Category: Music

Introduction

In the modern high-competitive world, companies develop various strategies to promote their products and services. One such strategy is using music and relying on its effectiveness on consumers. A recent study suggests that music has the ability to influence attention span and product evaluation (Kim 215). Moreover, with the spread of COVID-19 affecting multiple areas of life, consumer behavior is also changing. People from different generations tend to prefer online shopping these days, so research recommends implementing more music in online stores (Kim 214-215). With that being said, one can assume that music has the power to persuade consumers.

The Use of Music

First, to support the proposed above assumption, there is a need to analyze how music affects consumers in general. Music can affect people at cognitive, affective, and behavioral levels. While some companies may pay more attention to changing consumer behavior, the two former levels should not be omitted (Sunaga 253). At the cognitive level, music attracts attention and enhances recall, whereas the affective level improves attitude towards the advertised product or service (Sunaga 253). Overall, for a longer-lasting effect of an advertisement, companies should consider tunes that impact each of the mentioned levels.

Next, the use of music in advertising needs to be explored more. Research suggests that the rational use of music can promote emotional integration and increase consumption impulse (Hou et al. 252). Furthermore, different types of music in a store can affect the time that the customer spends purchasing (Hou et al. 252). Music enhances the visual experience of an advertisement and impacts brand information transmission (Hou et al. 251). In other words, music can be used to build a brand personality that forms associations and attitudes towards a company, service, or product (Hou et al. 251). The brand attitude will be superior when evoked by a pleasant sound rather than an unpleasant one (Hou et al. 252). Moreover, in different market segments, consumers’ emotional experiences from the same music can vary (Hou et al. 265). Therefore, there is a need to analyze the effectiveness of music.

The Effectiveness of Music

Music’s effectiveness in advertising can be examined based on consumer response. The response can vary in relation to a person’s previous experiences with music and different listening occasions (Craton et al. 20). Previous experiences depend on the consumer’s access to the entire catalog of recorded music, whereas listening occasions can be voluntary or involuntary and happen during activities or within a program content (Craton et al. 20). Moreover, the effectiveness of music depends on its congruency to the context of the marketing message. If the meaning of music in the advertisement does not comply with the context of its message, the consumer’s cognitive resources are focused on finding a connection and not on the product itself (Sunaga 254). Therefore, the effectiveness increases when music is congruent with the message. For example, research shows that tasting wines while listening to matching music increases overall enjoyment compared to tasting with no music (Sunaga 254). Consumer response can affect the effectiveness of music in advertising based on a person’s attitude towards music in general, the situation in which the advertisement is perceived, and its context.

Following that, the effectiveness of music in advertising also depends on the perception of particular features of music. For example, rhythm accounts for the entertainment of a sound and can enhance the cognitive impression of communion with people portrayed in advertisements (Craton et al. 25). On the other hand, pitch detects how high or low a musical note is but also affects consumers’ feelings (Craton et al. 24). High-pitched music promotes excitement and happiness, whereas low-pitched sounds are associated with calmness and sadness (Raja et al. 876). Finding a balance between features of music can affect consumers’ emotions and the overall perception of the advertisement.

Genres of Music

Next, one can assume that since music can affect people differently, it should be used for different purposes in varying advertisements. Research suggests that music should be used to communicate with consumers and therefore needs to be carefully matched with the advertisement (Westoby). For effective communication, music should be able to create an emotional connection, build trust, and affect future behavior (Westoby). For example, in some cases, traditional music can be more effective than modern songs as it is more associated with longevity and stability (Westoby). Following that, there is a need to investigate the use of particular genres of music in advertising.

Before analyzing musical genres, it is important to clarify the differences between them in general. Although there are several known names for genres in public, the scientific literature does not consent to one specific classification. For example, some authors recognize the following music genres: classical, blues, dance, pop, rap, country, jazz, Latin, rhythm and blues (R&B), and rock (Dikčius et al. 74). Contrarily, other authors identify more genres and categorize them into four dimensions based on their impact (Dikčius et al. 74). The first dimension accounts for reflexivity and complexity and includes blues, jazz, folk, and classical music (Dikčius et al. 74). The next dimension is associated with intensity and rebelliousness, consisting of rock, heavy metal, and alternative music (Dikčius et al. 74). The third dimension reflects simplicity and optimism and includes popular, country, and religious music (Dikčius et al. 74). The last dimension accounts for energy and rhythm, consisting of rap, rock, soul, funk, and electronic music (Dikčius et al. 74). While the two described classifications vary significantly, the second one associates music genres with emotions that can be felt by consumers while listening to certain songs.

Following that, some companies tend to focus on using only one particular genre in their advertisements. For example, airlines such as Air France often rely on classical music in their marketing strategies (Abolhasani et al. 479). As Air France uses compositions like Mozart’s Concerto No. 23, the company aspires to promote its brand and services with characteristics such as elegance and class (Abolhasani et al. 480). By associating people who understand the work of a renowned classical composer with overseas air travel, the company promotes the idea of becoming a member of an aspirational social class (Abolhasani et al. 480). Using mainly genres such as classical music, companies can show consumers that they should strive to join a narrow circle of intelligent people. In general, classical music is often used to promote elegant or sophisticated products (Breves et al. 91). Moreover, this example supports the described above classification of genres into four dimensions, with classical music associated with complexity.

On the other hand, some companies use a particular genre to address certain groups of clients. For instance, brands can focus on popular music to approach young consumers represented by millennials and generation Z and characterized by technologies and endless access to various music from around the globe (Cha et al. 1133). Research shows that the brains of people from young generations respond to pop music by creating a musical reality that “unfolds in real-time” (qtd. in Cha et al. 1144). In other words, popular music generates sensations that are stimulated by high and fast frequencies of tunes (Cha et al. 1144). As their brains are still maturing, young consumers need stimulation to develop attention and interest (Cha et al. 1144). Overall, by using genres such as pop music, companies can attract people from young generations who are forming the future population.

While popular music is helpful in approaching young people, it can be used for a wider range of consumers. Pop songs can increase attention, emotion, and memory towards a brand and signal clients that the advertised product is safe to purchase (Vines). However, there are some limitations to the use of tunes from this genre. While more famous songs are associated with rich and renowned musicians, they can also take consumers’ attention away from the presented product or service (Vines). With that being said, popular music is the most commonly used genre featured in the promotion of products such as groceries, nonalcoholic beverages, and body-care products (Breves et al. 96). Although pop music is effective in advertising, it should be used with caution to keep clients interested in a brand rather than a song or an artist.

Next, research suggests that some genres of music are associated better with certain foods, one of those genres being jazz. As jazz music is often rated as pleasant and calming, it promotes a feeling of relaxation, which is connected to healthy habits (Motoki et al. 3). While jazz can increase preferences for sweet foods, it was also found to induce positive feelings that can be associated with higher preferences for healthy foods (Motoki et al. 3). Overall, research suggests that brands that focus on healthy savory foods implement jazz over other genres in their advertising (Motoki et al. 3). Although different genres of music can be associated with various types of food, using jazz may be more helpful in promoting healthy foods.

Following that, there are plentiful musical genres that need to be analyzed. For example, in contrast to mentioned above classical music, rock can be more helpful in portraying confidence and rebellion and should be used to advertise products such as beer or jeans (Breves et al. 91). Although, as stated earlier, popular music is used more in advertisements, research suggests that companies should consider implementing other genres to create a unique brand image and approach a less generic audience (Breves et al. 99). However, there are certain conditions to using various genres of music.

As mentioned before, consumers can have different responses to music used in advertising, so it is crucial to focus on genres appropriate to each brand, product, and service. For instance, in promoting higher education, people may think of a university as unpleasant if it is advertised with dance music or sophisticated if advertised with classical music (Breves et al. 91). Moreover, even bottled water can be perceived as “agitated and animated” or “quiet and calming,” depending on the use of a variety of popular music such as neo-classical pop music (qtd. in Breves et al. 91). Research suggests that a genre appropriately selected for a certain product affects consumer commitment as they are more likely to remember the product, choose it over others, and even pay more (Breves et al. 91). As genres of music affect consumers’ perception of a product and commitment to a brand, companies should be careful in implementing certain tunes.

Following that, to expand the above suggestion of implementing various genres of music, there is a need to mention that some genres can have more negative outcomes. For instance, the results of researching advertising agencies and academic articles did not provide much relevant information on the use of rap music. This suggests that rap is not actively used in advertising, which may be explained by a recent study on rap music attitudes. Although the study states that rap is frequently used in advertising campaigns, it also describes how this genre is perceived by critics (Dunbar 612). Despite rap music becoming more popular, it is often perceived as promoting criminal behavior (Dunbar 612). Moreover, for some people, rap can still be associated with violence, poverty, and the loss of loved ones (Dunbar 613). Others perceive this genre as artistic expression of structural inequalities (Dunbar 616). Although rap music is different now and expresses more positive emotions, it seems that companies tend to omit this genre to avoid failure in promoting their products and services.

