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- Hello, My name is Temmy, and ussually my friends call me Temz. I was born in Surabaya, at 14th March 1985 I live with my parents, a little brother, and sister. My hobby is listening music,i like music, all kind of music except dangdut, play music, and im an audiophile You can categorize me as a very happy person, Yeah, i have a lot of friends. making friends is one of my hobby and i'm good at it. And i want to share and discuss all about music information..
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Monday, April 30, 2012
Pop is short for popular, and it's remained the defining term for the ever-changing music favoured by the public. Although not specifically applied until the middle of the 20th century, pop music as such can be traced by a few decades before that.
The Early Days
You could say that the songs of music hall were the first real pop songs, written by professionals and widely performed for audiences. That dates back to the Victorian era, when a performer needed a catchy, identifiable song.
Things changed with the advent of recording, early in the 20th century. With that, music had the chance to be much more widely disseminated. Records, played at 78 rpm on wind-up gramophones, were relatively cheap.
In America, that led to a breed of professional songwriters in New York who wrote pieces intended to be recorded and sell well - Tin Pan Alley. They were largely hacks, but did produce some beautiful material. London had its own equivalent as the music business became centred on Denmark Street in the West End.
The Crooners
The first major pop stars as such were the crooners of the 1930s and '40s. Bing Crosby sold millions of records, as did Frank Sinatra (arguably the first modern pop star, with screaming teenage female fans - the bobbysoxers), and in Britain, Al Bowly.
They recorded and performed with full orchestras in the main style of the day. But there were other vocals groups, such as the Mills Brothers and the Inkspots, whose harmonies set the standards for those aspiring to fame.
With the style known as swing, big bands also came into their own, with tunes like Glen Miller's "In The Mood" becoming standards.
The Charts
Curiously, pop music charts as such didn't exist until 1952, when the first Top Twenty was recorded. It came at an interesting time, as "teenagers" really came into being. Historically there'd been no transitional period between childhood and adulthood. Now, after World War II, that seemed to begin, imported from America, and in skiffle, an interpretation of American folk music (personified by Lonnie Donegan), teens found their music.
Rock'n'roll brought much more of that, and Elvis Presley became a global star, the biggest of the late 1950s and early 1960s. But he would find himself supplanted by the Beatles, who revolutionised pop by writing their own material, instigating a fashion that remains undiminished.
The Beatles set the standard for pop music, and it remains undiminished - Beatlesque has become a standard descriptive adjective. From 1962 until their break up in 1970 they dominated the charts in Britain and America.
Post Beatles
The Beatles influenced a generation - more than one, really - with their melodies and harmonies, and that was apparent in the 1970s, when pop careened through several styles, from the Glam Rock of T. Rex to the raw fire of punk. But the biggest pop star to emerge from the period was a singer and pianist, Elton John, whose popularity has remained constant.
The idea of artists writing their own material remained in the wake of the Fab Four, although professional songwriters stayed in demand for those unable to pen a tune. From the early days of rock there had been "manufactured" stars - people taken on board for a pretty face rather than any innate talent, and made into stars by producers. It had happened to Adam Faith, Alvin Stardust and many others, most of whom only enjoyed short careers.
The 1980s proved a moribund decade for pop. Styles came and went, but it was an era short on memorable music. Only Wham! (and later George Michael) emerged as true pop stars.
Boy Bands
The 1990s was the time of boy bands, perhaps the ultimate in manufactured acts. A group of young male singers was assembled for their looks, given catchy songs and arrangements and pushed to fame. It happened to East 17 and, most memorably, Take That. America saw how it worked and gave the world the Backstreet Boys and 'N Sync, and for a few years it worked very well, selling millions of records. But like any fashion, it passed. A female version, the Spice Girls, was briefly huge. Notably, the only ones to come out of this and sustain a solo career was Robbie Williams from Take That and Justin Timberlake from 'N Sync.
America tried a similar tactic with female pop stars, and both Mariah Carey and Britney Spears became massive manufactured stars, followed, to a lesser degree, by Christina Aguilera.
The New Millennium
Since the year 2000 there's been a dearth of major new stars, relying mostly on established talent. Several younger artists have come and gone, and new styles have briefly emerged, but nothing appears to have gained a major foothold besides modern R&B, which owes little to its soulful predecessor, but a lot to hip-hop - which itself has become a pop style.
