music

Middle Ages Dates: 500-1450 1. What was going historically during this era? What was life like? It was a chaotic period of social and political unrest. Religious and political differences between and within regions led to nearly constant warfare. The life of all the classes was dominated by the feudal system – feudalism. 2. Who or what had the power? The church 3. Who were learned or literate? Holy men or people of important status such as kings, queens, and knights most other people were illiterate 4. Who were allowed to sing in church? Only men were allowed to sing in church 5.

Most of the music that was notated during the middle ages was sacred or secular? Sacred 6. Was most medieval music vocal? Yes 7. What is Gregorian Chant? Discuss its origin, texture, melody, rhythm, text. How did it receive its name? What is its purpose? Music to which portions of the Roman Catholic service are sung by unaccompanied voices singing in unison. The melodies of Gregorian chant are commonly sung a capable and in unison by men and boys, or by women in female religious institutions such as convents. The rhythm is free and flexible.

The text may be treated in a syllabic manner with one note of music corresponding to each syllable of text. 8. When chant was notated, was the rhythm notated or Just the melody? Gregorian Chant and Just the melody 9. What are church modes? Any of a system of modes used in Gregorian chants up until 1600 10. What is the Mass? Roman Catholic worship service 11. What is the Proper of the Mass? Parts of the mass change according to the seasons of the church year around Easter and others at Characteristic; they are proper or appropriate, only at certain times. 12. What is the Ordinary of the Mass?

Parts of the mass celebrated at any season of the year or time of the day. 13. Who is Hildebrand of Bigger? 12th century Benedictine abbess who was a composer of sacred song and chant 14. When did composers begin to write polyphonic pieces? What was this early polyphony like? 15. What is a canon? Polyphonic composition in which all the voices perform the same melody, beginning at different times 16. What is a drone? Sustained tone 17. What is an station? Persistently repeated melodic or rhythmic pattern 18. What is the liturgy? Words of the mass 19. Who is Gallinule De Mach? The century poet and musician who composed the first complete polyphonic setting of the entire Ordinary of the Mass. 20. What city became the musical center of Europe during the mid to late Middle Ages? What was the musical center of this city and who worked there? Vienna Composers came from all over Europe to train in and around Vienna, and gradually they developed and formalized the standard musical forms that were to dominate European musical culture for the next several decades. 21. Composers began to write polyphonic songs that were not always based on chant, what were hey based on instead? 22.

By the 14th century a new system of music notation had evolved. It allowed a composer to specify almost any rhythmic pattern. Were beats now divided into two or three parts or both? Was syncopation used? Both and yes Renaissance Dates: 1450-1600 1. What was going historically during this era? What was life like? 2. What is humanism? Period characterized by a new optimism, that began in 14th century Italy and spread throughout western Europe during the Renaissance 3. What effect did the printing press have on music? It enabled books to be printed quickly and inexpensively, making them available to commoners 4.

Was every educated person expected to be trained in music? Yes 5. Where did musical activity gradually shift to? From the church to the court 6. Were composers content to remain unknown? No not anymore 7. Does vocal music continue to be more important than instrumental music? Yes 9. What is word painting? Musical illustrations of verbal concepts 10. What is the primary texture of most renaissance music? Polyphonic 11. How many different parts are typically found in a renaissance piece? How does this compare to the music in the Middle Ages?

Typical pieces have four, five, or six parts, but medieval music had two and three parts. 12. What is a capable? Unaccompanied group singing 13. What was the rhythm like in renaissance music? Rhythm is more a gentle flow than a sharply defined beat. 14. What was the melody like in renaissance music? The melody usually moves along a scale with few large leaps. 15. What were to the two main types of sacred music? Define each of them? Motet is a polyphonic choral work set to a sacred Latin text other than the ordinary of the mass. Mass is a polyphonic choral composition made up of five sections: Keri, Gloria,

Credo, Sanctum, and Gangs Die. 16. Who was Joaquin Deeper? What type of music did he compose? Netherlands composer of the Renaissance who composed Western Music 17. Who was Giovanni Periling dad Palestinian? Italian Renaissance composer of sacred music and the best- known 16th-century representative of the Roman School of musical composition. 18. What was the counter-reformation and the Council of Trend? The time when the Church launched its counter-attack to reformation 19. List the three complaints with the sacred music of the day? 20. What is a Lutheran chorale?

A four-part choral piece by theologies and writer Martin Luther, who also composed, used in Lutheran church services. 21. What is a psalm tune? Tuneful settings of the 150 psalms in versions suitable for congregational singing 20. What is a madrigal? Secular song introduced in Italy that became popular in England as well. Polyphonic in texture and expressive in mood, madrigals are written in the vernacular. 21. Who was Thomas Wilkes? An organist and church composer 22. How were instruments categorized in the Renaissance? Low or soft 23. Explain how dances are performed together?

During the Renaissance period, there was a distinction between country dances and court dances. Court dances required the dancers to be trained and were often for display and entertainment, whereas country dances could be attempted by anyone. At Court, the formal entertainment would often be followed by many hours of country dances which all present could Join in. Dances described as country dances such as Charlatans or Carthaginian remained popular over a long period – over two centuries in the case of this dance. A Renaissance dance can be likened to a ball.

The Birth of Venus, Sandra Poetical Before writing this review of a painting, I asked myself several times of what should I choose, what is my favorite or the most peculiar masterpiece for me? After a short dilemma I figured out that I am fond of Italian Renaissance, especially Early Renaissance. Most of all I enjoy and admire the Florentine School, brightly represented in the paintings of Sandra Poetical. The painting of his that attracts me most is The Birth of Venus. The work on it was accomplished in nearly 1486 and the painting itself is now kept in Fizz, Florence.

