abdominal (belly breathing)
Breathing activity using the abdominal muscles as a container of air so that the lower abdominal muscles expand into the fall.

# Respiratory diaphragm
The diaphragm is a term that shows midriff. Breath is the best to sing because it has air reservoir space that is wide enough. The lungs can fill up without a pinch because the room was enlarged by the strain diaphragm moving downward. And breathing is what should be used by each singer.

Body Attitude

Standing posture is the best attitude to sing:
# Body does not bend straight straight
# Shoulders do not rise to the top
# Head slightly thrown back, not down, do not be too tilted to the top
# Left leg slightly forward to maintain balance
# Body is not rigid and tense but sturdy strong but relaxed

Sitting posture is an alternative attitude to sing for a special interpretation:
# Body erect and the head position at the time standing
# Back straight
# Left foot forward slightly forward
# Straight and abdominal muscles strong
# Hand relaxed on the thighs
# View focus

by Jason Christy Pranowo, S.sn





General Character Vocal Sound & Musical Style

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baroque and renaisance

- Cathedral, light, bright
- Vocal technique is very attractive and demanding a very high technical
- A little thicker for a solo, for the choir remained light, full and without vibrato reonance
- Very expressive and with feeling, but still adhering to strict engineering
- Sound clean and clear soprano, boy soprano often wore, thicker bass sound
- Very polyphony, terrace dynamic
- A combination of polyphony, and the contrast homophone
- 1 mood / theme of each section, there is no change of mood and expression gradually

Classical

- Perfect proportion, balance, blending and detail is the character
- Terrace dynamic, no gradual dynamic changes
- Clear, bright, light sound
- Rational, expressive, but remained faithful to the technique

Romantic

- Dramatic, very emotional and expressive
- Vocals: rich / thick (as if the dark), resonance, full voice, virbarto
- The characters are very different composer each other
- Changes in mood and dynamics gradually and contrast (pppp, ffff)

modern/contemporary/20th century

- Back to the past is mysterious and mystical, some looking for a new style that has never existed, even apart from the conventional order of music (many of the ideas of new music)
- Some work very melodic, some very rhythmic, some very dissonant
- Back to the pure voice, light (not thick) and bright, but the nasal
- All kinds of vocal techniques and effects can be used, depending on the composer
- Many types and dynamics of change, feelings and played some weird (excellent)

pop and traditional

- Using throat voice / chest voice / middle voice, breath support is not too strong
- Would be better if the vocal placement is among the upper middle voice and voice
- For songs using vocal effects in accordance with the character of the area
- Vocal technique is not used strictly, it is difficult to create / follow his style (jazz, keroncong, pop, dangdut, etc)

by Jason Christy Pranowo, S.sn





Wolfgang Amadeus Mozart

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Wolfgang Amadeus Mozart (Salzburg, January 27, 1756, Vienna, December 5, 1791) was a composer. He is considered one of the European composers of classical music is the most important and most famous in history. His works (about 700 songs), including piece-piece is known as a top symphonic works, chamber music, piano, music, opera and choral music. Examples of his work is the opera Don Giovanni and Die Zauberflöte. Many of Mozart's considered standard repertoire for classical music concerts and recognized as masterpieces of the classical era. His works have been ordered in the catalog Köchel-Verzeichnis.

Early period (1756-1772)

Mozart's birth house is now a museum in Salzburg, Austria

Mozart, who was known to have absolutely tuning options (that I know exactly the tone without the aid of instruments), music from birth. His father, Leopold Mozart Johann Georg was an important composer of his time, one of the most important works Kindersinfonie ( "Children's Symphony"). Wolfgang was the youngest of seven children who died prematurely. Only on Mozart and Maria Anna ( "Nannerl") to survive to adulthood. When I was four years, Mozart was able to play the harpsichord and improvising on musical works of his predecessors. He even wrote his first composition at age five. His works include the Sonata for Violin and Menuet. Leopold collected all without the knowledge of the composition of his son. Also, with Nannerl, he was a keyboard that is very reliable. Leopold, who discovered his talent that he felt "compelled" to expose them to the rest of Europe.

Playing the piano in front of the King of Bavaria

Mozart was then taken to play the piano in front of the King of Bavaria in Munich. In September 1762, Leopold took a sabbatical from his position to promote the son of the king. They then went to Vienna. That Mozart played the piano in front of the Empress Maria Theresa, who dazzled the game will be the skills and Nannerl Mozart. After the concert, Mozart's concert should be long enough that after three years in Paris (1763, 1765) and London (1764-1765). In these places, Mozart concert in front of kings and tested by them. Partly to improve threads examiner with his eyes closed a piece of cloth. Mozart was acclaimed as a prodigy in every place. In London, also met with the son of Johann Sebastian Bach, Johann Christian Bach is often called as the beginning of Bach. Mozart's piano sonatas in four hands while sitting on your lap Bach.

Symphony-Symphony Bach and Carl Friedrich Abel affect Mozart symphony, the first symphony (K.16 & K.19), which in the year 1764 and the 1765th 1767, Mozart wrote a Sonata by the composer others and making four first piano concert (K.37, K.39, K.40, K.41). In the year 1768, at the request of the Emperor in Vienna, Mozart wrote the opera buffa (comic opera), La Finta semplice (but not perform) and operetta Bastien und Bastienne.

Travel to Italy

In 1769, Mozart traveled to Italy. The results of this trip pretty well, Mozart was very productive in the creation of the band. He composed an opera Mitridati again in Ponta (1770) and Lucia Silla (1772) and both have great success in the show in Milan. Mozart Symphony also creates a lot during this trip, and influenced by Italian composers such as Sammartini. In Bologna, Mozart studied composition teachers Kontrapung best known at that time, Padre Martini.

Salzburg period (1773-1780)

Tanzmeisterhaus, where the Mozart family lived from the 1773rd

Before returning from Italy, Mozart lived with his father for ten weeks in Vienna, Leopold Mozart did not want to go back and work to "builders" of music that is not too much respect in Salzburg. Leopold tried to reach his office in Vienna, but failed. In fact, the act of Leopold children exposed throughout Europe was like an emperor of Austria.

Maestro chapel, the archbishop of Salzburg

In Vienna, Mozart heard the work of Joseph Haydn's latest and he is also friends with Michael Haydn (1737-1806), younger brother of Joseph Haydn. One of the important work on this during K.183, Symphony No. 25 in G minor (1773) and K. 201, Symphony in A major (1774). At the same time in Salzburg, Segismundo bishop died and was replaced by Hieronymous von Colloredo authoritarian and energetic. Upon his return from Italy, Mozart was a master of the chapel in Salzburg.

Bishop Colloredo not too interested in music, mainly Mozart, which was anxious for his Mozart is often undervalued. Forget the feeling of resentment at the Colloredo, Mozart has become a very diligent work, he has found his ability to create different compositions. The birthday-21, the number of compositions have reached three hundred pieces. In the year 1777 Mozart resigned his position as the Maestro, and he began his career as a freelance musician in Vienna. Important works from 1775-1777 including the sonatas of the first five Concerto for violin, piano and a concert, opera La jardinera gingida including his great work, first in Eb Major K.271.
Long journey to Paris

Mozart's family plans to go and career in Paris. Leopold, but is still associated with the Chapel of the Archbishop of the agreement can not go to Salzburg Mozart left to the company of his mother. They left in September 1777, and the ride lasts 16 months. Before reaching Paris, they stopped and stayed a while in Munich and Mannheim. In Mannheim, Mozart Cannabich friends with composer and Holzbauer. He tried to get the place where the Prince of Mannheim, but without success. The main reason for Mozart lived longer in Mannheim is because he met and fell in love with Aloysia Weber, soprano 16 years. Leopold who knows how to write a letter to say that Mozart had to decide their choice, if only to be 'street artists who will be forgotten over time or become a famous musician, loved and written in the books. "

Mozart also found the band of 6 Duett violino e Clavicembalo by Joseph Schuster and send it to Nannerl. He wrote a letter to his father, "If I stay here, I'll make half a dozen in the same style, because they sell a lot of here".

