Medical Applications for MusicEssay Preview: Medical Applications for MusicReport this essayWhen someone mentions the word music what the first thing that pops youre your mind? Is it the subtle relaxing classical organ that blows through your mind or the hard grunge sound of a modern double bass drum? Everyone in the world, no matter what corner of the world people reside, listens to some sort of music or another. Be it rock, classical, rap, hip-hop, country, electronic or any of the other of the hundreds of classifications for music. Music is a natural intuitive phenomenon operating in the three worlds of time, pitch, energy, and under the three distinct and interrelated organization structures of rhythm, harmony, and melody.
Since the music phenomenon is natural and intuitive, humans can also virtually perform and hear music in their minds, without even learning or understanding it. Traditionally, one of the major difficulties in defining music has been to use the word to try to describe all activities and things related to music and sound . For example, scores only become music through performance, or when recorded performances are replayed. While music is a natural intuitive phenomenon, composing, improvising and performing it are art forms. Also, listening to it can be a source of entertainment, while learning and understanding it are disciplines. Music develops day by day, there are also various factors that may help or force it to change. It common knowledge that both religion and politics have a profound effect on the development of music throughout history but how so? What else has had an effect on the development of music? With a major in medicine were can you find music in the world of medicine?
Man has allowed religion to control and influence his life in many different ways, affecting both his behavior and his actions . So its not surprising that music, one of mans earliest expressive forms, has also been influenced by religion. Religion has had an effect on mans music all throughout history, from the early Egyptians to even now . So it is only natural that Western music should also have been affected by religion. For example this can be seen by all the “Christian” worship and rock albums. Western music, and its development by composers, has been strongly influenced by the Christian religion, especially in the Medieval, Renaissance, and Baroque periods. With the church under control for the early periods, music that man developed was only allowed to be favorable and directed toward the church. The church stopped all other types of musical forms of expression and this lasted for thousands of years. While religion never let go of its grip of personal musical expression in the early ages it did loosed up as people developed and the Baroque period offered new forms of expression that separated that periods music from the gorgon chant. This is also interconnected to political influences on music development.
There has always been an account of political expression in music. Music has played the role of pretest, support and sometimes pro-establishment . One good example the ties back to religion was Classical music. Classical music is music considered classical, generally thought of as sophisticated and refined; it may stem from a regional tradition, but aspires to universal form of communication. Classical music is sometimes defined as music produced in, or rooted in the traditions of art, ecclesiastical, and concert music . Classical music is contrasted with popular or folk music. In the English language, the term “classical music” is a homophoric reference to European classical music, such as Beethovens symphonies, and its derivative styles, and rarely used to refer to traditional musical styles of other regions.
Songs used in poetry
In the British Empire the “Songs of England” or “Songs of England”, as a noun, formed by a series of successive phrases and words, was commonly regarded as a musical form. Here is a brief extract of the original song and the lyrics of the Song of England & Wales
We have a country in England, but they say, “No man nor fowler shall come here, but we will sing our hymn together.” This song, sung to all our inhabitants, and to the world, is probably very similar to the phrase, which was adopted in the British Isles and later in Scotland and Wales.
The “Song” is an abstract, ancient and sometimes unoriginal form originally used by ancient people in the British East India Company to signify the time of prosperity. In China, a “Chinese Song” is often translated under a title. It is a form developed over a series of different centuries from the modern Chinese.
The Song of England is used as an informal way of expressing peace and successions after the defeat of the Uprising of the Chinese in the Great War of 1918 for the protection of the capital of Guangzhou and the eastern province of Guangdong, two provinces in southern China. “The Song” was composed in a small Chinese village, in the mountains of Xinjiang, in the south of the province where the Uprising commenced. Many of the people involved are from the Yiwen Prefecture; the Uprising took place the following year. There was no known Chinese war, and in all probability the Song was written during this period.
This song or “Song of England” is often referred to as a classical form. English folk music was in use in this country from the 1600s until very recently. It was in place as the most popular musical instrument of the time, although there are no records of this musical form in Britain.
In the early eighteenth century an English man named Sir Thomas Hartley was traveling to France with his sons for learning Italian. Unfortunately Thomas had no money to pay his fees, and he had his wife and two children in Ireland. At the beginning of the eighteenth century a friend of Thomas’s, who was able to afford him a copy of the ancient French version of Shakespeare’s The Tempest, wrote to him to express his surprise that the English were not familiar with French:
“Well then, you must know this song, so I shall write you the most exquisite form; but I believe that it cannot in any thing be understood, unless you have heard of its existence in all our ancient nations…”
This expression was used on occasion to express gratitude to the French emperor of Great Britain (1789-1920), at whose birthday he was writing a treatise on poetry.
The French emperor wrote an epitaph for this song when he stated:
“And now to you, good old Mr. Hartley, my beloved French son of Sir Thomas (Haldane); we shall soon enjoy the same kind of intercourse together, as never hitherto since the age of my youth. I know that the English have a good time to live peaceably; they have now learned
Songs used in poetry
In the British Empire the “Songs of England” or “Songs of England”, as a noun, formed by a series of successive phrases and words, was commonly regarded as a musical form. Here is a brief extract of the original song and the lyrics of the Song of England & Wales
We have a country in England, but they say, “No man nor fowler shall come here, but we will sing our hymn together.” This song, sung to all our inhabitants, and to the world, is probably very similar to the phrase, which was adopted in the British Isles and later in Scotland and Wales.
The “Song” is an abstract, ancient and sometimes unoriginal form originally used by ancient people in the British East India Company to signify the time of prosperity. In China, a “Chinese Song” is often translated under a title. It is a form developed over a series of different centuries from the modern Chinese.
The Song of England is used as an informal way of expressing peace and successions after the defeat of the Uprising of the Chinese in the Great War of 1918 for the protection of the capital of Guangzhou and the eastern province of Guangdong, two provinces in southern China. “The Song” was composed in a small Chinese village, in the mountains of Xinjiang, in the south of the province where the Uprising commenced. Many of the people involved are from the Yiwen Prefecture; the Uprising took place the following year. There was no known Chinese war, and in all probability the Song was written during this period.
This song or “Song of England” is often referred to as a classical form. English folk music was in use in this country from the 1600s until very recently. It was in place as the most popular musical instrument of the time, although there are no records of this musical form in Britain.
In the early eighteenth century an English man named Sir Thomas Hartley was traveling to France with his sons for learning Italian. Unfortunately Thomas had no money to pay his fees, and he had his wife and two children in Ireland. At the beginning of the eighteenth century a friend of Thomas’s, who was able to afford him a copy of the ancient French version of Shakespeare’s The Tempest, wrote to him to express his surprise that the English were not familiar with French:
“Well then, you must know this song, so I shall write you the most exquisite form; but I believe that it cannot in any thing be understood, unless you have heard of its existence in all our ancient nations…”
This expression was used on occasion to express gratitude to the French emperor of Great Britain (1789-1920), at whose birthday he was writing a treatise on poetry.
The French emperor wrote an epitaph for this song when he stated:
“And now to you, good old Mr. Hartley, my beloved French son of Sir Thomas (Haldane); we shall soon enjoy the same kind of intercourse together, as never hitherto since the age of my youth. I know that the English have a good time to live peaceably; they have now learned
Songs used in poetry
In the British Empire the “Songs of England” or “Songs of England”, as a noun, formed by a series of successive phrases and words, was commonly regarded as a musical form. Here is a brief extract of the original song and the lyrics of the Song of England & Wales
We have a country in England, but they say, “No man nor fowler shall come here, but we will sing our hymn together.” This song, sung to all our inhabitants, and to the world, is probably very similar to the phrase, which was adopted in the British Isles and later in Scotland and Wales.
The “Song” is an abstract, ancient and sometimes unoriginal form originally used by ancient people in the British East India Company to signify the time of prosperity. In China, a “Chinese Song” is often translated under a title. It is a form developed over a series of different centuries from the modern Chinese.