In addition, while some companies tend to use music in their advertisements, it is also important to analyze the use of environmental music to persuade consumers, which typically is not characterized by committing to one particular genre. For example, retailers use a variety of music in the retail environment to stimulate customers to purchase. Advertising music makes the retail environment pleasing and satisfactory, affecting consumers’ buying behavior (Raja et al. 874). Due to a wide range of clients, retailers vary between international, national, and regional music (Raja et al. 872). For instance, retailers use classical music to stimulate customers to purchase more expensive products (Raja et al. 876). Moreover, in-store music can affect commitment to a brand by influencing prior perceptions of the brand (Raja et al. 877). Although music used in the retail environment may not be characterized as direct advertising, it can persuade consumers and impact their relationships with brands.

Recommendations

Despite its effectiveness, since companies should be careful in implementing music in their advertisements, there is a need for recommendations in selecting tunes that would affect consumers better. First, companies should consider music’s genre, style, and structural characteristics along with listeners’ musical taste and individual characteristics such as culture or age (Anglada-Tort et al. 96). Second, it is significant to consider consumers’ possible ongoing activities and the social context of the environment translating advertisements (Anglada-Tort et al. 96). Next, as mentioned above, companies have to think of the message of advertisement as it is one of the most critical factors in the communication and persuasion of clients (Anglada-Tort et al. 96). Furthermore, although research shows that consumers do not pay much attention to the source of music, it should be determined with caution (Anglada-Tort et al. 105). Deciding between commissioned, existing, or altered music may affect the production of advertisement and its costs (Anglada-Tort et al. 97). Companies should conduct a thorough examination of various aspects before using music in their advertisements.

The effects of COVID-19

Finally, establishing the need to support the proposed in the beginning assumption is important regarding people’s relation to music in the times of COVID-19. Research shows that people these days listen to music more, partially for mood improvement and to energize themselves (Ziv and Revital 11). As music makes people feel connected to others, it can be used in advertising to create a sense of belonging (Ziv and Revital 2). Moreover, using popular tunes can show consumers that they share preferences with those portrayed in advertisements and increase attraction to promoted products and services (Ziv and Revital 2). However, it is questionable how morally right implementing more music in advertisements is during these days, although it can be used to promote more healthy products in public. Overall, with the spread of the virus, people tend to listen to more music which can positively affect its use in advertising.

Conslusion

To summarize, music can persuade consumers, but several aspects need to be considered for the results to be positive. Music can affect consumers by expressing shared preferences, emotionally connecting them to people and situations portrayed in advertisements, and creating a sense of belonging to a certain community. Music can also impact recognition of a brand and commitment to it. However, one of the most important aspects is that consumers’ responses to music in advertising can vary. First, the responses may be negative if the message of the advertisement does not comply with the context of the used tune. Second, the responses will vary depending on the genre of music. While genres such as classical or popular music are perceived well among consumers and therefore are used more, genres like rap music have more negative associations and are implemented less by companies. As music can affect consumer behavior, companies should use it but with caution.

Works Cited

Abolhasani, Morteza, et al. “Music in Advertising and Consumer Identity: The Search for Heideggerian Authenticity.” Marketing Theory, vol. 17, no. 4, 2017, pp. 473-490.

Anglada-Tort, Manuel, et al. “The Impact of Source Effects on the Evaluation of Music for Advertising: Are there Differences in How Advertising Professionals and Consumers Judge Music?” Journal of Advertising Research, vol. 61, no. 1, 2021, pp. 95-109.

Breves, Priska, et al. “Identifying Opportunities to Optimize the Music in TV Commercials: A Systematic Content Analysis.” Journal of Current Issues & Research in Advertising, vol. 41, no. 1, 2020, pp. 88-103.

Cha, Kyoung Cheon, et al. “Young Consumers’ Brain Responses to Pop Music on YouTube.” Asia Pacific Journal of Marketing and Logistics, vol. 32, no. 5, 2019, pp. 1132-1148.

Craton, Lincoln, et al. “Results May Vary: Overcoming Variability in Consumer Response to Advertising Music.” Psychology & Marketing, vol. 34, no. 1, 2017, pp. 19-39.

Dikčius, Vytautas, et al. “The Influence of the Music Genre on the Emotional Consumer Response and Intentions to Purchase Online.” Trends in Economics and Management, vol. 13, no. 33, 2019, pp. 71-85.

Dunbar, Adam. “Experimental Evaluation of Rap Music Attitudes.” The Encyclopedia of Research Methods in Criminology and Criminal Justice, vol. 2, 2021, pp. 612-619.

Hou, Jianrong, et al. “The Impact of Consistency Between the Emotional Feature of Advertising Music and Brand Personality on Brand Experience.” Journal of Management Analytics, vol. 6, no. 3, 2019, pp. 250-268.

Kim, Rae Yule. “The Impact of COVID-19 on Consumers: Preparing for Digital Sales.” IEEE Engineering Management Review, vol. 48, no. 3, 2020, pp. 212-218.

Motoki, Kosuke, et al. “Is Classical Music Sweeter than Jazz? Crossmodal Influences of Background Music and Taste/Flavour on Healthy and Indulgent Food Preferences.” Food Quality and Preference, vol. 96, 2021, pp. 1-11.

Raja, Washim, et al. “Advertising Music: An Alternative Atmospheric Stimulus to Retail Music.” International Journal of Retail & Distribution Management, vol. 47, no. 8, 2019, pp. 872-892.

Sunaga, Tsutomu. “How the Sound Frequency of Background Music Influences Consumers’ Perceptions and Decision Making.” Psychology & Marketing, vol. 35, no. 4, 2018, pp. 253-267.

Vines, Bradly. “The Celebrity Power of Music in Advertisements.” Nielsen, 2017.

Westoby, Nikki. “Perspectives: A Small Change Makes a Big Difference.”Nielsen, 2017.

Ziv, Naomi, and Revital Hollander-Shabtai. “Music and COVID-19: Changes in Uses and Emotional Reaction to Music under Stay-at-Home Restrictions.” Psychology of Music, vol. 0, 2021, pp. 1-17.

The rock and music pop scene were introduced to and gained popularity on television through massive hit shows for teenagers. The three primary ones were Where the Action Is on CBS, Shinding on ABC, and Hullabaloo on NBC. As more households had access to televisions along with the growth of widespread range of programming, including musical ones, the television played a significant role in distributing the music to the public. The bands that appeared on these hit TV shows went on to see significant success in the charts. The television shows helped to articulate the new sort of youth music culture and almost became a star-making mechanism in a relationship and profits that the music and television industries shared. Some bands, such as the Monkees, the American response to the Beatles, were created with the purpose of television performance as their acting and on-camera comfort as a group were initially prioritized over music. However, the Monkees’ music took off astronomically beyond anyone’s expectations. Nevertheless, they were a band groomed by the entertainment industry with an emphasis on television performances which took away much of the authenticity, even when compared to their counterparts The Beatles, who although made visual content, focused on their own music strongly (Covach and Flory 212).

Television drastically went on to change the landscape of the music industry. First, a split formed among artists and fans, with one side focusing on the pop-oriented, performance-focused television music, while the other, typically older audience was drawn to serious-minded music of rock which continued to be played on the radio rather than TV. Television also brought about the phenomenon of fictious bands, such as the popular Archies, a cartoon drawn band popular with young teens (Covach and Flory 214). This has never been done before and similarly created a new genre of music-television entertainment. However, until the advent of cable-network of television resulting in dedicated channels such as MTV, the television phenomenon in the 1960s had its limitations. Most TV sets at the time had poor audio and visual quality, and as recording and radio sound quality improved with hi-fi recording and FM, the disparities were noticeable. Television is not by nature of design a sound medium, and the musical experience is meant to be enveloping leading to the split in the fanbase, where younger audiences who generally cared less about sound quality appreciated the visual medium to their music (Frith 279).

Work Cited

Covach, John, and Andrew Flory. What’s That Sound? New York, W.W. Norton & Company, 2018.

Frith, Simon. “Look! Hear! The Uneasy Relationship of Music and Television.”Popular Music, vol. 21, no. 3, 2002, pp. 277–290.