It is the most famous and recognized reproduction of the myth about the birth of Venus, Roman goddess of love and beauty. Venus is an Italian Renaissance ideal: blonde, pale-skinned, voluptuous. Poetical has picked out highlights in her hair with gold leaf and has emphasized the femininity of her body (long neck, curliness). The brilliant light and soothing colors, the luxurious garden, the gorgeous draperies of the nymph, and the roses floating around the beautiful nude all suggest that the painting is meant to bring pleasure to the viewer. The naked goddess swims to the coast in the opened pearl shell.

Venus is escorted by Zephyr, god of western wind, and Flora, his wife. By this Poetical shows the beauty that Venus brings in our world: freshness from the offshore breeze and dour from the flowers. On the shore she is welcomed by one of the Graces. Therefore, Venue’s advent to this world is accompanied by celestial beauty and charm. The background also deserves a special attention. The color of Venue’s body is purely divine; the chord is used excellently to show the darkness of the horizon ND to express the feeling of anxiety, fading away, and even mystery.

Contrariwise, the front side is saturated with bright colors meaning the commencement of something unknown and heavenly. To sum up, rather than choosing one of the many interpretations offered for Botulism’s depiction of The Birth of Venus it might be better to view it from a variety of perspectives (mythological, political, religious). Nevertheless, you should definitely get acquainted with this eternal masterpiece for it will always symbolize beauty, magnificence, grace, and divinity.

One of the most moon phrases concerning music used by musicians and non-musicians alike is “Music is the universal language. ” But what does that really mean to people? Music is a universal language that transcends boundaries and bond people even thousands of miles apart. Even if you don’t recall a single melody or flow of notes, still your subconscious has been catching all the music played in the background. Slowly easing and swaying to the rhythm, you enjoy the atmosphere that is created around. To begin with, music is called the universal language of the world because of many reasons.

First and the foremost, music is made up of 7 main notes. No matter what part of the world you are and what instrument you play, all the music created is one of the 7 notes. There may be different names for all 7 notes in different parts of the world, but for the performer, they are still the same. Therefore, music is a versatile kind of art that finds approach to every humans taste. Furthermore, being a form of art music can reach the deepest parts of your heart and soul. You don’t have to be a patient or a psychologist to understand music.

As long as any melody and rhythm aka you feel yourself, it is the best doctor a person can find, and best remedy anyone can recommend. You can recollect your bygones or precious moments of your life. You can think of future, prospects, plans, and ideas. You can relax and take delight in listening to the beat or piano play. Consequently, music can be a reflection of your mood, style, and even life. Finally, like any other language music can express any and every type of emotion. But where it scores more is where the words fell short of expressing, while music can go on and on visualizing all that you ever want to say.

Sometimes music is the way you can show love, hatred, anger, fury, calmness etc. It takes only a couple of lines to say what you mean in a very exquisite way. Thus, music is a useful tool to reveal your attitude to things and, what is more, to people. To conclude, no matter how much evolved a form of music is or how sophisticated its approach, music touches everyone’s soul. If you do not connect to any music, you probably are losing a part of yourself. Let’s celebrate this form of art with a quote by William Shakespeare, “If music be the food of life, play on”.

EFFECT OF MUSIC ON MEMORY RETRIEVAL THESIS STATEMENT: INTRODUCTION CHAPTER I. DEFINITION OF TERMS A. DICTIONARY DEFINITION B. OPERATIONAL DEFINITON II. WHAT IS MUSIC ON MEMORY RETRIEVAL. III. HOW CAN MUSIC AFFECT YOUR LIFE A. THEORIES OF FORGETTING B. MEMORY AND RELATED FINDINGS C. MUSIC AND RELATED STUDIES IV. HISTORY OF MUSIC V . ADVANTAGE AND DISADVANTAGE VI. EFFECT OF MUSIC ON MEMORY RETRIEVAL IN YOUR LIFE CONCLUSIONS BIBLIOGRAPHY ALIBASHER ABUBACAR IV-C MSU-ILS JANUARY 3, 2011 EFFECT OF MUSIC ON MEMORY RETRIEVAL Culture, past and present, varying wildly between times and places ENGLISH IV MS. SALMA M. MACARAMBON

Dedication To Her who is able to keep me from falling and to present me before her glorious presence without fault and with great joy, to the only God our savior be glory, majesty, power, and authority through to almighty ALLAH our god, before all ages, now and forever. To my mother who loves me always and keeping me safe and to my father who supports me in doing this and to my sister and brothers who advice me always… Acknowledgement I usually and gratefully acknowlegdes the invaluable assistance rendered by the following persons who in one way or another tremendously helped in the succesful completion of the term paper:

Mrs. Salma M. Macarambon, teacher/adviser for her constructive pieces of advice, generous sharing of knowledge, her willingness, patience and wisdom in her teaching; To my friends BATMAN for their suggestion and vital assistance in conducting research and for being available on times of trials and computer services; To my family for their full supports on me in my study and who are always concerned; And above all, to the ALMIGHTY ALLAH who deserves all the glory, praises and thanksgiving. Introduction In the early to mid 20th Century, researchers began to extensively study memory.

Since then, there have been tremendous advances in the knowledge of how the mind processes information. The brain is composed of a very complex system of neural networks that transfers information from one section to another. The study of these networks is an ongoing process, because there is still much to learn. From this research, many factors have been found that seem to affect memory. Included in these factors are attention, stress, emotion, music, and aging. This experiment will concentrate on how the factor of music effects memory.

The memory is a mental system that receives, stores, organizes, alters and recovers information from sensory input. Sensory memory, short-term memory and long-term memory are the three basic types. Information first enters sensory memory, which holds an exact copy of the data for a few seconds. Short-term memory is the next step, and it holds small quantities of information for a brief period longer than sensory memory. Selective attention is utilized at this time to regulate what information is transferred to short-term memory. Unimportant information is removed permanently (Coon, 1997).

Another name for short-term memory is working memory, which describes the thinking and problem solving aspects. Short-term memory, according to psychologist George Miller, can hold a “magic number” of seven (plus or minus two) bits of information. Bits are units of information such as numbers, phrases or words. Information is held in short-term memory by two types of rehearsal. Maintenance rehearsal refers to silently repeating or mentally reviewing information. Elaborative rehearsal connects the new information with existing information (Coon, 1997). Many areas of the brain are used to process information.

However, the hippocampus is the section that transfers information into long-term memory. This type of memory contains all of the presorted important information in a relatively permanent and limitless storage. Long-term memory also organizes information for easy recovery (Coon, 1997). Music has an amazing power to influence man`s emotions and behavior. It has been found to affect and stimulate many different parts of the brain and body. Psychological study of music is based on this reason. Studies have found that music can reduce stress, aid relaxation, alleviate depression, and help store and recall information among other functions.

William Congreve once stated that “music has the charms to soothe the savage beast”. Stress is reduced through music by decreasing the amount of the hormone cortisone released in the body. This can be applied to everyday life for stress relief (Music and Stress, 1998). Music therapy is a new intervention that uses “music and musical activities for the purposes of altering behavior and enhancing the everyday existence of people with various types of emotional disturbance”. People have been using forms of music therapy since the earliest recorded history. Egyptian priests spoke incantations that supposedly influenced women`s fertility.

Hebrews and Greeks treated physical and mental illness with the playing of music. Zenocrates, Sarpander, and Arien, all of whom were Greeks, were the first to use music therapy as a regular practice. They employed harp music to ease the outbursts of people with mental illnesses (Shapiro, 1969). Nursing homes often hire music therapists. People are likely to feel depressed and grief-stricken when moved away from their homes and families into a facility for strangers to take care of them. Music therapy helps to relieve grief and improve emotional tones and feelings (Shapiro, 1969).

Therapists can also help residents that suffer from Alzheimer`s and dementia, because studies have found that music can improve their memory. This improvement is partly due to the effect music has on increasing the release of certain hormones in the body (Music and Stress, 1998). Carruth (1997) conducted an experiment to find out if music would improve the face-name recognition of nursing home residents with Alzheimer`s. There was a music condition and a no music condition. During the music condition, a therapist sang and played a guitar to a familiar song. The subjects were allowed to join the therapist in singing.

Afterwards, the subjects were given a face-name recognition test. The no music condition received the test in the same manner, except for the singing. Four of the seven participants had a higher mean percent of correct responses during the music condition that during the no music condition. A study conducted at the University of California, Irvine, showed that scores on memory tests of people with Alzheimer`s greatly improved when they listened to Mozart. They recalled shapes and patterns better, for example, than when they were not listening to Mozart (Music Therapy, 2001).

At a British Psychological Society Conference in December of 2000, Elizabeth Valentine reported that music promotes memory better than either silence or background noise. Valentine and her colleague selected 23 subjects with dementia to be tested for recall after being exposed to four different types of noise. The four types were no noise, cafeteria noise, familiar music, and novel music. Recall was better with sound than with silence and better with music than with cafeteria noise (Larkin, 2001). As shown, many studies have found that music aids the storage and recall of information in the human memory.

Based on the previous information, the following experiment will examine how music affects the recall of information from the short-term memory of college students. Chapter I Definition of Terms Learning – acquisition of any relatively permanent change in behavior as a result of practice or experience. The act of memorizing the 20 groups of 3-digit random numbers. Memory Retrieval – the act of locating information in memory for use. It is measured by the complete sequential 20 groups of 3 – digit random numbers correctly recalled. Independent Variable – intstrumental music being played while memorizing is done by the experimental group.

Dependent Variable – the number of groups of 3 – digit random numbers recalled in the sequence during the retrieval process. Extraneous Variables – anything that operates in the experimental situation in addition to the independent variable. In this case were the noise brought about by teacher’s students coming in and out the experimental room, voices of people talking, and the noise inside the C. R. Music – soft instrumental music played by Kenny G in a saxophone where the tempo is slow, entitled, “Silhouette”, “Uncle Al,” “Going Home,” “Songbird” and “I’ll Never Leave You. ” Intensity – volume is set at #3 on the volume scale. A.

Dictionary Definition Webster dictionary defines “music” as the art or science of harmony of melody, musical score or composition. To make it clear, it is the art of organizing tones into meaningful patterns of sounds Bagar and Biancolli, 1974. Appreciation may then be possible which refers to the force in music which seeks to arouse in the person a love and even evoke musicality (Mursell, 1938) B. Operational Definition Music is found in every known culture, past and present, varying wildly between times and places. Around 50,000 years ago, early modern humans began to disperse from Africa, reaching all the habitable continents.

Since all people of the world, including the most isolated tribal groups, have a form of music, it may be concluded that music is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently music may have been in existence for at least 50,000 years and the first music may have been invented in Africa and then evolved to become a fundamental constituent of human life. A culture’s music is influenced by all other aspects of that culture, including social and economic organization and experience, climate, and ccess to technology. The emotions and ideas that music expresses, the situations in which music is played and listened to, and the attitudes toward music players and composers all vary between regions and periods. “Music history” is the distinct subfield of musicology and history which studies music particularly Western art music from a chronological perspective. Chapter II What is music on memory retrieval? Musical memory refers to the ability to remember music-related information, such as melodic content and other progressions of tones or pitches.

The differences found between linguistic memory and musical memory have led researchers to theorize that musical memory is encoded differently from language and may constitute an independent part of the phonological loop. The use of this term is problematic, however, since it implies input from a verbal system, whereas music is in principle nonverbal. The purpose of this experiment was to see if studying or testing with music affected scores on a memory test. There were four groups in this study. One group had music while studying and testing.

