A Look Into Music Therapy
A Look Into Music Therapy By Jabari Banfield Music has charms to sooth a savage beast, To soften rocks or bend a knotted oak. (Congrave) There are many 'alternative' (or more accurately put, complimentary) methods of therapy being used by man in order to bring about relief, release, healing, maintenance and upliftment. One of the most dominant yet overlooked aspects to alternative treatment is Music Therapy. The power of music to bring about change and healing has been known throughout history and literature. One of the earliest known examples of its use in this way is in the Bible in the book of Samuel; '... whenever the evil spirit was upon Saul, David took the lyre and played it; so Saul was refreshed and was well, and the evil spirit departed from him.' Centuries later, professional music therapists are now trying to tap into this almost mystical influence of music to achieve similar goals in the lives of their patients. From the young autistic or disabled child to the adult with schizophrenia or Alzheimer's disease, music therapy is being instrumental in the alleviation of these dreadful problems. But how is music capable of healing on physical, mental and emotional levels? For this we seek to answer the question, 'What is music?' What is music? Everyday, music serves us faithfully, playing an integral part of our public and private lives. It is vastly used in
What are the essential features of Chopin(TM)s style?
What are the essential features of Chopin's style? The two Nocturnes which form Opus 62, written three years before Chopin's death in 1846, were described by Kleczynski as 'evidence of an enfeebled creative power.'1 This essay will highlight and explain Chopin's essential stylistic features, aim to discover if they are still prevalent in this work and then decide whether the opinion of Kleczynski is valid or not. One of the most essential features of Chopin's style was 'freedom of melodic line' and this can clearly be seen in both Nocturnes.2 Figure 1 shows the first bar of the second Nocturne's opening theme and how it is varied on its two returns. Chopin's conception of rubato was to 'release the melodic part from all metrical features' and to give his melodies the 'perfect freedom of inflection found in singing.'3 The melody feels "released" and sings out over the metrical left hand which remains the same in each variation. This certainly doesn't sound enfeebled and the melody although initially simple is enjoyable to listen to. If Chopin were enfeebled then it is doubtful that he would have been conscious to keep 'exact repetition to a minimum' in each return of the melody.4 Fig. 1 F. Chopin Nocturne Op. 62 No. 2 Bars 1, 9 and 25 In the first Nocturne of the work the original theme returns with what Fielden calls 'perennial trills' and these do give the music
Why has Richard Wagner been a controversial composer even today?
Stanislav Boyadjiev MUS 101 G 04/02/2009 Why has Richard Wagner been a controversial composer, even today? As in religious and political questions, when race has once been admitted, it becomes a factor of the highest importance in musical controversy. A prominent part in the music and literature of Germany in the 19th century played the popular, but controversial as well, German composer, conductor, theatre director and essayist Richard Wagner. His full name actually is Wilhelm Richard Wagner. Born in Leipzig, Germany on May 22, 1813, unlike most other great opera composers, Wagner wrote both the scenario and libretto for his works. He is primarily known for his operas, called later "music dramas". He is one of the composers who revolutionized opera by writing stage works of unprecedented length and complexity , in which the orchestra was no longer a simple accompaniment to the singers, but an integral part of the action. Wagner made the music continuous, unlike the previous tendency to make an opera as a collection of separate arias and ensembles which could be performed separately . He used a complex system of what are called "Leitmotifs", or melodic ideas which stand for characters , things or ideas in the drama. With Wagner, harmonies became more complex than ever before,
The Yorkville district located in Toronto was a village where young musical and artistic talent could gather and share their love of music during the 1960's.
The Yorkville district located in Toronto was a village where young musical and artistic talent could gather and share their love of music during the 1960's. It was a place that launched the careers of many Canadian artists such as Gordon Lightfoot, Joni Mitchell, Ian Tyson, and Neil Young, just to name a few. The area began its legacy with a couple of coffeehouse's that offered live entertainment named the Half Beat and the 71. The entertainment was usually irregular with different styles playing on any given night, such as a flamenco guitarist one week and a folk-rock singing duo the next. As time went on, many other coffeehouses and clubs sprouted up along Avenue Road, Cumberland St. and Yorkville Ave., and at its peak there were over forty clubs and coffeehouses in the area.1 A "scene" was created which attracted musicians from all over Canada and the World but most importantly, solidified Yorkville as a starting point for the most talented and creative musicians in Canada. Yorkville was the foundation in a progression toward popularizing Canadian music in Canada during the sixties. Once musicians became popular in the Yorkville scene, they usually chose to migrate into the United States in search of fame and fortune, which the Canadian Music Industry could rarely provide for them. Yorkville also served as grounds for a youthful social movement which thrived through the
To what extent can The Rite's innovations be boiled down to rhythm alone?
