207 Records – Entertainment

Almost a decade ago, Internet was only a new medium for advanced communication. However, today, with the advancements in technology, Internet is something more than just a tool for communication. Everyone around the planet is aware of the fact that Internet is the largest source of entertainment available today. Thousands of online music site have spawned in the Internet in a short span of time. Almost overnight, the Internet’s gone from a technical wonder to an entertainment must. With lots of legal issues people are restricted from free music downloads. However, with the introduction of online music sharing websites, free music downloads have no limits today. Just keep reading on the article to know more about the benefits of using online music sharing websites. Downloading free music from online music sharing websites is 100% legalThe important fact to be noted while downloading music is that, not all the websites that provide free music downloads have the legal rights to share music. Most of the websites available today carry the pirated copy of music files. By downloading music from such websites makes you too involved in piracy.   The online music sharing websites are under the act of Voluntary Collective Licensing of Music Files. This type of licensing benefits both the artists and the worldwide music fans. Hence it is legal to download music form online music sharing websites. However there are certain guidelines of use for music downloaded from the online music sharing websites. You should make sure to comply with all those guidelines. High Speed unlimited music downloadsWhen it comes to music downloads, there are two common problems that are faced today. The first hurdle that comes with the music download is the low download speeds. Second difficulty is the quality of music. With the use of the online music sharing websites, both these difficulties could be overcome with ease. The online music sharing websites host the best quality audio files which can be downloaded at the maximum speed supported by your internet service provider. Share your music files with the other music fansThe online music sharing websites are excellent for sharing the music files that you have. The music files can be uploaded to these online music sharing websites with just a few mouse clicks. You can even host you music files online so that you can listen to your favorite songs on the go. The hosted music files can be accessed from these online music sharing websites using your laptop or PDA. Moreover, uploading your favorite music to the online music sharing websites preserves the valuable data. You don’t have to loose your favorite music due to unexpected computer crashes. The above mentioned benefits of using the online music sharing websites are only a few of a bunch of other benefits that you can get. When it comes to free, legal, unlimited music downloads the online music sharing websites are the ones to look for.

THE origins of traditional Japanese music reach back more than a thousand years. Included are classical or refined music, chamber music, theater, folk and festival music, as well as a host of vocal forms. This treasury of music was passed on from generation to generation without the help of musical scores. Between the third and fifth centuries C. E. , Buddhist missionary priests came to Japan to spread their views. The chants and background music associated with their religion gradually merged with the Shinto traditional music, forming a basis for nearly all native Japanese music. By the seventh century this music of Japan developed into what became known as Gagaku, the classical (literally, “elegant”) music. From Gagaku, which became the music of the imperial court, the secular use of instrumental music grew, as did theatrical music. Meanwhile, folk and festival music appeared, with its loud drumming and lively rhythm, contrasting sharply with the quiet music of Gagaku. The InstrumentsToday many instruments are employed in traditional Japanese music. The three most commonly heard are the koto, shakuhachi and shamisen. The koto, imported from China around the ninth century, is a long wooden box-type instrument about six feet (1. 8 meters) long and one foot (. 3 meter) wide. With the instrument lying before him, the seated player plucks its 13 strings with a plectrum. A skillful player can produce music that pleasantly resembles that of the harp. The Japanese bamboo flute, measuring about 21 inches (53 centimeters) in length, is called shakuhachi. This instrument has five finger holes, and a mouthpiece at the upper end. The player holds the shakuhachi vertically. By skillfully adjusting his lips to the mouthpiece at varying angles and moving his neck into different positions as he covers the holes with his fingers, the instrumentalist is able to produce three octaves of tones. The plaintive wail produced by this flute may generate feelings of vagueness and melancholy. The shamisen has no counterpart among Western musical instruments. It came to Japan from China by way of Okinawa around the year 1560 C. E. But only the instrument is an import. The manner in which the shamisen is played, the kind of music produced with it and the construction of the instrument itself are strictly Japanese. It looks somewhat like a banjo, is made of wood covered with cat skin, and has three gut strings. The shamisen is played by striking the strings with a large plectrum. When music is produced on the shamisen, the most important thing is not the sound of the instrument but the words for which the music provides the background. Without the words, the music has little meaning. It varies according to the meaning of the song. When words fail to express what is to be conveyed, such as the cold of falling snow or the trickling of a brook, the shamisen is used to “imitate” these things, and the story is told without words. Appreciating the MusicWhat is the composite effect produced by Japanese instrumentalists? If you are listening for the first time, your reaction may be that you are hearing the same thing over and over again. It may seem that you are listening to a kind of melody, and yet there appear to be conflicting melodies. But there is something delightful about seeing the musicians perform. Their movements, posture and expressions all appear to be choreographed and in perfect harmony. Yes, in Japan, not just the music, but how it is played and how the performance looks to the observer are important. Japanese music is very different from the music common in Western lands. This difference includes the scale, the rhythm and the sound. In Western orchestral music, sounds from the various instruments blend, producing harmony. But in Japanese music the individual instruments can be heard playing conflicting melodies. Nevertheless, together they create an aesthetic balance. Western InfluenceIn the last 100 years, the Western style of music has become the norm in Japan. Under Emperor Meiji’s reform, music began to be taught in the schools, and it was the music of the West. In spite of this, there is no danger that the ancient traditional music will die out. Many Japanese people want to preserve the traditional music. Therefore, the various guilds that perpetuate this music and teach it continue to thrive. Because music of the Western world has become so much a part of Japanese culture, one can find old Japanese songs written in Western notation and scored for the piano or guitar. Also, in the last century many new Japanese songs have been written according to the Western style. But it cannot be said that these are truly Western songs. Rather, the Japanese simply have used a medium to enrich their own musical heritage. The development is music with a distinct Japanese flavor, though scored and played in the Western style.