Although disappointed (but because of his love for Aloysia rejected), Mozart went to his Paris trip. In Paris, Mozart began work with tutoring, private lessons, and create songs that fit the tastes of France. Mozart had a chance to do their job by Spiritual concert. One of the most important works of K.297, Symphony No. 31 'Paris'. However, after this performance, Mozart's mother fell ill soon with a high fever and died on July 3, 1778th Friends of Mozart in Paris, a nobleman Grimm wrote to Leopold that there is no future for Mozart in Paris, mainly because of the controversy between the supporters and followers of Gluck Italian opera that Mozart did not notice.

Leopold then managed to get organized position in the Palace of Salzburg with higher wages than the previous site. Before leaving Paris, Mozart once again met with JC Bach's opera is set. It is important for the symphony 'Paris' is the Violin Sonata K.304 Sonata for Violin includes in E minor, K. 299, Concerto for Flute and Harp in C major, K.310, and Piano Sonata in A minor, one of the Mozart sonata has a dark atmosphere that was created by Mozart to his mother who died.

Back in Salzburg

Mannheim Mozart but the home of the famous Mannheim orchestra moved to Munich. Mozart and then went to Munich and lived for a time with the Weber family. Here, Mozart had a broken heart because of the soprano Aloysia place and ignoring the existence of Mozart.

Leopold became anxious because of the delay of Mozart and his responsibility for the less important post. He is concerned that the organic office gave to others.

Mozart returned to Salzburg, and he immediately got a position as organist there. Duties include playing the organ in the cathedral, royal palace and chapel, compiling orders, and teach children choir.

In 1779 and 1780 took place without much incident. Works of importance in this period, including the K. 364, Sinfonia Concertante in Eb, Symphony no. 32-34, Concerto Serenade, Divertimento, church music, including the K. 317, Coronation of Miss and K. 339, Vesparae.

Munich period (1781-1784)

Mozart, although a significant position as organist and I still can not get along with Colloredo. In the summer of 1780, Mozart's opera Idomeneo get red. Mozart saw this opportunity as a possible escape from Colloredo slowly.

Idomeneo Show success and was warmly welcomed by the public. Mozart's family then went to Augsburg to attend the carnival celebrations and the traditional parties in the city. However, unexpectedly, Colloredo was also present at the party. He was forced to go to Mozart in Vienna, with his entourage, and attended the coronation of Emperor Joseph II.

Mozart in Vienna, treated with respect as to lead to disputes with Colloredo. On May 9, 1781 Mozart had a big fight with Colloredo and asked him fired, but was denied. One month later, Mozart was fired in disgrace. He moved home Weber family in Vienna. He did not return to Salzburg.

Aloysia Weber is married to the actor, but fascinated by Mozart and Constanze Weber, the third son of the family Weber. His father did not approve Mozart's relationship. To ease tensions, Mozart moved to his home in September 1781st On December 15, 1781 Mozart acknowledged his relationship with Constanze. Leopold has not yet approved the relationship.

In fact, Mozart could not escape because of Konstanze's mother threatened when they broke up, Mozart must change the compensation money was spent.
Mozart Marriage

Constanze Weber, Mozart's wife.

On August 4, 1782 he married Constanze Mozart in the Cathedral of St. Stephen. The next day, Mozart received a letter from Leopold to approve the contents of their relationship despite the cold tone of the letter. Mozart Marriage quite happy enough, even if they face life's challenges. Mozart was always having the money crisis, but he never lived in poverty, and of six children, only two were alive.

Mozart would have lived by teaching three or four students and a rich play concert royal house in Vienna. In December 1781 Mozart performed at the Imperial Palace in the informal event by Muzio Clementi. They both make improvised individually and jointly play a sonata. Although Mozart is considered to win the race, but hopes to get a place at court unfulfilled.

On July 16, 1782, Mozart's opera "Die entfuhrung held aus dem Serail. Opera is a bubbly welcome from the public. Emperor Joseph II tells Mozart's opera to have" a lot of tone "and Mozart replied," exactly the right amount of tone, my lord " . Even Gluck's opera was asked repeated.

In the same year, he played regularly at the house of Prince Gottfried von Swieten. Swieten who are interested in baroque music was influenced by Mozart in creating a composition. Mozart kontrapung develop a style of his music.

1784, Mozart joined the Freemasons, trade unions, which supports the idea of brotherhood in God. Thanks to the unity of Mozart can borrow money at the time he needed.
The last period (1784-1791)

W. A. Mozart, 1789

Mozart's career peak in the period 1784-1786. Mozart wrote very valuable. He made twelve o'clock concert and musicologist as their major. Although the Emperor Joseph II, Mozart's go hear a concert, it does not help financially. Mozart got a position as court musician for the salary was too high.

Performances in Prague

Le nozze of Figaro ( "Marriage Figaro") was first performed in Vienna in 1786, and Mozart's success took him to Prague (Czech capital) and greater success.

Mozart wrote several works again among others, K. 505, Symphony No. 38 in D major "Prague". Thanks success Le nozze Figaro, Mozart eager to create new ones, including the opera Don Giovanni, a comic opera. Mozart for the first time put the trombone in his operas, it has resulted in formation of a very dramatic effect. 1787, Leopold died and influence enough Mozart.
Symphony, Mozart's last symphony

Symphony, Mozart's last symphony, Symphony No. 39, 40, and 41 'Jupiter' does not know whether they were performed before Mozart died or not. In the spring of 1789, Mozart went to Berlin to appear as a pianist in front of the Prince of Saxony in Dresden, he also played organ at the Thomaskirche in Leipzig. He also played a private concert in front of Friedrich Wilhelm II, on his visit to Potsdam and Berlin. Wilhelm II asked him to appoint six six piano quartet piano sonatas, which unfortunately did not get resolved by Mozart.
He returned to Vienna and Mozart's death

Back to Vienna, Mozart's opera staged, Die Zauberflöte (The Magic Flute "). Opera was a great success, its libretto was written by Emanuel Schikaneder (1751-1812). After he finished the opera, Mozart received an order Prince Franz von Walsegg to Requiem, which is intended to make the composition of the memory of his dead wife. Mozart was not able to finish this great job, and continued his pupil, Franz Xaver Süßmayr. According to some sources, was not able to sing Mozart's Lacrimosa as part of the song playing with your friends. of dark music, Franz Beyer commented, the album Requiem 'I can hear Mozart's voice, which speaks to their interests, along with emergency situations, such as a sick child and see the hope and fear of separation. " Mozart also experienced the fear of death. On December 5, 1791, Mozart died, one in the morning.

The cause of Mozart's death recorded clearly. Musicologist made several allegations about the possibility of why Mozart's grave location is unknown.

1st Salieri poisoned Mozart, which is a rival. There are magazines in Europe, says that Salieri confessed before he died in his bed (1825), although there are other stories that oppose it.
2nd In Mozart's funeral, so that blizzard could not follow the family funeral. This story was denied by the Vienna time records.
3rd Mozart's body was transferred to another position, because his family could not pay the funeral expenses.





Ludwig Van Beethoven

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Ludwig van Beethoven (Baptized December 17, 1770 in Bonn, dyed March 26, 1827 in Vienna) is a Classical Music Composer from Germany. His work is the famous fifth and ninth symphonies, and piano songs fur Elise. He is Regarded as one of the largest Composers and a Living figure in the Transitional period between the Classical period and romantic period. During his youth, he was a talented pianist, popular among the important people and rich in Vienna, Austria, where he Lived. However, in 1801, he Started to be deaf.

Deafness Became worse and in 1817 he Became completely deaf. Although he no long can act in concert, he Continued to make music, and at the time to create some of his work is the greatest. He Lived the rest of his life in Vienna and never married.