Another had music while studying and no music while testing. The third group had no music while studying but music while testing, and the fourth group had no music during both. Each group consisted of approximately 30 freshman or sophomore level psychology students. The students were all given a memory test, which consisted of a list of 15 words and studied it for two minutes. The groups that had music while studying listened to the song “Sad Eyes” by Enrique Iglesias. After the two minutes were up, the word lists were collected. At the end of the class period, the test was administered.

The group that tested with music listened to “Sad Eyes. ” A between subjects factorial ANOVA was calculated comparing the memory test scores for subjects who had music during recall or studying. No significant results were found. Several factors, such as the type of test given and the music type, may have contributed to these insignificant results. What is Music? : Solving a Scientific Mystery is a book by Philip Dorrell which explains a new scientific theory about music: the super-stimulus theory. The main idea of the theory is that music is a super-stimulus for the perception of musicality, where musicality” is actually a perceived property of speech. “Musicality” refers to the property of music that determines how “good” it is, how strong an emotional effect it has, and how much we enjoy listening to it. The theory implies that ordinary speech also has this property, in a manner which may vary as a person speaks. The musicality of speech is much more subtle than that of music, but it provides important information which the listener’s brain processes without conscious awareness of the processing, in order to derive some information about the internal mental state of the speaker.

This information is applied to modulate the listener’s emotional response to speech, and this accounts for the emotional effect of music. What distinguishes the super-stimulus theory from all other serious attempts to explain music scientifically is that it starts from a simple assumption that music perception must be an information processing function, and this assumption results in quite specific explanations of how major aspects of music such as scales, regular beat and harmony are processed in the brain.

It is the first theory to explain the perception of musical scales without a priori assuming the existence of musical scales. The theory has to do this, because it is a theory of music perception as an aspect of speech perception, and musical scales do not occur in normal speech. Music is an art form whose medium is sound and silence. Its common elements are pitch which governs melody and harmony, rhythm and its associated concepts tempo, meter, and articulation, dynamics, and the sonic qualities of timbre and texture.

The word derives from Greek mousike; “art of the Muses”. The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial.

Within “the arts”, music may be classified as a performing art, a fine art, and auditory art. There is also a strong connection between music and mathematics. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as “the harmony of the spheres” and “it is music to my ears” point to the notion that music is often ordered and pleasant to listen to.

However, 20th-century composer John Cage thought that any sound can be music, saying, for example, “There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: “The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus … By all accounts there is no single and intercultural universal concept defining what music might be. Chapter III How can music affect your life?

A. Theories of Forgetting There are two theories of forgetting widely accepted. First is Disuse Theory which suggests that forgetting is due to gradual dissolution or disruption in time of neurophysiological correlates of whatever is learned. Conversely, retention is what is left Buxton, 1991. The other focuses on the learning process when interferences may arise, be it before, during, and after learning. Interference theory states the mechanics for forgetting : one memory is forgotten because another item interferes with the memory of it Edwards, 1972.

And the first major kind of interference is Retroactive Inhibition (wrightsman et. al. , 1979). In here on the material learned earlier see table 2. 1. Table 1. Experimantal Design for Research on Retroactive Inhibition. Groups| Stage 1| Stage 2| Stage 3| Experimental| Learn A| Learn B| Recall A| Control| Learn A| Learn B| Recall A| Source: Wrightsam et. al. , 1979. The problem here is to determine for the experimental group whether learning material B retoactively inhibities the recall of material A. The control group must rest in stage 2. B.

Music and Related Findings In a holistic view, educators found to the child’s learning curriculum. In education, one encourages the child to use music as a means of expressing a feeling which is difficult to verbalize, simply because of the many values and satisfaction it has to offer. Music is another meaningful aspects of life to study. Musical experiences are worthwhile. All contribute to a child’s growth. They tell that it is, at the same time an art which is related to many areas of life Raebeck and Lawrence, 1972.

Psychological characteristics of the child found to relate to musical experiences include a more logical thinking-reasoning, tendency towards exaggeration – memory, and interest in doing well. Music can serve a purpose. A prime example of this is that music is used to set mood, establish the character of a person in a play, express emotion quickly, and variety, interest and color to the program, and give opportunities for individual and group participation Raebeck and Lawrence, 1972.

Music is mentally stimulating and challenging: it awakens one to a sense of form, order, rhythm, texture, and symbolism. Moreover, deep musical experience is characterized by an alert mind Dunningham, 1989. C. Memory and Related Studies Studies had been conducted like that of the Differential Effect of Success and Failure on Memory Retrieval Tambura, 1992, which exudes that learning is affected by some factors which are emotional in nature, that emotional experiences such as succes and failure have some effects on memory retrieval.

Another is the effect of embarrassment on retention among MSU-College Students Derige, 1988. Her findings suggest that there are psychosocial aspects like embarrassment that have direct bearing on learning. Chapter IV History of music 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: Medieval, 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. Chapter V Advantages and Disadvantages Disadvantages-People who hate a genre of music and condemn other people for liking it. That’s gotta be the lamest thing to me. Bashing other people’s music. very one has been born with his brain blank he could work with his brain the way he likes but music activates the dou side in us as it draws lines and tracks for our mind and body to work on to make it closer to your brain imagine like u were free to move any where in the 360 degree of space but when u lestin to music u can only see the lines and tracks that music drew for you so every action u do is less performance and we feel that we need to listen to more music to have more lines to walk in even we had all the 360 degree for us from the start A major disadvantage of music in today’s society is that a large majority of popular musicians are making and selling their music for no reason other than to make money. I’ll define “popular” more clearly- almost anything on a top hits chart, a lot of music played on commercial radio, bands that have their name on walmart t-shirts, etc.

