Importance of music in my life | Teen Ink
“If Music Be the Food of Love, Play On!” -William Read on to hear about their playlists and decipher what they reveal about each relationship. Noisey. Essays. |. by Lauren O'Neill. |. Jun 22 , am In fact, you'll probably absolutely love it – how could you, after all, resist its often we have very little idea about the real lives of the people who make the music we love, and yet, to a failed relationship, the first significant one in year-old Lorde's young life. Free Essay: Introduction “We Found Love” is a popular song produced by Calvin Their relationship is distinguished by domestic violence as the couple is seen The main problems with the music video and lyrics of “We Found Love” are the .
As far as I could tell, there was nothing theoretical about identifying an augmented sixth chord. Once in a class I remarked that a Beatles song had the same flat sixth as the Schubert sonata we were looking at; everyone stared at me as if I'd just escaped from a mental ward.
My theory studies had only a glancing relationship to my history courses, and neither had much relationship to my piano lessons with Prof.
Essay: How music plays a vital role in 'Her' | CPR
It seemed, in fact, as if these were three parallel but largely unrelated courses of study. One aspect of the music curriculum topped all of these.
Looking through the course offerings I came across a prerequisite for the major: The best she could come up with was that you would learn which works of music were masterpieces.
In other words, you would be told. I looked in vain through the science offerings at Brown to see if they included Thermodynamics Appreciation or Calculus Appreciation. That was and this is more than three decades later. Virtually every school or department of music now offers courses in popular and world musics. Yet if you look closely at music curricula today where music appreciation is alive and wellat the offerings of most symphony orchestras, opera companies, and chamber music societies, once you peel away the veneer it seems that the more things change, the more they stay the same.
So here, in a whimsical spirit of constructive change, are a few suggestions for rethinking Western music in three decades of teaching at UCLA I've had the chance to try them out on about 10, undergraduates and 1, graduate students: Kids suspect as much.
You then have the opportunity to point out that the same was also true with Japanese and Chinese court music, or with the music of the Aztecs. Now you can have a conversation. It is no accident that opera is the only form of classical music today that is actually growing.
Kids raised on multimedia take to opera like the proverbial duck to water meanwhile, appreciation textbooks continue to marginalize opera, finding it too messy to teach and performances too expensive to license. Introduce Beethoven as the offspring of an abusive alcoholic and a depressed but enabling wife talk about gaining sympathy ; present Franz Schubert as someone who had a strong homosexual component to his life; introduce Hector Berlioz or Robert Schumann or Gustav Mahler as composers who struggled with bipolar disorder manic-depressive illness.
Along with their creative achievements, don't shy away from examining their politics, their religious beliefs, the means by which they made a living, even their relationships and offspring. Their achievements will be more human and therefore arouse more interest. A case in point is John Adams, arguably America's best known composer of concert music.
Almost immediately he picked up and moved to San Francisco where he still resides. Was it the weather?
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Many New Englanders might agree. I recall with great pleasure having Mr. Adams as a guest in a seminar for arts presenters that I led several years ago. I began by asking him about his background. It wasn't long before one of the participants asked: But that, he continued, was not his primary reason. And just up the road at Mills College was minimalist pioneer Steve Reich. My presenters were speechless—and then delighted. As an entry point into the musical from an interdisciplinary approach, the opening lines serve as an effective foundation.
Aaron Burr refers to Alexander Hamilton using three insulting names: After playing a recording of just that opening line, a few initial questions help students to frame the issues: Why does Burr call Hamilton all three of these insulting names?
What do you think are the implications of these insulting names for the time period? The richness of the historical record can lead to a deep exploration of these initial questions.
Furthermore, because his mother died when Hamilton was a child and his father already had abandoned the family, he was treated as an orphan, passed from family to family.
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However, Hamilton came to New York as a teenager, well before the United States was founded, and in some sense was no more an immigrant than his political rivals. Burr, Thomas Jefferson, and James Madison, his most prominent adversaries, all descended from European heritage, as did Hamilton, whose father was born in Scotland.
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An additional question brings the conversation ahead more than two centuries and helps student contemplate these ideas in contemporary cultural, social, and political contexts: The ensuing discussion, especially of how immigrants are treated in contemporary society and political discourse, helps lead the students to a deeper understand of how the musical represents much more than an historical narrative set to rap.
It is a work of art reflective of its time of creation, providing disparate ideas of what it means to be an American, illustrating the persistence of cultural and social assumptions, and exploring meanings associated with the founding of the country in a new context.
Following this wide-ranging examination, turning to the music of the opening number leads to richer insights, specifically based on musical analysis: What is the form of this example? What does Miranda achieve by using this form, musically, historically, and from a narrative perspective? These questions may prompt students to recognize the song as related to, or a modern adaptation of, continuous variations form, with a ground bass or perhaps a groove, in the language of popular musicbased on their prior studies of this form.
Thanks to my colleague, Elizabeth Medina-Gray, who first called my attention to the form of this song. Reflecting on the nature of the form, students might propose ideas such as the solid underpinning over which Miranda introduces each character, the nearly contemporaneous historical usage of the ground bass with the time period of the narrative, and the slow build in texture and dynamics as the song progresses over the unwavering though often varied support of the bass line.
The opening discussion that I have outlined above provides an opportunity to consider the first song in terms of formal analysis, as well as from a broader context. It sets the tone for further discussion of the musical that likewise enriches the classroom experience for students and provides a strong foundation for further investigation. A series of periodic perhaps weekly assignments, to be discussed in ensuing classes and outlined below, provide a structure for a continuing examination of Hamilton from a rich interdisciplinary perspective with musical depth: Listen to these songs and study the lyrics.
Prepare for a detailed class discussion as follows: Find at least two examples of hip hop songs in which the artists announce themselves as part of the lyrics other than the songs from which Miranda borrows directly.
Be prepared to play the examples for the class. What is Miranda saying about these characters by using this style and this text in the musical?
What are the hip hop artists saying about themselves by using their names in the context of your chosen hip hop songs? What musical contexts does Miranda create for these naming songs in Hamilton, and what musical contexts do the composers of your chosen songs create? Describe the similarities and differences between the accounts. Listen to the song in Hamilton. Specifically how does the musical structure aid Miranda in making this point more vivid than in Chernow? Make notes to prepare for class discussion.
Choose one individual or idea Jefferson, Madison, or assumption of debts and location of the capital from this reading. How does the musical depict the historical record of your choice of one individual, event, or detail in this chapter? Include substantive and specific points about the music, the lyrics, and the reading. Prepare to present your ideas to the class in a presentation of about 5 minutes. Write a word essay responding to the following prompts.
Do not include the questions in your essay, but be sure you address all of the questions over the course of your essay. Be creative and specific, especially when referring to the music: Listen to the original ballad start at about 1: