musical material, or composition, as held in western classical music. Even when music is notated precisely, there are Music Stats still many decisions that a performer has to make. The process of a performer deciding how to perform music that Music Stats has been previously composed and notated is termed interpretation.
Different performers' interpretations of the same music can vary widely. Composers and song writers Music Stats who present their own music are Music Stats interpreting, just as much as those who perform the music of others or folk music. The standard body of choices Music Stats and techniques present at a given time and Music Stats a given place Music Stats is referred to as Music Stats performance practice, where as Music Stats interpretation is generally used to mean either individual choices of Music Stats a performer, or an aspect Music Stats of music which is not clear, and Music Stats therefore has a "standard" interpretation.
In some Music Stats musical Music Stats genres, such as jazz and blues, even Music Stats more freedom is given to the performer Music Stats to Music Stats engage in improvisation on a basic melodic, Music Stats harmonic, or rhythmic framework. The greatest latitude is given to the Music Stats performer in a style of performing called free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived. According to the analysis of Georgiana Costescu,[citation Music Stats needed] improvised music usually follows stylistic or genre conventions and Music Stats even Music Stats "fully composed" includes some freely chosen material. Composition does not always Music Stats mean the use of notation, or the known sole authorship of one individual.
Music can also be determined by describing a "process" which may create musical sounds; examples of this range from wind chimes, through computer programs Music Stats which select sounds. Music which contains elements selected by chance is called Aleatoric music, and is associated Music Stats with such composers as John Cage, Morton Feldman, and Witold Lutoslawski.
Musical composition is Music Stats a term that describes the Music Stats composition of a piece of music. Methods of composition vary widely from one Melancholy Of Haruhi Suzumiya Music Mp3 composer to another, however in analysing music all forms Music Stats � Music Stats spontaneous, trained, or Music Stats untrained � are built from elements comprising a musical Music Stats piece. Music can be Music Stats composed for repeated performance or it can be improvised: composed on the spot. The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally Music Stats been dominated by examination of methods and practice of Western classical music, but the definition of Music Stats composition is broad enough to include spontaneously improvised works like those of free jazz performers and African drummers.
What is important in Music Stats understanding the composition of a piece is singling out its Music Stats elements. An understanding of music's Music Stats formal elements can be helpful in deciphering exactly how a piece is constructed. A universal element of music is how sounds occur in time, which is referred to as Music Stats the rhythm of a piece of music.
When a Music Stats piece appears to have a changing time-feel, it is considered to be in rubato time, an Music Stats Italian expression Music Stats that indicates that the tempo of the piece changes to Music Stats suit the Music Stats expressive intent of Music Stats the performer. Even random placement of random Music Stats sounds, which occurs in musical montage, occurs within some kind of time, and thus employs time as a musical Music Stats element.
Notation is Music Stats the written Music Stats expression of music notes and Music Stats rhythms on paper using symbols. When music is written down, the pitches Music Stats and rhythm of the music is notated, along with instructions on how to perform the Music Stats music. The study of how to read notation involves music theory, harmony, the study of Music Stats performance practice, and Music Stats in some cases an understanding of historical performance methods.
Written notation varies Music Stats with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music Music Stats parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, Music Stats the standard musical notation is the lead sheet, Music Stats which notates the melody, chords, Music Stats lyrics (if it is a vocal piece), and Music Stats structure of the music. Scores and parts are also used in Music Stats popular music and jazz, particularly in large Music Stats ensembles such as jazz "big bands."
In popular music, Music Stats guitarists and electric bass players often read music notated in tablature, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.
Notated Music Stats music is produced as sheet music. To perform music from notation requires an understanding of both the musical style and the performance practice that is associated with a piece of music or genre.
Improvisation is the creation of spontaneous music. Music Stats Improvisation is often considered an act of instantaneous composition by composers, where Music Stats compositional Music Stats techniques are employed with or without preparation.
Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques. In a Music Stats more detailed Music Stats sense, music theory Music Stats (in the western system) also distills and Music Stats analyzes the elements of music � rhythm, harmony (harmonic function), melody, structure, and texture. People who study Music Theory Dictionary these properties Music Stats are Music Stats known as music theorists.