There are of course always exceptions to this, but most of these bands and musicians don’t make music because its a way of expressing yourself and communicating with others; they present themselves and their music because they want to make money. Giant record labels aren’t signing bands because they think they’re really talented and make great music, they’re signing bands that will be easily marketed to an audience; bands that will sell the most Cd’s downloads, t-shirts, and concert tickets. Luckily, for those of us who can not stand the top 40 hits that get played over and over and over on the radio, there exists independent musicians, bands, labels, radio stations, etc. Chapter VI Effect of music on memory retrieval in your life

Memory is a mental system that receives, stores, organized, alters and recovers information from sensory input Coon, 1997. Research has shown memory to be affected by many different factors. One of these factors is music, which has been found to stimulate parts of the brain. Many studies have demonstrated that music enhances the memory of Alzheimer`s and dementia patients. Music has also been found to reduce stress, aid relaxation and alleviate depression. This experiment placed 60 subjects into three different conditions based on the independent variable of music. The three types of the independent variable were “The Seasons Spring Movement” by Haydn, Holier Than Thou by Metallica and white noise.

Each group visually studied a picture for 30 seconds with their specific music or noise in the background. After 30 seconds the picture was taken away and the music or noise was turned off. The groups then filled out a questionnaire about their memories for the picture. There was not a significant interaction found between the type of music or noise played and memory recall. However, the white noise group made the least amount of memory errors while the Haydn group made the most. These results contrast a lot of the research on the effects of music on memory. Much research states that music, especially classical, enhances the storage and recall of memory.

There were some limitations to this experiment. Noise outside of the testing area was not controlled for. Also, subjects may have talked to one another about the questionnaire while filling it out. Further research may explain why the results of this experiment contrast much of the published research on the effects of music on memory. Conclusions The study was designed to research whether there is an effect of music as an interference during the time of learning on memory retention. The research sample consisted to website and a book. It tooks a several months to finish this term paper. This topic chosen to me was not being easy to completed but still I strived hard to finished it.

Actually, there are some times that I am being weak for this but for the help of my mother, father, sister, brothers and friends I achieved to finished it. Bibliography Atkinson, Rita L. , Atkinson, Richard C. , and Hilgard, Ernest R. Introduction to Psychology 8th ed. New York: Hardcourt Brace Jovanovich, Inc. , 1983. Bagar, Robert and Biacondilli, Louis. The Concert Companion: A Comprehensive Drive to Symphonic Music. London: Mc Graw Hill Book Company, Inc. 1974. Beauchamp, kenneth L. , Bruce, Richarcd L. , and Matheson, Douglas. Current Topics in Experimental Psychology, New York: Dell Publishing, 1985. Broadsky, Howard. The Art of Listening: Developing Musical Perceptions. Harper and Raw, 1970. Chaplin, Edward C. Dictionary of Psychology. 2nd ed. New York: Dell publishing, 1985.

Kylee Jade Whitaker. (: Mr. Knight’s language arts Second hour Wiz Khalifa Most of you probably know him from his songs “Black and yellow” or “no sleep”. Here is a look into the life of Cameron Jibril Thomaz or better known as his stage name Wiz Khalifa. Khalifa was born on September 8, 1987 in Minot, North Dakota, to a mother and a father serving in the military. His parents divorced when he was about three years old.

His parents’ military service caused him to move regularly: Khalifa Over the next thirteen years, he would move between Pittsburgh and South Carolina, Georgia, Oklahoma, Germany, Japan, and England as his parents were reassigned to different posts. In October of 1990, Wiz was separated from his mother, who left him in the hands of her sister while she served in Operation Desert Storm. During his travels, Wiz was forced to mature quicker than his peers did. He was constantly faced with new surroundings, new schools, and new sets of friends, and he found it difficult to become attached to anyone outside his family roots.

This nomadic life gave Wiz an opportunity, though, to broaden his mind and offered him many experiences from which to draw inspiration. He began to perceive the world differently than most kids, and he would write his thoughts down every day. These thoughts would become the foundation for his future recordings. He ended up settling in Pittsburgh where he went to Taylor Allderdice High School. His stage name is taken from khalifa, an Arabic word meaning “successor”, and wisdom, which was shortened to Wiz when Khalifa was fifteen. Khalifa stated to spinner. om that the name also came from being called “young Wiz ’cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that’s what I was doing with my music. ” He got his stage name tattooed on his 17th birthday. He says Camp Lo, The Notorious B. I. G. and Bone Thugs-n-Harmony are some of his influences. Khalifa released his first mix tape, Prince of the City: Welcome to Pistolvania, in 2005. The mix tape led to his first full-length album entitled Show and Prove in 2006. Khalifa was declared an “artist to watch” that year in Rolling Stone magazine.

This year, XXLmag. com ran a feature on Wiz stating that “his buzz has officially started to outgrow the streets. ” After rave reviews from his first debut single “Youngin On His Grind,” Wiz premiered his follow up “Say Yeah” on AllHipHop. com. According to yahoo. com, He was just eight years old when he decided he wanted to become a rapper, and has been on his current career path since he was just 15. He describes his music, as well as the music of Pittsburgh, as being a “worldwide sound”. This is due in part to his own travels and the fact Pittsburgh is made up of a diverse set of people and thus tastes.

The same could be said of his own musical tastes, as he likes more than just rap music. The popular song Black and Yellow was written about the Pittsburgh Steelers and is now the anthem for the Super Bowl bound football team. Black and yellow are the Steelers’ colors. Music isn’t the only thing the breakthrough MC is not just working to build upon. He also is working on covering his whole body in tattoos. He turned down a chance to open up for Drake on tour before he was signed by a record label. Wiz doesn’t like subway and his favorite color is green. : He has some quotes and some of my favorites are: 3 things I want in a relationship: Eyes that wont cry, lips than won’t lie, and love that won’t die. Girls fall in love with what they hear. Boys fall in love with what they see. That’s why girls wear make-up; and boys lie. Some people make your life better by walking into it. But some people make your life better by simply walking out. Taylor gang or die. Hated by many wanted by plenty disliked by some confronted by none. Sometimes we waste too much time thinking about those who don’t think about us for a second. I love everything you hate about yourself.