Ludwig van Beethoven, Circa 1804
Family and youth
Family

Beethoven's grandfather, Lowy Ludwig van Beethoven (1712-1773) Served as a singer in the palace chapel train. His father, johann van Beethoven (1740-1792) work as a tenor singer for the Prince of train (from 1752). His mother was Mari magdalene keveritsh (1767-1787). Johann van Beethoven's piano practice to force their children for an hour because he wanted his son to his 'child prodigy' as Mozart. Beethoven Conducted its first concert on March 26, 1778 but his ability is equivalent to Mozart in the same time.

Beethoven's birth house

Youth

Beethoven's first composition teacher was Christian gottlob neefe (1748-1798). Neefe who saw the musical talent to play beethoven Beethoven learn Compositions of cheek and how to Improvise, he also help beethoven publish his first work (1783). In a music magazine, neefe written that beethoven can be a 'Mozart' moment if he Continued his career.

Beethoven at the age of 13 years

Prince train, Franz handwriting insole appoint as deputy beethoven neefe in organ and Harpsichord Playing. In 1783, Beethoven Published three Sonatas Dedicated to Prince Franz, but since he has not received a salary from her work, Beethoven's request to be Formally Representative neefe. The petition is Granted in the year 1784. In 1785, beethoven Composed three piano tryos for the Prince but the task is not Published to Beethoven dyed. In the same time, beethoven studied music at the Franz rice.

In 1787, beethoven to Vienna on the orders of Prince. Is he a little Mozart and Playing the piano in front of him. Mozart is Impressed with Beethoven, and he said that Beethoven can be a great musician in the future. Beethoven's visit is only temporary because the money is gone, he was also called back to train because his mother was seriously ill from tuberkulosis, who later Claimed his life on July 17, 1787. Beethoven's burden of taking care of her Siblings were young. Because his father drunk and spending money for alcohol, beethoven's father requested that the salary determined to him. Beethoven at a steady income by giving piano lessons to the royal family.

Studied to cure

In 1792, Joseph Hyde was living in Vienna for a while on his way to London. Prince valdstein, one of beethoven's close friend of Prince Franz Persuaded to finance the trip Beethoven to Vienna to teach composition in the cure.

Lessons on Hyde Beethoven did not go well. Hyde's Teachers are friendly and nice but he did not give much attention and did not correct his job with care. Hot beethoven grateful though her lack of Understanding musical Ideas. Without the knowledge of healing beethoven studied composition under the Guidance of johann stshenk. Prince Franz called back to train Beethoven but Beethoven Chose to stay in Vienna and a career there until he patience.

In the time of healing to London in early 1794, beethoven studied composition in the johann texture albertshtsberger and Antonio salyeri. Beethoven Began his career in Vienna as a pianist. In March 1795, Community transfer beethoven piano konserto in bb major, away. 19, he also paid a visit to Prague, Dresden, leipzig and Berlin in 1796.

Vienna

Early career

In the beginning of his career in Vienna, beethoven is for Receiving a salary from the Prince Franz, except that he was also Assisted by several noblemen who supported, among others, Prince Karl Von litshnovski. Beethoven Dedicated the Sonata to him one of the most famous piano, Sonata in C my 'pathetikve', away. 13. Perry Wayne is a Fairly productive time for Beethoven. Komposityons that he Composed, among other Symphony no. 1 and 2, five piano Sonatas, with 'moonlight' Sonata and the 'pastorale' Sonata, violin Sonata fourth and fifth (op. 23 and away. 24), Variations on bei mannern Cello, Welsh love's feeling Mozart, Quintet away. 18, septet in major Ltd., away. 20, and Quintet, away. 29. Beethoven was not only popular as a Virtuoso pianist but also as a Composer. His students come mostly from aristocracy Families.

Began a time of Deafness

Not immediately -1801, beethoven Realized that his hearing power Began to decline due to otoslerosis. A letter found in a house in heiligenstadt Beethoven near Vienna known as the 'heritage heiligenstadt' contains Beethoven's how sad it was Experiencing due to illness. Her grief is the same because at that Beethoven was not the pinnacle of his career. Because of the disease, beethoven Became depressed and he Became Increasingly Socially worse. One other reason for her depression beethoven was because he managed to get 'a life'. Many delicate care that often Loved but generally Unrequited love.

Apart from the sadness

In 1802, beethoven came from kemuramannia. He Continued Composing. In 1803 she Performed piano concert in major Ltd., away. 37 and then as a soloist. In the same year also Played beethoven's Violin Sonata away. 47 Owned by Virtuoso Violinist George polgreen bridgetover (1799-1860) and Presented the work to Rudolf kreutzer.

Symphony no. 3 Erika

In Composing Symphony no. 1805. 3 in darkness 'eroika', away. 55. According to his friend, Ferdinand Reyes, beethoven Tor the original title Symphony Dedicated to Napoleon Bonaparte's. Beethoven is furious after Knowing that Napoleon Declared himself emperor of France. Beethoven Changed the original title of the symphony, 'Bonaparte' and write 'sinfonia eroika. Komposta Per festiggyare Jill sovvenire de un big 'told' that means 'Erica Symphony, written to Commemorate the great man'.

Preparation 'sinfonia Del Grande intitolata Bonaparte sigre' Contained in the manuscript copies of the First Symphony and beethoven's second Forcibly removed and left the previous hole. However, beethoven's only for a moment of anger because a few months after the Coronation of Napoleon, beethoven sent a letter to breitkopf & Hartel 'title of the symphony is Actually Bonaparte' and in 1810 he wrote that 'the mass can also Dedicated to Napoleon '. Symphony is Performed at the residence of Prince lobkovitz at the end of 1804.

New composition Styles

With the eroika symphony, beethoven Shows the position who wish to fight with the depression and not to be Outdone by the disease. By Carl Czerny, pupil, beethoven Tried to force the new composition while working on three piano Sonatas, away. 31. The results China in three of his Sonatas, piano Sonata in C major 'valdstein', away. 53, piano Sonata in F major, away. 54, and piano Sonata in and my 'appasyonata', away. 57. But Beethoven never Grumbled by Cherney that he was a bit upset because the public just as the 'moonlight' Sonata of his that he can be songs that are better than the next.

Beethoven's fifth symphony as a symphony which is Considered to start a new fashion. In the symphony, it is kind of a note rate March. The once Happened in the days before Beethoven.

Performing the opera fidelyo

In the year 1805, a theater Performing beethoven's opera, fidelyo, the original title Leonard. But the idea did not succeed because in a few days earlier, Wayne is Conquered by Napoleon. Fidelyo by Beethoven Revised twice, in 1806 and 1814. Beethoven is also created four Overture to fidelyo Entitled Leonard Overture no. 1, 2, and 3. 4 Overture to fidelyo Overture Named.

Surely beethoven not have fixed Incomes. He has just received an Honorarium to Completion of order or have his music Published. On December 22, 1808, Beethoven concert to raise money in the theaters of Vienna. The Concert, Featuring many new works of Beethoven, Including Symphony no. 5 in C I, away. And Symphony no. 67. 6 in F major, away. 68, piano Concerto no. 4, and fantasyen, away. 80. The concert was not known kesuxannia Financially.

Want to move from Vienna

In the year 1808, beethoven really want to move and work on jerome Napoleon in 2400 paid kassel Guilders / year. However, his Friends from the Nobles, included Prince Rudolf, Prince lobkovitz, and kinski said Beethoven to remain with their insurance will pay the Salaries of beethoven for 4000 guilders per year. Beethoven also Campos piano concerto no. 5 in B Flat Major 'Emperor', away. 73, Dedicated to Prince Rudolf and string quartet in E Flat Major, away. 74. In the same year, Napoleon Reoccupy the city of Vienna so many Nobles who at Fled from there. Beethoven created the piano sonata in darkness 'hopped adyeux', away. 81 a.

Financial crisis

In the year 1811, beethoven is more depressed in the difficult time. Especially since he has not managed to get a pair. One woman said he nut is kountess therese malfatti, but He Declined. Beethoven is also Experiencing financial crisis due to a decline in paper currency in Vienna. The cost of money in a fifth of new currency. Beethoven also in a disagreement with his brother, johann. However, beethoven's symphony no. Started working. 7 in A major, away. 92 and finished in early 1812.