Abstract

Woodstock Music Festival was a three day event that took place in 1969. It involved a “throng of sex, drugs, and rock n’ roll–plus a lot of mud.” Woodstock has turned out to be a 1960’s hippie counter-culture symbol during one of the most unstable years in contemporary history.

In this paper, theories regarding the causes of this colossal concert will be discussed and argued, in effect convincing readers to look at the music festival in new point of view and discover the symbolic significance that stirred novelty to a crippling nation.

Body

In 1969 America summer, numerous huge concerts took place, however none of them were as symbolic and celebrated as Woodstock Music Festival. Woodstock impact on the society and culture of Americans will be remembered in many decades to come. John Roberts, Artie Kornfield, Michael Lang, Joel Rosenman were men who initially established the event.

Their initial plan concerning the concert was to back up the plan of opening a recording music studio in Bethel, NY; this is where the concert in fact took place. Intended to become the biggest event that assembled many people in one specific place and time, Woodstock Music Festival represented “three days of love, peace and music” in the middle of Vietnam War terrors (Evans, 48).

Woodstock was the most eminent music concert and it took place when Americans were greatly divided; more than four hundred thousand people from all over the country assembled to commemorate “Three Days of Peace and Music.” Those 3 days of celebrated performances, indescribable mud and memorable experiences enabled Woodstock Art and Music turn into be a symbol of all generation.

The historic event became large for Americans’ generation as an icon of camaraderie and love of music during a time of disaster, war and generational clefts. Woodstock music festival was a shrilly pacifist show, but its meaning was thinned by the media. Instead of focusing on the political avowals made, typical cultural critics talked-about long hair, nakedness and hippies (Perone, 87).

The event, as it were, had lost its grip in the midst of a normalizing and co-optive media tradition that overlooked existent politics and replaced sensationalism and symbolism. The concert was officially known as “The Woodstock Music and Art Fair,” it went through various hypothetical incarnations, recorded in an article in the year 1994 by Elliot Tiber.

Many articles wrote lots of different things regarding the concert and large numbers of people from different parts of the country walked for miles to reach the location (Evans, 108). Even though the Woodstock Music Festival was intended to be a ticketed event, ultimately, the planners stopped collecting the tickets because the crowd started to cut away and to trample the fences which made even more people to come to the concert.

The event schedule featured the most celebrated and legendary rock and folk music groups of the 60s. In the first night, the concert was headlined by Ritchie Havens and came to an end many hours later with Joan Baez giving a blazing close-down. Artists began their performances every day at around midday and they made sure they engaged the crowd.

There were fundamental causes for this event and so they had to give their all. The Americans were very segregated at the time and the frights of the Vietnam War were still very fresh in their minds. So much was going on and there was too much pressure surrounding the people. The event was all about love, peace and above all music (Makower, 97).

Woodstock Music Festival was inspiring and remarkable for people who attended because it had performing artists who played for the largest audience of their vocation.

Woodstock Music Festival featured unforgettable “acts of the Rock & Roll” epoch i.e. “Joan Baez, Richie Havens, John Sebastian, The Who, Santana, Mountain, Canned Heat, Arlo Guthrie, CCR, Joe Cocker, Grandpa Simpson’s favorite band that day––Sha Na Na, The Band, Paul Butterfield Blues Band, Janis Joplin, Jefferson Airplane, CSNY, and Country Joe and the Fish and Jimi Hendrix, who sang his terrific edition of the Star-Spangled Banner.”

The event was about “three days of peace and love,” contrasting the Vietnam War and abhorrence.

The Vietnam War was a lengthened conflict existing between nationalist forces who tried to unite Vietnam nation under a communalist government and the US (with South Vietnamese help) trying to put a stop to the spread of communalism.

Engaged in a battle that many saw as having no means to win, United State heads lost their citizens support for the warfare (Evans, 56). Ever since the end of this warfare, the Vietnam War has turned into a point of reference for what not to do in the future when it comes to U.S. foreign battles.

This war left Americans in division and with so much hatred; the festival intended to bring peace and love in the land. The festival was caused by the urge to unite American people and to alleviate the pressure that the people were going through.

Organizers of the event said that people who were buying tickets for the Festival were contributing to a unified front against the hatred, the division and the Vietnam War. Artists played great music and made antiviolence speeches; Country Joe for instance exhorted the audience that “if you want to stop this fucking war, you’ll have to sing louder than that.”

Leaders of the movement and other advocates took their turns too and several men smashed their draft cards protesting against the Vietnam War (Makower, 73). Nonetheless, Media’s image and reminiscence of this festival focused on the commemorating side of it: the loud music, the rain and mud, the nakedness, drugs and “free” love.

There were numerous turbulent incidents closely enveloping Woodstock Music Festival. For example the Vietnam War had just got into its 5^th year. It would have entered its 6^th year if Saigon to the Vietcong did not admit defeat on 30^th April, 1975. In the previous year, Martin Luther King, Jr. assassination was very fresh in the minds of many people in the country.

A fugitive convict, confessed to the felony however he later claimed to have been set-up. His confession was however sustained 8 times and in 1998, he passed on in prison. There was also another recent assassination involving Sen.

Robert F. Kennedy: this occurred in LA at the Ambassador Hotel which happened just 2 months after the death of Martin Luther King, Jr. A Palestinian migrant known as Sirhan Sirhan assassinated Kennedy, after he had addressed his cohorts, and passed away the following day: Sirhan was arrested and put in jail.

During the festival Lang said that Americans were trying hard to get-out of that Vietnam War. He stated that “The whole decade had been filled with efforts to improving the human condition with human rights struggles, civil rights and women’s rights.

We were just first realizing that we were trashing the planet we lived on and the ecology movement was just beginning and a lot of groups at the time were turning a bit violent in trying to get their message out, (out of) frustration.”

He continued to say that Woodstock served as a diplomatic and a serene way to fight the negative and depressing attitude brought about by those events. The country had gone through so much and even if the artists’ initial plan was to establish a recording music studio, the cause of the Festival was to bring Music, Love and most of all Peace (Perone, 29).

Actually, by the first day of the Festival, as the performers looked-out-upon the huge multitude, they must have seen that Woodstock Music Festival was not going to be just like any other concert that would be overlooked and forgotten.

Looking from the outside Woodstock Festival might have been seen like just a concert for the young generation that involved hearing and dancing to their favorite musical tunes, but it proved to be much greater than that. Even though music was a significant part of the event, it could not have celebrated for such a long time if that were the extent of its worth.

This means that the Festival was much more than just music and dancing. Woodstock brought out an important message to the people by helping them realize that they could come as one during depressing moments and discover a unified aspiration which was “Love and Peace”(Makower, 35).

Even though there was law enforcement during the festival because it was feared that there would rioting, the police disregarded drug laws. The audience stayed diplomatic and calm all through the period of the festival in spite of the intense use of LSD and Marijuana.

During the Festival, no conflict was reported even though there was death because a tractor ran over a man. The entire Festival was a moment of peace and cheerfulness. Lots of people attending the event were given a gleam of hopefulness and optimism in a world that disregarded them. Despite the mud engraved in their bodies and the drugs, the long for love, peace and acceptance was in the air.

The atmosphere and the frame of mind created by this is what made the Festival terrific and unforgettable. If it wasn’t for this pervasive feeling, the crowd could have dismissed the event like just any other excuse to get together, listen to music, dance and get high on drugs. There were little things that created great difference like the fact that there was no reported damage of properties during the entire festival.

Also, even if there was lots of trash left at the concert site, the venture to clean-up the six hundred acre was completed in 5 days; crew members and attendees also helped with the cleaning (Littleproud, 46). For the majority of people, the impact of the festival was evident in their lives.

Both men and women acquired self-confidence to go out there and make a big difference regardless of what some people may have thought of them. These people made great impact on the US society when just living their ordinary lives. They were educational pioneers with their varying feelings regarding the meaning of music, art and the society’s structure.

Woodstock Music Festival’s impact that was left on the country could have been just as enormous on the people who watched it as the ones who were in reality present (Bennett, 67). People who went to the festival showed almost everybody around them that they can get together and make a big difference if only they wanted to.

This event came at a time when most young people of America needed ideas of how to bring unity and peace in their land regardless of their differences. Due to Woodstock Music Festival, both men and women were inspired to go out there and make their own music.

Also, there were new musicians who made their debut at the concert; for example Carlos Santana. Much of the music played during the festival was cordial and it happened to be a way of allowing the listeners find a foundation on which to talk about the events surrounding their world (Littleproud, 201).

