As a mom (or a dad), you want to give your children everything, and always provide what’s best for them. They need shelter, food, clothes, and love, but they also need some time to just play and be kids. Don’t underestimate how important that can be in the life of a child, and how easy it is for you to make it happen. It doesn’t take much time, and it isn’t very expensive, to create a world of make-believe that your children can revisit again and again. You don’t have to build elaborate sets or spend hours getting things just right.

The simplest way to offer your children the magic and wonder of playtime is with kids costumes. You don’t just have to buy them for Halloween, either. They can be purchased and used any time of year, and that’s what’s so great about them. If your child has a friend over, they can both dress up and play in an inventive, imaginary world that they’ve created. When that world doesn’t hold their interest anymore, they can simply change costumes and embark on a new adventure. Kids already have very creative imaginations, so it’s important that they get to use them.

With costumes and the chance to really play and enjoy themselves, their imaginations will get plenty of exercise, and so will they. It’s healthy for them, and they should be encouraged to run around and play, instead of sitting in front of the television every day. There’s nothing wrong with TV or other sedentary activities in moderation, but children need the chance to move and run and play and stay strong. Having costumes they can enjoy and have fun with are a great way to give them that little push they need to really let their imagination run wild.

It is a confusion of lines, a series of baffling symbols – not able to be understood or deciphered. You think it is perhaps a riddle, meant to be solved only by those with far greater brilliance than yourself. It means nothing. It represents nothing. And you gladly look away, happy to offer focus to more important things. You’ll leave this puzzle for others to solve… and they do. The pieces you could not shape into an image are suddenly offered as music. They lead instruments to songs, carving out melodies both classic and surreal. They are perfect. They are mastered.

They are staff notations.

To those unfamiliar with classical music, these symbols seem to be little more than ink splatters, the mistakes of artists. They are instead, however, representations of how notes are to be performed. It is through them that symphonies are created, with every instrument following the flow.

Composed of five lines (with four spaces set between), staff notations offer the rules of an individual piece. They explain how each sound is to be played – defining pitch for every note. They also tell each musician when those notes are to be given, providing the timing for every song. To the untrained eye they seem nonsensical, a jumble of letters and sways. But to those who have been taught to read classical music they are instead the formation of a melody.

And those melodies have been recognized since the 12th century. Though music had long since existed before then, charting how each piece was to be performed was not a common practice until the 12th century. As the use of sound to enhance the religious experience became common, instrumentals had to be written down to ensure they were kept uniform. This led to the invention of the staff notation and the future accessibility of songs.

Those without the invaluable classical music understanding may think these notes to be without purpose. They do, however, turn ink into a tangible song. And this is a vital thing.

They do not appear.

It is instead merely your child, practicing his instrument and forcing you closer to madness.

The shrieks you heard, the unidentifiable songs, were exercises in pitch. And, while they may have failed to impress, they did still succeed in proving their importance.

Pitch, defined simply, is the highs or lows sounds can reach (and those can sometimes seem like tortures rather than melodies). When applied properly – and with classical training – it can be used to guide an instrument to greatness. When misunderstood, though, it can be a too loud, too cringe worthy creature.

And this is why it therefore must be mastered.

Pitch is classified by the amount of frequencies that are offered per second. These frequencies are knows as a hertz. It calculates such elements as speed, vibration and tonality. The faster a cycle spines, the more hertz that appear; and this increases the sound and forms a higher pitch. Understanding this is essential when creating classical music. The orchestra sounds must not only be aligned but they must be used to their greatest advantages: too shrill or too low frequencies can lead to auditory discomfort.

Learning this, of course, requires diligence – which may force you to endure the mistakes and fumbling of your child as he tries to find perfection. He’ll eventually succeed, however; and the right pitch will be used again and again.

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.

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.

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.

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.

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.

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.

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 Émile 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.

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.

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.

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.

Romance has been claimed by the easy attempts: the familiar shades of red, valentine sentiments and flowered declarations. It has become little more than a shadow of its former meaning – with all preferring the fast rewards of the expected over the structure of sound. But the notion of romanticism was first offered to classical music and it is through this that it can best be understood. This is not the common gestures of candied cliches or tedious serenades. This is instead a perfected form.

The Romantic age is best defined as occurring between 1815 and 1900; directly after the Baroque period and its religious flavorings and before the contemporary sounds of the 20th century. During these years a surge of passionate melodies were created, with an emphasis on drama, fluidity and expressiveness. Classical music structures were expanded. Composers began to utilize chords that were often ignored, creating rhythms that lacked the tight patterns of previous attempts. These instead were grand, chaotic and fell across the musical scale in unprecedented ways.

And it was through this that the Romantic period earned its name. While many of the themes found within symphonies and concertos did feature love and sacrifice, the true distinction of this time was in its experimentation. It was not restricted to the notations of the former genres, kept to the rigid structures. It instead tried to reinvent classical music, wishing to push at the boundaries that had become stale – and it succeeded. Its preferences of diverse designs, exaggerated pitch and even creating far larger orchestras (a process that is still used today) proved a worthy successor to the past.

There is an assumption that the Romantic age is little more than a dedication to passion. It is instead, however, a time that reinvigorated classical music and produced some of the most recognized compositions throughout the world. Appreciating it is essential to understanding the sounds that followed and the ones that will eventually come.

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