Acousmatic music can be challenging to communicate its intention to the listener. Unlike traditional music their is 'no score, no system and no pre-segmented discrete units like notes' (Anderson, 2007; p. 2). Acousmatic music uses what is heard without seeing or knowing the physical origin of the sound as a compositional tool (Contré, WWW). 'It is a type of electroacoustic music, which exists in a recorded format, transmitted and perceived, during performances, via the loudspeaker' (Anderson, p. 2). Rather than understanding conventional musical forms acousmatic music may rely only on communication. Communication primarily focuses on language. There are different forms of language when introduced to electroacoustic music. Language can be understood through listening, perception and identification or understanding (Adkins, 1999; p. 2; Delalande, 1998; pp. 26 - 49; Nudds, 2007; p.7; Seddon, 2005; p. 1). These will be looked at to see if they can help in communicating the intention of acousmatic music to the listener. Understanding language beforehand may help in better understanding listening, perception and identification.
Language is the bearer of meaning and is a universal medium of communication (Evans, 1973; p. 42; Stenlund, 1990; p. 14). With in electroacoustic music, language is used as a 'tool for establishing an aesthetic' (Keane, 1986; p. 118). Pierre Schaeffer considers it as being 'presupposed' (Windsor, 1995; 1.1.1). Although, both talking about language they talk about different aspects of language in relation with electroacoustic music. Schaeffer talks about the creation of music, Keane talks about the process before making music. Schaeffer's theory of language may mask the communication between composer and liste...
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...eane's suggestion of explaining and expressing the intention to the listener through speech or literature (communication) seems like the most plausible way of making sure the listener will know the composer's intent. This way the listener could put the composer's intention together whilst listening, which may make the listening experience more enjoyable. 'The more informed the listener is about the music the more pleasurable and meaning the listening experience' (Burton, Cavalier, Hoffer, Hughes, 1997; p. 1). Although, there are listeners who want to make their own listening experience through their perception regardless of knowing the intention of the piece. The only listeners who enjoyed the pieces were the musically trained listeners. Their theory was listening to acousmatic music may help them in gaining a wider understanding on the subject as it is ambiguous.
1. Music is a strictly local expression, rich in variety since each culture expresses affective differences through art, 2. Music is a poetic process--complex, vague, and irrational--based upon borrowed traditional musical materials (melodies, rhythms, forms, etc.), 3. Music is for a religious, elitist-class performer who can understand and appreciate its mysterious nature and power, 4. Music is played softly in intimate gatherings, 5. Music making is the activity of Everyman, exacting the talents of variously trained amateurs who, with industry and practice, decorate their recreation and leisure in moments of social intercourse.
Communication comes in many forms: written words, spoken words, sign language, pictures, gestures, etc. Each of these forms of communications can be an effective way to express oneself. The ways to communicate are as numerous and diverse as the people who use them to convey their thoughts and ideas. One of the most universal forms of expression is music. Music can be a combination of several forms of communication or just simple sounds that move the soul.
Robert Kraut in “Jazz and Language” explores the question of whether jazz music can be considered a language. He cites the jazz musician Martino who claims, “Music is a language like any other language” (202). He says that jazz performances have a conversational or “dialogical” (205) quality. Jazz and Blues has no words to describe the meaning or statement, rather evoking aesthetic emotions when listening to the genre. The interaction of the jazz musicians is a collaborative communication of speaking through jazz music. A jazz drummer like Max Roach, stated “the first note that, you are responding to what you’ve just played: you just said this on your instrument, and now that’s a constant” (202).
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Music is one of the most powerful and influential language which to many people in
The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems for each work – that the effectiveness of their approaches in realising a sonic concept can be assessed only on a case-by-case basis. But the significance of early graphic scores does not depend entirely on how they sound; rather it lies in their capacity to accommodate or even to generate new forms, techniques and mediums, and to challenge notions of what constitutes a musical composition. In addition, these works demonstrate that notation can extend beyond instructional functionality to allow for prominent interpretive and aleatoric elements, and can harbour an intrinsic aesthetic value of its own, apparent before a single note is sounded.
The book is divided into four chapters: 1) Humanly Organized Sound, 2) Music in Society and Culture, 3) Culture and Society in Music, and 4) Soundly Organized Humanity. In chapter one, Blacking discusses the analysis of sound. He begins by describing music as humanly organized sound. His overarching theme is that “the function of tones in relation to each other cannot be explained adequately as part of a closed system” (30). In other words, music can’t be analyzed simply by one set of rules. This is because every single culture has a different system that they use to structure and compose their music. In order to adequately analyze a society’s music we have to study their “system.” We must learn what music means to them. Then, and only then, can we accurately and completely analyze what a particular type or piece of music means to a particular society and culture.