The Festival feeling has lasted on people’s minds for decades and up until this day, music continues to have a much more intense and influential effect on the people listening to it. It is obvious that without music events like Woodstock, Music wouldn’t be what and where it is at present. Efforts to recreate Woodstock Music Festival couldn’t be mastered because of one major factor.

This was plainly that there was no profound ground or purpose to the reproduction. “Woodstock 94” was the second concert but it was no more than a big endorsement. In spite of Woodstock 69’s initial plan of studio promotion, it turned out to be much more than that for the reason that it took place at a time when Americans were searching for answers not simply empty ideas and talks.

With the great publicity of Woodstock 94 in the media, it lost all optimism of be what the original Festival was all about. Woodstock 99’ was overly commercialized but this was not an issue, however everything else that was visualized happened. There was great hope for the last try to have another emblematic Woodstock prior-to the closing stages of the millennium.

The optimism and expectations were shattered just as fast as the Woodstock site in Rome, NY. The festival’s audience was made up of a small number of patriot Woodstock aficionados that went to all three concerts bearing the name “Woodstock.” It appeared that the other people that constituted the rest of the attendees were practically all there to get high and tear down anything that surrounded them.

By the end of the festival, almost the entire stage and music equipments were ruined. There were also rape cases and all mementos given like posters, caps and shirts were stolen. The conducts portrayed during Woodstock 99’ festival can be referred to as “destructive vigor.”

It went past foolish brutality to a point of bringing down the splendor of the original Woodstock 69’. Sadly now when people remember Woodstock Music Festival, they can’ help but also recall the damage that took place during its most recent effort at recreation.

Conclusion

In spite of people’s wish to bring back the mood and sensation of the original Woodstock Music Festival, all that remains is its effect on people who took part in it and the affect it had on the society they live in. Woodstock 69’ feeling will never be lost despite what happened in the consequent Woodstock concerts.

It was caused by the desire to promote music studios but it played a greater role. At that time so much was going on in US and people were experiences great hatred and division. The Festival brought the feeling of “Love, Peace and good Music.”

Works Cited

Bennett, Andy. Remembering Woodstock. USA, Ashgate Publishing, Ltd., 2004. Print

Evans, Mike. Woodstock: Three Days That Rocked the World, California, Sterling Publishing Company, Inc., 2009. Print

Littleproud, Brad. Woodstock – Peace, Music & Memories, New York, Krause Publications, 2009. Print

Makower, Joel. Woodstock: the oral history.USA, SUNY Press, 2009. Print

Perone, James. Music of the counterculture era. Chicago, Greenwood Publishing Group, 2004. Print

Introduction

Fela Kuti is a Nigerian musician, composer, and multi-instrumentalist also known as the pioneer of the Afrobeat genre back in the 1950s-1980s. Kuti’s contribution to African music is often compared to Bob Marley’s contribution to reggae: they were both spiritual leaders, visionaries, and prophets of their genre. Kuti created the Afrobeat sound that has not only made it to the 21st century but also helped to develop all contemporary forms of Black music, from funk to electronic. Not only was he prolific with a discography of more than 60 albums but also an ardent political activist who was fighting against political corruption. For his political and social activism, Fela Kuti even received the informal title of “Black president” in his home country. “Fela Kuti: Music is the Weapon” is an essential documentary for anyone who would like to understand the musician’s life, vision, and legacy. Shot in Lagos, Nigeria, at the peak of Kuti’s career, the film contains a series of heartfelt, sincere, and courageous interviews with the pioneer of the Afrobeat genre. This paper reviews the documentary and explains Fela Kuti’s contribution in the context of diverse traditional African music.

The Legacy of Fela Kuti

Since the 1980s, Fela Kuti has served as an inspiration for several films and even a Broadway play. However, nothing provides an experience as raw, arresting, and intimate as music Is the Weapon shot by two French directors Jean-Jacques Flori and Stéphane Tchalgadjieff in 1982. Not only did they have a chance to be with the musician instead of exploring his life retrospectively: they accompanied him during one of the most essential and formative experiences of his life.

In the late 1960s, Kuti visited Los Angeles, where he found congenial activists and became radicalized by the American Black Power movement (Ogbar 87). That was when his political views crystallized: he believed in the importance of fighting European imperialism and reviving African artistic and religious traditions (Ajayi 46). Shortly after his return to Lagos, Kuti founded a commune and a political party with a promise to become the next Nigerian president (Drewett 196). The musician never made good on that pledge; in actuality, he spent years persecuted and having confrontations with the authorities.

The question arises as to what in Kuti’s upbringing and background compelled him to express himself through music and political work. The musician was born into an influential family where both of his parents were politically and socially opinionated. His father was a school headmaster and Protestant minister, and his mother was at the forefront of the fight for women’s rights in Africa (Collins 100). Initially, Kuti was sent to London to study medicine like his brother, but his love for music prevailed. Soon the musician enrolled in the Trinity College of Music, where the trumpet was his preferred instrument (Collins 152). In the years to follow, Kuti returned to West Africa, lived in Ghana and Nigeria, and invented a new musical direction that he called afrobeat.

Music Is the Weapon showcases the contrasts that are integral to the city of Lagos. The documentary pays a lot of attention to the urban spaces and shows the dangers of the country’s largest city. It is unsafe, brutal, and violent; it also never sleeps and never lets one let down their guards. The Shrine, a music club where Kuti was performing, is an oasis among this chaos. It is a safe place where people can connect and bond over music. Afrobeat gives them much-needed relief from the daily hassle.

What music Is the Weapon succeeds in demonstrating is that Kuti’s political and music identities were not separate: they were connected and interlocked. In the documentary, he ponders the role of the musician in the world: “See because when the higher forces give you the gift of music, musicianship, it must be well used for the good of humanity (“‘Music Is the Weapon’: The Must-See Fela Kuti Documentary from 1982”).” Kuti sees his talent as something that needs to be handled with care and used not only to make a profit: “If you use it for your own self by deceiving people… you will die young, you see (Onyebadi 129).” Music Is the Weapon is an attempt to show his influence and send a message of human dignity and potential.

Afrobeat and Its Influences

Today, it is believed that afrobeat has stylistic origins in fuji music and highlife with American funk and jazz influences. Some of its defining characteristics include the focus on chanted vocals, complex intersecting rhythms, and percussion (Agawu 98). One may wonder what exactly made afrobeat so beloved by Black communities all over the world and turned Kuti into the prophet of African music. Afrobeat was indeed a novel genre back in the 1960s; however, it had deep roots in centuries-old African music traditions. One of the instruments that impacted the formation of the new musical direction is the mbira.

The standard English name for the instrument is the thumb piano because it is played with thumbs and one finger. Mbira takes origin in Zimbabwe, a small South African country with a culturally diverse population (Chikowero 65). From a technical standpoint, the mbira is similar to a Western music box, as the musician produces sound by plucking flat metal strips of various lengths (Miller and Shahriari 354). However, the Zimbabwean instrument is not a literal equivalent of a music box – on the contrary, it has its own technical peculiarities. For instance, the performers often attach small seashells, pieces of metal, or even plastic bottle caps to the resonator of their instrument (Miller and Shahriari 355). This modification allows them to produce a characteristic buzzing timbre that signifies Zimbabwean mbira and sets it apart. As a result, the sounds of mbira are unique and captivating: they are bell-like, repetitive, rattling, buzzing, and mesmerizing. Because of its effect and importance, the mbira is widely used for worship and traditional rituals. The full name of the instrument is mbira dzavadzimu, which stands for “mbira of the ancestors.”

Another instrument that has great importance for modern African music is kinda, a large, heavy log xylophone with between 17 to 22 bars. The wooden bars are rested on banana tree trunks that are orthogonal to the ground for stability during performances. Akadinda is a large instrument: with its length up to seven meters, it can allow four people to play it at once. Sometimes ensembles composed of several akadindas are used: each of them has its own pitch, and together they make a harmonic sound. While many cultures of sub-Saharan Africa use xylophones of similar design, Ugandan akadindas are different from those, because they often have hollow dips in the centers of their bars (Millar and Shahriari 359). As with mbira, this peculiar construction serves to provide a specific timbre: when a performer strikes the center of a bar, the sound becomes a hollower (Miller and Shahriari 359). Another similarity to mbira is that akadinda is used in religious rituals, and playing it is seen as a way to reconnect with long-gone ancestors.

These two examples suffice to demonstrate that Fela Kuti’s musical career did not happen in a vacuum, but developed in a rich and multi-faceted musical culture of his home continent. Apart from having a multitude of African instruments and musical traditions to draw inspiration from, Fela Kuti’s approach to music is also profoundly African in a philosophical sense. The philosophy of afrobeat praises and appreciates indigenous African traditions, which, for instance, manifest in the beliefs about mbira and akadinda. This connection makes Fela Kuti not an isolated figure, but a true successor of the long history of African music and spiritual traditions that surround it.

