Juxtaposition Of Deep Listening And Trancing

Writer and composer, Aaron Copland, in his book, “How We Listen,” divides listening into three planes: the sensuous, the expressive and the sheerly musical. Copland argues throughout the work that “[listeners] can deepen [their] understanding of music only by being a more conscious and aware listener.” (Copland, 15) Copland’s strategy of breaking the text up with the three planes of listening helps the reader understand his message in a more complete way.

It is intriguing how something simple as sound waves affect our emotions deeply. Igor Stravinsky’s famous ballet score “Rite of Spring” had a massacre theme with very disturbing images and surprisingly, the audience responded with a bloody riot with people even hitting Stravinsky. The second time the audience heard the music, they applauded him and to a greater surprise, the same music became Disney’s music. This transition of people’s dislike of a music to greatly appreciating piece is done by the brain. As the music repeats, the brain has the capacity to tune into to it and even adjust to that sound. When we hear unfamiliar noises that are dissonant or unpleasant, auditory cortex’s role is to differentiate the plethora of sounds and find

Reimer’s viewpoint is that all our experiences musically, regardless of the music itself educate our being. Refining, clarifying, broadening, and deepening our feelings in a way analogous to how language does the same for our conceptual reasoning’s (Reimer, 2005). The aesthetic music education philosophy emphasizes individual feeling and a more comprehensive understanding of the role of feelings in the music listener and performer as

The novel is able to share how music is of great importance and is able to affect people’s moods and thoughts.

Utilizing the groundwork proposed by this essay, we can expand to research other texts in which music seems to function as a form of communication. In doing so, we can study the similarities and differences between the mechanism as a way to arrive at a larger claim about the role of nonverbal communication amongst humans. With this new claim, we can begin to understand to recognize other forms of communication that may not appear as readily accessible and challenging, in order to ensure that we do not neglect the music of emotion another person may be performing in their own

Without the human intention, perception, and interpretation of sound, then the existence of music would be imaginary. Music includes talking words in a way that the person creates a sound that is made with the intention of being music (Deutsch, Diana 10-13, Justus & Timothy., 33-40). Besides, people can perceive silence and sound and put them together so as to call the outcome music. In Bakan’s fourth proposition, he identifies the approach as the Human Intention and Perception (HIP) approach (Resnicow, Joel E., 10-22). In other words, the proposition tries to suggest that music is inseparable from the makers; or more specifically the people who perceive and experience it. Bakan gives numerous examples to show that music is a product of human intention and perception. This paper conducts research and gives appropriate examples to show that music is only identified as music if the person is making it has the intention for their words to be music.

From the creation of harmonies to singing to instruments, music has been an abstract form of human expression. Although an auditory collection of pitches and volumes, musicians can manipulate the same notes and bring them alive for their audiences. The true emotion and energy that’s felt in music really comes from the player as feelings are transferred to and through the listener. This interaction between performer and the house is catharsis, the complete release of strong repressed emotions. Thanks to the musician, music has the ability to grasp people and cause them to sense emotions and feelings without lyrics or images even being necessary. Although it’s believed we can only hear with our ears, something about music makes it emotionally if not physically tangible. In James Baldwin’s short story “Sonny’s Blues,” a narrator certainly unaware of the impact of music invites himself to experience jazz for the first time. Baldwin uses the final scene of his story to argue that music has an effect on those who are able to experience it. Baldwin does this in one single moment by letting the fixed, practical minded, “well-intentioned” narrator experience catharsis from jazz as his growing, free-spirited brother communicates with him through jazz.