Soul Music has its beginnings in Gospel and R&B of the 1940s and 1950s.   They both had  major influences on key soul singers including Ray Charles and Aretha Franklin, just to name a couple. The birthplace of Soul Music, to be quite honest is unknown.   What is known? The United States inner cities, including Chicago, Detroit, Florence, Memphis, and New York, all created and produced their own soul music styles based on their demographics at the same time, thus making a “beautiful mixture“ of  sound variety across the states for us all to enjoy. In the 1970s, Hip Hop was born, which had a huge  influence on the Soul Music that followed.   New Jack Swing (aka Swing Beat), which combined Soul, Hip Hop, Gospel and Jazz, was absolutely rocking. Disco and Funk Music also came to fruition in the 1970s, and started to decline in the early 1980s.   Undoubtedly, Soul Music was now being influenced by Electro Music and Funk – it became known as Contemporary R&B which was, and still is, great!. House and Techno rose to mainstream popularity in the late 1980s and remained popular in the 1990s and 2000s.   Also starting in the 1980s, Soul Music from the United Kingdom became very popular – cheers mate!. The development of Neo-Soul started around 1994.   This was due to mainstream record label marketing support for soul genres diminishing in the 2000s, as  the industry re-focused on Hip Hop – somewhat of a master stroke by the powers that be. The many genres of Soul Music and R&B have reached a point, well before now of course, where they are now sub-divided into subgenres.   To be side tracked, even though I have not mentioned it above, true Soul Music connoisseurs know that Rock and Roll was, literally, born from Soul Music and Rhythm and Blues…. another day, another article. Subgenres:Detroit (Motown) Soul MusicStrongly rhythmic and influenced by gospel music – includes hand clapping, a powerful bass line – called “dub“, Violins and Bells. Deep Soul and Southern Soul MusicA driving, energetic soul style combining R&B’s energy with pulsating – down south, Gospel Music. Memphis Soul MusicA shimmering, sultry style of soul music produced in the 1960s and 1970s – includes melancholic and melodic horns, organ, bass, and drums – truly remarkable. New Orleans Soul MusicDirectly came out of the R&B era – deep. Chicago Soul MusicA light gospel-influenced sound – emotional. Philadelphia Soul Music AKA Philly Soul – Orchestral sound and “doo-wop” vocals. Psychedelic Soul MusicA blend of psychedelic rock and soul music, which paved the way for funk music a few years later – yeah buddy!. Blue-eyed Soul MusicPerformed by white artists, it has evolved over decades and to a lesser extent, the term has been applied to singers in other music genres that are influenced by Soul Music – Kenny G is truly a great artist. Neo Soul MusicA musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes – to chill out!. Northern Soul and Modern Soul MusicRare Soul Music that was played by DJs at nightclubs in northern England – includes obscure 1960s and early 1970s American soul recordings – It‘s the vibes that matter. Nu-Jazz and soulful electronica Music Various genres of electronic music such as House, Drum & Bass, UK Garage, and Down tempo – the fusion is “you are on one!”There is something about really fantastic old rare soul music that will always stay with you , and will always have you wanting more of “the vintage stuff. ”  Well look no further, because finally, there is this highly popular R&B and Rare Soul Grooves website featuring Soul Music TV. Want to watch FREE 24 hour Soul Music Internet TV and receive 4 FREE Rare Soul CD Samplers?Then visit: http://www. raresoulgrooves. com/106. htmlSoulgrooves