In the spring of 1812, Visited Beethoven in teplitz Spa and a few with johann Wolfgang von Goethe, a man he most Admired since childhood. On December 8, 1813, "a symphony of beethoven 'war' Entitled Wellington's Victor. Some famous Composers such as hummel, mayseder, mostsheles, and salyeri, took part in the performance of the symphony.

Great concert

On November 29, 1814, performing Beethoven's fidelyo was a huge success. Most members of Congress of Vienna to watch the opera. Outside of that success, beethoven's hearing more and Getting worse. The situation is Getting worse because of beethoven's Demanding Rates for Foster Parents nephew, Karl. Beethoven idea of Carl's mother is not able to care for her niece. Beethoven One of the case but he is not a good father to Karl. The boy Eventually Became depressed and Started Hanging with gang naughty children. The peak was in 1826, when Karl Tried to commit suicide. Makes the beethoven's pretty depressed. More Recovering, Karl returned to his mother and to military school.

In the year 1817, beethoven come from depression and sadness. This is shown by the time he Makes piano Sonata in A major, away. 101. In the year 1817, beethoven Composed some of the composition to an English writer, Richard Ford. However, the work not previously known to be found in England in 1999. In Addition, beethoven also Began planning to Compose a piano Sonata of his most Revolutionary, piano sonata in bb 'hammerklavyer', away. 106.

Missa solemnis

In the year 1822, Beethoven Composed the missa solemnis for the Coronation of Prince Rudolf as Bishop of olomouk in 1819. Beethoven's symphony is also starting to draw his -9.

The old offset of beethoven

On May 7, 1824, Performing beethoven's missa solemnis and the 9th Symphony in Vienna. The concert was a huge success. But it was news saying that beethoven did not realize that the concert at party and Continued reading Scores. Caroline unger, one of the alto soloist in the symphony of beethoven by to haul the clothes that she would turn around and look at the audience that Applauded with great Fanfare.

In 1826, beethoven Suffered from high fever which is caused by kidney problems. The disease is further help and patience on March 26, 1827.





Johann Sebastian Bach

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Johann Sebastian Bach (March 21, 1685 (KJ) - July 28, 1750) was a German composer. He composed music for musical instrument organ, harpsichord and clavichord, and also for the orchestra. His most famous work is the Brandenburg concertos.

One example compositions created by Johann Sebastian Bach:
(audio) Wtk1-fugue2.mid (info)
Prelude No.2 In C Minor - Well-Tempered Clavier 1

Biography

J.S. Bach is a famous composer from Germany whose name was familiar. Bach compositions is well known by the community of classical music fans. But who would have thought that Bach during his life was never known as a composer? In fact, his name had been forgotten for more than half a century before Felix Mendelsshon and Samuel Wesley in the mid raises romantic era. The musicologist Bach divides the whole composition in five days, each composition shows different styles specific enough when compared to each other in construction.

First Period

Johann Sebastian Bach was born on March 21, 1685 in the town of Eisenach, Germany. His father was Johann Ambrosius Bach, he was a trumpet player and conductor of the orchestra. Johann Sebastian was the youngest of eight children. At the time of Bach's parents died in 1695 he moved to Ohrdruf and cared for by his older brother, Johann Christoph Bach. In Ohrdruf, Bach continued his education to school the Lyceum. Bach is doing well in school, from Bach taught his older brother played the organ and may also learn to play the violin. Bach taught himself the science of the composition with the ordinary and usual way at that time, the copying of music books compositions Baroque composers.

At the age of 15 years, Bach was forced out of her sister's house for their family size continues to grow. Bach through the mediation of school music leader members in the church choir singer Michaliskirche, in the city of Luneburg. Bach met with important composers of the time, George Boehm (1661-1773), Bach later became his disciple in the field of composition.

Second Period

In the year 1702, the Bach departs from Luneburg and find a job as an organist. Job as organist generally given to the musicians who won the race for the organ improvisation. Bach won the race and got a position in the city Sangerhausen, but the local princes did not agree and lift people older than Bach. In the year 1703, Bach got a job as a waitress in playing music for one of the princes of Weimar, the Weimar period was ruled by two princes. The first Prince is the chairman and the second is his deputy. In the same year, Bach got a job as a church organist in Arnstadt city. At this time Bach was in conflict with the members of the choir, he could work with choir members so often happens difficulties and disagreements in choir practice.

In 1705, Bach allowed to leave and he left the city of Lübeck to hear the performances of Dietrich Buxtehude, Bach expects that could take a position as organist after retirement but Buxtehude Buxtehude's successor asked Bach to his family by marrying the eldest of five children are rejected by Bach.

Bach had lived for about three months and longer than the period given leave of the church council. Bach rebuked the church council, not because of his delay, but because the coral procession procession for the service deemed too difficult to be followed by the congregation. In 1703, he managed to win the race to become the organist at the church of St. Blasius, Mulhausen located about 55 kilometers Arnstatdt dar. Here, Bach interested in Maria Barbara who was a cousin, they were married in the same year. In 1708 Bach composed, Gott is mein Konig (BWV 71).

Third Period

Bach was called to become the organist by Prince Wilhelm Ernst, Prince of the city of Weimar, he was very impressed with the play Bach and encouraged him to make more composition. Bach lived in Weimar until 1717. In 1713, Bach applied for knowing a position as organist in the city of Halle, Prince Wilhelm Bach inaugurate a konzertmeister and raise his salary. But as a consequence, the Bach Cantatas have to create every month. In the year 1716 Kapelmeister replaced by Georg Phillipe Telemann (1681-1767) which is the most popular composer at the time of Bach. In 1717 Bach was accepted as the Prince Leopold Kapelmeister in Cothen and requested the resignation of the Prince Wilhelm. Bach rejected the request but he is allowed to Dresden for a race with an improvised harpsikordis from France, Louis Marchand. In November, Bach was fired in disgrace by Prince Wilhelm.

Fourth Period

Prince Leopold is a friendly employer and an adherent of Calvinism. Bach did not have to create church music even though he created Cantatas for important events. Bach main task is to provide music for entertainment prince. In 1721 Bach composed the six most famous his concert Brandenburg Concerto (BWV 1046-1051) was dedicated to Prince Christian Ludwig of Brandenburg. Composition of the famous Toccata and Fugue (BWV 565) for organ created in 1720.

Bach also composed other songs like fur clavierbuchlein Wilhelm Friedmann Bach, and the first book of Das Wohltemperierte Clavier (BWV 846-869).

At this time, his wife died at the age of 36 years and Bach married Anna Magdalena Wilcken in 1721. They were both blessed with 13 children Bach even created some special music book for his wife. In this book there are also Minuet in G which is very famous. At the same time Prince Leopold also married to a wife who is not so interested in music so that the interests of Bach at the court declined.

Fifth Period

In the year 1722, Kuhnau, chairman of St. school musical. Thomas died in Leipzig. Bach position, candidates other than Telemann and Bach are Graupner, but Bach had tepilih. At this time very diligent Bach-Cantatas Cantatas composed but also full of a dispute with church officials. Bach thought they did not understand his desire to promote gospel music. Bach composed the one passion of his most famous, St. Matthew's Passion (BWV 244). This composition is a rapturous welcome from the public. Bach also composed the Mass in B Minor is considered the greatest work. In the year 1742 Count Kaiserling sent Johann Gottlieb Goldberg to Bach composed a delicate composition so that the count could not sleep. Bach composed the Goldberg Variations (BWV 988) is regarded as a composition of music in the form of theme and variations in the repertoire of great music keyboard.

At the end of his life Bach suffered blindness, at this time also he composed Die Kunst der Fugue13 (BWV 1080). A composition with a wide variety of shapes from a fugue theme. Bach wrote this composition by lying in bed and spelling notes in his head to his wife. Bach died in July 28, 1750 and this work is not finished.

