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Music and Psychology

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It’s a favored song, remembered from childhood, abandoned by the radio over a decade ago; but it appears now, shivering out from the static, offering a familiar delight. And you find yourself… singing in the car. This is an unexpected occurrence. You are forever reserved, kept tamed to the silence of your thoughts. But now you ignore your accepted ways, tossing them aside for the sake of a melody. You shriek out laughter and uneven words, recalling lyrics you have not heard for too many years to count. They are still known, however. They are still recognized. And you feel far happier than you did mere minutes ago.

The power of music (its impact on emotions, logic and gestures) has forever been understood as important. Sounds can summon immediate memories and sensations. But, though this is agreed upon by many, it is understood by few. And so it must instead be studied.

Musical Psychology is therefore necessary.

As its name explains, Musical Psychology is the exploration of the effects that music can have on the mind and body. It seeks to find proof of the correlations between lyrics and feelings, and wishes to learn of societal expectations. Research is offered to a variety of issues, such as: the influences of peers on song selection, the way individuals perceive sound, the importance of ceremonies and music and why a certain few can master instruments without any technical training and others cannot. Through these questions the human condition can be better explained.

Some doubt this, however. They believe that Musical Psychology is little more than a futile effort, trying to force solemn studies into what is meant to be simple symphonies. Instead, though, it shows the evolution of cultures through their changing instrumentals and offers insight into why certain sounds trigger emotional responses. It is a broad form of education that has several purposes – and each of those is vital.

Music is more than a pastime. It is instead tangled with every single moment in our lives.

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Understanding Music: Theory and Application

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You are without limits – your interests and passions are found in all genres, all sounds. Music, you are certain, is not to be limited. It is instead to be explored for its many facets, the emotions it can conjure. Your fascination is endless and your respect is well recognized. Your ability to distinguish techniques and instruments, however, borders on the non-existent. Staff notations cannot be read. Melodies cannot be translated. And the idea of explaining the difference between all the various string selections makes you cringe in uncertainty. You adore music. You simply can’t define its practicalities.

This is unfortunate.

Music is meant to be experienced for more than its sounds. It is instead to be understood for the techniques it requires and the patience it demands. And this is why Music Theory becomes so vital.

This field, simply explained, is the study of music. It is not to be confused with the more common Appreciation or Psychology. It is instead the learning of the fundamental principles and how they are applied. Theory explains how songs are actually crafted – defining the elements that create them and their importance.

Such elements are:

1. Pitch. Measuring the frequencies offered per second, pitch establishes the tone and styling of any song. Theory offers how these stylings are created and what must be done to ensure they are in unison between a variety of instruments.

2. Melody. The collection of notes and their timing, melody defies how a song is to progress. It must be precisely followed to ensure a piece is performed as intended by the composer.

3. Rhythm. The arrangement of speed of notes, rhythm dictates a song’s fluidity and transitions. It is composed of individual beats that lead the meter where it must go. The rhythm is the driving force of any piece.

By understanding Theory you can best understand music. It dissects all components of a song and allows their importance to be learned – which will generate far greater respect within you.

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A Classic Education: Music

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There is silence in the corridors, the aborted lyrics and forgotten notes – abandoned in the wake of shrinking budgets and failing relevance. Music is deemed unimportant, unable to be sustained in classrooms already filled to the essential geometry, the study of prose. It is thought to be an annoyance, considered a burden of time and profits. Education has no place for sounds, it’s argued. It must instead be devoted to facts and vital figures. And children are denied their instruments, left instead only to their paper and pens.

The quiet is stifling.

Classical music, despite the stigmas too long attached to it, is more than a mere hobby. It is not meant for those seeking pretense. It is not a futile effort. It is instead a necessary part of every curriculum and, without it, children are refused skills that will follow them throughout their lives. The advantages are many and obvious. The denial is a tragedy. And it must be rectified.

