Abstract This essay critiques an experiment testing the use of classicalmusic to improve the test scores of a number of spatial tasks. The paper describes the methodology of the experiment and discusses the findings, particularly that exposure to complexly-structured classicalmusic leads to an improvement in abstract reasoning ability.
From the Paper "In the experiment studying music and spatial task performance, the purpose was to "demonstrate the correlation between music cognition and cognitions pertaining to abstract operations such as mathematical or spatial reasoning." The experimenter's findings were that: exposure to complexly-structured classical music leads to an improvement in abstract reasoning ability. According to the statistics, this hypothesis seems correct, but there are a number of aspects of the study which are in need of improvement. One weak area of the study is length of time the music was played for. In the study, the students listened to ten minutes of classical music, ten minutes of a relaxation tape, and ten minutes of silence, prior to performing standard IQ spatial reasoning tasks."
Abstract The following discussion provides an analysis of the Classical Era, which represents much of the work of Beethoven, Mozart, and Haydn. The writer points out that these composers have withstood the test of time due to their valuable and significant contributions to the classicalmusic genre, and their unique works continue to be enjoyed by individuals of all ages and cultures.
From the Paper "The role of classical music as a bona fide art form is of critical importance to the development of music as a means of true artistic expression. During one of the most formidable periods of classical music, which took place during the 1700s and 1800s, there was a reintroduction of traditional forms to the music genre, which provided a means of structure and symmetry that was not evident for some time. This period in music history provided a greater emphasis on simplicity, and it removed some of the emotional context that Baroque music was known for. This era is perhaps best known for the development of the following musical forms: symphonies, sonatas, and concertos, all of which provided enormous contributions to the period as a whole."
Abstract This paper describes the author's experience of attending a classicalmusic concert and the emotions that were felt from listening to the music. The author gives a background of the orchestra that played, then explores the impact and influence of music on its listeners and its therapeutic effects as well. The paper concludes with a discusison of how classicalmusic appreciation is becoming more widespread.
From the Paper "The concept of music as therapy is a very mainstream idea, however, very few people really understand the nuances of musical therapy. People tend to think that any type of background music will cause them to become calm and focused, receiving the therapeutic effects of music. Quite to the contrary Dr. Oliver Sacks, a neurologist writes that there is a strong difference between recreational music and therapeutic music. He explains, "the power of music to integrate and cure is quite fundamental. It is the profoundest non-chemical medication" (Sacks, npg). The beauty of music in general is that music is very easily absorbed by our minds. Since it is such an easy integrating method with our brains, we can achieve a sense of greater peace and tranquility when fully concentrating on music. At the core level, classical music is one of the strongest therapeutic musical mediums. This is because the therapeutic affect of music can be strongly attributed to the natural phenomenon of entrainment through rhythm. The concept of entrainment is to synchronize with something or someone, in both positive and negative ways. The effect of classical music as therapy is multifold, it is both psychological as well as physical. Sound is a physical force and part of the affect of classical music is to use the combination of mental and physical sensations caused by the music. As a result, classical music such Mozart's no. 23 Concerto affect not only the mind, but also how the immune system reacts. Music is entrenched in such a way that it becomes catalysts for emotional and mood adjuster, precisely because it uses physical sensation as a trigger for emotions and thoughts."
Abstract This paper discusses the contention that pop music is tomorrow's classicalmusic within the context of rock/classicalmusic collaborations since the early 1950s. The paper makes the point that pop is as certainly the classicalmusic of tomorrow as classicalmusic is the spirit of rock today.
From the Paper "Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
Abstract The paper relates that Classicalmusic was a distinct style and period in musical history and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque. The paper compares Baroque compositions to those of the Classical era and points out the many differences. The paper points out, however, that both Beethoven's and Mozart's careers show that strict classification of musical styles is difficult.
From the Paper ""Do you like Classical music?" If you are asked this question, colloquially, usually the speaker means: do you like to listen to symphonic or orchestral music by composers of the past like Handel, Bach, Mozart, and Beethoven? However, this understanding and use of the term 'Classical' music is really in error, at least from the point of view of a historian of music. In fact, Classical music was a distinct style and period in musical history, and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque."