Labels:
Classical music, as we use it on this site, basically includes thousands
of years of time. This area basically describes the history of classical music.
When we speak of classical music, we are talking of the western influence.
We aren't talking about the ancient eastern music of the asian continent.
Classical music can be organized in a variety of ways. This section divides
music into six historical periods: Medeival, Renaissance,Baroque,
Classical, Romantic and the Contemporary. Each period is briefly described.
and includes a list of important composers, some song files
provided by our generous sponsors, an option to buy some recordings,
and recommended recordings. Also, there is an organized layout which we used
to organize information on this site. We'd like to thank Classical Insites for
helping us acquire sound files and information of these periods. Most of the
information included in this site was from my notes after taking two years of
music theory in high school. To learn more about any of these time periods,
please contact a music theorist specializing in the specific time period
you would like to know about.
of years of time. This area basically describes the history of classical music.
When we speak of classical music, we are talking of the western influence.
We aren't talking about the ancient eastern music of the asian continent.
Classical music can be organized in a variety of ways. This section divides
music into six historical periods: Medeival, Renaissance,Baroque,
Classical, Romantic and the Contemporary. Each period is briefly described.
and includes a list of important composers, some song files
provided by our generous sponsors, an option to buy some recordings,
and recommended recordings. Also, there is an organized layout which we used
to organize information on this site. We'd like to thank Classical Insites for
helping us acquire sound files and information of these periods. Most of the
information included in this site was from my notes after taking two years of
music theory in high school. To learn more about any of these time periods,
please contact a music theorist specializing in the specific time period
you would like to know about.
This is one of the things I wanted to know in the beginning, It is important to have some understanding of the historical periods of music. It adds to my enjoyment of it. These explanations are copied whole sale from Classical Insites Conservatory.
- Medieval
- When we explore Medieval music, we are dealing with the longest and most distant period of musical history. It includes the Gregorian chant. Gregorian chant is monophonic, meaning music that consists of only one melodic line without accompaniment. Polyphony, music where two or more melodic lines are heard simultaneously, did not exist (or was not knotted) until the 11th century. Unlike chant, polyphony required the participation of a composer to combine the melodic lines in a pleasing manner. I don't know much about this period because I don't like this kind of music.
- Renaissance
- In the mid-1500s, a prominent bishop commented that music composed for the church should reflect the meaning of the words so that the listeners would be moved to piety. This concept seems like a no-brainer today, but it was a fairly new idea at the time. To suggest that Medieval composers had no desire to write "expressive" music would be unfair. But, it was the rediscovery of ancient Greek ideals in the Renaissance that inspired many musicians to explore the eloquent possibilities of their art.
The increased value of individualism in the Renaissance is reflected by the changing role of the composer in society. Unlike most of their Medieval predecessors, the great masters of the Renaissance were revered in their own lifetimes.
Sacred music was still predominant, though secular music became more prevalent and more sophisticated. The repertory of instrumental music also began to expand significantly. New instruments were invented, including the clavichord and virginal (both keyboard instruments) and many existing instruments were improved. - Baroque (1600-1750)
- Johann Sebastian Bach, George Frideric Handel, Johann Pachelbel, Antonio VivaldiBaroque music is often highly ornate, colorful and richly textured when compared with its predecessors. Opera was born at what is considered to be the very beginning of the Baroque era, around 1600.
Music's ability to express human emotions and depict natural phenomenon was explored throughout the Baroque period.
Although imitative polyphony remained fundamental to musical composition, homophonic writing became increasingly important. Homophonic music features a clear distinction between the melody line and an subsidiary accompaniment part.
The orchestra evolved during the early Baroque, starting as an "accompanist" for operatic and vocal music. By the mid-1600s the orchestra had a life of its own. The concerto was a favorite Baroque form that featured a solo instrumentalist (or small ensemble of soloists) playing "against" the orchestra, creating interesting contrasts of volume and texture.