An education infused with music offers:

1. Analytical skills. While too many dismiss instruments as little more than idle pastimes, the truth is that they stimulate the brain’s cognitive functions. Mastery of music leads to a deeper understanding of mathematics and advanced thinking – due to quarter notes and their relations to fractional symbols. The transitions become easy from lyrics to logic.

2. Languages. The roots of classical music are found throughout the world and learning them offers a broad introduction to Italian, French, German, Latin and other influences. Translations lead to knowledge.

3. Esteem. No child can succeed when burdened by self-doubt and hesitation. Without the more accessible talents (such as pristine academics or athleticism), he or she may find themselves uncertain of their own worth. Music, however, offers an alternative. It provides an immediate reward and a skill that can be proven with every note. It’s an affirmation and that is vital.

Classical music is often rejected, believed to be an excess that cannot be afforded. It must, however, be provided to schools to ensure that every child can experience all it has to offer.

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The Importance of Movement: Eurhythmics and Classical Music

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It is an unexpected greeting – the whirl of youth and melody, the blur of dance and violins. Children are spinning, balanced precariously on the edge of their own laughter, cradling instruments as favored toys. It seems a madness, barely contained; and you are uncertain of its meaning. Lessons were supposed to be offered, not mere… play. This seems a waste of time and effort. It’s considered as little more than a game, a confusion. But that confusion is quickly replaced to pride when little hands can suddenly craft perfect sounds.

This enthusiastic approach to classical music is known as the Eurhythmics Method (or more affectionately as Rhythmics). Developed by Ã‰mile Jaques-Dalcroze, this technique is far from the common ideas of quiet children and solemn expressions, the dull study of composers. Dalcroze, a musician and innovator, understood that success was not to be forced. It had to instead be encouraged, coaxed by smiles and easy sentiment. And through this philosophy he created a methodology that is still flourishing today.

Rhythmics offers children an unusual understanding of classical music. Instead of merely repeating notes and struggling with translations, this technique urges students to instead dance, exercise and create games. When sound is applied to thrills it becomes a more accessible (and more desirable) notion. Improvisation is the cornerstone of this idea, with students able to shape their own needs; rather than simply following the standard curriculum. The emphasis falls on creativity and it excels.

Defining Rhythmics is an almost impossible task, however. There are no standard practices. There are no required instructions. The exploration of classical music is left instead to the individual; and, for this, it has sparked minor criticisms from those who believe its effects cannot be properly calculated. These detractors are few in number, however, and are often dismissed themselves.

Classical sound does not always demand a classical approach. It can instead be offered with a modern sensibility and a child’s own inventiveness.

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Understanding the Suzuki Method: Classical Training

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The years have been defined to music, to the comprehension of sounds and their tangling. The world is filled to the study (and application) of notes; and countries have shaped their beliefs to what their cultures demanded – history, religion and social truths have formed techniques. And these techniques, however ancient, are still followed today: such as the Suzuki Method.

Established in the mid-20th century by self-taught violinist Shinichi Suzuki, this practice offered a sharp contrast to its contemporary rivals. The purpose was not to craft masters of music (and force endless competitions and jealousies). It was instead to ensure that all children, no matter what their circumstances or class, could learn the basics of sound. Its teachings promoted diligence and repetition, with an environment tailored for comfort. Young students were offered instruments that were scaled to their small hands; all lessons were given in their native language, rather than forcing the usual translations; and they were exposed to the classical genre’s most innovative composers. This enabled them to comprehend the potential of what they were being taught, as well as defining it in terms they could recognize.

And through this Shinichi Suzuki offered an educational experience like no other. Rote learning was used to ensure understanding, with the objective of providing the simple benefits of playing. This was not a battle of compositions. This was instead made into an easy experiment.

There are, of course, those would claim that the Suzuki Method is invalid. Criticisms arise from its emphasis on repetition and lack of individualism. Students are meant to learn through constant practice rather than true acknowledgment of the material. This has led several institutions to refuse its usage, believing that it is more of a detriment than an aid.