Abstract This paper discusses how, at first glance, the Baroque music period and Classicalmusic periods seem to be very much alike. They do, in fact, have many similarities, such as the same basic orchestral and chamber ensembles used in both periods. However, by carefully analyzing each period, this paper explains how distinct differences can be found.
From the Paper "The word "Baroque" comes from the Italian word barocco, which literally translates to bizarre, however some feel that when dealing with the arts, exuberant is closer to the aim of the translation, and exuberant is a word that perfectly fits this style of music. Although Baroque was first used to describe ornately decorated buildings in Austria and Germany, it quickly became used to describe a similarly ornate period of music."
Abstract This paper explains that the Georgia Head Start organization began distributing CDs with classicalmusic on them to every newborn child's mother as part of a program designed to aid in the early childhood development of children's intelligence. The author points out that, if pathways in the brain go unused, they will eventually wither away; however, a child who cannot yet form words and sentences can hear and be motivated by music, thus stimulating brain growth. The paper suggests that the program of handing out music CDs to parents whose children need the greatest amount of assistance available is a terrific plan, but poorly executed; instead, it would be better to regularly play classicalmusic in the Head Start centers.
From the Paper "The research of Rausher and Shaw was based on the initial belief that music learning, in some shape or form, may count among the kinds of experiences that lead to long-term changes in the brain's hard wiring neural development. Using a group of 84 college students, they demonstrated that listening to a Mozart piano sonata for 10 minutes improved the students' spatial-temporal reasoning skills. The students increased their ability to form mental images from physical objects, or to see abstract patterns in space and time. These skills are key to engineers and architects, and form the basis for understanding proportion, geometry, and other mathematical and scientific concepts."
Abstract The paper examines differences in the Baroque and the Classicalmusic styles. The paper looks at the melody, rhythm, harmony, texture, form and dynamics of both styles. The paper discusses the Sonata Allegro form and what types of works commonly use this form. The paper discusses the music of Mozart and relates that he is often seen as a bridge between the Baroque and the Classical eras.
From the Paper "In contrast to Classical music, Baroque music primarily tries to create a feeling of continuity rather than tell a story through a developing, evolving, or shifting use of melody. In Baroque pieces, the opening melody will be heard over and over again in the course of the piece. Many Baroque melodies are quite ornamental and elaborate while Classical melodies are much less adorned, and much easier to play and to remember ("Characteristics of Baroque Music," Thinkquest.org, 2007; "Characteristics of Baroque Music," Thinkquest.org, 2007). This greater simplicity allowed Classical composers to play with the use melody more within the different movements of the piece."
Abstract This paper begins by reveiwing literature on the topic of connections between intelligence and exposure to music (and especially exposure to classicalmusic). But beyond simply reviewing the existing literature, this paper also provides an examination of new primary data into the issue through the inclusion of material taken from interviews performed for this paper with teachers of music who specialize in a range of ages of children and have worked both with those studying music intensively and those exposed to music on a more casual basis.
From the Paper "While some teachers introduce music into the classroom because they believe that it helps to improve children's ability to do certain specific intellectual tasks well (usually spatial-intelligence tasks, a point discussed in the next section) others believe that it has an overall beneficial effect of raising students? ability to concentrate."
Tags: exposure, school, rhythm, classical, study, children
Abstract Joni Mitchell and Hector Berlioz lived in different parts of the world at different times. Berlioz died in 1869 almost eighty years before Mitchell's birth in 1944. This paper explains that Berlioz worked in the milieu of the symphonic orchestra and the complexity of classicalmusic of the nineteenth century, while Mitchell accompanied herself with a guitar in the revival of traditional folk music that was occurring in the 1960s. The writer shows how neither was educated formally in music, but both became established as composers of their own works which were marked by genius. It concludes that both artists were considered by contemporaries to be in the avant-garde of the musical movement of the times.
From the Paper "Berlioz was raised by prosperous parents in Paris, and was expected by his father, a physician, to enter medical school. The thought of a musical career was not given a great deal of respect by Berlioz's father, and he felt that the boy's future could only be secured by preparation to enter into a lucrative field like the practice of medicine.
But Berlioz was repelled by his first experience in an anatomy lab and left his medial studies as a result. The romantic movement was just beginning in France, and its rich palette of orchestral expression was being called "The Music of the Future." In 1825 Berlioz assembled an orchestra of 150, and he dreamed of an ensemble 467 instruments, with a chorus of 360."