The field Music Stats of music cognition involves the study of many aspects of music including how it is processed Music Stats by listeners. Rather than accepting the standard practices of analyzing, composing, and performing music as a Music Stats given, much research in music cognition seeks instead to uncover the mental processes that underlie these Music Stats practices. Also, research in the field seeks to Music Stats uncover commonalities between the Music Stats musical traditions of disparate cultures and possible Music Stats cognitive "constraints" that limit these musical systems. Questions regarding Music Stats musical innateness, and emotional responses to music are also major areas of research in the field.
Deaf people can experience Music Stats music by feeling Music Stats the Music Stats vibrations in their body, a process which Music Stats can be enhanced if the individual holds a resonant, hollow object. A well-known deaf Music Stats musician is the composer Ludwig Music Stats van Beethoven, who composed many famous works even after Music Stats he had completely lost his hearing. Music Stats Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since age twelve, and Chris Buck, a virtuoso violinist who has lost his hearing. This is relevant because it indicates that music is a deeper cognitive process than unexamined Music Stats phrases such as, "pleasing to the ear" would suggest. Much research in music cognition seeks to uncover these complex mental processes involved in listening to music, which may seem intuitively simple, yet are vastly intricate and complex.The music that composers make can be heard through several Music Stats media; the most Music Stats traditional way is to hear Music Stats it live, in the presence, or as one of the musicians. Live music can also be broadcast over the radio, Music Stats television or the internet. Some musical styles focus on producing a sound for a performance, while others Music Stats focus on Music Stats producing a recording which mixes together sounds which were never played "live". Recording, even of styles which Music Stats are essentially live, often uses the ability to edit and splice Music Stats to produce recordings Music Stats which are Music Stats considered better than the actual performance.
As talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work.[6] During the Music Stats 1920s live musical performances by orchestras, Music Stats pianists, and theater organists were common at first-run theaters[7] With the coming of the talking motion Music Stats pictures, those featured performances were largely eliminated. The AFM took Music Stats out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image Music Stats of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Music Stats Emotional Reaction Whatever"
Since legislation introduced to help protect performers, Music Stats composers, publishers and producers, including the Audio Home Recording Act of 1992 Music Stats in Music Stats the United States, and the 1979 revised Music Stats Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and internet in a form that is Music Stats commonly known as music-on-demand.
In many cultures, there is less distinction between performing and listening to music, since Music Stats virtually everyone is involved in some sort of musical activity, often communal. In industrialised countries, listening to music through a recorded form, such as sound recording Music Stats or watching a music video, became more common than experiencing live performance, roughly in the Music Stats middle Music Stats of the 20th century.
Sometimes, live performances Music Stats incorporate prerecorded sounds. For example, a DJ uses disc records for scratching, and some 20th-century works have a solo for an instrument Music Stats or voice that is performed along with music that is prerecorded Music Stats onto a tape. Computers and many keyboards can be programmed to produce and play MIDI Music Stats music. Audiences can also become performers by participating in Karaoke, an activity of Japanese origin which centres around a device that plays voice-eliminated versions of well-known songs. Most karaoke machines also have Music Stats video screens that Music Stats show Music Stats lyrics to songs being performed; performers can follow the lyrics as they Music Stats sing over the instrumental tracks.
The advent of the Internet has transformed the experience of Music Stats music, partly through the increased ease of access Music Stats to music and the increased choice. Chris Music Stats Anderson, in his book The Long Tail: Why the future of business is selling less of more, suggests that while the economic model of supply and demand describes Music Stats scarcity, the Internet Music Stats retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole Music Stats inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands of niche markets.
Another effect of Music Stats the Internet arises with online communities like Youtube and Myspace. Myspace has made social networking with other musicians easier, Music Stats and greatly Music Stats facilitates the distribution of Music Stats one's music. Youtube also has a large community of both amateur and professional musicians who post videos and comments. Professional musicians also use Youtube as a free publisher of promotional material.
Youtube users, for example, no longer only download and listen to mp3s, Music Stats but also actively create their own. According Music Stats to Tapscott and Williams, Music Stats there has been a shift from a traditional consumer Music Stats role to what they call a Music Stats "prosumer" role, a consumer who both Music Stats creates and consumes. Manifestations of this in music include Music Stats the production of mashes, remixes, and music videos by fans. |