Many Baroque composers were also virtuoso performers. For example, Archangelo Corelli was famous for his violin playing and Johann Sebastian Bach was famous for his keyboard skills. The highly ornamented quality of Baroque melody lent itself perfectly to such displays of musical dexterity. - Classical (1750-1820)
- Johann Christian Bach, Ledwig van Beethoven, Franz Joseph haydn, Wolfgang AmadeusThe word Classical has strong connotations, conjuring up the art and philosophy of Ancient Greece and Rome along with their ideals of balance, proportion and disciplined expression. The late Baroque style was polyphonically complex and melodically ornate. The composers of the early Classical period changed direction, writing music that was much simpler in texture.
Homophony--music in which melody and accompaniment are distinct--dominated the Classical style, and new forms of composition were developed to accommodate the transformation. Sonata form is by far the most important of these forms, and one that continued to evolve throughout the Classical period. Although Baroque composers also wrote pieces called sonatas, the Classical sonata was quite different.
One of the most important developments of the Classical period is the growth of the public concert. Although the aristocracy would continue to play a significant role in musical life, it was now possible for composers to survive without being the employee of one person or family. This also meant that concerts were no longer limited to palace drawing rooms. Composers started organizing concerts featuring their own music, and often attracted large audiences. The increasing popularity of the public concert had a strong impact on the growth of the orchestra. Although chamber music and solo works were played in the home or other intimate settings, orchestral concerts seemed to be naturally designed for big public spaces. As a result, symphonic music (including opera and oratorio) became more extroverted in character. Composers gradually expanded the size of the orchestra to accommodate this expanded musical vision.
- Romantic (1820-1915)
- Johannes Brahms, Claude Debussy, Frederic Chopin, Felix Mendelssohn, Piotr Ilyich TchaikovskyRomanticism implies fantasy, spontaneity and sensuality.
The Classical period focused on structural clarity and emotional restraint. Classical music was expressive, but not so passionate that it could overwhelm a work's equilibrium. Beethoven who was in some ways responsible for igniting the flame of romanticism, always struggled (sometimes unsuccessfully) to maintain that balance. Many composers of the Romantic period followed Beethoven's model and found their own balance between emotional intensity and Classical form. Others reveled in the new atmosphere of artistic freedom and created music whose structure was designed to support its emotional surges. Musical story-telling became important, and not just in opera, but in "pure" instrumental music as well. The tone-poem is a particularly Romantic invention, as it was an orchestral work whose structure was entirely dependent on the scene being depicted or the story being told.
Color was another important feature of Romantic music. New instruments were added to the orchestra and composers experimented with ways to get new sounds from existing instruments. A large palette of musical colors was necessary to depict the exotic scenes that became so popular.
In addition to seeking out the sights and sounds of other places, composers began exploring the music of their native countries. Nationalism became a driving force in the late Romantic period and composers wanted their music to express their cultural identity. This desire was particularly intense in Russia and Eastern Europe, where elements of folk music were incorporated into symphonies, tone-poems and other "Classical" forms.
The Romantic period was the heyday of the virtuoso. Exceptionally gifted performers--and particularly pianists, violinists, and singers--became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Since, like Liszt, most composers were also virtuoso performers, it was inevitable that the music they wrote would be extremely challenging to play.
The Romantic period witnessed an unprecedented glorification of the artist--whether musician, poet or painter--that has had a powerful impact on our own culture. - Modern (ca, 1915-Present)
- Aaron Copland, George GershwinThe late Romantic period featured its own extremes: sprawling symphonies and tone-poems overflowing with music that seemed to stretch harmony and melody to their limits. It is certainly possible to view some early 20th century music as an extension of the late Romantic style, but a great deal of it can also be interpreted as a reaction against that style.
20th century music is a series of "isms" and "neo-isms." The primal energy of Stravinsky's Rite of Spring has been called neo-Primitivism. The intensely emotional tone of Schönberg's early music has been labeled Expressionism. The return to clearly structured forms and textures has been dubbed neo-Classicism. These terms have been employed in an attempt to organize the diversity of styles running through the 20th century.
Nationalism continued to be a strong musical influence in the first half of the century. The study of folk songs enriched the music of numerous composers, such as Ralph Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles have also been tremendously influential on "classical" composers from both the United States and Europe.
Technology has played a increasingly important role in the development of 20th century music. Composers have used recording tape as a compositional tool (such as Steve Reich's Violin Phase). Electronically generated sounds have been used both on their own and in combination with traditional instruments. More recently, computer technology has been used in a variety of ways, including manipulating the performance of instruments in real time.