Bach Children

Bach has 7 children by his first wife and 13 children from his second wife. With so many children there are some Bach, who died when he was young.

The names of several children who is the composer Bach is as follows.

1. Wilhelm Friedemann Bach (Bach's first child).
2. Carl Philipp Emanuel Bach (Bach's second son who managed to live to adulthood).
3. Johann Christoph Friedrich Bach (second youngest child Bach).
4. Johann Christian Bach (Bach's youngest son).





Georg Friedrich Händel

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George Frideric Handel (in English written George Frideric Handel), (Halle, February 23, 1685 - London, 14 April 1759) was a German Baroque music composer who spent most of his life in the United Kingdom. He was regarded as a leading creator of music concert grossi, operas and oratorios. Examples of his work is the famous Water Music, Fireworks Music and oratorios Messiah. He is considered highly influential for many composers who lived after that, including Haydn, Mozart, and Beethoven.





Joseph Haydn

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Franz Joseph Haydn (March 31 or 1 April 1732 - May 31, 1809) was one of the most influential composers of the Classical Era, dubbed the "Father Symphony" or "Father of String Quartet". Haydn spent most of his career as a musician for the family in their home Eszterházy inaccessible in Austria. Isolated from other composers and music trends to date towards the end of his life, he was forced to, use the phrase, "be original".

Joseph Haydn was the brother of Michael Haydn, a famous composer, and Johann Evangelist Haydn, a tenor singer.





Philosophy Music

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Philosophy leads to wisdom (wisdom) in thinking and acting rationally. Music as art can express things that can not be expressed in words, nor by any other kind of art - music is more capable and more expressive of feelings than the spoken and written language, for other forms of human feeling much closer or in accordance with musical forms. Music instilled in the human soul and mind feeling smooth (ethics). Because the music, the soul knows the harmony and rhythm (rhythm), they are a good basis to bring a sense of justice. But in music education, should be kept away songs that weakens the soul and easily create a bad appetite. Art music and literature are intimately associated, as well as the music is the language of philosophy. Why would someone create a work, would not he did not create the elements of the work of creation? - Such as language, words, tone, rhythm - all these elements already existed, and he just put them together into a work of art of creation. Creation is a frequent cause of philosophical problems.

The Greeks

Art music is very important, erudite and virtuous man who called musical.

Plato 422-347 BC

Music is good art and high aesthetic value. Children should be given to music education, because (1) is the art of heavenly music that can touch the feelings and (2) music is a guideline for his poem can contain messages, commands and specific signal. Music education is said to be successful if students are able to form a person who knows loves beauty. Music can make a country has a great power and glory, instead of music is also able to encourage crime and undermine the government. Low moral society just look at music as a means of entertainment and fun tool.

Aristotle 384-322 BC

Music useful for education, politics, state, entertainment and medical treatment equipment. Because music is the outpouring of power (1) inner strength and (2) labor representation - which comes from a sense of motion in a series of rhythmic melodies. The beauty can be established when the rhythm, melody and harmony together in order.

Pythagoras 572-500 BC

Music are closely related to mathematics, like two sides of the same coin. Because the universe was an orderly whole; something like a musical harmony. Pythagoras got the title as the "Basic Strategy diatonic."

Immanuel Kant 1724-1804

Music is the language of human expression which still must be translated, the emotion is not enough to explain the music; therefore apply logical rules to the underlying art. There is a clear distinction between natural beauty and aesthetics (the beauty of art) - the music is said to have the form of a beautiful if nan harmonious interplay between imagination and understanding. Beautiful art is the art of a genius, the art of the experts thought.

Wagner 1813-1883

Music is timeless because it is the ideal and the infinite, because the music is the sound of poetry - which initiated the creation of musical ideas further.

Friedrich Nietzsche 1844-1900

Only music that gives the meaning of human life. Music can be a temporary refuge from the reality of human life.

Georg Wilhelm Fredrich Hegel 1770-1831

God manifests himself in the universe, while the arts manifests itself in the form of beauty. Soul music is more dominant than the elements of reality that seems - like a musical composition or instruments. Through music people can find themselves lost.

Langer

Aesthetics is the way to ethics. With music we are able to find themselves and often find self-expression.

Arthur Schopenhauer 1788-1860

Music is one way for people out of a world filled with suffering, because people only have two roads that is aesthetic (art) and ethical (good deeds).
Justify Full
This summary is taken from the book Radical tones Sukatmi Susantina works.





What is Music?

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In this paper, the author will discuss about the meaning of music, because according to the author this is so important to be discussed. This is a very intriguing writer when watching shows in Bandung in order to test co-author S2 majoring in Art Creation ISI Solo indonesian. Then the author took to discuss with the students at the end of the show in discussion forum. He said "ah, my ears can not accept this music, where melody, where the rhythm, the sound is like an irregular, the music is not related to sound, melody and rhythm irregular? was not uniformly wealthy yes sir, what is dong music?

The first task of the writer to question is to explain what is music? So that students can understand the meaning of the music itself and not until he had a narrow view of the meaning of the music.

In principle we need to know and explain the nature of the music itself. The most familiar thing to begin to assume the music is the sound, there is more to argue that the phenomenon is called the human relationship with the music. For a second opinion is certainly necessary to our understanding of human phenomena such as what might be called music.

Let us ask ourselves, is there a sense of where music is the human activity? Logical answer "yes lah yes", without any form of human activity, there can be no sound musical or musical works are created. In short, what is music, is essentially a human activity. Well, then, when we eat is the music, when we got trip is music, when we shower is music, really?

In the case of my colleagues performance, or any musical product that comes from the mind, what present by more than mere musical product, or a mere composition, or a mere improvisation, or a mere show. Present But what is the result of a human activity that has a specific purpose. This means that music is not just a collection of products or objects, but in this case is more seen as a symbol, emblem, namely "to say something about something", so the music face to face with the meaning and message for to fed. Meaning and message can be influenced by the context when people work, whether it is the purpose, audience and so on.

People named Hyden do something that is creating a concerto. What he did was to create something in the context of time, place and type of musical works at that time. In the case of co-author performance, he did something. What he did was to create, compose, perform, improvise, and record something in the context of time, place and type of other musical works. Lots of various musical situations in which the two composers in the act of creating his work.

If music is essentially a form of human activity that has a specific purpose, at least the music includes three components namely, composer, musical products they produce, and the activity in which the composer makes musical products. But according to all three authors is not complete, as well as "making don't use chilli". Composer to make something (music), are in a specific context. This means that when the composer out of ideas, will be influenced by a particular context, as mentioned above, can be seen from the purpose, audience, place or time.

Examples of cases, when a composer to create musical works of musical instruments gongs. To ring the gong, struck in accordance with certain norms, but the composer ring swiped by being beaten with stones and even rolled like a tire that will be transported into the truck. Of course what the composer is the crazy thing is not it? Of course not, if associated with the context described earlier. This means that the composer has a purpose, know who the audience or the audience, to know where the place and time.

From these explanations, the music eventually include four components, namely
1) composer,
2) the process of making work,
3) the work, and
4) the context in which the composer to make something.

Well, the four components of the approach above, co-author of a work:
1) the result of a systematic musical experience, meaning that the musical experience Iwan influenced by musical stages, whether it is from learning, watching, listening, or the advice of mentors,
2) the activities that are motivated in making the work,
3) the activities that have a specific purpose,
4) activities that are influenced by the context in which Jasmine makes her music work.

He was influenced by the context of why and how the listener / audience (including himself) listen to what he created. Instead, the listener / audience is influenced by the why, what and how to do what the composer has created. So that my colleagues had not necessarily make his work for performance in studio marriage or circumcision celebration. Yes, the context for the work he's only those who have more understanding than just music.

Again with a different songwriter "cat robber", the context in which he addressed the crowd for that when performed in a celebration. ya pas alone. But if the co-author of the work performed in the celebration, many people will not understand as well as student opinions before, it sounds not bad, not irregular, or if not good sunda people say "euweuh kunaon gawe jelema tea".