Even with these detractors, however, it still remains a popular methodology and a worthy alternative to the more strenuous techniques. Its allowance for young bodies and inquisitive minds marks it a favorite of primary schools and those seeking a classical music education.

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Classical Music Discovered: National Awareness

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It was once the easy assumption: school corridors echoed with the sound of classical music, the perfection found from patience. Students were encouraged to understand the past through melody, sampling cultures through their notes. Languages were translated. Theatricality was created. And education was encompassed by far more than books. It was instead inventive.

Now, however, such invention is gone. The once common standards have fallen and music has been tossed away; an accepted loss for the American public. Money is offered to more popular programs (such as athletics) and classical rhythms have faded.

This is not acceptable.

And the The National Association for Music Education seeks to challenge it, wishing all students to experience the values of songs and symphonies.

Often called the MENC (referring to its original name of the Music Educators National Conference), the National Association has defied the notion that a classical experience is without value. It has instead campaigned for schools to reinforce their former standards and allow every child to take part in classical music. And, with representatives found in all 50 states, MENC has proven to be successful; if only for raising awareness and creating the necessary requirements.

Supporting lessons that emphasize training and genuine effort, MENC has offered nine traits that must be passed between students and teachers; each meant to turn the concept of classical music into a reality:

1. Singing.

2. Instrumental awareness.

3. Improvisation and creativity.

4. Arrangement and composition.

5. Understanding music and its meanings.

6. Comprehension of sound.

7. Criticism of performances.

8. Understanding the value of music in other mediums.

9. Historic relevance.

Through these traits individuals will be able to learn more than simple notes. They will instead be able to grasp the true value of music and how it applies to world. These standards, when properly utilized, ensure that students are given the opportunity to both create and evaluate. It offers sense with the satisfaction.

MENC has not yet fulfilled its goals of an all-encompassing education. It has, however, seen some of its demands slowly (but diligently) met. Classical music will survive and eventually flourish.

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Shaded Sounds: Classical Music

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It seems too common a thing – a child sits sullenly in his room, staring at the dull pages, the notations he must learn. They do not impress, no matter what sounds they may lead him to. They do not appeal. They instead only tire, forcing yawns and complaints. He wants nothing of their meanings. He craves nothing of their time. He wants instead to simply leave, to ignore the tedium of practicing. Classical music is a companion he does not wish to have.

Children are fickle creatures. They are not shaped to patience but instead to ever-changing fascinations; and trying to force instrumental comprehension upon them is a campaign too many parents lose. Education is considered dull; diligence is thought to be wicked. And every day becomes a battle of weary wills.

Despite its bleak appearance, however, that battle can still be won. All lessons can be learned and all sounds can be mastered. They simply need to take more appropriate (and appealing) forms: through color.

Colored music notation, as its name implies, is a strategy used to bring interest to the typically monochromatic symbols children are faced with. Classical sounds are shaded to attract the attention of students, stimulating their minds and calming their restlessness. It has long since been theorized that different hues can generate different emotional responses – vibrancies like red or orange tend to exaggerate impulses, causing wilder behavior; softer tones like blue and gray, however, allow for a steadier presence.

This philosophy is applied then to music, with specific colors chosen to soothe young personalities and create visual interest for books. Colored music notation allows for new techniques to be highlighted and requirements to be recognized quickly. It’s effective for those just beginning and allows for a more comprehensive teaching method.

Some doubt the validity of this, believing it creates too much of a reliance on color instead of understanding. Youths, however, have responded well to the concept and have been able to learn through variety, rather than repetition. It is a new approach to classical music.

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The Importance of the Concerto: Classical Music

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History offers more than the evolution of the world, the rise and fall of civilizations (now almost forgotten, replaced to other ideologies, shifting philosophies). It instead offers glimpses into ever changing cultures through its expressions of music. Classical sounds–now recognized for their beauty–were once new. They were shaped by the necessity of the times, placed within the forms of the day. And those forms still remain, adhered to reverently; no more so than the concerto.