I am by no means an expert on classical music, but I enjoy it... and here are my thoughts on why:
Classical music allows you to experience a range of incredibly strong, sometimes overwhelming emotions.
There are a million ways to interpret a piece, and everyone can make it relevant to their own experiences and lives. It enhances life - an aural experience that becomes a part of you, incites latent emotions and memories, swells in your chest, inspires speculation, and makes your physical sensations much more acute.
Mozart's Requiem lifts your heart, makes your soul rise above your body... hovering for just a moment before it descends upon the earth again. Saint-Saens' Havanaise makes you feel positively giggly, sweet, and coquettish. Manuel de Falla's Noches en los Jardines de Espana is incredibly elegant and sensual. You can also experience a piece and feel differently from beginning to end with variations in all directions in between. Dvorak's Symphony 9 makes you feel like you can take on anything and anyone, but also reminds you that there are are tender and beautiful things in the world that necessitate passive appreciation. And so on...
Classical music has progression, many layers and personalities, varying ebbs and flows.
A symphony can have melodies, harmonization, phrasing, modulation, varying textures, and so forth. It never ceases to be interesting. Each time you listen to a piece, you'll likely discover something that you hadn't noticed before. Yet it can also be simple like Beethoven's Moonlight Sonata.
Watching it being performed is a great pleasure.
I find orchestras fascinating. Even though everyone is dressed the same way, you can tell that there are distinct personalities from all different walks of life. Recently, I saw the Seattle Symphony Orchestra perform Beethoven's 5th. There was an old guy with a triangle beard as long as his bow, a pregnant woman, a man who was moving furiously to the music as he played, a young violinist who was first chair sitting next to an octogenarian (who was probably dethroned by her), a guy with a full-body tattoo peeking out of his crisply ironed dress shirt, among others.
It was awesome to watch them working together, reconciling their varying styles, paving the way for solos, and fusing into a single being. They crescendoed, sped up, and slowed down together while also highlighting their distinct parts. Facial expressions are fun to watch as well.
Dancing to it and playing it is extremely enjoyable and humbling.
I used to do a bit of lyrical and a lot of ballet to classical music. Moving to it and allowing it to go through your body gives you the chance to manifest emotions in physical form. You can feel it from the tip of your nose to your fingertips, carrying through the extension of your body to the point of of your toes. It makes you feel lighter and lifts you up in a way that other forms of music just... can't.
Sometimes I feel like it's the underdog of music, and everyone loves an underdog. This would never happen if, say, Christina Aguilera were performing in a crowded subway station. http://www.washingtonpost
Classical music allows you to experience a range of incredibly strong, sometimes overwhelming emotions.
There are a million ways to interpret a piece, and everyone can make it relevant to their own experiences and lives. It enhances life - an aural experience that becomes a part of you, incites latent emotions and memories, swells in your chest, inspires speculation, and makes your physical sensations much more acute.
Mozart's Requiem lifts your heart, makes your soul rise above your body... hovering for just a moment before it descends upon the earth again. Saint-Saens' Havanaise makes you feel positively giggly, sweet, and coquettish. Manuel de Falla's Noches en los Jardines de Espana is incredibly elegant and sensual. You can also experience a piece and feel differently from beginning to end with variations in all directions in between. Dvorak's Symphony 9 makes you feel like you can take on anything and anyone, but also reminds you that there are are tender and beautiful things in the world that necessitate passive appreciation. And so on...
Classical music has progression, many layers and personalities, varying ebbs and flows.
A symphony can have melodies, harmonization, phrasing, modulation, varying textures, and so forth. It never ceases to be interesting. Each time you listen to a piece, you'll likely discover something that you hadn't noticed before. Yet it can also be simple like Beethoven's Moonlight Sonata.
Watching it being performed is a great pleasure.
I find orchestras fascinating. Even though everyone is dressed the same way, you can tell that there are distinct personalities from all different walks of life. Recently, I saw the Seattle Symphony Orchestra perform Beethoven's 5th. There was an old guy with a triangle beard as long as his bow, a pregnant woman, a man who was moving furiously to the music as he played, a young violinist who was first chair sitting next to an octogenarian (who was probably dethroned by her), a guy with a full-body tattoo peeking out of his crisply ironed dress shirt, among others.