I want to discuss the function of music to combine intention and perception. I believe in the prehistoric, people sing or beat on the tough surface because they want to express their emotions, otherwise they have no reason to sing. Similarly, the composers also write the songs to express their feelings. Nevertheless, a piece of music which cannot trigger the change of feeling to audience cannot regarded as a musical sound. According to Thomas Schafer, "When people listen to music they usually try to attain specific goals. Those related to self-awareness and the regulation of mood and arousal are relatively important to them and those related to social relatedness less so"(12). From the research, Schafer get a conclusion that the music which can let people attain goals related to self-awareness and the regulation of mood and arousal will increase the strength of music preference(12). Hence, the function of music is to express the emotion and then influence the audience to let them have the same feeling as composers or performers. For example, Beethoven composed the famous Fate Symphony, or called Symphony No.5 in C major to show his determination to fight with the fate, for Beethoven the fate is the loss of his lover. While it is not the only purpose to write this symphony. The final goal is to move the
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...
Music and the relationships of music have changed drastically in our society. The course of studies and the evaluations of the applications of the technology of music, the making and the listening of music have changed in the way we listen to music, the styles of music in our society and in the media. The importance of the technology in music today, has, over the past century been charted through the study of musical examples and through viewing how human values are reflected in this century's timely music. There are very many different types of music that are listened to. There are readings, writings, lectures and discussions on all the different types of music.
Music: the art of organized noise. The blend of pitch and rhythm combined in different mediums and enjoyed by our ears. A very interpretive art, music isn’t very clearly constricted or defined by one definition. With so many varieties of music, it’s difficult to say what aspect is really the most important. Some people think music’s history and the appreciation of music are the most important aspects to take into consideration. Some think complex in rhythms and melodies make the best music. Some people devote their whole lives to studying one genre of music in order to fully understand how that genre works. While all of these aspects of music are important, none of them can truly be compared with each other on a fair playing field. Music of different genres, eras, and geographic backgrounds were written for different purposes, different people, and different settings. Still, there is still one overarching theme that applies to all forms of music new or old: the way the composer presents his or her creation. The performance and presentation of a work of music is like the icing on the top of a cake. The cake may be the best you’ve ever tasted, but if the icing on the outside doesn’t look appealing or doesn’t taste good, chances are you’ll take a different piece of cake with better looking frosting next time. The performance of music is what appeals most to people. With live performance, an artist must “sell” his or her creation. They must put smile on their face and convey to the audience that this is their music and through the music explain why it’s awesome. They must persevere through whatever the stage, the audience, and their surroundings give them and put on a good show. In today’s popular music though, this aspect of showma...
There are many ways in which music affects and surrounds us. It is our creative outlet, our passion, our distraction, our night out or simply our moment of relaxation. Throughout the centuries, music has played a vital role in our lives. We as a society immerse ourselves in music day to day. From grandiose social gatherings and dances in the Middle Ages, to live concerts and monumental performances to date. Music is in films to elicit emotion and in television commercials to make us consumers of the newest technology. More importantly, it is in our preferred listening device because we choose the particular songs and artists we like and want to hear. The Marriam-Webster dictionary defines music as “sounds that are sung by voices or played on musical instruments; the art or skill of creating or performing music.” But why do we choose attend the Bruce Springsteen concert at Wrigley Field and not the Chicago Symphony Orchestra? What makes us enjoy one type of music or artist and not another? Whether you make music or simply enjoy it by listening to it, we are all connected to music in a variety of ways.
“The parallels between musical and linguistic boundaries are obvious” as stated in author Peter M...
“Mary had a little lamb, little lamb, little lamb; Mary had a little lamb, whose fleece was white as snow.” For centuries “Mary had a little lamb” has become one of the most universally recognized nursery rhythms since being published in 1830. Centuries later it is still one of the most popular songs of the world. Merriam Dictionary defines music as “the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity.” With that in mind, music is found everywhere. Whether it’s in the Great Wall of China to the jungles in Africa, music is found everywhere. The main purpose of this paper is to show that music is in fact a universal language by comparing music with other official languages, showing how music influences emotions and how music literacy and emotions helps people understand music as a language. In order to fully execute my purpose of proving that music is a universal language, I will be focusing on using personal experiences, researching articles and specific musical examples from class.
In conclusion towards the arguments and observations, musical expression consists in presenting emotion characteristics in appearance. It turns out people listen to music as having a purposeful nature and that it has an effect on psychological emotions. If there is a case in which music showing emotional qualities with no reference to feelings, there is a case of happy music that is not powerful of happiness.