A concerto, simply defined, is a composition of three parts, with a singular instrument receiving the emphasis of play (and merely assisted by an orchestra). It is among the most common of classical forms. Began in the late 16th century, it was introduced during an age of religious fervor. The Catholic Church’s power encompassed all elements of life – including, of course, the arts. Sculpture was to represent divinity; painting was to offer purity; and music was to sing all Heavenly praises.

And the concerto proved worthy of such intentions. Its sweeping movements and dramatic sounds suited sermons. Theatricality was embraced to secure the attention of the common man.

But this Baroque era offering provided more than religious symbolism. It instead crafted a new form for music to follow. Within it string and wind instruments received preference (instead of the more common pianos); and Italian composition was favored as well. Its movements were divided into individual parts, allowing for solo work and definitive stories–this also proved popular with the church, though, and was given in the form of Liturgical music; which signaled the different shifts within Mass.

And such a distinction of style led it to become one of the most respected styles, as well as one of the most resilient. Throughout the centuries it remained a popular formation and some of the most famed classical pieces have been shaped by it. The concerto stands as an innovation and will forever remain.

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Discovering the Difference: Classical Music

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It is a common mistake, an easily made assumption: words are exchanged, confused for each other – with their meanings blurred and their differences ignored, the movements all tangled together. The concerto is named a symphony; the symphony is deemed a concerto; and the truth is forgotten in the wake of simple misunderstanding. Those with only passing interests (and knowledge) of classical music believe these to be the same and offer no time to learn the distinctions.

But such distinctions do exist and should be noted – if only to offer these forms the respect they have earned throughout the centuries. They are not philosophic copies, twin notions divided by a simple title. They are instead separate ideals and should be mastered. The concerto and the symphony are among classical music’s oldest techniques and, while they are harmonious, they are not identical.

The Concerto: established on the cusp of the 17th century, this Baroque style is unique amongst the medium. Its reliance on solos instead of the typical orchestra sounds branded it an instant sensation–as well as an originality. With an emphasis on string selections, it offered three movements and a minimal backing of other instruments. Its power is in its singularity.

The Symphony: argued as the first of all classical music movements, the symphony can be found described within parchment from the Middle Ages. This genre featured a reliance on orchestras, with large collections of instruments brought together to create a specific sound. And, while a symphony could include selections from a concerto (as well as other forms), it ultimately was meant to prove the value of many individuals over the work of one.

And it is this that best defines the differences between the symphony and the concerto. While they can exist within each other, they are not intrinsically linked. Their origins and their purposes are unique; and this must be remembered – if only to spare you the too common blunder of thinking them the same.

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Classical Music: Defined

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With age comes wisdom, or so the proverbs say – those little cliches we offer ourselves to make the years seem kinder. But age brings far more than good sense (and a willingness to follow it). It instead offers assumptions. Classical music too often is lamented, with individuals mistaking it for any sound that predates the rise of grunge. Melodies are forced together, with no distinction beyond their lack of current lyrics. They’re all named ancient, even when not yet decades old. The notion of being -classic’ becomes synonymous with-less than new’

And this is wrong.

Classical music is a separate genre, shaped by specific time periods and expressions. It is not meant to describe the songs that frequent radio stations and their flashback hours. It is instead to offer explanation for the most innovative compositions and their influences. Its origins should be understood and respected.

While lacking specificities (this style is formed of experimentations and daring movements. Creating a singular definition would be impossible), classical music is recognized instead by eras: pieces formed between the years of 1550 and 1900 are considered to be part of the genre. And, while this may seem broad, the notations and structure of these pieces are all similar in sound and technique. This is compared to the religious tones that preceded them–which were offered only to support the church–and the new expressions that followed; the 20th century melodies and their electronic sways.

Classical music is best explained through the Common Practice period, which included Baroque, Classical and Romantic. No other years are to encompass the genre; and the contemporary lyrics that followed strove instead to distinguish themselves completely from it. It was considered a great tragedy to be placed within the same breath.

Now, however, appreciation is returning for classical music. It must simply be understood for what it is, not for what it has been assumed to be.

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