Category: Music

Introduction

Music is known to have healing power and is widely utilized as a therapeutic tool to manage chronic pain and neurological disorders. Music therapy is defined as an evidence-based and clinical use of interventions related to the musical experience. It is generally recognized that music greatly assists in managing pain, stress, anxiety, and depression. Music interventions are associated with decreasing symptoms of chronic pain and eliminating negative psychological outcomes in patients with chronic diseases.

Analysis

Music is recognized to be a part of patient treatment by many cultures since ancient times. This therapeutic approach ensures comfort, relaxation, and healing. It is applied in hospitals, palliative care nursing homes, in psychiatry and oncology departments, and during various medical procedures to activate immune functions, increasing quality of life and body resistance, as well as for moral recovery. Such intervention is cost-effective, easy to apply, and does not provoke any adverse effects. It is emphasized that music activates changes in the endocrine, neuropeptide, and immune systems, as well as in the mind-body process (Korhan et al. 307).

Music therapy is provided by licensed specialists and can include music-supported therapy such as playing musical instruments for patients who undergo motor rehabilitation therapy. Therapeutic intervention is understood as listening to special music to affect changes in analgesia or vital signs. Nurses also often play music in the patients presence with a therapeutic purpose. It is stated that music is important in maintaining the health care environment and establishing proper therapeutic milieu for healing (Supnet et al. e2). Relaxing music played in the operating room also has positive effects on patient outcomes.

Utilizing music is reported to decrease narcotic requirements and postoperative agitation in critically ill patients who suffer from cardiovascular diseases. Some researchers note that music has been associated with decreased anxiety, pain, and agitation in patients receiving mechanical ventilation (Supnet et al. e3). It also greatly assists in the rehabilitation of stroke patients who are known to have multiple cognitive, emotional, and consciousness disorders. Thus, music is an additional component of hypnotic and sedative medications applied during mechanical ventilation in individuals with acute stroke to prevent them from self-harm and reduce the effect of negative experience.

Music interventions are also used to manage various symptoms in patients who suffer from cancer. They help to reduce stress and anxiety during radiation therapy and chemotherapy, as well as treat pain and mood disorders. It is emphasized that on a neurophysiological level, listening to music may reduce anxiety through suppressive action on the sympathetic nervous system (Bradt et al. 1262). Its mood-enhancing and pain-reducing effects are related to amygdala mediation. Therefore, it is possible to say that music helps an individual to focus on something pleasant and soothing and distracts from a stressful event. It gives an opportunity to escape temporarily from the reality of cancer treatment.

It is a general opinion that music playing and music-making as a part of therapy provides a positive psychological impact on the patient. Such experience allows investigating emotions applied in the creative process and use music-evoked reflections for the benefit of the patient. Usually, a therapist gives an opportunity to process verbal emotions and thoughts raised by the music. Such an approach as music medicine allows a patient to give a list of ones music preferences for a therapist to create an individualized playlist. The patient is required not to be engaged in other activities while the music is playing. It should be noted that the patients who value the creative aspect of music therapy and therapeutic relationship appear to benefit more from such activity.

Music therapy is also noted to have a positive effect on patients who suffer from neuropathic pain. This disease is complex and involves serious pathophysiological mechanisms in the central and peripheral nervous systems. It is usually associated with partial dysfunction of the nervous system and defined as acute pain in such areas as the brain, peripheral nerves, and spinal cord. It is crucial to ease the pain in individuals who suffer from this disorder to improve their life quality and reduce complications and hospitalization periods.

Usually, neurotic pain is controlled by pharmacological methods such as analgesic treatment. Still, this approach has multiple negative effects as they have some undesirable physiological side effects and can lead to the development of medication tolerance. Music therapy is stated to be a part of the cognitive-behavioral approach to the treatment of this disease, which can be used as an additional method along with pharmacological management (Korhan et al. 307).

Conclusion

The given research dealt with investigating the role of music therapy in the treatment of serious chronic conditions. It was found that music has overall beneficial effects in decreasing pain, stress, depression symptoms, and anxiety in patients with such severe diseases as cancer, cardiovascular disorders, and neuropathic pain. Various types of music therapy were explored. The benefits of playing music in hospitals, operation rooms, and medical interventions were examined. It is possible to say that music therapy is a cost-effective and natural method that greatly assists in the management of diverse diseases as an additional tool.

Works Cited

Bradt, Joke, et al. The Impact of Music Therapy Versus Music Medicine on Psychological Outcomes and Pain in Cancer Patients: A Mixed Methods Study. Supportive Care in Cancer, vol. 23, no. 5, 2015, pp. 1261-1271.

Korhan, Esra Ak1n, et al. The Effects of Music Therapy on Pain in Patients with Neuropathic Pain. Pain Management Nursing, vol. 15, no. 1, 2014, pp. 306-314.

Supnet, Charlene, et al. Music as Medicine: The Therapeutic Potential of Music for Acute Stroke Patients. Critical Care Nurse, vol. 36, no. 2, 2016, pp. e1-e7.