Unlimited music downloads are now made readily available on the internet from different online music stores and services. Some go on a pay-per-download basis, while others go on a subscription service, either on monthly or one-time basis. They reportedly carry millions of sound tracks and MP3 files from all the known music genres you can ever find. The question of where to download music is therefore answered by going to these music services which provide unlimited music downloads. But it is equally important to know which are the best deals in town when locating where to download music online. We take a look at what is downloading online music from these music download sites all about.

Major online music stores like HMV, Amazon and so on carry many labels and their selection is fantastic with loads of music pieces, movie soundtracks, songs, music videos and practically unlimited music downloads are available for you to download. Never worry about where to download music again. However, music lovers after getting the thrill of downloading lots of music files start to feel the pinch. This is where the latest new generation of music download sites would make them scream with excitement again.

You see, the new music download sites offer unlimited music downloads. And by that, it means that you not only can find any title or album you want but also download them without any quantity restriction. Be it 1000 songs or 10,000 songs that you intend to download, it does not matter. These music download sites would charge you only once for unlimited music downloads at an affordable rate that even teens have the ability to get their memberships. That is the whole intention of the music download sites, to reach the mass musical audience.

But there are almost a dozen of unlimited music downloads sites that solve your problem of where to download music quickly. So it can be quite a challenge to decide which to go for. Do not worry as here are some useful tips to help you along to decide where to download music from which music download sites for unlimited music downloads. These would find you the suitable music download site.

Be sure to first check out the music selection of these music download sites. There is really no point in using them even if they have millions of music pieces and songs, ie unlimited music downloads in their collection but none are what you want. Most should carry the general range of music that are more common like pop, rock and so on. But if you are looking for specific niche genres which are a little bit uncommon, you need to check if the music collection at these music download sites carries your desired label or brand of music.

Secondly, you need to confirm the file format of the music files you are downloading from the music download sites. This is easy as many have unlimited music downloads in MP3 format. This is the most commonly readable format used by most MP3 players or digital portable players. So as long as the music download site has it, you know this is where to download music so that you can enjoy unlimited music downloads on your player.

Another thing to take note of is some music download sites for unlimited music downloads require you to download special client application in order to download music online. If you are a frequent traveller, you may not like the idea that you need to install software on your computer in order to download music. This means that you can only do so from home. As such, you may want to go for those that do not require any client applications to do so. That said, the client application does not need a lot of computer resources and can be easily installed and removed. It is really your choice when getting the unlimited music downloads from the music download sites.

Anyone who wishes to learn more about where to download music at amazingly low one-off prices can visit my music blog and begin your journey of putting unlimited music downloads on your computer or MP3 player.

 

Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd. ) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school. ” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another. ” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning. ” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i. e. , music is a mathematics). ” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U. S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic. ” (Estrella, 2005)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities. ) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.

As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)

But what of those students not fortunate enough to have a computer at home – let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.

 

References

Bahr, N. & Christensen C. A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers

Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.

Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.

Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.

Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York

Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York

Gargarian, Gregory (1996). The Art of Design. In Kafai, Y. , & Resnick, M. (Eds. ). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates

Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.

Rhodes, Stephen L. (2007). A History of the Wind Band – The American School Band Movement. Lipscomb University.

Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.

Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F. , Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.

Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.

Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion. com News.

Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).