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Classical Music: Etude

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Practice is a word usually lamented. We say it with whimpers, offering excuses and cringes; always trying to find ways to escape it, always trying to shove it to another time. But such times, if we had our way, would never exist and the notion of studying the same skills again and again would disappear entirely. We want to express ourselves, not focus our abilities into repetition. Such a notion is too stifling, too absurd. There is no need to practice. There is only the wish to create.

But creation becomes impossible when we try to play an instrument and fumble through every note – executing only the most painful of sounds, the most pitiful of songs. It seems we were mistaken in our own brilliance.

And from this mistake comes the need for the Etude.

Despite the hatred it may encounter, the Etude is a necessity that cannot be denied. Simply defined, it is a training tool that offers demanding pieces; each that must be played with perfection. It cannot be accomplished by lazy interests. It must instead be learned countless times, until the techniques it requires are mastered.

Began in the 19th century, the Etude was conceived as a way to explain the difficulties of the piano to students. It was a time when classical music was being redefined, offered more structured sensibilities. The religious formations of the past were being replaced to orchestra notes and rigorous virtuosity. Compositions were being written for pleasure, rather than sermons. And the public wished to follow, wanting to sample the skills of geniuses.

So the Etude (which means “to study”) was formed. These pieces taught the foundations of the piano, with their difficulty increasing with every page. They were meant to inspire diligence and could not be tamed without it.

This remains true today. Practicing is vital to classical music. And the Etude reminds all of the techniques that must be learned and the hours that must be given.

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Classical Music: The Oratorio and the Opera

It’s a blur of motions – a stage is offered, lit to halos and deliberate shade. An orchestra waits below; instruments raised to provide the essential sounds, the guidance of music. Performances will follow, letting songs lead them to perfect timing and meaning. Actors will rely on those meaning, taking every cue from the vibrations of a string, the slow drawl of a bow. And the story will be given life through melody, made a truth. It is an occasion noted for its importance, remembered for its grandeur and… utterly misnamed.

Too many individuals mistake the above described opera for an oratorio, believing the words to be the same, the definitions linked. They are not. While each offering is vital to the world of classical music, they are not to be confused (as they too often are). They are individual concepts and should be recognized as such.

The Opera: one of the most famed forms of classical music, the opera combines lyrics and melody, allowing actors to tell a story through elaborate solos, costumes and productions. The entire event is staged, with every movement given precise instruction. This is simply musical theater, however impressive it may be. It is defined to drama and character arcs.

The Oratorio: unlike the more recognized opera, the Oratorio is not an example of theatricality. It lacks the stories and techniques used within the opera (such as lighting, props and more). It instead relies merely on the music. Songs are delivered by choirs, with no call for dances or monologues. Instead it is offered a religious atmosphere, with its focus purely on the melodies.

This is an often forgotten distinction, with these efforts being named as one. They are not. They instead represent two unique forms of classical music and it is vital to understand this to better appreciate what they may offer.

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Music Education and Appreciation

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The world is carved to sound, to the rise and fall of violins, the deliberate shrieks of a harpsichord. It is a history made from music, with all years offering new melodies, new songs. Cultures are expressed through these elements – and countries are distinguished by the language of their symphonies. Understanding those symphonies, however, seems an impossible task for the students of today. Education is limited to what is deemed necessary. Facts are offered but not verses; mathematics are explored but not the trembling trebles. And the consequence is a startling lack of awareness for what is beyond the classroom doors. There is interest only in the nearby cities, not the distant lands.

And this cannot be allowed.

Music appreciation is a vital part of any child’s education. It is also too often ignored. What was once considered needed has been replaced to easier activities – and few students are greeted with a tangible history. This must change.

Simply explained: music appreciation is the discussion of sounds from all genres and countries. It is not the mastering of instruments (which can sometimes prove daunting for those who believe they could never learn to play). It is instead the understanding of cultures through their uses of pitch, tone and harmony. Techniques are explained and composers are studied. And from this comes the evolution of the world. Class struggles, religious influences and even fables can be learned. From opera to jazz riffs, rockabilly logic to the wilder drums, there is much to discover.

And that discovery is important for all children. Education is not to be limited to books. It cannot be a fully encompassing experience when kept to dull pages and duller recitations. It must instead be offered through unique methods and ancient sounds. Continents can be spanned, with their differences noted and respected. Through music appreciation the bridging of ideals is possible – and this must be offered to all students and their quests for knowledge.