Introduction

Healthcare professionals can identify and use different nursing models to provide exemplary medical services to their patients. Middle-range theories are powerful frameworks that offer evidence-based insights for bridging the gap between care delivery and knowledge. They provide meaningful concepts and notions that can improve the quality and nature of services available to different individuals. The purpose of this paper is to give a detailed description and analysis of the nursing theory of music, mood, and movement by Murrock and Higgins. Specifically, the discussion will begin by defining the model and its purpose. It will go further to describe the models application of the four concepts of the nursing metaparadigm. The final section will describe the importance of the middle range theory in nursing practice.

Definition and Purpose

The music, mood, and movement (MMM) theory is a relatively new framework that borrows numerous notions from the teachings of Buddha. The attributes of the human bodys response to musical sounds provide evidence-based insights for this nursing model. The authors indicate that a persons social, physiologic, and psychological responses to music tend to have significant influences on his or her health outcomes (Murrock & Higgins, 2009). This happens to be the case since songs have the potential to alter moods, thereby making it easier for the body to respond in a positive manner. According to Murrock and Higgins (2009), music tends to foster social interaction and improve neurophysiologic responses. These attributes form the foundation of the MMM theory.

In terms of purpose, Murrock and Higgins considered the model in an attempt to present evidence-based insights and concepts for improving peoples psychological and physiological health outcomes (2009). The use of music therapy is a powerful approach for altering moods and guiding patients to develop a sense of identity and feelings (Murrock & Higgins, 2009). The effective use of this model will empower more individuals to engage in physical activities, thereby being able to tackle the major health challenges associated with obesity, stroke, depression, and stress.

Metaparadigms of Nursing

The MMM theory considers the four metaparadigms of nursing to provide a detailed model for guiding caregivers and practitioners. Each of them plays a significant role in influencing the nature of medical services available to different patients (Faniby, 2015). The four concepts are described below.

Person

This theory defines a person as a human being in need of therapy to record positive health improvements or outcomes. This can also include any person who is in need of social or psychological support. After listening to different genres of music, such an individual will be in a position to re-pattern his or her experiences (Faniby, 2015). Patients admitted to different hospitals will fall under this category since the use of music therapy can deliver desirable medical results.

Health

As a critical concept in medical care delivery, the MMM theory defines health as a dynamic process occurring independently from any form of illness in the body and exists on a continuum. The theory asserts that patient outcomes and health will vary from individual A to B (Xue, Landis, Wright, & Xue, 2018). This is something that will depend on every persons experiences, situations, or circumstances. The ultimate objective of nursing is, therefore, to improve health experiences.

Environment

Under this category, the authors focus on both the external and internal environments. The internal ones include perceptions of comfort and discomfort, mood alteration, and enjoyment. The external attributes of this concept include physical movement and auditory distraction. It is appropriate for caregivers to consider such aspects in an attempt to transform or improve the outcomes of every patient (Chen, Sung, Lee, & Chang, 2015). This approach will ensure that the beneficiary records positive health outcomes.

Nursing

The studied middle range theory defines nursing as a holistic process aimed at improving a persons health by responding to his or her social, psychological, or physiological needs. Medical practitioners have a role to transform the surrounding environment and ensuring that music is introduced to aid or revolutionize the healing process. According to the theorists, the concept can be expanded in such a way that practitioners can provide their services in a wide range of environments, including nursing homes, medical facilities, and acute care settings (Faniby, 2015). This framework supports the use of different concepts from other models to ensure that the targeted individuals receive holistic medical support.

Importance and Application in Nursing Practice

The authors of the MMM theory examined the increasing problem of physical inactivity as a leading risk factor for many medical conditions, such as stroke, cardiovascular disease, hypertension, and depression. Practitioners using this model will consider the definitions of each of the concepts of the nursing metaparadigm to provide holistic medical services (Chen et al., 2015). This means that such professionals will incorporate patients social, physiological, and psychological responses to music to address the targeted medical condition. With proper coordination and approach, nurses who embrace this model will transform the health outcomes of their patients.

There are several examples from current practice explaining how medical practitioners can use this middle-range theory. The first one is the provision of continuous or lifelong support to outpatient clients suffering from terminal diseases, including arthritis, obesity, diabetes, and hypertension. Nurses providing services to such people will consider the power of music intervention to initiate and support the maintenance of physical activities (Murrock & Higgins, 2009). Such individuals will be willing to embrace the idea and improve their disease management approaches. The targeted beneficiaries will also select the best genres for addressing their psychological and social needs.

The second one is the use of the theory in inpatient settings to empower and support the recovery process of patients who have undergone surgery. This becomes a sustainable, cost-effective, and reliable approach for decreasing pain and ensuring that the targeted beneficiary records improved health outcomes within a short period (Xue et al., 2018). The model will make sure that patients stress levels reduce significantly. Those who have progressed in a positive manner will receive appropriate guidelines for engaging in physical activities. Such approaches and initiatives will ensure that more people achieve their health goals much faster.