Now, at last of this paper can be concluded that, music is not only sound, the music is not only melody, the music is not just a regular rhythm, but the music is the result of human activity through the processing of sound as a medium of expression that fits the context.





Theme and Thing

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What is the subject of Beethoven's Fifth Symphony? Is it just those first four notes? Does it include the twin, transposed companion too? What of the other variations, augmentations, and inversions? Do they all stem from a single prototype? In this case, yes.

Or do they? For later in the symphony the theme appears in triplet form to serve as counter subject of the scherzo: three notes and one, three notes and one, three notes and one, still they make four. Melody turns into monotone rhythm; meter is converted to two equal beats. Downbeat now falls on an actual note, instead of a silence. With all of those changes, the themes are quite different and yet the same. Neither the form in the allegro nor the scherzo alone is the prototype; separate and equal, they span musical time.

Is there some more abstract idea that they both embody? This is like the problem raised by Wittgenstein of what words like game mean. In my paper on frames [Minsky 1974] I argue that for vision, 'chair 'can be described by no single prototype; it is better to use several prototypes connected in relational networks of similarities and differences. I doubt that even these would suffice to well represent musical ideas ; there are better tools in conceptual dependency, frame-systems, and semantic networks. (See Roads, 1980.)

What is a good theme? Without that bad word good, I do not think the question is well formed because anything is a theme if everything is music!

So let us split that question into (1) What mental conditions or processes do pleasant tunes evoke? and (2) What do we mean by pleasant? Both questions are hard, but the first is only hard; to answer it will take much thought and experimentation, which is good. The second question is very different. Philosophers and scientists have struggled mightily to understand what pain and pleasure are. I especially like Dennett's [1978] explanation of why that has been so difficult. He argues that pain "works" in different ways at different times, and all those ways have too little in common for the usual definition. I agree, but if pain is not a single thing, why do we talk and think as though it were—and then represent it with such spurious clarity? This is no accident: illusions of this sort have special uses. They play a role connected with a problem facing any society (inside or outside the mind) that learns from its experience. The problem is how to assign the credit and blame, for each accomplishment or failure of the society as a whole, among the myriad agents involved in everything that happens. To the extent that the agents' actions are decided locally, so also must these decisions to credit or blame he made locally.

How, for example, can a mother tell that her child has a need (or that a need has been satisfied) before she has learned specific signs for each such need? That could be arranged if, by evolution, signals were combined from many different internal processes concerned with needs and were provided with a single, common, output–an infant's sentic signal of discomfort (or contentment). Such a genetically pre-established harmony would evoke a corresponding central state in the parent. We would feel this as something like the distress we feel when babies cry.

A signal for satisfaction is also needed. Suppose, among the many things a child does, there is one that mother likes, which she demonstrates by making approving sounds. The child has just been walking there, and holding this just so, and thinking that, and speaking in some certain way. How can the mind of the child find out which behavior is good? The trouble is, each aspect of the child's behavior must result from little plans the child made before. We cannot reward an act. We can only reward the agency that selected that strategy, the agent who wisely activated the first agent, and so on. Alas for those behaviorists who wasted their lives life by missing this simple principle.

To reward all those agents and processes, we must propagate some message that they all can use to credit what they did; the plans they made, their strategies and computations. These various recipients have so little in common that such a message of approval, to work at all, must be extremely simple. Words like good are almost content-free messages that enable tutors, inside or outside a society, to tell the members that one or more of them has satisfied some need, and that tutor need not understand which members did what, or how, or even why.

Words like 'satisfy' and 'need' have many shifting meanings. Why, then, do we seem to understand them? Because they evoke that same illusion of substantiallity that fools us into thinking it tautologous to ask, why do we like pleasure? This serves a need: the levels of social discourse at which we use such clumsy words as 'like', or 'good', or 'that was fun' must coarsely crush together many different meanings or we will never understand others (or ourselves) at all. Hence that precious, essential poverty of word and sign that makes them so hard to define. Thus the word 'good' is no symbol that simply means or designates, as 'table' does. Instead, it only names this protean injunction: Activate all those unknown processes that correlate and sift and sort, in learning, to see what changes (in myself) should now be made. The word like is just like good, except it is a name we use when we send such structure-building signals to ourselves.

Most of the "uses" of music mentioned in this article–learning about time, fitting things together, getting along with others, and suppressing one's troubles–are very "functional, but overlook much larger scales of "use." Curtis Roads remarked that, "Every world above bare survival is self constructed; whole cultures are built around common things people come to appreciate." These appreciations, represented by aesthetic agents, play roles in more and more of our decisions: what we think is beautiful gets linked to what we think is important. Perhaps, Roads suggests, when groups of mind-agents cannot agree, they tend to cede decisions to those others more concerned with what, for better or for worse, we call aesthetic form and fitness. By having small effects at many little points, those cumulative preferences for taste and form can shape a world.

That is another reason why we say we like the music we like. Liking is the way certain mind-parts make the others learn the things they need to understand that music. Hence liking—and its relatives—lies at the very heart of understanding what we hear. 'Affect' and 'aesthetic' do not lie in other academic worlds that music theories safely can ignore. Those other worlds are academic self-deceptions that we use to make each theorist's problem seem like someone else's.

Note: Many readers of a draft of this article complained about its narrow view of music. What about jazz and other "modern" forms. What about songs with real words, monophonic chants and ragas, music made with gongs and blocks, and all those other kinds of sounds? And what about those listeners who claim to be less intellectual, to simply hear and feel and not to build those big constructions in their minds? We can't discuss here all those things, but we can ask how anyone could be so sure much about what their minds do. It is ingenuous to think that you "just react" to anything a culture works a thousand years to develop. In any case, because it's not my purpose here to define boundaries, it's better to focus in on something that we all agree is musical – and that is why I chose this Symphony. For what is music? All things played on all instruments? Fiddlesticks. All structures made of sound? That has a hollow ring. The things I said of words like 'theme' hold true for words like 'music' too: that word is public property, but not all the senses of its meanings to each different listener.





Sentic Significance

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Why do we like any tunes in the first place? Do we simply associate some tunes with pleasant experiences? Should we look back to the tones and patterns of mother's voice or heartbeat? Or could it be that some themes are innately likable? All these theories could hold truth, and others too, for nothing need have a single cause inside the mind.

Theories about children need not apply to adults because (I suspect) human minds do so much self-revising that things can get detached from their origins. We might end up liking both The Art of Fugue and The Musical Offering, mainly because each work's subject illuminates the other, which gives each work a richer network of "significance." Dependent circularity need be no paradox here, for in thinking (unlike logic) two things can support each other in midair. To be sure, such autonomy is precarious; once detached from origins, might one not drift strangely awry? Indeed so, and many people seem quite mad to one another.

In his book Sentics [l978], the pianist-physiologist Manfred Clynes describes certain specific temporal sensory patterns and claims that each is associated with a certain common emotional state. For example, in his experiments, two particular patterns that gently rise and fall are said to suggest states of love and reverence; two others (more abrupt) signify anger and hate. He claims that these and other patterns–he calls them 'sentic'–arouse the same effects through different senses–that is, embodied as acoustical intensity, or pitch, or tactile pressure, or even visual motion–and that this is cross-cultural. The time lengths of these sentic shapes, on the order of 1 sec, could correspond to parts of musical phrases.

Clynes studied the "muscular" details of instrumental performances with this in view, and concluded that music can engage emotions through these sentic signals. Of course, more experiments are needed to verify that such signals really have the reported effects. Nevertheless, I would expect to find something of the sort for quite a different reason: namely, to serve in the early social development of children. Sentic signals (if they exist) would be quite useful in helping infants to learn about themselves and others.

All learning theories require brains to somehow impose "values" implicit or explicit in the choice of what to learn to do. Most such theories say that certain special signals, called reinforcers, are involved in this. For certain goals it should suffice to use some simple, "primary" physiological stimuli like eating, drinking, relief of physical discomfort.