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Sociomusicology: Music Education

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It is an ancient ritual, passed from generation to generation – never changed, never altered, never made into a modern philosophy. It is instead a collection of sounds and movements, the interaction of those who have learned it well. Dancers circle; musicians play; and the day is met with tradition. And such tradition has been ingrained with a society, offered as a necessity. It cannot be forgotten. It cannot be ignored. It is instead to be celebrated, with all noting its importance and purpose. The intentions of a ritual are not simply to be completed for repetition’s sake. They are instead to be celebrated for their cause.

Such philosophies may seem strange to those without a connection to the past, a culture established for countless centuries (able to claim practices of all kinds and all decades). But individuals who are irrevocably linked to sounds and movement still exist; and the study of them has yielded surprising truths of human nature and design.

That study is known as Sociomusicology. And, while the name may be offered clumsily across unfamiliar tongues, the concept is simple: this is the exploration of the past and present by learning music and its effects on individual societies. Every culture has its traditions. Every city has its songs. And these are to be understood, with their impact on the differing class structures explained.

Sociomusicology may seem to be an unlikely field, with little purpose or intent. It is, however, vital in appreciating both history and the evolution of music. From the stirring chants of slaves (who sought comfort in sound) to the operatic performances that dominated the nobility, the differences between the social hierarchy is to be discovered. It reflects the years and their demands, the many issues faced by the public.

It it through education that we explore the world; and music offers a unique perspective to find. Through it society is examined and finally understood.

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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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Music Therapy

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It’s a saddening sight: a child waits in a hospital bed, surrounded by white walls and oppressive silence. The diagnosis is not unkind but the time required for healing is. Days will spent in the tedium, unable to move, unable to even consider a smile. It will be a dull recovery – and you wish only to ease the monotony of it. But choosing how to do this seems impossible. A young body is now limited in its movements, its strength. There can be no exertion, no tempting fragile bones to stir. You find yourself utterly defeated… until you remember a favorite song.

And, when you offer it to your child, letting the familiar sounds fill the room, you’re proven right: music was the best reward.

This is an easy scenario to imagine. It is not, however, the only way music can impact health and healing. Therapy (once restricted to a physical presence, the manipulation of muscles) has been exploring the effects of lyrics on the human body. Strategies have been crafted to alleviate pain and stimulate the mind – both essential in the battles against age and old wounds.

Those who practice music therapy use it for a variety of patients and problems. The most common ones are:

1. Stroke victims. When trying to return the mind to its former state, music has become an unlikely source of inspiration. Those who have suffered strokes will find portions of their brains reinvigorated by sounds; which can speed recovery.

2. Muscle conditioning. Should the body (specifically the hands and fingers) require strengthening after an accident, patients are encouraged to write music. Not only does this occupy by their time but it also increases movement, reflexes and coordination.

3. Epilepsy. The effects of seizures are well documented and tragic. Studies have suggested, however, that they can be countered through music. Classical sounds are thought to relieve stress and focus the mind.

Music therapy is a growing field and a compelling argument – it must be explored fully and allowed to develop all of its many ideas.

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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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The Unexpected Correlation: Classical Music and Athleticism

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It is the most unlikely of sights: a child stands, slight and unassuming. He is defined as unremarkable by his peers, chosen last in all games (not because he is hated but simply because he is forgotten). He is not the common perception of an athlete. He lacks the necessary form, the muscles barely contained beneath his sleeves, the speed recognized in every motion. There is nothing to recommend him. There is nothing to perceive. He is ordinary by all standards… until he shatters those standards with coordination and strategy.

Not every child can be blessed with the ability to throw perfect spirals or bear the slam of skin to skin while tackled. Strength is not a trait passed among the masses. It’s instead fickle. It is not, however, always needed to become a better sportsmen. Music instead can be the unexpected ally.

Those who understand notes and melodies will find themselves with more than the ability to play an instrument. They will instead discover new advantages with games. Athletes can be made through songs and a classic education can become a great aid.

1. Motor skills. Instruments demand precision. No clumsy hands or weak fingers can master them; and this translates into an advantage on any field. Children who are classically trained will find their coordination improved and sports more easily played.

2. Breathing techniques. Those who practice with wind selections (such as flutes, cornets or clarinets) have quickly learned the importance of breathing. Air is precious and must be given carefully, with each moment dedicated to offering only the purest of sounds. And such techniques apply well to sports. Exertion can be decreased and exhaustion can be avoided. Stamina instead will be discovered.

3. Logic. Music is more than an art. It is instead a machination. It must be studied and understood – and this requires highly developed analytical skills. Such skills can then be transfered to the field, with plays and strategy made quickly.

A classical education provides more than the expected elegance. It instead allows a child to meet the demands of games and succeed.

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