musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still Egyptian Reggae Music many decisions that a performer has to make. The process of a performer deciding how to perform music that has Egyptian Reggae Music been previously composed and notated is termed interpretation.
Different performers' interpretations of the same music Egyptian Reggae Music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music Egyptian Reggae Music of others or folk music. The standard body of Egyptian Reggae Music choices and Egyptian Reggae Music techniques present at a given time and a given Egyptian Reggae Music place is referred Egyptian Reggae Music to as performance practice, where as interpretation Egyptian Reggae Music is generally used to mean either individual choices of a performer, or an aspect of music which Egyptian Reggae Music is not clear, and therefore has a "standard" interpretation.
In some musical genres, such as jazz and Egyptian Reggae Music blues, even more freedom is Egyptian Reggae Music given to the performer to engage in improvisation on a Egyptian Reggae Music basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of Egyptian Reggae Music performing called free improvisation, Egyptian Reggae Music which is material that is spontaneously "thought of" Egyptian Reggae Music (imagined) while being performed, not preconceived. According to Egyptian Reggae Music the analysis Egyptian Reggae Music of Georgiana Costescu,[citation Egyptian Reggae Music needed] improvised music usually follows stylistic or genre conventions and even "fully composed" Egyptian Reggae Music includes some freely chosen material. Composition does not always mean the use of notation, or the known sole authorship of one individual.
Music can also Egyptian Reggae Music be determined by describing a "process" which may Egyptian Reggae Music create musical sounds; examples of this range from wind chimes, through Egyptian Reggae Music computer programs which select sounds. Music which contains elements selected by chance is called Aleatoric music, and is associated with such composers as John Egyptian Reggae Music Cage, Morton Feldman, and Egyptian Reggae Music Witold Egyptian Reggae Music Lutoslawski.
Musical composition Egyptian Reggae Music is a term Egyptian Reggae Music that describes the composition of a piece of music. Methods of composition vary widely from Egyptian Reggae Music one composer to another, however in analysing Egyptian Reggae Music music all forms � spontaneous, trained, or untrained � are built Egyptian Reggae Music from Egyptian Reggae Music elements comprising a musical piece. Egyptian Reggae Music Music can be composed for repeated Egyptian Reggae Music performance or Egyptian Reggae Music it can be improvised: composed on the spot. The music can be performed entirely Egyptian Reggae Music from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination Egyptian Reggae Music of methods and practice of Western classical music, but the Egyptian Reggae Music definition of composition is broad enough to include spontaneously improvised works like those of free jazz performers Egyptian Reggae Music and African drummers.
What is important in understanding the composition of a piece is singling out its elements. Egyptian Reggae Music An understanding of music's formal elements can be helpful in deciphering exactly how a Egyptian Reggae Music piece is constructed. A universal element of music is how sounds occur in time, which Egyptian Reggae Music is referred to as the rhythm of a piece of music.
|
When a piece appears to have a changing time-feel, it is considered to be in rubato Egyptian Reggae Music time, an Egyptian Reggae Music Italian expression that Egyptian Reggae Music indicates that the tempo of the piece changes to suit the expressive intent of the performer. Even random placement Egyptian Reggae Music of random sounds, which occurs in musical montage, occurs within some Egyptian Reggae Music kind of time, and thus employs time as a musical element.
Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on how to Egyptian Reggae Music perform Egyptian Reggae Music the Egyptian Reggae Music music. The study of Egyptian Reggae Music how to read notation involves music theory, Egyptian Reggae Music harmony, the study of performance practice, and in some cases an understanding of historical performance methods.
Written notation varies with style and period of music. In Western Art music, the most common types of Egyptian Reggae Music written notation are scores, which Egyptian Reggae Music include all the music parts of an ensemble piece, and parts, which are the music notation for the Egyptian Reggae Music individual performers or singers. In popular music, jazz, and blues, the standard musical Egyptian Reggae Music notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as Egyptian Reggae Music jazz "big bands."
In popular music, guitarists and electric bass players often read music notated in tablature, which indicates the location of the notes to be played on Egyptian Reggae Music the instrument Egyptian Reggae Music using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to Egyptian Reggae Music notate music for the lute, a Egyptian Reggae Music stringed, fretted instrument.
Notated music is produced as sheet music. To perform music from notation requires an understanding of both the musical style and the performance practice that is associated with a piece of music or genre.
Improvisation is Egyptian Reggae Music the creation of spontaneous music. Improvisation is often considered Egyptian Reggae Music an act of instantaneous composition by composers, where compositional techniques are employed with or without preparation.
Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques. In a more detailed sense, music theory (in the western Egyptian Reggae Music system) also distills and analyzes the elements of music � rhythm, harmony (harmonic function), melody, structure, Egyptian Reggae Music and texture. People who study these properties are known as music theorists.