It was awesome to watch them working together, reconciling their varying styles, paving the way for solos, and fusing into a single being. They crescendoed, sped up, and slowed down together while also highlighting their distinct parts. Facial expressions are fun to watch as well.
Dancing to it and playing it is extremely enjoyable and humbling.
I used to do a bit of lyrical and a lot of ballet to classical music. Moving to it and allowing it to go through your body gives you the chance to manifest emotions in physical form. You can feel it from the tip of your nose to your fingertips, carrying through the extension of your body to the point of of your toes. It makes you feel lighter and lifts you up in a way that other forms of music just... can't.
Sometimes I feel like it's the underdog of music, and everyone loves an underdog. This would never happen if, say, Christina Aguilera were performing in a crowded subway station. http://www.washingtonpost
Korea and Japan are the only developed countries in Asia, and Japan has always had some of the weirdest fetishes when it comes to pop culture. Korean companies have the resources, capital, and infrastructure to produce and export K-pop more successfully than other Asian countries.
The Artists
In contrast to American artists, Asian music targeted towards young people is heavily focused on "idols", who are not so much singers as all around entertainers. Instead of simply enjoying their music, fans of K-pop indulge in an overdose of their favorite idols. Compared to regular American artists, idols:
In contrast American artists:
For consumers, there are tons of more reasons to start liking a K-pop idol than an American artist.
The Companies
K-pop is dominated by the "big 3" companies: SM, JYP, and YG. In contrast with American agencies, which identify musical talent/potential and work with the artists to produce music, Korean entertainment companies recruit and manufacture these idols. Children/teens chosen to be celebrities train for years learning to sing/rap, practicing dancing/acting, foreign languages, dieting, getting plastic surgery, etc. all in preparation for idoldom—but very few of them make it through the final cut. This manufacturing process is what makes idols into the gods/goddesses that fans worship and drool over.
But unfortunately, no system is perfect. First of all, this idol manufacturing system is extremely expensive and time consuming for obvious reasons. Furthermore, the massive amount of responsibilities I listed above is immensely taxing to the idols. Idols are humans, too. It's not uncommon for idols to get only 2-4 hours of sleep a day. No wonder idol groups tend to break up or have other troubles.
Culture
Of course, Asian cultures have more in common with each other than with American artists, so it follows that they might enjoy Asian artists over American ones.
What are American songs about? Sex, drugs, getting drunk, partying, grinding on girls, more sex, maybe even some BDSM thrown in, getting naughty with a shorty, etc.
Korean idols are much more culture-friendly in comparison. They sing about innocently falling in love, having a crush, etc. Sometimes they'll have a mention of soju or sexy girls, but nothing to the extent of American music. The government itself censors music and music videos, as well.
TDLR
The Artists
In contrast to American artists, Asian music targeted towards young people is heavily focused on "idols", who are not so much singers as all around entertainers. Instead of simply enjoying their music, fans of K-pop indulge in an overdose of their favorite idols. Compared to regular American artists, idols:
- Be physically attractive (face and body).
- Put out catchy music, regardless of actual vocal abilities. Catchy song = cha-ching$!$!
- Dance to catchy choreography completely in sync with all members in the idol group. YouTube is riddled with dance covers from international fans.
- Act in dramas, regardless of actual acting ability.
- Model in CFs (commercials).
- Appear on variety programs (talk shows, weird funny shows, game shows, etc.)
- Guest on radio programs
- DJ or MC radio programs and TV programs
- Perform 4+ times a week on music TV programs
- Perform weekly at different events at amusement parks, university festivals/celebrations, other private events
- (for the popular idols) Hold concerts all over Asia (or the world even)
- Hold fan meetings, which include performances and playing games with fans
- Hold fan signings at sponsor events
- Actively promote in other countries around Asia (or the world)
- etc.
In contrast American artists:
- Put out an album/music video
- Have a tour
- That's it
For consumers, there are tons of more reasons to start liking a K-pop idol than an American artist.
The Companies
K-pop is dominated by the "big 3" companies: SM, JYP, and YG. In contrast with American agencies, which identify musical talent/potential and work with the artists to produce music, Korean entertainment companies recruit and manufacture these idols. Children/teens chosen to be celebrities train for years learning to sing/rap, practicing dancing/acting, foreign languages, dieting, getting plastic surgery, etc. all in preparation for idoldom—but very few of them make it through the final cut. This manufacturing process is what makes idols into the gods/goddesses that fans worship and drool over.
