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musical Other Music material, or Other Music composition, as held in western classical music. Other Music Even when music is Other Music notated precisely, there are still many decisions that a performer has to make. Other Music The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation. Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of Other Music others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as performance Other Music practice, where as interpretation is Other Music generally used to mean Other Music either individual choices of a Other Music performer, or an aspect of music which is Other Music not clear, and therefore has a "standard" interpretation. In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called Other Music free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived. According to the analysis of Georgiana Costescu,[citation needed] improvised music usually follows stylistic or genre conventions and even "fully composed" includes some freely chosen material. Composition does not always Other Music mean the use of notation, or the known sole Other Music authorship of one individual. Music can also be determined by describing a "process" which may create musical sounds; examples of this range from wind Other Music chimes, through computer programs which select sounds. Music which contains elements selected by chance is called Aleatoric music, and is Other Music associated with such composers as John Cage, Morton Feldman, and Witold Lutoslawski. Musical composition is a term that describes the composition of a piece of music. Methods of composition vary widely from one composer to Other Music another, however in analysing music all forms � spontaneous, trained, or untrained � are built Other Music from elements comprising a musical piece. Music can be composed for repeated performance or Other Music it can be improvised: composed on the spot. The music can be performed entirely Other Music from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and Other Music practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works Other Music like Other Music those of free jazz performers and African Other Music drummers. What Other Music is important in understanding the composition of a piece is singling out its elements. An understanding of music's formal elements can be helpful in Other Music deciphering exactly how a piece is constructed. A universal element of music Other Music is how sounds occur in time, which is referred to as the rhythm of Other Music a piece of music. When Other Music a piece appears to have a Other Music changing time-feel, it is considered to be in rubato time, an Italian expression that indicates that the tempo of the piece changes

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to suit the expressive intent of the performer. Even random placement of random sounds, which occurs in musical montage, occurs

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within some kind of time, and thus employs time as a musical element. Notation is the written expression of music notes and rhythms on paper using Other Music symbols. When music is written down, the Other Music pitches and rhythm of the music is notated, along Other Music with instructions on Other Music how to perform the music. The study of how to read notation involves music theory,

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harmony, Other Music the study of performance practice, Other Music and in Other Music some cases an understanding of historical performance methods. Written notation varies with style and period of music. In Western Art

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music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, Other Music and parts, which are the Other Music music notation Other Music for the individual performers or Other Music singers. In Other Music popular music,

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jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it Other Music is Other Music a vocal Other Music piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such

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as jazz "big bands." In popular music, guitarists and electric bass players often read music notated Other Music in tablature, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted

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instrument. Notated music is produced as Other Music 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 Other Music is the creation of spontaneous music. Improvisation Other Music is often considered an act Other Music of instantaneous composition by composers, where compositional Other Music techniques are employed with or without preparation. Music Other Music theory encompasses the nature and mechanics of music. It often involves identifying patterns Other Music that govern Other Music composers' techniques. In a more detailed sense, music theory (in Other Music the western system) also distills and Other Music analyzes the elements of Other Music music � rhythm, harmony (harmonic function), melody, structure, and texture. People who study these properties are known as music theorists. The field of music cognition involves the study of many aspects of music including how it is processed by listeners. Rather than accepting the standard practices

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of Other Music analyzing, 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 Other Music seeks to Other Music uncover commonalities between the musical traditions of disparate cultures and possible cognitive "constraints" that limit these musical systems. Other Music Questions regarding musical innateness, and emotional responses to music are also major areas of research in the

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field. Deaf people can experience music by feeling

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the vibrations in their body, a process which can be enhanced if the individual holds Other Music a resonant, Other Music 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, and Chris Buck, a virtuoso violinist who has lost his hearing. This is Other Music relevant because it indicates that music Other Music is a deeper cognitive process than Other Music unexamined phrases such as, "pleasing Other Music to the ear" would suggest. Other Music Much research in music cognition seeks to Other Music uncover these complex mental processes involved in listening to Other Music music, which may seem intuitively Other Music simple, yet are vastly intricate and complex.The music that composers make can be heard through several media; Other Music the Other Music most traditional way is

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to hear it live, in the presence, Other Music or as one of the musicians. Live music can also Other Music be broadcast over Other Music the radio, television or the internet. Some musical styles focus on producing a sound for Other Music a performance, while others focus on Other Music producing a Other Music recording which mixes together sounds which were never played "live". Recording, even of styles which are essentially live, often uses the ability to edit and splice 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

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number of moviehouse orchestra musicians found themselves Other Music out of work.[6] During the 1920s live musical Other Music performances Other Music by orchestras, pianists, and theater

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organists were common at first-run theaters[7] With the coming of the talking Other Music motion pictures, those featured performances were

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largely eliminated. The AFM took Other Music out newspaper advertisements protesting the Other Music replacement of live musicians with mechanical playing devices. Other Music One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Other Music Emotional Reaction Whatever" Since legislation introduced to help protect performers, composers, publishers and producers, including the Audio Home

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Recording Act Other Music of 1992 Other Music in the United Other Music States, and the 1979 revised Other Music Berne Convention for the Protection of Literary and Artistic Works in the United Kingdom, recordings and live performances have also become more accessible through computers, devices and internet in a form that

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is commonly known Other Music as music-on-demand. In many cultures, there is less distinction Other Music between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialised countries, listening to Other Music music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century. Sometimes, live performances incorporate Other Music prerecorded sounds. For example, a DJ uses disc records for scratching, and some 20th-century works have a solo for an instrument or voice that

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is performed along with music that is prerecorded onto a tape. Computers and Other Music many keyboards can be programmed to produce and play MIDI music. Audiences can also become performers Other Music by participating in Karaoke, an activity of Japanese origin which centres around a device that plays voice-eliminated versions of well-known Other Music songs. Most karaoke machines also have video screens that show lyrics to songs being performed; performers can follow the lyrics as they sing Other Music over the instrumental tracks. The advent of the Internet has transformed the experience of music, partly through the increased ease Other Music of access to music and the increased choice. Chris Anderson,

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in his book The Long Tail: Why the Other Music future of business is selling less of more, suggests that while the economic model Other Music of supply and demand describes scarcity, the Internet retail model is based on abundance. Other Music Digital storage costs are low, so Other Music a company can afford to make its whole inventory Other Music available online, giving customers as much choice as possible. It Other Music has thus become economically viable to offer products that very few people are interested in. Consumers' growing awareness of their increased choice results in a closer association between listening Other Music tastes and social identity, and the creation of thousands Other Music of niche markets. Another effect of the Internet arises with online communities like Youtube and Myspace. Myspace has made Other Music social networking with other musicians easier, and greatly facilitates the distribution of one's music. Youtube also has a large community Other Music of both amateur and professional musicians who Other Music post videos and comments. Professional musicians

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also use Other Music Youtube as a Other Music free publisher Other Music of promotional material. Youtube users, for Other Music example, no longer only download and listen to mp3s, but also actively create their own. According to Tapscott and Other Music Williams, there has been a shift from a traditional consumer Other Music role to what they Other Music call Other Music a "prosumer" role, a consumer who both creates and consumes. Manifestations of this in music include the Other Music production of mashes, remixes, and music videos by fans.

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