An effort is being made to show these people as frail or ridiculous. After jogging a few steps, he turns back to Watts. He moves at a slower rate close up. At first he seems to appraise Watts, the way a director might. An amused smile revises into something more nebulous. Back to the first shot—our mind supplies continuity by thinking around the inserted close-up. Jagger stands in the road with two other men, one pointing a camera at Watts. A police car is parked sideways, possibly indicating a roadblock.
Watts pretends to scold the burro, and the camera quickly pans to show Jagger running back into frame. The camera catches Jagger placing the same Stars-and-Stripes hat on his head. The hat is the mechanism that conveys the transition. The power chord, which was absent from the Stones film, hits us at the nine-second mark. A track-mounted camera glides past the stage, showing the band under pulsing stage lights. Joanou cuts to a POV shot of what the band sees from the stage: tens of thousands of banner-waving fans roaring as Bono throws his hands over his head and flings back his hair.
We need to know this before we can go on. The audience is visible in nearly every shot of the opening sequence. They validate what the band is doing onstage. Their collective approval is what gives the performance its lift.
a small essay about me and music. – Mendel Lee
Bono is exhausted; he crouches with his back to the audience and breathes heavily into the microphone. It feels a bit stagey, like something he does every night. We get a helicopter skimming the Irish coast, scenes of boatyards, factories, and belching smokestacks. Another U2 song plays, an elegiac folk number sung by guitarist The Edge.
The factory montage dissolves into a close pan of the four group members sitting and chatting in an undefined outdoor space. After the credits the band gives a short interview in their hangar-like rehearsal studio. Different musical traditions have different attitudes towards how and where to make changes to the original source material, from quite strict, to those that demand improvisation or modification to the music.
A culture's history and stories may also be passed on by ear through song. In music, an "ornament" is a decoration to a melody, bassline or other musical part. The detail included explicitly in the music notation varies between genres and historical periods. In general, art music notation from the 17th through the 19th centuries required performers to have a great deal of contextual knowledge about performing styles.
For example, in the 17th and 18th centuries, music notated for solo performers typically indicated a simple, unadorned melody.
However, performers were expected to know how to add stylistically appropriate ornaments to add interest to the music, such as trills and turns. In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. The performer was expected to know how to use tempo changes, accentuation , and pauses among other devices to obtain this "expressive" performance style.
In the 20th century, art music notation often became more explicit and used a range of markings and annotations to indicate to performers how they should play or sing the piece.
Philosophy of music is a subfield of philosophy. The philosophy of music is the study of fundamental questions regarding music. The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. Some basic questions in the philosophy of music are:.
In ancient times, such as with the Ancient Greeks , the aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the 18th century , focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment plaisir and jouissance of music. The origin of this philosophic shift is sometimes attributed to Alexander Gottlieb Baumgarten in the 18th century, followed by Immanuel Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception , received its present-day connotation.
In the s, philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue. However, many musicians, music critics , and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick , a music critic and musicologist , and composer Richard Wagner regarding whether music can express meaning.
Harry Partch and some other musicologists , such as Kyle Gann , have studied and tried to popularize microtonal music and the usage of alternate musical scales. It is often thought that music has the ability to affect our emotions , intellect , and psychology ; it can assuage our loneliness or incite our passions.
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The philosopher Plato suggests in The Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state Book VII. There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism , harmony , hypnotism , emotiveness , temporal dynamics , resonance , playfulness, and color see also musical development. Modern music psychology aims to explain and understand musical behavior and experience.
In addition to its focus on fundamental perceptions and cognitive processes, music psychology is a field of research with practical relevance for many areas, including music performance , composition , education , criticism , and therapy , as well as investigations of human aptitude , skill, intelligence , creativity, and social behavior. Cognitive neuroscience of music is the scientific study of brain-based mechanisms involved in the cognitive processes underlying music. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities.
It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. The field is distinguished by its reliance on direct observations of the brain, using such techniques as functional magnetic resonance imaging fMRI , transcranial magnetic stimulation TMS , magnetoencephalography MEG , electroencephalography EEG , and positron emission tomography PET.
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition. This interdisciplinary field investigates topics such as the parallels between language and music in the brain.
Personal Narrative- Concert Essay
Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be investigated. Psychoacoustics is the scientific study of sound perception.
More specifically, it is the branch of science studying the psychological and physiological responses associated with sound including speech and music.
It can be further categorized as a branch of psychophysics. Evolutionary musicology concerns the "origins of music, the question of animal song, selection pressures underlying music evolution", and "music evolution and human evolution". Charles Darwin speculated that music may have held an adaptive advantage and functioned as a protolanguage ,  a view which has spawned several competing theories of music evolution.
An individual's culture or ethnicity plays a role in their music cognition , including their preferences , emotional reaction , and musical memory. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy, and adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features.
Many ethnographic studies demonstrate that music is a participatory, community-based activity. Musical performances take different forms in different cultures and socioeconomic milieus.
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