Conclusion

Africa has a thousand-year-long musical tradition that started becoming political in the mid-20th century. At the forefront of the new African music and political activism was Fela Kuti, the younger son of a Protestant minister and a feminist. For Fela Kuti, music and political activism were inseparable: he saw his musical gift as a weapon that he could use when fighting for the good of the pan-African nation. Kuti was strongly pro-Black and saw European colonialism as the enemy to be defeated for the prosperity of the continent. His musical legacy lives to this day due to its versatility, novelty, and at the same time, loyalty to African traditions.

Works Cited

Agawu, Kofi. The African Imagination in Music. Oxford University Press, 2016.

Ajayi, Temitope Michael. “’Identity and Ideological Representation in Selected Fela Anikulapo-Kuti’s Songs’’.” Journal of West African Languages, vol. 44, 2017, pp. 44-54.

Chikowero, Mhoze. African Music, Power, and Being in Colonial Zimbabwe. Indiana University Press, 2015.

Collins, John. Fela: kalakuta notes. Wesleyan University Press, 2015.

Drewett, Michael. “REVIEW| Fela: Kalakuta Notes.” IASPM@ Journal, vol. 6, no. 2, 2016, pp. 196-197.

Fela Kuti: Music Is the Weapon. Directed by Jean Jacques Flori and Stéphane Tchalgadjieff, 1982.

Miller, Terry E., and Andrew Shahriari. World Music: A Global Journey. 4th ed. Routledge, 2016.

‘Music Is the Weapon’: The Must-See Fela Kuti Documentary from 1982. 2015, Web.

Ogbar, Jeffrey OG. Black Power: Radical Politics and African American Identity. Johns Hopkins University Press, 2019.

Onyebadi, Uche. “Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy.” Humanities, vol. 7, no. 4, 2018, p. 129.

My major is music, and the current curriculum includes various classes that provide an understanding of music in the framework of historical and cultural peculiarities. With their help, all students can get detailed information about musicianship and musical theory. As I started to study such subjects, I realized that all the information they give is extremely important for people who are willing to stay in this sphere and develop further.

Thus, I cannot say that one of the classes should be deleted from the curriculum. Still, there is one sphere that interests me and is believed to be significant by professionals but is not studied yet. It is the connection between music and other spheres, such as psychology, politics, economy, etc. Of course, there is no necessity for all students whose major is music to deepen into the peculiarities of every area but receiving general knowledge can be rather beneficial. So I believe that it would be advantageous to add a class “Music and Other Provinces” to the current curriculum of the music major because it can provide students with the general knowledge about other spheres, the way they interact with music and are influenced by it as well as how they shape the music and are reflected in it.

Having a class Music and Other Provinces, students will receive much information critical for their future professions. It is commonly known that nothing in this world exists separately. Even professionals who work in one particular sphere need to take into account the things happening around them. For example, preschool teachers should know medicine and its current tendencies because such a life can save their student’s life.

In the same way, knowing psychology can help music students to work with people if they want to become educators or music therapists. Of course, general information may not always be enough, but it allows bachelors to define what they are willing to do further and provides them with the basic knowledge. Similarly, studying how music and politics are connected can be advantageous. According to Hailey, music compositions often reveal political messages or discuss the situation from a particular point of view, for instance, provide ideological import (134).

At the same time, music can make people act. It affects political movements and can encourage people not to refer to violence. When students get to know such information they will be likely to reconsider the way they treat music and its role in the life of society, at least this happened to me.

Getting to know different spheres interact with music and are influenced by it can help students to determine what to play or compose depending on the expected outcome. When I was planning the evening for Thanksgiving Day and selected particular pieces of music, I needed to get sure that they were appropriate and did not occur chaotically. Thus, I had to deepen into the history and culture. The same knowledge can be required by those students who will organize festivals or school holidays.

Those whose profession will be connected with dancing are likely to be interested in the way new music genres affected the creation of dancing styles. In this way, students will receive the information needed at their working places even before they obtain one.

Jorgensen emphasizes that “society is as much shaped by music as music is shaped by society” (30). So, as professionals, students whose major is music should be able to tell the history of the particular instrument. Knowledge of geography, traditional customs, materials available, and tendencies in the community life can help to explain how the instrument was created and why its sound altered with time. So when adding information from other spheres, students will provide more detailed exhalations appropriate for people they cooperate with.

Finally, the proposed class can be beneficial for the future professions of students because it can enhance the overall knowledge. Employers are willing to hire the most efficient professionals who can successfully interact with co-workers and clients. After this class, students will be able to keep up the conversation about various topics, which is sure to improve their communication skills.

Thus, it can be concluded that Music and Other Provinces can bring benefit to students in the framework of their future professions, as learning about interactions enhances the understanding of the underlying driving forces that shape music, which is critical when working in this sphere. As professionals, they will be able to explain various changes in society’s interests regarding music. Moreover, they will realize the true role of music in the life of society and become more motivated to continue studying.

Finally, this class will enhance personal skills obtained by students. In particular, it will improve their communication skills that are critical at any workplace, and are highly valued. All in all, Music and Other Provinces will make a significant improvement in student’s knowledge, allowing them to cooperate with professionals from other spheres without complications and misunderstandings.

Works Cited

Hailey, Christopher. Music and Nazism; Art under Tyranny, 1933-1945. Music Library Association 61.1 (2004): 134-137. Print.

Jorgensen, Estelle. Transforming Music Education, Bloomington: Indiana University Press, 2008. Print.

In a music curriculum, singing is considered one of the most accessible and immediate activities, through which a variety of aspects of music can be learned. In primary education, singing is a very common activity that plays an integral role in developing musical skills while contributing to the overall process of learning. For learners to get a better grasp of musical concepts, the curriculum should include a variety of styles and genres. Possible difficulties associated with signing in the musical curriculum may include the following:

• Difficulties in providing signing opportunities for the entire class;
• Addressing the requirements to adapt to changes in voices that occur during adolescence;
• Developing a music repertoire that will support the learner’s progression in the subject.

Composing is another element of music curriculum that promotes a variety of experiences among learners such as experimenting, organizing ideas, making decisions as to the chosen direction, and overall exploring musical genres and styles. Composing is essential for musical curriculum since it encourages interactions with musical concepts and their application in practice. Possible difficulties can include:

• Planning classes in a manner that would allow learners to compose during it;
• Incorporating composing into every unit of work during class;
• Creating a supportive environment for encouraging creative work among students.

Playing instruments is another element of music curriculum that helps learners expand their knowledge as well as provide a tool for their practice of composing. This element of the curriculum is important since it promotes the overall music literacy and competence through rhythms, melodies, and songs (not just isolated sets of skills) (“Music: Arts Education” 7). With regards to playing instruments, the following difficulties may arise:

• Making sure that all students are satisfied with the instrument they are supposed to play;
• Creating an environment that will not limit the learners’ opportunities to play instruments;
• Developing a repertoire that will encourage learning to play the music of different genres.

Musical development is usually greatly supported by learning how to listen with attention and concentration; thus, listening is another aspect of the musical curriculum that helps students to be more open to learning. It can be stated that listening activities make up the core of the critical engagement processes that involve analysis, review, and evaluation. Moreover, listening is an important contributor to developing composing and performing skills among learners. Possible difficulties associated with listening in the musical curriculum may include the following:

• Planning and structuring classroom lessons to allow some space for listening activities;
• Incorporating visual aids for supporting the ability of learners to pay more attention to their listening skills;
• Making sure that the teacher represents a model of listening.

In music curriculum, moving does not only allow students to express themselves and connect with music on a deeper level; it also facilitates healthy development and encourages physical activities that can take many forms (Izumi-Taylor et al. 33). Class activities associated with moving help learners to better perceive musical material as well as better indent it into memory. Moving is important because it is present in all aspects of human life, and incorporating it into the music curriculum will allow for a balanced approach towards teaching and learning. Difficulties connected to moving in music curriculum may include:

• Encouraging moving during classroom activities and making sure that all learners participate;
• Creating an environment that will not limit students’ abilities to move to music;
• Making sure that the teacher participates and shows an example of moving to students.

Works Cited

Izumi-Taylor et al. “Music and Movement for Young Children’s Healthy Development.” Dimensions of Early Childhood, vol. 40, no. 2, 2012, pp. 33-40.

“Music: Arts Education.” NCCA, Web.