The field Egyptian Reggae Music of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices of analyzing, Egyptian Reggae Music composing, and performing music as a given, much research in music cognition seeks instead to uncover the mental processes that underlie these practices. Also, research in the field seeks to Egyptian Reggae Music uncover commonalities between the musical Egyptian Reggae Music traditions of disparate cultures and possible cognitive Egyptian Reggae Music "constraints" that limit these musical systems. Egyptian Reggae Music Questions regarding musical innateness, and emotional Egyptian Reggae Music responses to music are also major areas of research in the field.
|
Deaf Egyptian Reggae Music people Egyptian Reggae Music can experience music by feeling the vibrations in their body, a process which can be enhanced if the individual holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many famous works even after he had completely lost his hearing. Recent examples of deaf musicians include Evelyn Glennie, a highly acclaimed percussionist who has been deaf since age twelve, Egyptian Reggae Music and Chris Buck, a virtuoso violinist who has lost his hearing. This is relevant because Egyptian Reggae Music it indicates that music is a deeper Egyptian Reggae Music cognitive process than unexamined phrases such as, "pleasing to the ear" would suggest. Much research Egyptian Reggae Music in music cognition seeks Egyptian Reggae Music to uncover these complex mental processes involved in listening to music, which may seem intuitively Egyptian Reggae Music simple, yet are vastly intricate and complex.The music that composers make can be heard through Egyptian Reggae Music several media; the most traditional way is to hear it live, in the presence, or as one of the musicians. Live music can also be broadcast over the radio, television Egyptian Reggae Music or Egyptian Reggae Music the internet. Some musical styles focus on producing a sound for a performance, while others Egyptian Reggae Music focus Egyptian Reggae Music on producing a recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially Egyptian Reggae Music live, often uses Egyptian Reggae Music the ability to edit and splice Egyptian Reggae Music to produce recordings which are considered better than the actual performance.
As talking pictures emerged in the early 20th century, with their prerecorded musical tracks, an increasing number of moviehouse orchestra Egyptian Reggae Music musicians found themselves out Egyptian Reggae Music of work.[6] During the 1920s live musical performances by orchestras, pianists, and theater Egyptian Reggae Music organists were common at first-run theaters[7] With Egyptian Reggae Music the coming of the talking Egyptian Reggae Music motion pictures, those featured performances were largely eliminated. The AFM took Egyptian Reggae Music out newspaper advertisements protesting the replacement of Egyptian Reggae Music live musicians with mechanical playing devices. One 1929 ad that appeared in Egyptian Reggae Music the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Egyptian Reggae Music Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Egyptian Reggae Music Whatever"
Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Berne Egyptian Reggae Music Convention for the Egyptian Reggae Music Protection of Literary and Egyptian Reggae Music Artistic Works in the United Kingdom, recordings and live performances have also become more accessible Egyptian Reggae Music through Egyptian Reggae Music computers, devices and internet Egyptian Reggae Music in a form that Egyptian Reggae Music is commonly known Egyptian Reggae Music as music-on-demand.
In many cultures, there is less distinction between performing Egyptian Reggae Music and listening to music, since Egyptian Reggae Music virtually everyone Egyptian Reggae Music is involved in some sort of musical activity, often communal. In industrialised countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in Egyptian Reggae Music the middle of the 20th century.
|
Sometimes, live performances Egyptian Reggae Music incorporate prerecorded sounds. Egyptian Reggae Music For example, a DJ uses disc records for scratching, and some 20th-century works have a solo for an instrument or voice that is Egyptian Reggae Music performed along with music that is prerecorded onto a tape. Computers and many keyboards can be programmed to produce Egyptian Reggae Music and play MIDI music. Audiences can also become performers by participating in Karaoke, an activity of Japanese origin which centres around a device that plays voice-eliminated versions of well-known songs. Most Egyptian Reggae Music karaoke machines Egyptian Reggae Music also have video screens that show lyrics to songs being performed; performers can follow the lyrics Egyptian Reggae Music as they sing over the instrumental Egyptian Reggae Music tracks.
The advent of the Internet has Egyptian Reggae Music transformed the experience of music, Egyptian Reggae Music partly through the increased ease of access Egyptian Reggae Music to music and the increased choice. Chris Anderson, in his book The Long Tail: Why Egyptian Reggae Music the future of business is selling less of more, suggests that while the economic model of supply and demand describes scarcity, the Internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make Egyptian Reggae Music its whole inventory available Egyptian Reggae Music online, giving customers as much choice as possible. It has thus become economically viable to offer products that very Egyptian Reggae Music few people are interested in. Egyptian Reggae Music Consumers' growing awareness of their increased choice results in a closer association between listening tastes and social identity, and the creation of thousands Egyptian Reggae Music of Egyptian Reggae Music niche markets.
Another effect of the Internet arises with online communities Egyptian Reggae Music like Youtube and Myspace. Myspace has made social networking with other musicians easier, and greatly facilitates the distribution of one's music. Youtube also has a large community of both amateur and professional Sony Music Entertainment musicians who post videos and comments. Professional musicians Egyptian Reggae Music also use Youtube as a free publisher of promotional material.
Youtube users, for example, no Egyptian Reggae Music longer only Egyptian Reggae Music download and listen to mp3s, but also actively create their own. According to Tapscott and Williams, there Egyptian Reggae Music has been a shift from a traditional Egyptian Reggae Music consumer role to what they call a "prosumer" role, a consumer Egyptian Reggae Music who both creates Egyptian Reggae Music and consumes. Manifestations of this in Egyptian Reggae Music music include the production of Egyptian Reggae Music mashes, remixes, and music Egyptian Reggae Music videos by fans. |
