Music Is A Product Of Human Intention And Perception Essay

A starting point of looking at the meaning of music is to consider the idea that music has some sort of link between the way it is performed, and those who perform it. This leads to a question of authenticity. Authenticity is a multi-faceted subjective word that can mean different things for different people. Consequently when the term “authentic” is used, I will use it to answer the question of: What does it mean for music to be played authentically? Using “authentic” this way allows me to define it as a mode in which originality functions towards the true meaning of the music 's intent. This definition, as we shall see, does not escape some of the conundrums of musical meaning. In fact, these conundrums might destroy the concept of authenticity as even something that should be talked about in musical theory.

Music may have proceeded speech as a form of human communication (Darwin; Mithen, cited in Thompson, Russo & Quinto 2008, p. 1468) and its place in human interaction stems from its relationship with emotional expression (Swaminathan & Schellenberg 2015, p. 189). The perception of emotion in music begins in early childhood (Dalla Bella,

* Listening: CD 1:1 (Beethoven’s Symphony #9) & CD 1:2 (Japanese gagaku) 3. Sounds are organized into music by people thus; music is a form of humanly organized sound * Music is a human phenomenon

Music is a significant element in most lives it takes a role in most cultures people believe in. Music contains a variety of elements within different genres such as the pitch, rhythm, dynamics, timbre and the texture. Different voices and different kinds of instruments produce a variety of frequent

Music has shaped the world we live in. It is a human force that is as natural as it is inevitable. The study of the history of music involves understanding the driving forces of musical evolution, including political and social conditions at the time that the songs were developed. Less discussed, however, is the affect of our world's soundscape on the development of music. Soundscapes (a concept developed by R. Murray Schafer) are inclusive of the noises in our environment that we have so internalized as normal that we forget to listen for them. However, the basic distinction between music and noise is, for the sake of this paper, rhythm and pitch. It is these two components that can be traced back to the geographical soundscapes of various locations. The very basic things that make music music arguably stem from locations of human life. Analyzing the

As a futuristic artist, Russolo saw potential in enriching musical art and enlarging its capability to produce auditory contenting complexity by considering an infinite variety of timbres of noises as the domain of the music. He felt deplorable how people couldn’t see what the art of noises could bring to them. As Russolo stated that “music has developed into a search for a more complex polyphony and a greater variety of instrumental tones and coloring.” He believes that noises are infinitely existent and musical pleasure to people comes not only from pure man-made sounds, but also from those already exited noises.

Throughout mankind’s history, music has been used as a vital form of human expression. Whether capturing and conveying feelings of sorrow, rage, triumph, or love, its primary purpose has always been enthralling and resonating with its listeners. Over the years, the emergence of new technologies and musical tastes has brought the world rock and roll, pop, folk, country, techno, and many other widely varied styles of music, each of which presents its own meaning and

Unlike many forms of art, music and the human condition have a unique relationship which is tethered together by a universal language connected and understood by all of mankind. Through the creation and engagement with music, individuals are able to discover, share, and express aspects of the human experience that they would not be able to experience through other forms of art. Often, music has the ability to influence and amplify the message, such as lyrics, that the artist is attempting to convey to an individual or audience through means of rhythm and tone. The rhythm and tone produced in a work of music is formed by a numerical pattern that appeals to the human condition. Pythagoras, a 6th century BC philosopher, argued that numbers and or numerical patterns are the basis and universal language of reality because forms,

The evolution of music and its ability to have multitudinous uses is what makes the notion of music unique when compared to anything else. Communication was one of the first uses of music. Utilizing music as a style of communication required the creation of complex and subtle acoustic techniques, each with the purpose of articulating a specific idea. These musical gestures developed from manipulations of the various parameters of music. When Guido D 'Arezzo first improved and reworked standard notation by adding time signatures and inventing solfege in 1000 CE, this was the beginning of music taking on the form of art. As musical advances continued many elite composers began to arise. Music was then employed as a form of expression, representing joy, sorrow, and pain. Music can also paint scenes and take the listener to distant places; however, this requires an experienced composer, who can manipulate pitch, tempo, dynamics, instrumentation, texture, and form. If the composer can exploit these properties of sound and music to paint a vivid world of emotions, he can paint a musical masterpiece. This use of musical gestures is prevalent throughout Western composition, particularly in the form of program music, “which is a piece of instrumental music, usually for symphony orchestra, that seeks to re-create in sound the events and emotions portrayed in some extra musical source: a story, a play, a historical event, an encounter with nature, or even a painting” (Wright). When

In this book, philosopher Stephen Davies attempts to explain why music has meaning. When we talk about music we do not say that we only enjoy it. We also talk of music's ability to understood or misunderstood. Sometimes music appears to speak towards deep feelings and experiences. Consequently, some music is viewed as having a content that makes these expressions available. Therefore, the driving question of this book is: what does music mean?

For thousands of years, music has been a part of people’s lives and has evolved through many different forms over time. Music is the art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre (American Heritage). One important component of analyzing music is whether it has musical value. In other words, music does not have to be organized sound or produced by instruments. This is what composers and artists of experimental music discover. Experimental music is an art form, makes use of instruments or other items that can produce sound, and can alter or expand the basic foundations of music and musicality. These are the

Two persistent and basic questions surrounding music are (1) what is a musical work1, and (2) what is the thing that makes something a piece of music?2 To answer these questions, philosophers have relied on several ontological theories that purport to answer these, and other questions, of importance in the field of music.

With a vast exposure to music in our everyday lives, we must give thought as to what makes the sounds we hear so impressionable upon our very being in an order to understand music. Peter Kivy discusses two models in his book, “Music Alone; Philosophical Reflections on the Purely Musical Experience”, accounting for musical appreciation, namely, the stimulation model and the representational model of musical pleasure. Kivy compares these two models of conceptualization on many different accounts. We learn, through his defense, that he takes the stance as to say that music is purely a cognitive experience because of the syntactic structure that music is developed upon and our understanding of the structure’s function. He debunks the idea that a purely musical experience can be defined by the stimulation model because that would digress all music into a casual-mechanism of nerve arousal.

There is an increasing mutual exchange as the synthetic and the human-made equally invades what we once thought of as natural. In electronic music, the human element that people input in their work is crucial to say the least. People provide the unpredictable pieces in their work to make it stand out from the rest. Most robotic or technologic generated music often is in the form of a pattern. Without human interface, electronic music, for the most part, is predictable. When electronic music is played without the human element, a sense of something that is missing usually occurs. Today, technological advances allow electronics to replace most of the human interactions. Now technology can mimic the sounds of non-electronic instruments. Instruments such as the flute, violin, and guitar are just some of these mimicked sounds that could be replaced. In this “genre” the human body is often held as a relatable tool. The audience notices the human element and realizes that they can create such works as well. Electronic music to some may feel that it is missing the human component in the normalized concept of seeing the artist. However, when developing the art itself, electronic music, whether it be in live performances, editing the material, or commercializing the music for use, the human element is still very prominent. The human component is implicated in music directly or indirectly.

Music is a universal language. It is a part of culture that has been around for thousands of years, dating back to the first recorded German flutist 40,000 years ago during the Stone Age. Lyrics and sounds can be understood and interpreted independently, but it is how humans are able to take in these sounds and interpret them that is often misunderstood. The biological and psychological aspects of this process play an imperative role, including the idea that our hearing systems are based solely on the cerebellum and physical movement, rather than chemical reactions which usually evoke our