But unfortunately, no system is perfect. First of all, this idol manufacturing system is extremely expensive and time consuming for obvious reasons. Furthermore, the massive amount of responsibilities I listed above is immensely taxing to the idols. Idols are humans, too. It's not uncommon for idols to get only 2-4 hours of sleep a day. No wonder idol groups tend to break up or have other troubles.
Culture
Of course, Asian cultures have more in common with each other than with American artists, so it follows that they might enjoy Asian artists over American ones.
What are American songs about? Sex, drugs, getting drunk, partying, grinding on girls, more sex, maybe even some BDSM thrown in, getting naughty with a shorty, etc.
Korean idols are much more culture-friendly in comparison. They sing about innocently falling in love, having a crush, etc. Sometimes they'll have a mention of soju or sexy girls, but nothing to the extent of American music. The government itself censors music and music videos, as well.
TDLR
- Korean idols are all around entertainers that fans love and worship
- Companies work hard to train and manufacture these idols
- K-pop is more Asian culture-friendly than American music
Invented in 1991, MPEG (Motion Picture Experts Group) Layer 3 – file type better known under the name of mp3 – remarked itself in less than 10 months from the launch as the most performing audio format on the web. And it is no wonder: the sound is excellent, Downloads are fats, and the variety of the products available in this format is overwhelming. The huge competition in the online audio war between Real Audio and Shock Wave produced by Macromedia has been step over at once by the new comer.
Mp3 is digital form of compression audio streams that came to life after 15 years of acoustic research. Mp3 can make an audio file up to 12 times smaller than the original file.
Being so small the mp3file still has all the perceptible audio details, giving up only those that the human ear cannot hear.
According to the declaration of engineers from the Fraunhoffer Institute, a pioneer company in the mp3 technology, this system explores the properties of the human ear, trying to maintain the original sound quality, in the boundaries of what is possible. Although it is not as clear as an audio CD, an mp3 still is an enormous realization when it comes to sound quality for such a big compression rate.
Another huge advantage the mp3 format represents is the stocking capacity. Five minutes of music on a CD take up about 40 MB, but if they were in mp3 format they could take only 3, 5 MB.
For some, the Mp3s are a dream come true, for others the worst nightmare. In the confusion caused by technological revolution, we still cannot afford not to know what is legal and what is not. Recording companies have suffered great losses because of this format.
It is very simple to create and distribute mp3s. But this does not mean you have to give them to others unless you have the right to do that. It is legal to make mp3s out of an audio CD you bought, but it is illegal to give someone copies of those mp3s.
Sunday, April 29, 2012
Humans spend enormous amounts of time, effort, and money on musical activities.
Why?
The
modern, international field of music psychology is gradually exploring a multitude
of issues that surround this central question. Thus, music psychology may be regarded
as scientific research about human culture. The results of this research have,
and will continue to have, direct implications for matters of general concern:
human values, human identity, human nature, and quality of life.
Music
and human beings. Music cannot be separated from the people who engage
with it:
- All music involves people and can only be understood by people. When regarded as intrinsic to human culture, music cannot be understood by non-human animals or by extraterrestial beings.
- All people engage with music. Every known human culture has complex musical traditions.
Since music is a central element of the human condition, it follows that we
can only understand music if we also understand the people who make and experience
it - and vice-versa. Music psychology rises to this academic challenge by combining
the serious academic study of music (musicology) with the serious academic study
of human individuals (psychology).
Topics
of research. Music psychologists investigate all aspects of musical
behavior and experience by applying methods and knowledge from all aspects of
psychology. Topics of study include for example:
- everyday music listening (while driving, eating, shopping, reading...)
- musical rituals and gatherings (religious, festive, sporting, political...)