Human infants must learn social signals, too. The early learning theorists in this century assumed that certain social sounds (for instance, of approval) could become reinforcers by association with innate reinforcers, but evidence for this was never found. If parents could exploit some innate sentic cues, that mystery might be explained.

This might also touch another, deeper problem: that of how an infant forms an image of its own mind. Self-images are important for at least two reasons. First, external reinforcement can only be a part of human learning; the growing infant must eventually learn to learn from within to free itself from its parents. With Freud, I think that children must replace and augment the outside teacher with a self-constructed, inner, parent image. Second, we need a self-model simply to make realistic plans for solving ordinary problems. For example, we must know enough about our own dispositions to be able to assess which plans are feasible. Pure self-commitment does not work; we simply cannot carry out a plan that we will find too boring to complete or too vulnerable to other, competing interests. We need models of our own behavior. How could a baby be smart enough to build such a model?

Innate sentic detectors could help by teaching children about their own affective states. For if distinct signals arouse specific states, the child can associate those signals with those states. Just knowing that such states exist, that is, having symbols for them, is half the battle. If those signals are uniform enough, then from social discourse one can learn some rules about the behavior caused by those states. Thus a child might learn that conciliatory signals can change anger into affection. Given that sort of information, a simple learning machine should be able to construct a 'finite-state person model." This model would be crude at first, but to get started would be half of the job. Once the baby had a crude model of some other person, it could be copied and adapted in work on the baby's own self-model. This is more normative and constructional than it is descriptive, as Freud hinted, because the self-model dictates (rather than portrays) what it purports to portray. With regard to music, it seems possible that we conceal, in the innocent songs and setting of our children's musical cultures, some lessons about successions of our own affective states. Sentically encrypted, those ballads could encode instructions about conciliation and affection, or aggression and retreat—precisely the knowledge of signals and states that we need to get along with others. In later life, more complex music might illustrate more intricate kinds of compromise and conflict, ways to fit goals together to achieve more than one thing at a time. Finally, for grown-ups, our Burgesses and Kubricks fit Odes to Joy to Clockwork Oranges.

If you find all this farfetched, so do I. But before rejecting it entirely, recall the question, Why do we have music, and let it occupy our lives with no apparent reason? When no idea seems right, the right one must seem wrong.





Rhythm and Redundancy

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Popular song has 100 steps, 1000 win. What to think Mars Residents average of these measures and beats, measures and beats! His words show the awesome repeatability. Because the music is boring?

Is the hearing to see that we need one hundred ideas on the construction of each musical image? Some recurring musical textures may serve to remind us of things that exist in time, such as wind and current. But many sounds only once we have heard a pin fall, and now search and search for it, this is one reason why we have no ear-lids. Poetry drops pins, says one thing but once or not at all. So what music.

Why tolerate relentless rhythmic pulse in music or other repetitive architectural features; There is no single answer, because we hear in different ways and at different scales. Some of these ways of bridging time image directly, but others speak of musical 'things' in the world where time folds over itself. And there, I think, is that we win and the use of these measures. Music metric frameworks transient models used for mapping short. The rates are "sync pulses are used to the new to the old phrases, the better to contrast with their differences and change. Because the differences and the change is detected, the rhythmic framework disappear from our consciousness. Their work is done and the messages a higher level players never talk about them, that is why the metric music is not boring!

Good music from the small seeds germinate. How carefully we newness, new sections sandwich between recurrent knows things! The most obvious change is almost kind of identity in the preamble, as in the vision. Slight shift to the better view may show the shape of an object, or even tell us if at all.

When we sonatas, how we apply different contexts metric helps us in the sense of musical ingredients. Just below the joint, we can see how changing one note at one point, a significant third melodic skip to another point on the smooth passage of sounds, or do what is there in the seventh string, dominant ninth with missing root. Matching allows us to see things from different times together. The merger of the matching lines of the tone of the various measures - such as television and separate lines of context allows us to this magical musical images found.

How our musical factors that work for us and should be organized in structures that are easy to find between frames. Here is a simplified four-level system that could work. Many of these ideas in the current research in the field of vision (Winston 1975).

Job Finders heard just time events, or as pulses or peaks.
Measure design communication patterns of time events, such as 3 / 4, 4 / 4, 6 / 8.
Difference-Finders notice that the number X is a Y-shaped, but higher than the fifth.
Structure-building Note that three terms are regular "serial".

The idea of interconnection Job Finders, Difference-Finders, and Structure-building is well explained in his Winston [1975]. Measure will be designing the kinds of "images", as described in [Minsky 1974]. First, the alternative-Finders audio stream for the simpler types of musical meaning: entries and records, the sounds, the other a small, local things. Then search Measure metric drafting standards for small events and in groups, so finding postulates rhythmic beats regularities. Then the difference-Finders may begin to sense the importance of musical events, imitation and inversion, syncopations and suspensions. Once these are found, the structure-building can begin work on a larger scale.

All four levels of the organization is a single layer in a larger system in which several similar structures on a larger scale. At each level, another level of class (with their own things and differences) makes extensive descriptions, and thus consumes a different order of structural form. As a result, the data, the data are converted into words and phrases in a number of sequences, and notes become chords, strings and progressive sessions, and so on and on. Relations at all levels to compete for the next level up and are easier to remember and compared. This "time warp" things together, changes in tone tonality, explanation of the composition.

The more regular pattern, the easier the game is, and the difference is less enthusiastic players on. So, as we used to "invest," said the metric structure of our attention because as a fixed and stable, as the floor of your room by changing the metric measure makes formulate their thoughts. Sic always Alberti bass, um-PAH and PAH ostinati: all except where change is imperceptible. Rhythm has many other functions, to be sure, agents and other functions for them to see things differently. Medication used to dance to follow the pace, while other forms of music pulses less stable demand.

All experience is a phenomenon that we might call "persistence rate" in our minds that keeps pace with the episodes of confusion. I assume that this stems from the fundamental characteristic of how agents are usually installed, at each level, many factors of each type of competition [Minsky 1980b]. so factors for 3 / 4, 4 / 4 and 6 / 8 compete for the best possible way. Once in power, but each factor inhibits several competitors . Only 4 things taken 3, 6 / 8 will be difficult to "a hearing" even as evidence of its hand, something better.

When workers have no hard evidence for a considerable time, agents of change in random order or in the turn. This is nothing interesting in a sense, they are quite boring! We all know that if a word or phrase is repeated often enough, it seems to change as restless and start looking to improve the interpretation of the noise and fine texture. This happens at all levels, because if things on a regular level, the difference in the next one to be replaced by another fresh, then this similarity different ways. (So, meditation, undirected by the field of mental higher rates by the most banal repetition of the input from below.)

Regular units are hidden and expressive nuances are identified and marked and passed. Rubato or crescendo, decorative style or transit, the changes made at each level of items in the following. The mystery was solved: The brain is so good at sensing differences forget things themselves; that is, whenever they are the same. As for liking music, that depends on what remains.





Composing and Conducting

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In the eyes, we can move our eyes; lookers can choose where they should look and when. Music should be listened here, which is part to play now. He not only wants to use music-finder to look because it is not so now.

If the composer and conductor, select how much you will hear that it does not ruin our similarities? Music-Analyzer If you ask its questions, how-Music Finder answer these unless, miracle, music plays what is happening with music finder I'd only really instant? If so, then how can music scene fear that if composers what listeners will ask at any time? How to determine if-I-Music Analyzer now that some "thing" is playing now?

This is the secret of writing music, playing and conducting it! Music need not, of course, every auditor confirm every expectation, each piece requires some new things. Any control order is needed or new items will begin in bullshit. If you can think too much themselves, listeners will not find answers to questions about any accidents rating form and metaphor, and voice lines, temperament and tuning difference.