Introduction

Exploring the factors that allow creating the environment for successful personal, academic, and spiritual development should be deemed as a crucial goal for any individual. To encourage the acquisition of the required habits and relevant knowledge, one should explore the opportunities for creating the setting in which one will feel comfortable and, thus, ready to learn new information (Lee, Kim, Kim, & Choi, 2016). The goal of the study is to explore the effects that the adoption of music-based strategies has on the personal, academic, and spiritual growth of UAE female students, as well as their relationships and memory skills.

Methodology

The problem will be explored from the perspective of a quantitative method. Particularly, a comparison of the effects produced by a traditional teaching approach and a music-based one will be used. A t-test will be applied to carry out the analysis and compare the key variables, the students’ scores being the dependent one and the strategies (traditional and music-based ones) being independent ones. A total of 100 participants will take part in the research, with a sample size of 80.

Literature Review

At present, an array of tools is used for boosting personal growth, changes in the setting in which an individual develops being the key ones (Fox & McKinney, 2016; Dvorak et al., 2017). The importance of the background noise in the target setting is, however, underexplored (Lee et al., 2016). Although it is typically assumed that silence is the best environment in which one can focus and develop appropriate skills for enhancing the development of spirituality, relationships, memory, personal development, and academic progress music has recently been deemed as one of the possible options for creating a favorable academic setting (Fox & McKinney, 2016).

Studies show that music plays a significant role in the development of communication between people (Rolvsjord, 2015). According to recent studies, music needs to be integrated into the traditional environment since it offers extensive opportunities for making communication more natural and flowing (Rolvsjord, 2015). Particularly, opportunities for enhancing long- and short-term memory need to be mentioned as the most important aspects of change.

In addition, by incorporating music into the realm of an everyday environment, one is likely to enhance the spiritual development of target populations. Music can be used to encourage the development of behaviors that will ultimately lead to a significant rise in the quality of people’s lives; thus, premises for improvement of their physical and spiritual well-being are built (Burns, Perkins, Tong, Hilliard, & Cripe, 2015).

The importance of rhythm in music for the improvement of one’s psychological well-being is not to be underrated, either (Rolvsjord, 2015). According to the outcomes of the analysis produced by the researcher, the rhythm that music sets help people develop a particular strategy for managing their everyday tasks and responsibilities, thus, structuring the process of knowledge acquisition and the subsequent use of processed information (Rolvsjord, 2015).

The application of music-based strategies is also known for its effect on learners’ academic skills. A study by Gordon, Fehd, and McCandliss (2015) indicates that music interventions in the context of a classroom lead to more efficient management of information (Dvorak et al., 2017). Furthermore, the use of music-based teaching strategies should be deemed as a possibility in the context of a setting including children with disabilities (Burns et al., 2015).

The development of rhyme awareness contributes to a massive rise in learners’ capability of identifying patterns, themes, and motives in the subjects that they study, thus, using their ability to gain a better grasp of the subject and a deeper insight into it. Music is also frequently used as the foundation for encouraging the development of the process of metacognition in people. By definition, meta-cognition implies the ability to understand one’s process of learning to be able to manage it successfully and, thus, improve the ability to develop new skills consistently (Rolvsjord, 2015).

Furthermore, the issue of spiritual development needs to be addressed as one of the likely outcomes of using appropriate music. Studies show that the application of appropriate music helps one create the platform for fostering specific values in learners, thus, promoting rapid spiritual progress (Rolvsjord, 2015). Music sets the mood and atmosphere for introducing a target population to specific ideas by offering them images and ideas that are familiar to them. For instance, music can appeal to the culture-specific characteristics of students (Rolvsjord, 2015). Furthermore, music can be used to address students of a particular gender (Rolvsjord, 2015). As a result, the means of enhancing communication among students will be designed appropriately.

Discussion

Results

Relationships

The use of music in the realm of everyday life can become the foundation for enhancing cooperation between the members of a community. The change in question is especially important for teenage girls since it will prompt their further development with the context of their communities. The identified step, therefore, can be applied to the process of social interactions as the means of encouraging cooperation, support, and efficient communication among female students (Lee et al., 2016).

The survey results show that listening to music has a positive effect on relationships in at least 50% of cases. Thus, music will allow the target population to identify points of contact that they can use as the starting point for developing friendly relationships and exploring the idea of collaboration and community support.

Memory

Rhythm, which constitutes an essential part of any music, builds the foundation for a massive improvement in learners’ memory skills (Burns et al., 2015). A recent study by Altenmüller & Schlaug, 2015 (2017) confirms that the application of music as part and parcel of the everyday setting leads to the rapid development of the ability to train their long-term memory and remember vaster ranges of information within a comparatively shorter amount of time.

Furthermore, the application of music as an element of the background noise contributes to a massive improvement in the quality of one’s working memory (Rolvsjord, 2015). Particularly, the study indicated that, with the incorporation of music into the everyday setting, people develop the ability to carry out the tasks associated with close reading, analysis, etc., with a minimum of errors (Altenmüller & Schlaug, 2015).

Therefore, the adoption of strategies based on introducing the target audience to music should be deemed as a necessity. However, to enhance the efficacy of female students’ memory, one may have to consider a careful transfer of the required elements to the specified setting. Instead of an immediate inclusion of music in the everyday setting, one will have to provide the target population with an opportunity to adjust to changes. For this reason, short music intermissions during regular activities should be viewed as a necessity as opposed to an uninterrupted flow of music. Furthermore, it will be necessary to make the music rather quiet at first not to disrupt the processes associated with critical and analytical thinking.

Psychology

According to the latest studies on the subject matter, music creates a stimulating setting for the promotion of personal growth (Dvorak et al., 2017). The specified phenomenon can be attributed to the fact that rhythm, which is a crucial component of music, prompts a series of responses from the human body, thus, encouraging students to be more active during their classes (Lee et al., 2016). The rest results indicate that there is a direct link between listening to music and developing psychologically; at least 60% of the respondents claimed that they relate music to psychology to a considerable extent.

Moreover, it will be crucial to help learners make subconscious connections between different types of music and different types of activities. For example, classical music can be used when helping them adapt their critical thinking skills, whereas more whimsical melodies can be applied in the environment where learners’ creative skills will have to be showcased (Rolvsjord, 2015). The adoption of the identified approaches aligns with the principles of the behaviorist approach and implies that students will be able to develop the ability to apply particular skills when a certain type of music is played (Burns et al., 2015).

The fact that music-based personal development strategies encourage the target population to communicate more efficiently can also be viewed as an essential addition to the enhancement of their ability to socialize and become a part of their community (Lee et al., 2016). Using music, people can create a platform for sharing their experiences and communicate their ideas more efficiently, as well as encourage consistent spiritual growth (Burns et al., 2015).

Therefore, the focus on communication and collaboration that music as a part of the everyday environment provides must be deemed as an important addition to the opportunities for the target population to build an intrinsic understanding of themself, thus, identifying possible psychological issues and resolving them, at the same time maintaining the psychological development rates consistent (Burns et al., 2015).

Spirituality

The analysis of recent studies has shown that music allows intertwining the experiences associated with spirituality and corporeality (Van der Merwe & Habron, 2015). Defined as the pure expression of spirituality and the representation of four crucial components thereof, i.e., “embodiment, sensory experience, creativity, and breath” (Van der Merwe & Habron, 2015, p. 55), the identified concept constitutes a massive part of people’s spiritual identity (Dvorak et al., 2017).

The results of the test show that the spiritual development of the target demographic is in direct proportion to their exposure to music. Therefore, by using music as a crucial element of one’s everyday environment, one is likely to encourage a steep increase in their spirituality levels.

Academic Achievement

Because of the effects that music has on students’ ability to focus, acquire an in-depth understanding of a particular subject, and build a significant amount of independence in their learning process, it can be assumed that music is part of the academic environment in which UAEU female students will boost target population’s progress significantly. It will encourage not only their learning development but also their spiritual growth. As a result, both personal and academic development will occur in the context of the classroom. Even though most (67%) respondents denied the connection between music and their academic scores, there is a reason to assume that the link between the specified variables exists.

Conclusion

Music must be considered an essential part of a set of a group of UAEU female learners. The use of music as a background will contribute to better management of their assignments, more productive work, and more efficient acquisition of essential knowledge and skills. From a spiritual perspective, in turn, the application of music will help learners develop the ability to engage in the process of self-directed learning.

Furthermore, music will help them develop an intellectual curiosity that will set the pace for their further self-directed learning. Consequently, music needs to be recognized as a legitimate tool for encouraging their development, in general. Music can serve as an intercultural medium that transcends languages and appeals to one’s emotional needs. As a result, the opportunity for creating a bond on a very personal level is created. The specified change in the dynamics of interpersonal relationships between Female UAEU students can be used to enhance their social skills, build a stronger dialogue with the community, and improve the quality of education respectively.