To what extent can The Rite's innovations be boiled down to rhythm alone? The Rite of Spring, first performed to much controversy in 1913, is a ballet unlike any other of its time, before its time or possibly even afterwards. It has almost nothing in common with the idealisms of Tchaikovsky. In terms of subject matter, it is vastly different even to Stravinsky's earlier ballets. It is this difference, a plotline which is harsh and based not on fantasy or folk tales, but on supposed ancient tribal history, which separates it from its contemporaries and predecessors and is reflected so obviously in the music. The most prominent musical difference between The Rite and other contemporary works is the popular claim that Stravinsky has minimized the influence of harmony, melody and overall tonality at the expense of rhythm and meter; in other words, that rhythm is the driving force of the work. From the perspective of the casual listener, this manifests itself as the phenomenon of the percussive nature of instruments that are normally melodious. Stravinsky himself acknowledged the importance of the subject matter to the resultant music from the very start of the composition process. The idea of Le Sacre de printemps came to me while I was still composing The Firebird. I had dreamed a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death. This vision
Ontology of Music
Introduction: Recently, the central questions to the ontology of music may like these: What sort of entities are works of music; are they physical objects, ideal kinds, imaginary entities, or something else; how are the various works of music related to the mental states of artists or viewers, to physical objects, or to abstract visual, auditory or linguistic structures and under what conditions do works come into existence, survive, or cease to exist. It seems that only a few people may have a ready answer to the question of the ontological status of the work of music, some relevant considerations are built into our common sense understanding of works of music and practices in dealing with them. Normally, some scholars may think of works of music as things created at a certain time, in a particular cultural and historical circumstance, through the imaginative and creative acts of a artist, composer, or author. Once created, it can be reasonable to think that of works of music as relatively stable and enduring public entities that may be seen, heard, or read by a number of different people who may enter legitimate arguments about at least some of the work's features. While these features characterize our understanding of all sorts of works of music, our understanding and treatment of works of different sorts diverges regarding other features. In this paper, I shall analyze
Timbre as a form-building property in the music of Kaija Saariaho
Timbre as a form-building property in the music of Kaija Saariaho Candidate number: 22025865 MUS335 Individual Research Topic MMus Contemporary Music Studies Abstract This essay outlines the evolution of Kaija Saariaho's working methods from the 1980s to the present, with particular reference to her own research on timbre and form. Relatively recent music research began to address the need for new formal possibilities to suit the requirements of avant-garde composition. The main focus of this essay is on timbre as a form-building element in Saariaho's music, and her association with psychoacoustics, which examines the ways in which timbral form can be apprehended. The essay commences with a summary of the historical background to Saariaho's interest in timbre and its relation to "spectral" music. After investigating her work in this field, the essay then examines Saariaho's violin concerto Graal Théâtre (1994) in more detail, to show how the composer's working methods and range of expression have expanded, with a subtle shift of emphasis from timbral concerns towards more linear, melody-led compositions. Throughout the essay, the author locates Saariaho's music in its historical context and circumstances, and looks at her music's relationship to its surroundings, canonic origins and influences. The essay concludes with some critical thoughts on the nature of timbre as
English Assessment Task: Remembering
Advanced English Assessment Task: Remembering 1. A Fortunate Life composed by A.B Facey is a reflection of a lifetime that most would hope to forget. In complete contrast Piano a poem written by D.H. Lawrence reveals the composers joyful emotions when remembering his childhood. What both texts represent is the concept that without memory the individual could not progress. A Fortunate Life represents this with Facey remembering abuse, poverty, and war yet 'it has been rich and full', being a powerful description of the progression of life, the good and the bad times, denoting that although not all memories are pleasurable they are significant to ones 'whole' life. Piano demonstrates this same concept. Memory affects the composer, as he says 'down in the flood of remembrance, I weep like a child for the past'. The composer is in fact fixated with his past, which he yearns to remember as a way of moving ahead. An aspect in which the texts completely differ in their analysis of remembrance is the need to remain obsessed with one's past. The difference between obsessed and using remembrance to progress is clearly demonstrated by the two texts. Facey remembers events but never lingers on the memories more then is necessary for his development. On the contrary the composer of Piano wants to dwell in his past, '...the heart of me weeps to belong...' the composer wants to
Can Debussy's Music be accurately described as Impressionist?
Can Debussy's Music be accurately described as Impressionist? Claude Debussy is arguably the most famous composer to be associated with the style of Impressionism. Many of his works are compared, often favourably, to the works of Impressionist painters such as Monet. Yet Debussy himself frequently denied Impressionism's influence upon his works. In fact, it is clear he regarded it as a term of insult, as, apparently, did the Académie des Beaux-arts, in their report on Printemps (1887): Monsieur Debussy... has a pronounced tendency - too pronounced - towards an exploration of the strange. One has the feeling of musical colour exaggerated to the point where it causes the composer to forget the importance of precise construction and form. It is strongly to be hoped that he will guard against this vague impressionism, which is one of the most dangerous enemies of truth in works of art. Incidentally, this was the first time that the term 'impressionism' was used to describe a musical work. 1 Nonetheless, we must be wary of taking such an insult as the truth, even if it originates from such an influential institution. Before determining how the term Impressionism could be applied, if at all, to Debussy's music, we must first ascertain exactly what it is. Impressionism as a visual art form grew out of a frustration with traditional 19th Century styles of painting, resulting in
What Influence did Black American Music have on the British Working Class Youth in the Sixties?
Mini-Research Project on the Sixties What Influence did Black American Music have on the British Working Class Youth in the Sixties? 960's Britain was a time of great cultural change. A huge change of the time was the birth of the teenager; children no longer dressed like their parents, opening a huge gap in the market for young people's fashion. Music also saw huge changes, pop music rose up becoming a dominant force with black people playing a major part. Working class youngsters took great influence from this in their lifestyles in particular fashion they called it modernism. Modernism can be dated back as far as early-fifties Soho where black American influenced jazz musicians would take great pride in the way they dressed. They would always go to extreme lengths to ensure they were looking as a cool as possible. They would perform in live venues around the city attracting a large following of working-class youths who would always enjoy having a place where they go out dressed up, meet people and dance till late. This continued to the late fifties when Rock 'N' Roll music took over, the craze died down and would only return in the early sixties. The Sixties saw a time when the first people born after the Second World War would become teenagers. Also the fifties was said to be a time of gloom still in the aftermath of the war, rationing on certain goods and