Composers may have different purposes: to relax and entertain, surprise and shock, yarn, stage scenes, learn new things or tear prior art. For some composers such purposes should use familiar forms, frames or other people expect disagreement. Of course, when expectations are confirmed too often the style may seem silly, it is our concern in the next section. However, as language, often one that best explains the new ideas, using older, and avoiding too much jargon or lexical changes. If the reader does not understand words, sentences you to be Greek to them. "

This is not a matter of simple hierarchy, where each average is below the level of, for example, words, phrases, sentences, paragraphs, and chapter. Things just do not work that way, and shows how nonsense came through prudence, even many new words. Every time when some modern music changes key elements still operate large established form, but innovations that too drastically violates cultural expectations does not meet certain goals. Of course this does not apply to products that target include confusion and rebellion, or composers, when trying to make things that hide or expurgate their own intentionality, but these cases it may be difficult to hold the audience.

Each musical artist has preliminary estimates and direct the listener to prepare for restraint and kidnapping by force, the listener (again, as is sorcerer) to ask the questions that the composition is about response. Only by creating a pre-established unity of music can make something that is obviously there.





Space and Tune

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When you enter the room, everyone seems to be together, allows us to delude ourselves that it would listen to symphony. "Of course, it could be said for listening to thread is sequential way over time, while the eye includes sites at once. In fact, it takes time to see a new scene, though mostly not known. This is an urgent feeling that we are aware of everything in the room immediately and directly, it is certainly our strangest "visual" illusion.

Music, too, immerses us seemingly stable worlds! How can this be done when there is so little of each present moment and will try to explain this: (1) that hearing music is like a view of the landscape and (2) that when we hear good music mind responds very Equally so we, when we see things. "And that no mistake: I say" good "music! This little theory is not designed to work on each bag of musical tricks meaning, but only for those certain types of music, cultural times and places, and focus on the approval.

(Edward Fredkin, I proposed the theory that listening to music can bring a birth-order map mechanism in the brain. When I mentioned the music puzzle repetitiousness be compared to the way rodents explore new position: first to go way low, then back home. I do have a few times, then even a little further. digressions little effort, but often return to base. both humans and mice to explore new territory, making mental maps, as they fear loss. Music can illustrate this process, and even the exercise of these is part of the mind.)

To see the problem in a slightly different way, consider the cinema. Contrast and clumsy novice patched and placed rolls of film with our transport to other worlds, so artfully composed that our world seems tacky and inappropriate. What "hides the seams, so that great films much smaller than the sum of its parts-see is not so simple sequence of scenes and what makes us feel that we are here and the part where we actually build on our chairs, not to obtain an individual predicted structure of predetermined fate and will have this idea a little more, try to explain why so much good music from more than a sequence of notes.

His eyes are always sudden flashing different film images of our minds, but not all saccadic activity leads to any change or sense of movement in the world, Every thing cool reposes in "the spot"! What are these objects to stay, even though both paintings hop bird, what makes us such a congenital Copernicans; first to propose this as the illusion of vision, then in music.

At the answer can be found deep way of thinking is itself. In his speech an illusion to believe that anyone is fooled. "I know that these lines are equal," I said, "but see my bent." What is the difference in me, and I? We all believe that somewhere in each person, Struts single, central self: one and indivisible. (And secretly hope it will be indestructible.)

I believe instead that in the mind of every work of many different factors. (The idea of agents [Minski 1977? 1980? 1980b], came from my work with Seymour Papert.) All you really need to know about agents is as follows: each player knows what will happen with the other, but some of what happens to the rest . It means a lot to say, "Eloise knows X", if not more to say, mind-factors that were uninvolved with X. thinking is mind-agents cooperate, the heart of thinking is fruitful break issues in different sections and pages to agents, who handle it better. (The most important factors are those that these challenges to be factors that reflect what each person knows what he or she knows. These factors will be powerless, to not know what we know.)

The division of labor is to "see", which will be assumed that a memory-agent called Feature-Finder sends messages (some of the features seen on the retina) to another agent-scene analyst. Scene-Analyzer draws conclusions from the reports it receives and sends its own, in turn, to other parts of-mind. For example, Feature-Finder finds and tell some scraps from the edges and textures; Tu scene analyst notes and says that could go a little shape.

Maybe these numbers are glimpses of the actual table leg. But they know what is for agents at this level; Stage-analyst does not know of any such specific things. The only thing we can do something with this program is to host the shape of other entities that specialize in recognizing the specific case. Special matters, such as tables, words, or dogs should be involved with memory and learning, at least one representative for each type of things that the mind has learned to recognize. Therefore, we hope that this message gets List-Maker, a special agent to confirm evidence that the table is in the field of vision. After several of these phases, the descendants of the report reach Space-structuring agent, who tries to tell the real things in real space.

Now you can see why the concept seems so simple: while the message of the scene-Analyzer-Maker in the table are based on evidence that the Grand-Finder provided a report is not to say that feature-finder did it or how he did. Partially it's because they will have a phase-analyzer too long to explain it all. In any case, the recipient can not use any information, because they are not engineers or psychologists, but only a few specialized neural networks.

Only during the last century painters have learned a few tricks and techniques for the simulation of reality. (This has been informed, is now often choose different targets. The Space-Builder, as a normal person does not know anything about how the vision, or prospect, foveae, or blind spots. We're just finding out what things in school: millennia of themselves never led to the suspicion, but to meditation, transcendental or secular. Mind held secrets, not to good of stinginess or shame, but simply because they do not know.

Messages in this mode to go different ways. Any movement of the eyes or the head or body-Finder is a Grand reopen these movements into the muscle-response factors in the transfer of messages Scene-Analyzer sent when more information is needed to resolve ambiguities. Scene-Analyzer is a response to reports of "high". For example, the Space-Builder can be asked, "is that table?" Table-Maker, who answered to himself, "Maybe, but that there should be other-foot," it asks scene-analyzer, and the analyzer-scenes work to open my eyes and down and look left. The tents are not self-understanding: the Scene-Analyzer response to other requests. It should be one cause of this network.

When we look, we never worry that reason disappeared-question, which is not a "discharge occurred." The reason is that space-structuring to remember all the answers to the questions and never change any of these responses, and without reason; Moving eyes and raise our heads, there is no reason to conjure on the grounds that under the current spatial model of the room. In the framework document for the systems [Minski 1974] says more about these concepts. We have only these few details.

Now back to our illusions. While large-Finder is not immediate, it is very, very quickly and very same pattern matcher. Whether Scene-Analyzer asks Feature-Finder response to strike the eye, only a tenth of a second (or less if you file buffers). Speed is more than Space-Builder can often tell the same through its own high-speed memory model, on what was seen. I argue that all this is another root of our illusion of speed:

If it appears that the answer will come as soon as they asked questions, which seems to have been there all the time.

The illusion is reinforced by other means "expectation", or "default. "These players know a good way to bluff is! Woke up from only a few indications that the table is in view on the table-maker supply space-Builder with fictitious details about some" standard "list, while employees learn more about real! Informed that one, Space-Builder to proceed quickly and plan ahead, taking risks, but ready to make corrections later. This only works, of course, if the originals are good, and rightly so-that is to do with intelligence.

With regard to the "awareness" about how all these things do is simply not room for it. Space-Builder is very distant and different, to understand how feature-finder is the task of assembling the eye. One part of the mind that is almost unknown in any other. (This is why we have psychologists, we think we know what is happening in our mind, because these substances are so easy to "fail" - but in fact we are almost always wrong about these things.) Of course, each participant must knows which of its employees can do, but on how this information is not, or used in such small minds in our minds.

How do both music and vision to build what in our minds? Eye movements show the actual items, musical items Phrases us. We room with bodily movements; Much of our music show music "part." Walking and move us from room to room, so the transition between musical sections. Regarding if the perspective is a recapitulation of the music, so our time, certain points to confirm or change the perception of all.

Hearing the theme is like to see something in the room, or part of the movement is like a room, and the whole sonata is like a whole building. I mean to say that music benefits from things that instead of the builder. (This is very naive comparison of sound and place.) I have to say that composers stimulation in accordance with the recruitment of the same type of inter-agent coordinations that vision is used to manufacture the illusion of a stable world, with different factors of course. I think the same applies when writing or speaking, many of these items or feeling-a sense of meaning, if any.





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