References

Altenmüller, E., & Schlaug, G. (2015). Apollo’s gift: new aspects of neurologic music therapy. In Progress in Brain Research, 217(1), 237-252.

Burns, D. S., Perkins, S. M., Tong, Y., Hilliard, R. E., & Cripe, L. D. (2015). Music therapy is associated with family perception of more spiritual support and decreased breathing problems in cancer patients receiving hospice care. Journal of Pain and Symptom Management, 50(2), 225-231.

Dvorak, A. L., Hernandez-Ruiz, E., Jang, S., Kim, B., Joseph, M., & Wells, K. E. (2017). An emerging theoretical model of music therapy student development. Journal of Music Therapy, 54(2), 196-227.

Fox, E. I., & McKinney, C. H. (2015). The bonny method of guided imagery and music for music therapy interns: A survey of effects on professional and personal growth. Music Therapy Perspectives, 34(1), 90-98.

Lee, S. M., Kim, B. K., Kim, T. W., Ji, E. S., & Choi, H. H. (2016). Music application alleviates short-term memory impairments through increasing cell proliferation in the hippocampus of valproic acid-induced autistic rat pups. Journal of Exercise Rehabilitation, 12(3), 148-155.

Rolvsjord, R. (2015). What clients do to make music therapy work: A qualitative multiple case study in adult mental health care. Nordic Journal of Music Therapy, 24(4), 296-321.

Van der Merwe, L., & Habron, J. (2015). A conceptual model of spirituality in music education. Journal of Research in Music Education, 63(1), 47-69.

Introduction

There are three main monetary barriers that are seen to inhibit the implementation of music programs in schools. The most highly cited being that the heads of education lack confidence in the subject. The second problem is the negative perception, stemming from the view that teaching music is irrelevant, thus will be a waste of money. The third and most widely blamed issue is the lack of room in the curriculum to integrate such a program.

Heads of education are finding it increasingly difficult to equally finance music programs the way they create monetary provisions to other ‘more important’ subjects like science or physical education. This paper discusses these problems, demonstrating how solutions can be found for successful implementation of music programs. It is evident that music programs are fundamentally important, socially and academically. However, the monetary barrier is the main concern of how to achieve. The three monetary problems presented in this paper can be viewed as barriers to the implementation of effective and quality music programs in our education system. It is through the identification of these problems that solutions can begin to be formed.

Lack of Confidence in Music

Objection

Teachers are more effective when it comes to teaching concepts that they confidently understand, thus when it comes to that which they do not fully comprehend, the monetary issues are bound to arise, since no one wants to invest in that which they do not understand and have no confidence in.

Counter objection

If teachers and the heads of education were confident in music as a subject, then there would be no monetary constraints, since there would be confidence and positivity towards music as a subject, thus sufficient budgetary allocations will be directed towards music programs.

Relevance and importance of music programs

Objection

There is a belief that music is not an essential part of the curriculum and detracts time away from more-important subjects like those pertaining to numeracy and science, thus monetary resources are not being directed towards such programs. However, it has also been recognized that the utmost inadequacies when it comes to teaching lie in primary music education, and that many of the problems in our education programs could be eliminated by enriching music programs. When these music programs are enriched, then the teaching of music in schools will be greatly enhanced, hence promoting music in general.

Counter objection

By knowledge of this, the necessary monetary requirements should be directed towards realization of music programs, because the creative arts give the learners a range of attitudes and skills which cannot be developed in any other subject. Student’s confidence in their own abilities and understandings must first be increased in order to be more understood, for there to be a monetary contribution.

Insufficient government input

Objection

There is also the pressure in the part of the government in financing different sectors of education, although this should not be the reason for their laxity when it comes to financing music programs.

Counter objection

Community fundraising efforts could make up for some of the lack of sufficient money in running a good music program, even though it will only make up a portion of it. However, fundraising efforts also run the risk of overtaxing the community, which is already experiencing fatigue from the widespread solicitations accompanying these tough economic times.

Conclusion

What most people don’t yet realize is that money can actually be saved by making in-school music programs stronger, and that in the long run, it costs more to make cuts to these programs. A music program should be at the heart of nearly every school board discussion, and it is important to advocate for monetary input when it comes to music programs since we are in tight economic times.

International Journal of Special Education (IJSE)

Summary

The International Journal of Special Education (SE) has been in existence since 1995 and has warranted a rather positive reputation with its articles that shed light on the problems faced in SE. The journal publishes both experimental and theoretical articles addressing concerns in SE. The current impact factor of the journal based on the number of times when its materials were used for reference in other peer-reviewed articles is currently 1.00 (International journal of SE (Int J Spec Educ) 2017).

Assessment

The journal has rather high levels of credibility. Seeing that it has a high indexation level, it is safe to assume that it publishes only credible, peer-reviewed articles. Therefore, IJSE can be considered a reliable source. Additionally, the articles can be located at the same location that the journal mentions. Thus, it can be assumed that the editors of the journal are fully in control of the information that they possess and can arrange it respectively.

The journal has a short yet proud history. Being in publishing since 1995, it has been the repository of a vast range of articles that offer innovative and effective strategies for addressing the needs of children in the environment of SE. The mission of IJSE concerns primarily building awareness and shedding light on some of the contemporary issues and innovative solutions to them. IJSE is also a peer-reviewed journal, which makes it is content especially valuable. With a team of scholars assessing the quality of the material that is chosen for publishing, IJSE guarantees the depth of research and credibility of its articles. Thus, the identified resource must be recognized for its quality.

Critical Reflection

Choosing a journal to select an article on a particular topic is a rather challenging task due to the possible ambiguity of the resource quality. Therefore, IJSE deserves praise for the quality of its content. Even though the journal is comparatively new, it has already gained the reputation of a repository of innovative solutions to some of the problems associated with special education.

The fact that the journal publishes only peer-reviewed content also speaks of its weight and significance. In the environment of special education, mistakes in addressing the target demographic’s needs come at a very high price. Herein lies the importance of IJSE, the articles in which are always verified, containing only the information based on in-depth research and supported by credible references. Therefore, one must consider IJSE articles as scholarly content that deserves to be used to improve the quality of SE.

British Journal of Special Education (BJSE)

Summary

BJSE is a scholarly journal that publishes articles on the subject of SE and the strategies for addressing SE students’ needs. The journal has been in existence for an impressive amount of time, gaining weight and becoming an important reference for several studies. BJSE represents the National Association for Special Educational Needs and is published quarterly.

Assessment

The current impact factor of the journal is 1.257, which is considered moderate for a repository of scholarly articles. On the one hand, the identified information can be seen as an important argument against using BJSE as a source of articles for addressing SE learners’ needs. Indeed, it is important to ensure that selected strategies for teaching SE students come from a trustworthy source. On the other hand, one must keep in mind that the concept of the impact factor is rather flimsy as a criterion for selecting a journal. Since it comprises a range of variables and provides only an average of all points that a journal can gain in the assessment, it often functions as an addition to the overall evaluation of a journal. The identified situation is the exact cause of the impact factor being only a minor component of a larger whole. Thus, one may consider other characteristics of BJSE apart from its impact factor to determine the credibility of the source. The journal is indexed in the British Education Index (BEI), which means that the resource is recognized as scholarly and credible (Overview n.d.). BEI is, in turn, owned by the EBSCO Information Services, which is a larger online database for scholarly articles and other academic resources.

The journal is peer-reviewed and included in a range of databases, including EBSCO mentioned above, PubMed, and other sources of crucial academic information. The journal has been available since 1974, which means that it has warranted an important place in the realm of academic research. Its mission is clear, and selected articles from the database support it extensively. Thus, BJSE can be considered as a credible journal.

Critical Reflection

Exploring the impact that the journal produces in the academic world, one must admit that it has quite an influence. The articles that are published in BJSE provide the platform for implementing effective SE strategies in the SE environment. Furthermore, the studies that are included in the journal can be used as the basis for enhancing the efficacy of the existing strategies. As a result, an increase is witnessed in the levels of inclusion and the range of opportunities that are provided to students with special needs.

“Music Education for Pupils with Severe or Profound and Multiple Difficulties – Current Provision and Future Need”

Summary

In their article, Ockelford, Welch, and Zimmermann (2002) shed light on the challenges that SE students face, as well as the opportunities that music education (ME) can offer to them. According to Ockelford, Welch, and Zimmermann (2002), the goals of the paper include developing a better understanding of the impact that music education has on children with severe learning difficulties (SLD).