Why do we ignore those who adore us, adore those who ignore us, love the ones who hurt us and hurt the ones who love us? “Don’t date the most beautiful person in the world. Date the person that makes your world the most beautiful” – Wiz Khalifa ¦ ? Works Cited http://www. spinner. com/2010/03/12/wiz-khalifa-interview-sxsw-2010/ http://www. xxlmag. com/old-freshmen-2010/2010/03/wiz-khalifa-most-charismatic/ http://allhiphop. com/2011/12/12/the-2011-playback-allhiphop-coms-top-50-hottest-songs-of-2011-50-to-26/ http://voices. yahoo. com/fun-facts-wiz-khalifa-7759700. html

There are many similarities between Beethoven’s Symphony No. 5 in C Minor and Mozart Symphony no. 40 In G Minor. For example, both works have extremely recognizable motives. These works have been played on commercials, In advertising, and in places most people can’t even pinpoint. One of the main reasons is that these works carry strong motives that reoccur both rhythmically and melodically throughout the pieces. The opening four notes to Beethoven’s work may possibly be the most recognizable in all of music history.

Throughout this entire piece, you hear the repetition and imitative polyphony of these four notes resounding throughout every section. The French horns bellow this motive during the development section, which creates a grandiose feeling Into the next section. Mozart Is not quite as demanding in his use of these motives, but rhythmically speaking it is very present. The repeating rhythm of two eighth notes and a stressed quarter note can be heard all throughout. They both use harmonic minor to ensure a stronger V to I resolution.

Without this “raised” note, the progression Is Just not as convincing. They both depict the new style of Classical music by employing more dynamics; the long crescendos In the building string lines create a more dramatic effect when reaching the climax of the phrase. Where as they both use the V to I cadence for a driving effect, Beethoven uses the diminished chord very effectively in some of his abrupt stops. The listener is left totally in suspense as to what will come next. Beethoven’s use of a motive Is unfailing.

Almost every phrase Is an answer or imitation either directly reciprocating the previous melody or rhythm In every orchestral section. This creates more of a sense of urgency to get to the end of the lines. He also uses his orchestra a bit more effectively. From the opening sequence of notes bowed with severity in the low octaves of the stringed instruments, the listener is left with a feeling of intensity about the piece. Mozart orchestration sounds a bit more “light and airy. ” He uses many scales and runs that resemble a “nicer sound almost from the Baroque era.

It reminds me of listening to contrapuntal lines from a Bach Fugue; the virtuosity Is there, but the passionate and emotional feelings are Mozart use of the brass section is not as big and pompous as Beethoven’s is. French horns really stand out in Beethoven’s work; It gives a more poignant sound that is different from the driving string sections. Whereas horns cannot be nearly as virtuosic in running lines, it is extremely effective to use them to bolster the grand theme heard. However, both composers utilize their woodwinds sections effectively.

With the opening themes primarily driven by strings, they both translator towards the middle of the pieces to sweeter melodies carried by the flutes and clarinets. Beethoven’s Symphony No. 5 In C Minor resonates more with me than does the other piece. It defines the minor tonality more distinctly and makes it more of a moody piece, which I prefer more. I like his string writing more than that of the Mozart piece. I really enjoy hearing the basses come above the top of the ensemble ND dominate the sections.

This, of course, may be why I am a bass player at heart. I chances for a change in emotion. In movie scores, they use the big fully diminished chord spelled out in the entire orchestra as a suspense hanger; he does the same thing in these giant crescendos and immediate stops. At one point, the piece modulates into its relative major which creates a sense of completion. Mozart doesn’t do this; it sounds like a series of scales and runs that never comes to full fruition of a climax.

Secondly, it helps build your team skills and your social skills. Finally, music helps broaden your knowledge of cultures. These reasons are just the tip of the iceberg. Music is the glue that helps connect us all. Firstly, Imagine a wonderful combination of notes and sounds, calming people down. It helps take away everyone’s troubles. A combination of notes that relaxes you and allows you to float away with the sounds. A combination of notes that everyone can enjoy. Melodic music is like a calming stream and is a great stress relief.

Many people enjoy coming home and playing on their instruments and unwinding after a long and stressful day. Music also helps you learn, not only patterns and rhythms but math’s and other school subjects as well. It has been proven that students who participate in a music program score higher on tests and do better in school. It doesn’t matter if the students are in primary school, middle school, or high school, as the results are the same throughout all years of schooling. According to a study done tit year g’s, some students played the Plano and keyboard, while other students did not.

The students who participated In playing the Plano and keyboard scored 27% higher In math tests than the students who TLD participate In learning the Instrument. Another study with high school students who took the Stats showed that students with experience in music performance and music appreciation scored higher, by up to 63 points, than students with no arts participation. There are multiple studies that prove time and time again that music programs are very valuable and beneficial for students. Secondly, music helps build your team skills. Team skills are a very important in life.

Whether It’s playing a sport, or having to do a Joint project at school, everyone, at some stage will have to be part of a team. Playing an instrument requires you to work with others, so your music sounds good. In a band or orchestra setting, you must learn how to cooperate with the people around you. Also, In order for a group to make beautiful music, each player and section must learn how to listen to each other musical instrument leads to the potential chance of creating or Joining a group or and. Performing and rehearsing together may lead to you becoming friends.