The Song of England is used as an informal way of expressing peace and successions after the defeat of the Uprising of the Chinese in the Great War of 1918 for the protection of the capital of Guangzhou and the eastern province of Guangdong, two provinces in southern China. “The Song” was composed in a small Chinese village, in the mountains of Xinjiang, in the south of the province where the Uprising commenced. Many of the people involved are from the Yiwen Prefecture; the Uprising took place the following year. There was no known Chinese war, and in all probability the Song was written during this period.
This song or “Song of England” is often referred to as a classical form. English folk music was in use in this country from the 1600s until very recently. It was in place as the most popular musical instrument of the time, although there are no records of this musical form in Britain.
In the early eighteenth century an English man named Sir Thomas Hartley was traveling to France with his sons for learning Italian. Unfortunately Thomas had no money to pay his fees, and he had his wife and two children in Ireland. At the beginning of the eighteenth century a friend of Thomas’s, who was able to afford him a copy of the ancient French version of Shakespeare’s The Tempest, wrote to him to express his surprise that the English were not familiar with French:
“Well then, you must know this song, so I shall write you the most exquisite form; but I believe that it cannot in any thing be understood, unless you have heard of its existence in all our ancient nations…”
This expression was used on occasion to express gratitude to the French emperor of Great Britain (1789-1920), at whose birthday he was writing a treatise on poetry.
The French emperor wrote an epitaph for this song when he stated:
“And now to you, good old Mr. Hartley, my beloved French son of Sir Thomas (Haldane); we shall soon enjoy the same kind of intercourse together, as never hitherto since the age of my youth. I know that the English have a good time to live peaceably; they have now learned
Classical music was mainly written for those of power such as kings, queens and high priests. Since those with power controlled the economy of the world at the time, songs where written in order to honor their name and memories. Nowadays it has become less common and you can see in later pieces of classical music that its not all glorifications and at times questions higher rule.
Folk music is another form of music that has a large impact on music with its political impact. Folk music, in the original sense of the term, is music by and of the people. Folk music arose, and best survives, in societies not yet affected by mass communication and the commercialization of culture. It normally was shared and performed by the entire community and not by a special class of expert performers . This type of music was primarily transmitted by word of mouth.
During the 20th century, the term folk music took on a second meaning. It describes a particular kind of popular music which is culturally descended from or otherwise influenced by traditional folk music. Like other popular music, this kind of folk music is most often performed by experts and is transmitted in organized performances and commercially distributed recordings. However, popular music has filled some of the roles and purposes of the folk music it has replaced.
Folk music is more or less synonymous with traditional music. Some would use either term with a more specific meaning, restricted to just popularized-folk/traditional music or just not-popularized ; however, both terms are used interchangeably among the general population and are not strictly defined. Fold music tends to contain history of the culture, for example strikes, uprisings, war and protest.
Popular 20th century music has had a large boom in political inspired lyrics and undertone like no other musical period. Music in this period was often used to express anti and pro war views. A classical rock band by the name of “Pink Floyd” released an album (The Wall) in the early 80s which was apposed to the Berlin wall in Germany. Bands such as this recoded many different albums and Pink Floyd remains to be one of the highest selling bands of all time. The majority of political popular music has an anti-establishment or left wing perspective; right-wing musicians have had a history of being over patriotic and at times racist which does not go well for general audiences. A good example of a left wig perspective would have been the famous Woodstock festival. The Woodstock Music and Art Festival was the most famous rock festival of its era. It was held at Max Yasgurs 600 acre dairy farm in Bethel, New York, on 15, 16, and 17 August, 1969. The festival bears the name “Woodstock” because it was originally scheduled to take place in the town of Woodstock, in Ulster County; local opposition arose, however, and the event was almost cancelled altogether .
Now around the mid 70s the new genre called punk rock evolved and this form of music was overly political. The lyrics of most of the punk bands revolved around the destruction of all rule and the start of a revolution.