The study design included collecting data from 10% of British schools that address the needs of SLD students. A questionnaire was designed for the staff of the selected schools to use to provide crucial information about the needs of the target demographic. At first, the authors of the research encountered certain problems with obtaining data, yet they eventually managed to retrieve the necessary information. After the analysis, it was discovered that the very term “SLD” lacked a precise definition, hence the problems with managing the concern. Furthermore, the analysis has shown that a range of schools used music quite often not only as an integral part of the curriculum but also as the catalyst for engaging students in other activities. Therefore, the study proved that music served an important part in encouraging SLD learners to acquire essential knowledge and skills.

Assessment

The article is credible and verifiable since it was published in a peer-reviewed and trustworthy journal. The results of the study can be used for improving existing school programs. Besides, the study design of the article is profound and detailed, which allows for determining problems in the current strategy for using music in special education. The authors represent the Royal National Institute of the Blind and the University of London. The authors have written other papers. The information provided in the article is rendered accurately and supported by multiple pieces of evidence.

Critical Reflection

The article provides important information for providing SLD students with additional opportunities. Given the need to provide an appropriate environment in which SLD learners will train newly acquired skills and applying specific theories to problems, the insights that the article gives are essential.

“Communication Improvement through Music: The Case of Children with Developmental Disabilities”

Summary

Krikeli, Michailidis, and Klavdianou (2010) address an important issue in music education for SLD students. Particularly, they provide an analysis of the effects that music has on SLD learners’ communication skills. The authors provide an extensive overview of the existing data on the subject matter and specify that the research will imply a quantitative analysis of the music therapy as a strategy for improving the performance of learners with mental retardation. The results of the study show that music therapy opens additional communication channels for SLD students to use in an academic setting. As a result, the choice of music therapy is fully justified.

Assessment

The research can be defined as credible since it was published in a peer-reviewed journal by scholars with impressive credentials (including them being members of the Aristotle University of Thessaloniki and the University of Maryland at College Park). The authors’ names appear in other bibliographies, and the current research can be regarded as an impressive study. The analysis of opportunities for improving communication with the help of music is bound to provide numerous opportunities for encouraging change in the realm of the contemporary SE setting.

Critical Reflection

The article by Krikeli, Michailidis, and Klavdianou (2010) provides the basis for developing improved approaches to meeting SLD students’ needs. Despite minor issues in its design, the article gives profound information about how music therapy changes learners’ life. Thus, the article must be seen as a crucial addition to the existing range of studies addressing the needs of SLD learners with the help of music as a part of the curriculum.

Reference List

International journal of special education (Int J Spec Educ). 2017. Web.

Krikeli, V, Michailidis, A & Klavdianou, ND 2010, ‘Communication Improvement through music: the case of children with developmental disabilities’, International Journal of Special Education, vol. 25, no., 1, pp. 1-9.

Ockelford, A, Welch, G & Zimmermann, S 2002, ‘Focus of practice: music education for pupils with severe or profound and multiple difficulties—current provision and future need’, British Journal of Special Education, vol. 29, no. 4, pp. 178-182.

Overview n.d.,Web.

Definitions

What is Art?

Scholarly work indicates that art originated from the time man learnt to paint in caves, dance around the fire, decorate and narrate stories (Laban, 2006). In its broad sense, art comprises of three important elements. These are Music, Dance and Theatre.

Therefore, a distinct definition of art does not exist in scholarly world, but it is agreed that art is actually a concept that embraces all human activities and allows people to exchange information, ideas and to express themselves.

In fact, art is a concept that allows people to connect with space and time, body and spirit, emotions and intellect and event and experiences. By passing information from one generation to another, art plays an important role in offering interpretations for new as well as familiar ideas (Fazenda, 2002).

It provides people with their own way of perceiving their world, own habits and state of thinking. Finally, art is a concept that defines the culture, traditions and values of a given society or group of people within a given society.

What is music?

Although a specific definition of music does not exist, it is agreed that music itself is a form of art that involves arrangement of tones in an orderly manner or sequence in order to achieve a continuous or unified composition of tones, which conveys some meaning.

However, music conveys different meanings depending on differences between groups of people. Music has the following characteristics – pitch, rhythm, timbre, texture and dynamics. Music is created for the purpose of entertaining, communication and expression.

What is dance?

According to Laban (2006), dance is a part of arts that involves body movements in a rhythmic manner, often following the rhythms of a given piece of music. In fact, dance is a form of expression and communication. Dance in a given culture has the role of providing a means of emotional expression, interaction and connection between the people with their past, their culture, future and their spiritual world.

What is theatre?

Theatre is a form of arts with an emphasis on performance, where live performers present the information to be conveyed to the viewers. The event presented on the stage might be real or imaginary, but communicates experience through a combination of other forms of arts such as dance, music and narration.

National standards for arts

National standards for music

The National Standard for Arts Education has established a set of guidelines for teaching music in elementary schools. First, it emphasizes the singing alone (and with others) as a varied repertoire of music. Secondly, it compels using musical instruments when performing.

Here, it requires that the learners use these instruments individually and in a group as another repertoire of music education. In addition, it requires improvising of variations, melodies and accompaniments. Finally, it requires students to participate actively in reading as well as notating music.

National standards for dance

Dance has seven standards as developed by the national standards for arts. First, it singles out the identification and demonstration of elements and skills of movement while performing. Secondly, it requires the students to understand the principles, processes as well as structures of choreography.

Thirdly, it puts emphasis on teaching the students to appreciate dance as a way of adding meaning to communication. It further emphasizes the application and demonstration of critical as well as creative thinking skills when performing dance. The sixth standard requires establishing the connection between dance and healthy living. Finally, there must be connection between dance and other fields of study.

National standards for Theatre

The first standard puts emphasis on script writing through improvising refined scripts based on imagination, history, literature and heritage. The second standard emphasizes acting by developing and communicating characters that must also be sustained.

Scholarly application of teaching skills in art

In teaching visual and performance arts, it is very important to put emphasis on the subject matter.

Example 1: In Arts

According to Campbel (2005), student’s ability to acquire knowledge in music education is dependent on their ability to know the specific subject. The teacher ought to ask himself or herself one major question “what is the connection between the specific task and the content being studied? Here, the teacher must consider the connection between the subject matter and nature (Gelineau, 2004).

Example 2: In Music

According to Ratey (2001), student’s ability to grasp things in class relies on how frequently a given topic is repeated. Rauscher at al (2004) confirms that repetition is critical to teaching music.

Specific academic skill: students will be able to comprehend the topic in folk music “Miss Susie”. They will be able to identify the role of “telephones” and “telephone” operators in their society.

Example 3: In dance

Moreover, Moser and McKay (2005) argue that the students’ ability to develop interest in arts depends on how frequently they take practical sessions. It is crucial to know how the subject area relates to the real life as well as life-long learning. It is important that the students attend art classes and learn well what they are taught there. They need to understand how important such knowledge is in their life and future career.

Specific academic skill: in the dance “Ring Around the Rosie”, the students will learn the impact of death in human lives. They will learn how people in old times cremated their dead ones. Here, they will connect with the idea of life and death.

Example 4: In theatre

In theatre arts, the audience is an important factor. According to Moser and McKay (2005), it is critical for the students to learn how to determine the type and nature of the audience in order for the performance to be successful.

The main purpose of performing is to ensure the message is communicated to the audience. As such, the students must understand the audience in front of them and learn to attract and hold the attention of the audience.

Specific learning skills: In the children Theatre “”Little Red Riding Hood”, the students will be able to learn the need to be cautious when dealing with strangers. They will be able to identify the “good” the “ill” of the society. By acting the theatre, the students will be able to connect their emotions, actions and body signs with the imaginary tale.

References

Campbell, P. S. (2005). Teaching Music Globally. New York: Oxford University Press, 2004.

Fazenda, M. J. (2002). Between the pictorial and the expression of ideas: the plastic arts and literature in the dance of Paula Massano.

Gelineau, R. P. (2004). Integrating the arts across the elementary school curriculum. Toronto, Ontario, Canada: Wadsworth/Thomson Learning.

Laban, R. V. (2006). The language of movement: a guidebook to choreutics. Boston: Plays.

Moser, P., & McKay, G. (2005) Community Music: A Handbook. Russell House Publishing

Ratey, J. J. (2001). A User’s Guide to the Brain. New York: Pantheon Books, 2001.

Rauscher, F.H., et al. (2004). Music and Spatial Task Performance: A Causal Relationship. Irvine, CA: University of California, Irvine,