- the specific skills and processes involved in learning a musical instrument or singing in a choir
- musical behaviors such as dancing and responding emotionally to music
- development of musical behaviours and abilities throughout the lifespan
- the role of music in forming personal and group identities
- preferences: the reasons why we like some kinds of music and not others
- the structures that we hear within music: melody, phrasing, harmony, tonality, rhythm, meter
- the
daily lives and challenges of professional musicians, regardless of whether
they
- perform from scores or improvise,
- perform alone or in groups, or
- compose or arrange music on paper or with the aid of computers
Relevant
areas of psychology include:
- biopsychology (including neuropsychology)
- perception (including sensation and psychoacoustics)
- cognition (including language, thinking, consciousness, learning, and memory)
- motivation and emotion
- childhood and life-span development
- health (including stress, coping, therapy, and psychological disorders)
- personality and individual differences
- skill (including talent, creativity, and intelligence), and
- social psychology and cognition.
Music
psychology is a subdiscipline of musicology. Music psychology can shed
light on non-psychological aspects of musicology and musical practice. For example,
music psychology contributes to music theory by investigating the perception
of musical structures such as melody, harmony, tonality, rhythm, meter, and
form. Research in music history can benefit from psychologically inspired, systematic
study of the history of musical syntax, or from psychological analyses of the
personalities of composers in relation to the psychological effect of their
music. Ethnomusicology can benefit from psychological approaches to the study
of music cognition in different cultures. Research is only beginning in many
of these promising areas of interaction.
Music
psychology is not music therapy. It is important to clearly distinguish
between music psychology and music
therapy. The two disciplines ask different questions and operate independently
of each other. Music psychology is primarily an academic discipline,
while music therapy is a profession. Music
psychologists primarily conduct empirical, data-oriented research, while music
therapists are primarily practice-oriented. Different countries such as Germany,
Britain and the USA have different music therapy traditions; approaches to music
psychology tend to be more uniform from one country to the next (although German
music psychology as exemplified by the journal Jahrbuch Musikpsychologie
maintains a tradition and focus that differs in interesting ways from international,
English-language music psychology as exemplified by the journal Music Perception).
If there is an overlap
between music therapy and music psychology, it is quite small. Only
very few music psychologists are qualified music therapists and only very few
music therapists would be recognized by the international music psychology community
as music psychologists. Empirical studies of the effect and effectiveness of
music therapy are of interest to music psychologists, while the work of music
therapists may be influenced by their reception of music psychology research.
Quality
control in music psychology research. Questions in music psychology
are often difficult to answer. It is therefore necessary to subject the research
literature to careful quality control procedures. These generally take the form
of anonymous expert peer review, which is a standard feature of all leading
music-psychological societies, conferences, and journals.
Most cited music psychologists. Click here for a list of most cited music psychology publications and their authors.
Journals.
The main music psychology journals (with availability in Graz) are:
Music Perception (MuWi-IB)
Psychology of Music (KUG-UB)
Jahrbuch Musikpsychologie (MuWi- IB)
The following journals include a high proportion of music-psychological articles:
Musicae Scientiae (MuWi-IB)
Journal of New Music Research (MuWi-IB)
Other music psychology journals include:
Psychomusicology
Empirical Musicology Review
Codex Flores
Music psychologists also publish in a wide range of mainstream musicology, music theory/analysis, psychology, music education, music therapy, music medicine, and systematic musicology journals. The latter include for example:
Computer Music Journal
Journal of Mathematics and Music
Journal of the Acoustical Society of America
Empirical Studies of the Arts
Music Perception (MuWi-IB)
Psychology of Music (KUG-UB)
Jahrbuch Musikpsychologie (MuWi- IB)
The following journals include a high proportion of music-psychological articles:
Musicae Scientiae (MuWi-IB)
Journal of New Music Research (MuWi-IB)
Other music psychology journals include:
Psychomusicology
Empirical Musicology Review
Codex Flores
Music psychologists also publish in a wide range of mainstream musicology, music theory/analysis, psychology, music education, music therapy, music medicine, and systematic musicology journals. The latter include for example:
Computer Music Journal
Journal of Mathematics and Music
Journal of the Acoustical Society of America
Empirical Studies of the Arts
Books.
Leading book publishers in the area of music psychology include Oxford
University Press and MIT
Press.
Conferences.
The most important conference in music psychology is the biannual International
Conference of Music Perception and Cognition.
Other
important conferences are organized regularly by:
European Society for the Cognitive Sciences of Music (ESCOM)
Society for Music Perception and Cognition (SMPC, USA)
Regional music psychology conferences are organised regularly by:
Deutsche Gesellschaft für Musikpsychologie (DGM)
Society for Education, Music and Psychology Research (SEMPRE, Britain)
International Symposium on Cognition and Musical Arts (Brazil)
Japanese Society for Music Perception and Cognition (JSMPC)
Australian Music and Psychology Society (AMPS)
Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM)
Email lists. The leading email list in the area of music psychology is Psymus. Music-psychological topics are also addressed on the following lists:
Systematische Musikwissenschaft (MuWiSys)
Auditory
Society for Music Theory (SMT-LIST)
SMT Music Cognition Group (SMTMCG)
Euromusicology
Sound and mind
European Society for the Cognitive Sciences of Music (ESCOM)
Society for Music Perception and Cognition (SMPC, USA)
Regional music psychology conferences are organised regularly by:
Deutsche Gesellschaft für Musikpsychologie (DGM)
Society for Education, Music and Psychology Research (SEMPRE, Britain)
International Symposium on Cognition and Musical Arts (Brazil)
Japanese Society for Music Perception and Cognition (JSMPC)
Australian Music and Psychology Society (AMPS)
Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM)
Email lists. The leading email list in the area of music psychology is Psymus. Music-psychological topics are also addressed on the following lists:
Systematische Musikwissenschaft (MuWiSys)
Auditory
Society for Music Theory (SMT-LIST)
SMT Music Cognition Group (SMTMCG)
Euromusicology
Sound and mind
Centers.
Music psychology (including music perception, music cognition, and music performance
research) is studied and researched at many universities and music academies
including the following:
- Australia: Melbourne, Western Sydney
- Austria: Graz, Klagenfurt
- Belgium: Ghent
- Britain: Cambridge, Keele, Leeds, Leicester, Sheffield
- Canada: McGill, Toronto, Queens, PEI
- Finland: Jyväskylä
- France: Lyon, Dijon
- Germany: Halle, Hannover, Köln, Oldenburg, Würzburg
- Japan: Kyushu University
- Korea: Seoul National University
- Netherlands: Amsterdam, Nijmegen
- Poland: Warsaw
- Sweden: Uppsala, Stockholm
- USA: California at Los Angeles, Eastman, Northwestern, Stanford, Ohio State, Oregon, Texas at San Antonio
Researchers.
Leading music psychologists of our time include Helga
de la Motte-Haber, Carol
L. Krumhansl and John
A. Sloboda. Links to the home pages of other music psychologists: 1,
2.
Further
information. See also the Music
Cognition Resource Center
and musicpsychology.net.
What is music?
According to Webster's II: New Riverside University Dictionary, music is "the art of arranging tones in an orderly sequence so as to produce a unified and continuous composition". In reality, music does not have any one concrete meaning. Music has different meanings for different people. Music is unique in each person's life. To a musician, music is their life. They eat, breathe, and live music. Music is their passion. For others, music is a hobby, a pastime. Music is something that arouses interest and is pleasurable. The casual fan may learn about music, how to read music, how to sing, or how to play a musical instrument, but they do not have the all encompassing passion a musician possesses. Music is a means of relaxation for some, while others simply enjoy listening to the sounds, melodies, and rhythms that music brings to their ears, minds, and hearts.
The following definitions are taken from an article that defines music according to different perspectives.
Music is science
It is exact, specific; and it demands exact acoustics. A conductor's full score is a chart, a graph which indicates frequencies, intensities, volume changes, melody, and harmony all at once and with the most exact control of time.
Music is mathematical
It is rhythmically based on the subdivisions of time into fractions which must be done, not worked out on paper.
Music is a foreign language
Most of the terms are in Italian, German, or French; and the notation is certainly not English &endash; but a highly developed kind of shorthand that uses symbols to represent ideas. The semantics of music is the most complete and universal language.
Music is history
Music usually reflects the environment and times of its creations, often even the country and/or racial feeling.
Music is physical education
It requires fantastic coordination of finger, hands, arms, lip, cheek, and facial muscles, in addition to extraordinary control of the diaphragmatic back, stomach, and chest muscles, which respond instantly to the sound the ear hears and the mind interprets.
Music is all of these things, but most of all
Music is art
It allows a human being to take all these dry, technically boring (but difficult) techniques and use them to create emotion. That is one thing science cannot duplicate: humanism, feeling, emotion, call it what you will.
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