The world of music opens doors that usually wouldn’t be open to you. It provides the opportunity to go to places and meet people that you may not have had the chance to meet before. It’s very common for people to gain lifelong friendships through musical activities. Finally, music helps you understand other cultures. Often music reflects the environment and times of its creation. Therefore, you learn a variety of music types such as classical traditions, folk music, medieval, and other genres. Music itself is history, and each piece usually has its own background and storyline that can further your appreciation of other cultures.

Music can include a range of different instruments, from all over the world. When you are listening to music from another country, you may notice some things that seem odd. Whether it’s a different language being spoken or sung, or an instrument like tapping sticks that you may have never heard before, every song has a part of its country included into it. After all, music makes the world go round. In conclusion, today’s world is one of rapid growth and development in all areas, be it technology, population, or any number of things.

A well-rounded education is essential for equipping students with all the skills necessary to fare well in modern society. A strong emphasis on the basic core areas of reading, writing, math, and science are a must, but music should be as well. This way more students will learn to love music and will carry on the tradition of making music for the world hear. Not only can music better prepare students for successes both academically and referentially, but it can also become the base for a memorable, happy, and involved social life.

The future of this planet lies in the hands of the students; are we going to poorly equip them by denying some of them the opportunity to experience and learn from music or are we going to prepare them for success and let them play musical instruments? Whether you are poor or rich, young or old, smart or dumb, music unites us all. If you are not playing an instrument, I suggest you go and start learning one. Are we really going to deny that playing a musical instrument is important?

The endeavours of some Experimentalist composers in the 1950s and 1960s, including Cornelius Cardew and John Cage (parenthetically, Cage’s own quote, ‘Let the notations refer to what is to be done, not what is to be heard’1 , has resonances with the title quote) were a purposeful reaction to the determinacy of the Serialists. However, the notions of integral serialism and indeterminacy shared common elements in some eyes:

There is really no basic difference between the results of automatism and the products of chance; total determinacy comes to be identical with total indeterminacy…. 2 The way a piece is notated allows us to come closer to understanding ‘the musical culture within which [notations] operate, and of the ways in which our modes of thought are influenced by the nature of the systems we use’3. This relates to the societal view that the composer is the one who has something to say, reducing the status of the performer to that of interpreter.

However, this is not a view that has always existed; composers such as Mozart and Beethoven often expected performers of their works (including themselves, to which I shall return) to create improvised cadenzas for their concerti, while, additionally, the accompaniments were improvised to an extent. Reducing this to a basic level, is it simply the case that, harmonically and stylistically, it was not as difficult to do this in Mozart’s time? We no longer have a tradition, or such a tonal system embodying a guiding code, to respect in this way, which has contributed to the prioritising of the composer, and the score.

Through our traditional respect for the written word, one expects to perform music as it is written, which itself has consequences: ‘… it is our veneration for the urtext that leads us to the attitude that ‘whatever is not in the score must be wrong’. “4 The movement towards greater notational detail in the score in the 1950s and 1960s, along with the aforementioned elevated view of composer as ‘master’ brought performers to a situation where “interpretation” became subjugated by “execution”.

Attempts to exert compositional control over every element of a work -that is not only time-space relationships but forms of attack, articulation, dynamic shading i. e. those elements traditionally left to the musical intelligence of the player – do posses a certain futility. In every case which involves human input, something is left to the performer. They do not have to be aware of the extent that their unconscious ‘decisions’ influence a piece, which include the elements of performance out of the possible control of the composer, for example a player’s personal style, method of playing their instrument, conception of dynamic level.

Players still take latitude, however determinate the notation. Their personal mannerisms and inflections will inevitably influence the end result. When viewed in this way, such precision on the part of the composer becomes almost meaningless, except in cases where the end result being an approximation is intentionally part of the composer’s aesthetic. It arises that performers must be cautious of the primacy of the score, handling it (and the composer) with ‘kid gloves’.

It leads to narrow scope for, and range of, interpretation “… a state in which the interaction of compulsive exactitude and permissive freedom could result in simultaneous attitudes of carelessness towards the controlled elements and a confined and repetitious response to spontaneity in playing”5. Freeing oneself from the page became an important part of the experimental aesthetic. Conscientious performers feel a responsibility to the composer, and to their own integrity.

Over-complexity in notation leads to problems with the realisation of the composer’s intentions when directives are inevitably contravened through necessity. However, a performer would really have to be familiar with a composer’s aesthetic to know that this otherwise unacceptable act is part of the piece’s implicit significance. So, in a piece of huge complexity, notated or otherwise, a player who makes the ‘act of commitment’6 to study and attempt to decipher it, is likely to have a legitimate interest in actually performing the piece.

One element which appears to permeate much of Cardew’s output is a re-evaluation of the role between composer and performer. Cardew attached as much importance to the workings within the implementation of performance as the end-result in sound. His wish was to challenge accepted ways of thinking about, and making, music, which led to a notation which was action-oriented, inclusive and descriptive, not prescriptive. As suggested by the above quote, ‘… he sound [becomes] a by-product of the activity, which is therefore specified exactly, while the sound may be left to look after itself. ‘ 7 Cardew writes of ‘a notation’, as in ‘there are many notational possibilities’. How, though, can a notation really capture every conceivable piece of information about a piece? Obviously, ‘conventional’ notation, that is notation which covers time-pitch relationships, is not flexible enough to relate extended compositional requirements. “…

The whole process depends on the choice of a suitable notation to serve as a link between A [composer] and B [performer]; one which will both express what needs to be expressed and allow information to flow smoothly between the two. “8 Even so, composers are less concerned with the relationship of the score to the performer, and consequently the sounds (A to C via B), than to their own concerns with sounds, without due consideration for the act of performing these sounds (A to C).