For as long as mankind has walked on this earth, music has been an important part of our culture and lifestyles. Each walk of life beats to a different drum. Different cultures use music for many aspects of their lives; for religious purposes, for celebrations, for comfort, for sorrow, for relaxation, for sports, for dances, for energy, for learning, for sleeping, and for sexual experiences. Everyone uses music for something. Music connects with people and reaches them in ways that words simply cannot. Music is a representation of what feelings sound like. It expresses emotion and brings that characteristic out from within us; it tells us a story. Every generation has its’ own sound and different music styles have emerged and become

Some people think that music can positively influence the listener while others disagree and argue that it has a negative impact. Mark Edmundson, the author of “Can Music Save Your Life?,” asserts through his own experience and the research of others that music solely “preserves” the listener’s life as a “balm—cortisone spread” (paragraph 25). His use of a well-known medical supplement makes it more relatable and believable to the reader. The authors of “Feeling the Beat” support Edmundson by stating that they observed an increased sense of confidence in oneself and one’s beliefs in the people they interviewed(Iwamoto, Creswell, & Caldwell 346). Their main support is the quote from one of their interviewee’s who said, “We can identify what they are talking about” (Iwamoto, Creswell, & Caldwell 343). This not only explains why students listen to certain types of music, but also why it can have such an impact on them. Derek Iwamoto, John Creswell, and Leon Caldwell declare their statement that positive influence of music by stating that the majority of the students they observed used their music as a way to

There has always been a divide between music that is for intellectual engagement, and music that is for physical engagement. It is also understood that these two categories are never to intersect; music for concert halls and ballrooms is appropriate for only that occasion, and music for clubs or dances is limited to that platform, as well. In this essay, I will argue that to truly interact with music requires both cerebral and bodily activity on the part of the audience.

Thesis: Music is a unique form of sound powerful enough to manipulate mood, feelings, and cognition.

To be more specific, Becker has written six chapters on trancing excluding the introduction and postscript. In Chapter one, which is called, “Rethinking ‘Trance’” is about, trancing and culture. Becker quotes a French philosopher, Jean- Jacques Rousseau who talks about the relationship of music and trancing. Becker continues by discussing how trancing can happen within language because language is universal, and can create a different type of trance. She continues by talking about the universal experience of trances. Becker says, it is hard to compare experiences since we don’t know enough about the state of the trancee during the trancing process, other then to state the bodily experiences people reclaim after

A trance is dream and dreams are not real. When people dream, they dream of a perfect life where they wish to escape to, but it is not real. Music is a distraction when Laura can feel safe and isolated from the rest of the world to dream about her perfect life. Like a record that is put in a Victrola, that keeps playing the same tune all the time, Laura represents the record inside the victrola. She is trapped inside the apartment, doing the same thing everyday, and all she wants to do is escape from it. Additionally, when Amanda finds out that Laura has skipped business college, Laura explains to Amanda, “ I went in the art museum and the bird houses at the zoo. I visited the penguins everyday ”(15). Laura visits the art museum because art provides her to live in a fantasy of the pictures that paintings provide. Laura wishes to live in the art, but in the end, the paintings are just paintings and they may have been just a vision from the brain and they may not even be real. Most artists paint from the vision of their imagination. Laura went to see the penguins, which are birds that can’t fly, symbolizing Laura with her disability. Laura visits the penguins in order to provide her with a connection with them that she can’t get in the apartment. Unfortunately, at the end of the day, the zoo closes, forcing her to return back to her life at the apartment. Because Laura is initially awkward and “weird” from the rest of society, she visits the zoo,

Music is one of the greatest human creations (DeNora, 2000). It plays an integral role in human society worldwide irrelevant of race, gender, age, wealth or well-being (Kemper & Danhauer, 2005). Indeed according to Batt-Rawden (2010), playing different music in diverse situations can introduce listeners to the desired and relevant atmosphere. In most circumstances, music is played to entertain people, but it can also form part of an accompaniment in sad situations. Music is often the fulcrum that influences the listener by creating a unique ambience and atmosphere (Bernatzky, Presh, Anderson, & Panksepp, 2011). Chamorro-Premuzic and Furnham, (2007) adds that music can be a medium to enhance communication,

In order to understand how music can affect the body and mind, one needs to understand the composition of sound itself. Don Campbell describes it by