Abstract This paper compares and contrasts two musical forms - Classical and Baroque. The paper explains that besides the distinctive use of dynamics, tonality and rhythm, it is also important to remember that despite the fact Baroque and Classicalmusic sound similar today,there were distinct differences in the instruments played and the venues where these musical styles were performed.
From the Paper "In common musical parlance today, the word 'Classical' is often used to connote any kind of music, other than contemporary or popular music, from an earlier period of Western music. However, it is important to remember that the Classical period of music is actually a distinct musical period, usually confined to the 19th century. The Classical musical period, which reached its zenith in Beethoven, came directly after the 18th century Baroque periods of Bach and Hayden. Thus, both periods were great, if distinct periods of musical development that fed into one another. "
Abstract This paper looks at the details which characterize the musical romantic and classical periods. It begins with a look at the classical styles and its composers, and then moves to address the romantic style and its composers. It concludes that distinct differences in purpose, emotion, form, function and fusion of musical genres are apparent in the two.
From the Paper "Classical music ranged from about 1750 to 1820, at which point Romantic music became the current style, which itself lasted until around the year 1900. As one inevitably lead into the other, their characteristics perhaps can be best described when they are fully compared to one another. The classical style, as exemplified by its composers, was more fixated on form, design, balance and grace, while romantic style instead aimed at fusing together musical genres to capture the true, expressive spirit of the work, as likewise captured by the composers of this era. The classical period aimed backwards in history, attempting to recreate the classical period of the past in Grecian and Roman terms. Classical music, like many other periods, had variations of its styles. Beginning as a courtly style, which most likely was a remnant of the previous baroque period, it was intended to please the ..."
Abstract Through an analysis of the music of eight Western classical composers, this paper attempts to understand how their various environments influenced their musical output. The eight composers that this paper studies are: Johann Sebastian Bach, Joseph Haydn, Richard Wagner, Peter Iljitch Tchaikovsky, Claude Debussy, Igor Stravinsky, Bela Bartok and George Crumb. The paper chooses to focus on specific compositions to demonstrate how each artist was affected by the events of his life -- from personal situations such as a family crisis, marriage or the loss of a loved one to broader social/cultural developments in his country or the world.
Outline:
Introduction
Johann Sebastian Bach
Joseph Haydn
Richard Wagner
Peter Iljitch Tchaikovsky
Claude Debussy
Igor Stravinsky
Bela Bartok
George Crumb
Conclusion
From the Paper "In Bach's Christ lag in Todesbanden (Church Cantata No. 4), written for Easter Sunday, the hymn melody and its verses are used exclusively throughout the piece. The opening measure, in the style of Buxtehude, Bach's mentor, is followed by seven verses, each having its own musical signature. In this opening measure, one can hear that the music is touched by the sorrows of death, but in the third verse, there is an outpouring of joy. This cantata was written in 1724 during a period in Bach's life that was full of musical expression. However, in 1720, his first wife, Maria Barbara died, and in 1721, Bach married Anna Magdalena Wuelken who bore him thirteen children. Thus, through the music of Cantata No. 4, Bach's sadness over the death of his first wife can be sensed; however, due to his strict religious upbringing, his joy can be sensed in the third verse which reflects his knowledge that his late wife is now with God in Heaven."
Abstract A review of the history of musical notation, the way that musical compositions can be passed from one generation of performers to the next generation of performers. According to the paper, musical notation makes musical training both more diverse as well as more practical. This paper discusses the development of classical and jazz musical notation.
From the Paper "Fake books and jazz notation originated with illegal transcriptions of overheard music, although most fake books today copyrighted with the permission of the artist. The original fake book transcribers were not trained musicians, however, merely persons who had overheard or played a particular song they liked and wished to improvise from the tune's base. The books began with music 'of the people' and were designed for musicians who were not often formally trained themselves, perhaps could not even read music very well, but knew enough to use the notes and skeletal information to create music in the context of a performance. Unlike a large orchestra, the musicians knew one another well, and could communicate with one another musically during a performance, unlike musicians across a large concert hall."
Tags:musical, ear, gifted, performance, band, composer, Mozart, instrument, Beethoven