Cardew suggests that a composer could work on their notation with the way a performer will interpret the signs in mind, thus ‘making the sounds’ you wanted as a composer. Transcribing one’s ideas in such a manner as to enable the performer to comprehend your directives, and even involve the player in decision-making, is a performance-perspective oriented view, having the added benefit of lending greater objectivity to the compositional task. ‘… A paradigm that grew up in the early twentieth century… aw the composer as some kind of absolute genius capable of imagining a perfect performance of a piece’9 The ‘tendency towards greater explicitness’10, which this comment infers, is part of a paradigm of composition far removed from the way composition was historically defined.

Yet, the morphology of every new notation, and the consequential absence of a ‘norm of common notational practice’, meant that immediate recognition of a composer’s intentions became impracticable. 11 One underlying issue to be addressed in greater depth is that of the relationship between composer and performer.

Hugo Cole states that ‘notation evolved to meet felt but inarticulate needs’12 When new methods of notation are devised in response to the need to articulate a newly developed style of composition, composers move the hypothetical goalposts further away again from the performer, as they have to once again learn the new language, interpret again the new signs and work out what the piece (or the composer) is trying to ‘say’. This applies in equal measure to determinate music and experimental, though the degree of freedom lent to the performer in the latter case deems it in many ways a more satisfying task.

It somehow restores the performer’s role as musically intelligent interpreter, relied upon to add the nuances and subtleties that (traditional) notation cannot accommodate. The rigidity of a notation must have relevance to the playing situation. To provide contrasting examples; the notations in many works by Brian Ferneyhough are complex attempts to notate those aspects of music which would otherwise be added -unconsciously or consciously-by the performer. This style of notation does not have the effect of reducing the burden on the performer, but adds to the already substantial amount of information the performer has to transmute into sound. In music of the New Complexity: performer is subjugated and manipulated, concluding that his efforts are of secondary importance.

The act of writing, the systems and the notation take on more importance than the music it is there to serve… ’13Yet, Ferneyhough’s scores are more than mere receptacles for ‘performance directions’, they are inextricably linked to the composer’s ideology. Their complexity is wildly challenging, but, paradoxically, the goal is not to fit in every event on every note; rather, the essence of his works lies in what is omitted in performance.

This has a potent psychological effect on the classically-trained performer, accustomed to polished performances true to the composers wishes. With Ferneyhough, what he wishes is effectively equivocal, due in part to his documented changing views of his own output. Frederic Rzewski concludes that ‘… it is not the notation but the compositional position that presents the performance problem. ’14 We must additionally consider the example of those composers of equally complex, some may say impractical, music, who are also renowned performing exponents of their own scores; for example Michael Finnissy.

By the nature of their enterprise, they are forced to consider the performer and, in Finnissy’s case, continue to write music of such paradoxical complexity that, if one was to follow the score, is full of “errors” in performance, but still faithful to its essence. ‘The composer-performer [reacts] to their own notational problems, they know what idiomatic writing is being performers themselves and still choose to write music in a particular style’15 To contrast, take composer Glenn Branca’s Symphony no. 6 ‘Devil Choirs at the Gates of Heaven’, written in the main for electric guitars.

He employs ‘staff notation’, and no dynamic markings are evident as, naturally, the resultant dynamic of a piece of this nature will be at least fortissimo. Ironically, Branca’s use of conventional notation links to his perception of it as being ‘exact’: I had never written the pieces in staff notation until I wrote for the orchestra. Then I fell in love with the idea of having things so exact, with this notation, that I called up all my musicians [guitarists] and asked ”can you guys read music? ” It turned out that everybody could… so we just started doing everything in staff notation.

Not only did it make things clearer for me and the musicians, but it did change the music. 16 Branca’s closing comment that ‘it did change the music’ makes for interesting side-thought. For him, there were no subtleties or nuances that could not be recorded using this type of notation; in fact, it helped him to clarify and articulate his thoughts, correlating with the idea that notation must reflect the playing situation. The music of Christian Wolff embodies a similar aim to Cardew’s, encouraging performer participation in the creation of a work and devising notations which allow such interaction.

Theirs is an ‘aesthetic of non-intention’, away from the conventional burdens of music: [music] must make possible the freedom and dignity of the performers. It should have in it a persistent capacity to surprise (even the performers themselves and the composer)’17 He creates deliberate paradoxical situations where what is written cannot be executed, for example in 6 Players where he asks one of the solo violas to ‘play eight notes in a quarter of a second, including three harmonics and one pizzicato’18.

His use of indeterminacy in performance opens the work to external influences genuinely beyond the composer’s intentions, and the barrier between performer and composer is reduced. 19 This use of indeterminate operations necessarily led to new attitudes towards performance. A working example of experimental notation is Cardew’s Octet ’61 [Example 1, below], which employs ‘an ambiguous ciphered notation, the working out of which by each performer leads to unforeseeable combinations of events that could be produced neither by strict composition nor by free improvisation.

20 As we have seen, ‘simple’ notation does not necessarily equal many possible interpretations, and on the same line, an elaborate notation such as Cardew’s can permit varied interpretation. The psychological impact of how the music looks on the page invites varied readings; the printed page is a storage medium where an inevitably incomplete representation of ‘notateable’ ideas can be retained for the future.

The fact that this aspect of the work does not change over time, like a painting or a book, does not mean that the piece will not change and evolve. Art’s ability to carry societal properties, to evolve and reflect changing times is surely part of its value. The search for greater notational control led to greater complexity, yet the early influence of the possibilities of electronic music must have contributed to this pursuit.

Peter Zinofieff spoke of an early ideal, satisfied by electronic composition, where ‘we can each have our own private language specially tailored for our own machines and individual needs or frustrations’ 21 Ultimately, though, the performer’s job is ‘to make the relationships and patterns in the music clear to the listener’s mind and ear’22. This hope, though, displaces the enduring problems which lie between composers and those who are employed to realise the work, be they human or otherwise.