Conclusion

The above discussion has revealed that the MMM theory is a powerful model informed by the idea of physical activity as a critical determinant of health. Using empirical evidence, the authors of this framework offer evidence-based ideas that work synergistically with the outlined concepts of the nursing metaparadigm to transform patients health outcomes. Practitioners can, therefore, consider these attributes to develop appropriate programs and practices that can maximize peoples experiences around the world and make it possible for them to achieve their potential.

References

Chen, C., Sung, H., Lee, M., & Chang, C. (2015). The effects of Chinese five-element music therapy on nursing students with depressed mood. International Journal of Nursing Practice, 21(2), 192-199. Web.

Faniby, A. (2015). Music can boost memory and mood. Harvard Womens Health Watch, 22(7), 7.

Murrock, C. J., & Higgins, P. A. (2009). The theory of music, mood and movement to improve health outcomes. Journal of Advanced Nursing, 65(10), 2249-2257. Web.

Xue, F., Landis, R., Wright, S. M., & Xue, F. (2018). Playing music for hospitalized patients enhances mood and reduces perceptions of pain. Southern Medical Journal, 111(8), 460-464. Web.

Over the last decades, a new culture has emerged and spread all over the world. This new culture has replaced the pre-modern or traditional cultures of some communities or countries in some cases, while the cultures of some states have been transformed or mutated. This evolutionary transition which has affected almost all the continents is what is termed as modernization. The process of modernization began with the Industrial Revolution that occurred not only in Europe but also in other continents such as North America (the United States of America in particular), Australia, South America, Africa and Asia. However, more often than not, modernization has been associated with Westernization where European culture is the standard measure of modernization (The West No Longer Owns Modernity, 2011).

However, despite the views of various groups on modernization, one thing that stands out is that this issue cuts across all the aspects of a given society. No matter whether it is religion, society, economy or education, modernization aims at bringing progress and development into these sectors. Over the last few decades, many countries have been experiencing various constraints on development (R. A., 2012) which require new remedies that would tap into such sectors as sports, music and art to be not fully tapped to contribute to the modernization process. Thus, this paper aims at exploring the possibilities of using sports, music and arts to assist in development. Moreover, it also focuses on looking into the challenges that come with such new avenues.

Sport has many disciplines including American football, soccer, athletics and rugby, among others which if tapped into, can generate the income necessary to steer development and progress to the next level. Sport can be a good remedy for development since many people love sports. The many generated from ticket sales and infrastructure development that comes with the organizing of sports events are major contributors to development (Levermore, 2012). Moreover, sports also attract tourists, especially such kinds of traditional sports as sumo wrestling in Japan, thereby contributing to the needed foreign exchange (Levermore and Beacom, 2012). Music is spread worldwide; thus, if tapped correctly, it can greatly contribute to the development and hence modernization. Like sports, funds can be generated from ticket sales during concerts, sales of recorded music and royalties, among others. Many countries, such as the United States of America, have recorded a considerably high amount of revenues from the music industries.

Moreover, traditional music dancers and performers are major tourist attractions. Thus, the income generated can be used to spur development in all the sectors of the government. Year in the year, several forms of arts, such as painting, as well as performed arts, such as acting, have generated revenues to many governments (Davoud, 2012. Hence, with the current challenges facing the mainstream sources of income, it would be wise for the governments to explore ways of incorporating this sector into their development policies. Sports, music and arts have been used for many years to spread the respective cultures all over the world. This has led to modernization as these cultures have been incorporated into many societies all over the globe.

All in all, the process of development and progress requires all to be inclusive; it needs a concerted effort from all the sectors of the society. Critical analysis of the remedies for development and hence, modernization, is very important as each remedy has its own shortcomings. Even though these remedies can contribute to development, their impacts are not immediate depending on the citizens of the country and even the world population at large. However, when properly utilized, they can spur development and progress.

References

Davoud, S. 2012. The Scream to go on sale at Sothebys. Financial Times. Web.

Levermore, R. 2012. CSR for Development through Sport: examining its potential and limitations. Third World Quarterly, vol. 33, no. 1, pp. 56  60.

Levermore, R and Beacom, A. 2012. Sport and International Development. Development in Practice, vol. 29, no 1, p. 276. Web.

R. A. 2012, Urban development: Remember opportunity costs, The Economist. Web.

The West No Longer Owns Modernity, 2011, World Development, Summer. Web.

A review of a previously completed essay on Bachata music highlights an idea that requires a deeper analysis. Scholarly sources providing insights on the origins of Bachata music seemed to suggest that the popularity of Bachata music was hindered due to the vulgar words in the lyrics and the sensual nature of its rhythm and melody. They supported this idea by stating that due to the crude words and the less refined sound, the elites of the Dominican Republic banned this type of music forcing it to remain in the lower levels of the countrys socio-economic strata. However, one can argue that it is more truthful to present the opposite, in order to say, that it is the vulgar words and the highly sensual music style that made Bachata music popular in Latin America and the rest of the world.

Scholarly Arguments About Bachata Music

There are four arguments that can support the claim made earlier regarding the real reason for Bachata musics popularity in Latin America and the rest of the world. First, the elites in any society does not have total control of everything that occurs within their area of influence. Second, the concept of popularity is linked to the masses or the people and not to the rich and powerful. Third, vulgar words or sexually suggestive musical themes may not find favor with the elites, but these terms and concepts are easily accessible to people from all walks of life. Finally, the slow emergence of bachata to become one of the most popular Latin sounds in the world has nothing to do with its crude history, but as the byproduct of a natural evolutionary process common to all forms of music. However, before going any further, it is important to review scholarly arguments concerning the failure of bachata music to gain popularity due to the use of the so-called ghetto language and unrefined music.

Multiple sources, several authors and experts of Latin music had one thing in common when they reviewed the music of the bacheteros, it was not the preferred sound of the Dominican Republics high society. In the article entitled Insolent Origins and Contemporary Dilemmas: The Bachata the author automatically made the assumption that the songs are insolent, so that the musical pieces are interpreted as having little value (Reagan 373). The same idea was suggested in David Akombos book The Unity of Music and Dance in World Cultures. From this point of view, it is not difficult to make the connection between the type of lyrics incorporated into the music and how it is being assessed by music lovers. It is therefore easier to expand the discussion, and point to the simple, and uncultivated poetry behind the songs as the rational explanation for the non-acceptance of the nations cultural gatekeepers.

Other scholars who critiqued the genres long history of unimportance among the members of the nations higher social classes pointed to the technical aspect of the music that came out from the rural areas. In the book that examined the social history of the musics emergence and development, the author highlighted the fact that the music of the bacheteros came out from a community that did not have the same level of technical proficiency as other Latin American countries (Hernandez 58). Although it is true that a genres universal acceptance requires the completion of a substantial refinement process, it does not mean that this problem is unique to bachata music. In other words, this is the typical path followed by other music genres when these musical variants started in obscurity in different parts of the world.

Redefining The Meaning of Popular

Following the scholarly arguments, one is made to believe that in order to gain popularity, bachata music requires the intervention of the elites. However, after tracing the historical development of similar music genres, there seems to be an absence of irrefutable evidence suggesting that in order for bachata music to succeed it requires the blessing of cultural gatekeepers and established music connoisseurs. In the book entitled Music of Latin America and the Caribbean, the author described the impact of bachata music when it became relevant like other equally popular variants of Latin music (Brill 76). However, when describing the rise of the said music genre there was no mention of a need to seek the approval of cultural elites. Therefore, there is a need to dig deeper in order to find out how music genres reaches a certain level of importance in order to be declared popular.

It does not require a linguist in order to figure out that the term popular is linked to the idea of people or groups of people sharing something in common. In other words, in order to be popular an object or an idea must garner the support or attract the affection and respect of the majority. In this line of reasoning, one can argue that bachata music became popular because it gained the support of the masses. Consider for instance the emergence of metal or hip-hop music. These two music genres never required the approval of high society. In fact, the proponents of these musical variants simply brought their music to the people. In Ilan Stavans book Latin Music: Musicians, Genres and Themes, he argued that this type of music became the favorite of the Dominican Republics blue collar workers and the illiterate masses, because it communicated messages about love and heartaches (77). One can find the root cause of the musics eventual prominence in this statement. The musics sound and lyrics is more accessible compared to the more formal music genres.

The Evolution of Popular Sound In the Context of Bachata Music

One can argue that the slow emergence of bachata music into the international stage is not due to its humble beginnings or the presence of vulgar lyrics, but the predictable effects of natural process. Akombos assertion that in the beginning this genre suffered from irrelevance, because the art form was limited to a sub-category of guitar ballads must not be interpreted as a sign of weakness (46). It has to be reinterpreted as the natural evolution of a musical form in the same way that music genres were invented in one place and has to go through a series of refinements along the way. In other words, the evolutionary process follows a predictable pattern, it starts simple, only to grow into something complex. One can observe this phenomenon beyond the world of music. For example, a modern and complex society started from a single tribe and evolved into a powerful nation.

Aside from the fact that bachata music is more accessible from the point of view of the masses, its unexpected popularity in the United States, and other parts of the world is also attributed to the outcome of a natural development process. In Gary Sowells book Afro Latin Rhythm Romance Dance he pointed out that the music went through a beautiful transformation process producing a dance tradition that is unique to the bachata art form (28). Therefore, this music genre was enhanced even further attracting more music lovers along the way. The continuos improvement also encouraged more people to the said music variant. There is a need to evaluate the statements made in the past regarding the idea that bachata music did not became relevant because of the actions of the cultural elites. One can argue that the evolution of bachata music follows the same pattern as other popular music genres in other parts of the world.

Conclusions

Bachata musics slow emergence as another example of a popular Latin music form was not the direct result of the cultural elites low opinion of the said art form. It was made clear that the preference and blessing of cultural gatekeepers and music experts are not the requirements needed in order for a particular music genre to become accepted worldwide. After reviewing the ideas presented by historians and researchers in the field of music, it was discovered that its popularity is attributed to how it was easily accessible to the general public. It was ultimately the ordinary people who were responsible in popularizing the music of the bacheteros. In other words, the attributes that made music experts to ridicule the genre as crude and unrefined were the same characteristics that endeared it into the hearts of the masses. In addition, its current status is not due to the support of the members of high society, but the outcome of a natural development process. Bachata music went through a process of refinement and evolution that enhanced its value and relevance.

Works Cited

Akombo, David. The Unity of Music and Dance in World Cultures. McFarland & Company, 2016.

Brill, Mark. Music of Latin America and the Caribbean. Routledge, 2016.

Hernandez, Deborah Pacini. Bachata: A Social History of a Dominican Popular Music. Temple University Press, 1995.

Reagan, Patricia. Insolent Origins and Contemporary Dilemmas: The Bachata. Sounds of Resistance: The Role of Music in Multicultural Activism, edited by Eunice Rojas and Lindsay Michie, ABC-CLIO, 2013, pp. 373-396.

Sowell, Gary. Afro Latin Rhythm Romance Dance. Author House, 2014.

Stavans, Ilan, editor. Latin Music: Musicians, Genres, and Themes. Greenwood, 2014.

Introduction

The modern audience must be familiar with the long-standing debate on the process of music CDs. Despite all the information published on the matter, some questions remain more persistent than they probably should be. The most enduring one is If blank CDs cost so much less than album releases, doesnt it mean that music companies constantly rip us off? Despite its dubious nature, it continues to serve as a justification for downloading unlicensed music for some people. Unfortunately, crime remains a crime regardless of the motivations of the person who commits it. Even more importantly, the fundamental premise of a ripoff is flawed and illustrates a distorted understanding of the principles under which the music industry operates. The following informative process analysis is intended to explain the reasons for seemingly high prices of music CDs and, by extension, improve understanding of mechanisms of price formation for the majority of commercial products.

Producing an Album

It is tempting to imagine the recording of the album as a joyous and inspired collaboration between close friends who just have what it takes to create awesome music. In reality, the music industry cannot rely on the productivity of bands on most occasions. For example, the contract often specifies a deadline for the album to be ready. As musicians are real people with their problems and issues, they will often experience problems with timely delivery and would require coordination and all kinds of professional assistance from professional managers, counselors, and consultants (McDonald). All of this amounts to expenses  for the company which oversees the project or the musicians if they choose to self-publish. It should also be mentioned that major music labels do not hurry to embrace every garage band out there, but once they do, they invest heavily in the initial promotion to make sure the band will be accepted (and generate a return on investment). Simply put, even before the album is ready, a massive amount of money needs to be invested to make it a worthy time and effort investment both for the company and for the band.

Recording

Once the band has the right material, it is necessary to make a recording of a decent quality, which invariably involves professional equipment. Most of the time the band rents a recording studio and works until all the material is ready. Depending on the level of equipment and other factors, the cost of renting may vary from $35 to $50 per hour or $300 to $600 per day (Schafer). Sometimes studios charge per song, but this is less common and likely more expensive. It is important to understand that the time of arrival and set up is also included, and, naturally, unsuccessful takes are not compensated. Besides, working in an unfamiliar setting almost always creates stress for musicians, not to mention overlooked issues and discrepancies in the material. The most coordinated and organized bands can finish recording at the cost of several thousand dollars, but on most occasions, the cost will be much higher.

Mixing and Mastering

The recorded material is far from ready for sale, though. It needs to be properly mastered to make it listenable, which can be done for a fee. Aside from the obvious fact that it involves more investment to pay for professional services, it will likely result in band members arguing among themselves and with the management on what needs to be done in the process  the readers who played in the band will instantly recall the debate on whether the bass or the drums should be more prominent. Also, things as simple as the order of tracks on a CD may become an issue if the managements point of view differs from the bands ideas.

Album Cover Design

Cover art may seem unimportant  after all, it is the music that counts. However, in reality, it is crucial for successful sales, and the first impression is only a part of it. After a while, the album will pass the point where it is bought out of the initial visual appeal. However, at that point buyers will also be more attentive to the synergy between imagery and sound  in other words, they will more likely buy the piece of art which they perceive as harmonious and interrelated (Shah). Naturally, finding the right person for the job and explaining the bands (and labels) vision of the cover requires additional investment.

Transportation and Distribution

Once the album is ready to sell, it must be somehow delivered to the customer. The most evident way is through retail stores. However, most of them only accept large shipments and charge significant fees. Once the agreement is set, it is necessary to deliver the physical copies (more expenses for transportation services). On some occasions, if the delivery date is missed, the store can charge an additional fee. Marketing aside, this stage is the most expensive and amounts to tens of thousands of dollars (McDonald).

Conclusion

As it becomes evident from the analysis, the process of producing an album and delivering it to the customer accumulates into massive time and effort and requires hundreds of working hours of band members, managers, and involved workers. Considering this, a $10 price tag becomes a necessity rather than a ripoff.

Works Cited

McDonald, Heather. Album Release Costs, the balance, 2016.

Schafer, Joseph. Anatomy of a Release, Pt. 2: Recording the Album, Invsisble Oranges, 2011.

Shah, Deep. The Importance of Album Artwork, HumanHuman, 2016, Web.

Music is traditionally discussed as influencing peoples emotions, feelings, and physical state significantly because the sound effects stimulate the individuals brain and promote its activities. As a result, it is possible to state that music can enhance peoples learning activities because of improving intelligence. The discussions of the role of music as an enhancement to education are on-going, and they are supported with the new data regarding the music effects on the child or young persons brain processes and reactions. Researchers are inclined to state that the music incorporated in the teaching-learning process can stimulate students activities, motivate them, and contribute to achieving the highest education goals (Besson, Chobert, and Marie 2).

From this point, music can be considered as an enhancement to education because being incorporated in the teaching-learning process; music contributes to the young peoples physical, emotional, and mental progress; moreover, music education encourages students to focus on their creativity, personal expression, and multiple intelligence.

Therefore, it is possible to determine two basic approaches of using music for enhancing learning, students development, and improving education. The first approach is the direct integration of music in the teaching-learning process while making classroom activities more attractive for students and the overall curriculum more flexible and student-oriented. In this context, the music can be used in lessons as the background music to improve memorizing and concentration, as the way to distinguish between concepts and topics, and as the method to promote cooperation and social interaction (Courey, Balogh, Siker, and Paik 252). The other approach is associated with the music education of students as part of the general education because playing instruments and learning music compositions; young people can develop their brain processes actively.

During recent years, educators use music while working not only with early childhood but also with adolescents because music is an important component of their daily interests. Thus, sounds have significant effects on students while motivating them, increasing their energy, and changing their moods (Preis, Arnon, Silbert, and Rozegar 3). Favorable effects of using music in the teaching-learning process are associated with the fact that rhythmic sounds of music help students concentrate and focus on details while stimulating their brain processes at the neurophysiological level (Feinstein 21). As a result, the academic successes also change, and this feature is known for educators who use music as the background for reading, learning, and memorizing, or for the group work.

Elements and principles of music can be used in different parts of the curriculum, lesson, and in different activities typical for the educational environment. When young people hear music that helps increase their moods, they are inclined to perceive the overall atmosphere as positive and comfortable, and the associated academic achievements can become higher because of individuals concentration and productivity increase (Jaschke, Eggermont, Honing, and Scherder 4). Students can also develop rapport and improve their inspiration.

Music should be discussed as a multisensory experience; that is why music can enhance education when students learn to play different instruments and compose musical pieces because they develop different parts of their brain. When a person is listening to music, and especially, playing the instrument, both hemispheres of the brain work and individuals receive the opportunity to improve their psychomotor functioning along with the cognitive and affective functioning (ONeill 24). As a result, music education, as added to the general education, is an important strategy to realize the principle of the holistic approach to education in order to help students improve their academic performance and grow as developed persons.

The other important argument for focusing on the music as a way to enhance education is associated with the theory of Multiple Intelligence developed by Howard Gardner in the 1980s. In his works, Gardner stated that there are many forms of intelligence that develop simultaneously. Thus, linguistic, mathematical, musical, kinesthetic, visual-spatial, and interpersonal intelligence should be developed in individuals equally in order to speak about the developed person (Prashnig 112).

Gardners idea was adopted in education because the researcher paid attention to the necessity to focus on the development of intelligence as a complex process that consists of several stages, levels, and components (Portowitz, Lichtenstein, Egorova, and Brand 108). Referring to this theory, it is important to state that music can become an enhancement to education when it is referred to as an approach to develop students multiple intelligences.

In order to guarantee that education is oriented to developing the full potential of a student, it is necessary to ensure that all aspects of the personality develop effectively. Those persons who received an effective education without focusing on the music component can be discussed as good specialists in their fields, but they are limited in their emotional and creative expression because they are restricted in receiving the regular electrical stimulation of music sounds to improve their imagination. Furthermore, it is surprising, but music closely related to education can also enhance individuals social interaction because persons regularly listening to music or playing instruments are often discussed as having high moods, high levels of relaxation, and emphasized desires to cooperate and communicate.

Works Cited

Besson, Mireille, Julie Chobert, and Céline Marie. Transfer of Training between Music and Speech: Common Processing, Attention, and Memory. Front Psychology 2.94 (2011): 112. Web.

Courey, Susan Joan, Endre Balogh, Jody Rebecca Siker, and Jae Paik. Academic Music: Music Instruction to Engage Third-Grade Students in Learning Basic Fraction Concepts. Education Study Mathematics 81.1 (2012): 251-278. Web.

Feinstein, Sheryl. The Praeger Handbook of Learning and the Brain. New York: Greenwood Publishing Group, 2006. Print.

Jaschke, Artur , Laura Eggermont, Henkjan Honing, and Erik Scherder. Music education and its effect on intellectual abilities in children: a systematic review. 2013. Web.

ONeill, Susan. Personhood and Music Learning: Connecting Perspectives and Narratives. Toronto: Canadian Music Educators Association, 2012. Print.

Portowitz, Adena, Osnat Lichtenstein, Ludmula Egorova, and Eva Brand. Underlying Mechanisms Linking Music Education And Cognitive Modifiability. Research Studies in Music Education 31.1 (2009): 107-128. Web.

Prashnig, Barbara. Power of Diversity: New Ways of Learning and Teaching through Learning Styles. New York: A&C Black, 2004. Print.

Preis, Janet, Roxanne Arnon, Dara Silbert, and Ashley Rozegar. Does Music Matter? The Effects of Background Music on Verbal Expression and Engagement in Children with Autism Spectrum Disorders. 2015.

Humanity has always had a strong thirst for art. At the dawn of civilization, people understood that they like the sounds which nature produced. That is why, the idea to try to reproduce these sounds appeared. There is no use denying the fact, that these attempts were the beginning of music as the phenomenon. Since that time, it had become an integral part of human society. Moreover, very often it was such a powerful remedy that it could change the mood of a person or inspire him/her to create something unusual.

Having realized power and beauty of this very measure, people did not want to forget or refuse it. That is why, great number of musical instrument appeared. Their main aim was to help people produce new sounds and enjoy them. Moreover, new pieces of music were created with the help of different instruments. With this in mind, it seems interesting to analyze peculiarities of this very issue.

First of all, it should be said that music is one of the most important parts of the life of every person. There is no use denying the fact that there is hardly a person in the world who does not have his/her favorite melody or rhythm. There are several reasons for such a great popularity of music. First of all, it can help a person to achieve the mood he/she needs. Different kinds of music influence a person in different ways. Calm and slow music makes a person relaxed and peaceful.

Listening to such type of music, a man does not want to move or perform some kind of activity. However, situation is different if a person listens to very fast and energetic music. He/she becomes energetic to. Moreover, the desire to act appears. This aspect of music is widely used by composers and people who want to control society. It is easy to remember military marches and the mood which they create. People, who listen to them, become strong-willed and even aggressive. The desire to fight appears.

However, music had to overcome great number of difficulties and travel a long way to obtain all its modern characteristics. First of all, it should be said that first musical instruments were very primitive and were not able to produce some complicated sounds. That is why, people tried to create new instruments which would be able to sound better. Different epochs can be characterized by different level of the development of music. One of the most important achievements in music was made by Guido of Arezzo, who started to write down notes in the way which is still used nowadays, though some improvements were made (Epperson, para. 11). Musical notation created by him, allowed people to create magnificent masterpieces and write them down for people to be able to reproduce them.

The way we see things is affected by what we know or what we believe (Berger 8).This statement can be applied to the issue of music to. The way in which people create music can serve as the reflection of the things in which they believe. Music can serve as the characteristic of a person or the epoch in which it was created. Themes of the Middle Ages are very solemn as they were created mainly by people who were connected with Church and that is why they should be very serious and make people think about some internal things.

However, the age of the New History came and music of those time can serve as the reflection of peculiarities of this epoch. Great number of waltzes, operas and other not so serious pieces of music appeared. Blistering development of pop music and different alternative genres are peculiar to modern age. That is why, it is possible to say that a person can also be characterized according to the type of music he/she listens to.

Additionally, much information can be obtained from the musical texts. There is no use denying the fact that people, who write texts for songs, try to reflect the most important problems of their age or show the issues which are of a great interest for people. Evolution of musical texts can show the process of the development of society and its interests. Middle Ages can be characterized by some religious texts which were supported by music, while there is a great number of almost senseless songs in modern age. With this in mind, it is possible to say that differences in the style and sense of songs and music are influenced by the peculiarities of the epoch in which it was created.

Having analyzed information connected with the issue of music, it is possible to make several conclusions. First of all, it should be admitted that music is an integral part of human life which helps people to enjoy these magnificent sounds. Moreover, it is very important remedy which influences creation of a certain mood and attitude to a situation. Being reflection of the epoch in which it was created, music can help to determine the main peculiarities of the age or even a person.

Works Cited

Berger, John. Ways of Seeing: Based on the BBC Television Series. London: Penguin Books, 1990. Print.

Epperson, Gordon. Music. Encyclopedia Britannica. n.d.. Web.

Introduction

Being an art form, music, in general, and songs, in particular, serve as not only the means of self-expression but also as the tool for representing a range of social issues. The elaborate use of sound techniques, the choice of words, and the expressivity of a singer allow expressing ideas and emotions alike, therefore, helping both an artist and their audience have a uniquely emotional experience. Creating opportunities for expressivity, music exists in a variety of forms, old ones remaining the staple of artistic forms, and new ones emerging on a regular basis.

Having appeared comparatively recently, trap music as a genre allows exploring a vast range of opportunities for creating unique art pieces, yet it is also closely connected with its predecessor, rap. Consequently, trap music is linked directly to the idea of addressing essential social issues in a similar way that rap does, including the problems associated with poverty, lack of social justice, gender issues, cross-cultural communication, etc. The propensity toward bringing up social issues is a recent tendency observed in the trap music realm produced as a result of combining an analysis of the problems encountered by Latin Americans and the problems faced by women in the identified cultural environment. Trap opens a new discussion that sheds light on some of the issues experienced by Latin American women in modern American society.

Analysis

One might argue that the genre of the trap music cannot promote the idea of a compromise due to its nature, which is rooted in the active use of aggressive beat and the techniques that create a rather gritty melody with numerous ominous elements. Furthermore, it should also be borne in mind that, initially, trap music was strongly associated with the stereotypical image of masculinity (Moreno). Therefore, the representation of women, in general, and Latin American women, in particular, in the specified genre was bound to be filled with typical elements of objectification. As a result, the premises for the trap music to be taken with a grain of salt were created initially. However, the specified genre managed to swerve from the identified tendency and explore the opportunities for giving Latin American women a voice in the modern rap music industry. For instance, Cardi B has recently received immense recognition from all over the world due to her smashing hit Bodak Yellow (Moreno).

It should be noted that there have been certain controversy surrounding the singers recent statement concerning the similarity between her and another performer, Selena Gomez: The Bodak Yellow singers collaboration with Migos and Nicki Minaj, released in October, includes a verse that references Quintanilla as well as Daddy Yankees hit Gasolina: Let me wrap my weave up, Im the trap Selena, dame más gasolina. (Moreno). Nevertheless, the overall impression of Cardi Bs attempt at making a statement in the trap music domain has warranted statewide acclaim, therefore, showing that Latin American women are making a significant change in the trap music genre. Joining efforts with Messiah, another famous trap music performer, Cardi B managed to land at the top of the recent rap and hip-hop charts, thus, challenging peoples perception of female trap performers and subverting the stereotype of women being viewed solely as objects, which is, unfortunately, a frequent occurrence in contemporary rap music (Oosten et al. 17).

Similarly, the female Latino trapper Snow Tha Product has addressed some of the issues faced by Latin American women, particularly, the pressure of gender roles to which they are supposed to conform. Her recent video Problems handles the identified societal concern in a rather explicit manner, in accordance with the canon of the trap genre (Boom). The artist manages to not only explore the issue extensively but also draw the attention of a wider audience to the subject matter by appealing to the understandable emotions that overwhelm her. For instance, Snow Tha Product points to the fact that the pressure of routine and the gender roles that have been affecting womens freedom of expressivity is characteristic of all cultures, including her one. As a result, the song becomes appealing to an array of listeners, thus, creating the environment for the further empowerment of women. Therefore, the specified niche in the rap music industry creates additional opportunities for adding expressivity to the discussion of modern social dilemmas.

However, with the evolution of the trap music and the introduction of new social issues into its context, new tendencies have recently started developing. For example, the art of female trap singers and especially the Latin American women singing trap can be viewed as one of the massively popular trends in the trap music domain. For instance, a recent article on the subject matter goes so far as to claim that Latin American women alter the very landscape of the contemporary hip-hop genre by offering their version of the trap music: Lane and Roja are part of a new generation of Latin American female MCs whose lyrics touch on some of the issues facing the regions women (Rigby). Put differently, the initially aggressive and persistent nature of the trap music genre creates opportunities for artists to make powerful statements, the issue of gender inequality being one of them.

Female empowerment, therefore, benefits significantly from the efforts made by female Latin American singers. Latin American women making their name in the domain of the trap music, however, encounter a range of obstacles on their way to promoting the concept of equality to the target audience: The level of gender violence in freestyle rhyming battles, and in mainstream rap, can be horrific (Rigby). It is remarkable that the genre that seems to embody the elements that reinforce and perpetuate the concept of male supremacy allows subverting some of the stereotypes that have existed in the realm of rap music for a significant amount of time. Therefore, Latin American women that have chosen the trap music as their domain have been making impressive progress in addressing some of the common gender stereotypes and other social issues. The evolution of topics in a trap, therefore, shows that the focus has been shifted from social issues, in general, the profound analysis of gender issues and their impact on the development of relationships between people in Latin American communities.

Furthermore, one must admit that the efforts of female Latin American singers attempting at making a change in the trap music realm have led to the recognition of violence as one of the most common problems in contemporary society (Moreno). In their works, female rappers use the trap genre to address the increasingly high rates of violence and the factors that contribute to its development, such as high poverty levels in the Latin American suburbia, the lack of education, the promotion of gender stereotypes and the pressure Latin American women of all ages experience in the present-day world (Roggeband 144). Indeed, a closer look at some of the social problems that the members of the Latin American communities have to address on a regular basis will reveal that violence levels have been rising consistently over the past few years (Roggeband 147).

Although the specified phenomenon can be observed between a wide range of groups, including people of different age, social status, gender, etc., violence and abusive behaviors toward women remain at the top of the list of the current social concerns: More research is needed to refine and reconceptualize the complex transnational-domestic processes in which norms emerge in multiple interrelated locations (Roggeband 145). Therefore, indicating that there is urgency in handling the identified issues is paramount to the further promotion of the well-being of Latin American women. The gritty nature of the trap music, in turn, helps add relevance to the subject matter and raise awareness among the general audience, particularly, people from different ethnic and cultural backgrounds (Roggeband 147). Thus, the gravity of the problem is described fully and explored extensively, allowing the audience to get a better grasp of the drastic effects that violence and abuse toward Latin American women produce. The songs written by modern female trap Latin American singers outline the problems associated with violence and abuse, including domestic one, thus, demanding that a radical change be made and that the needs and rights of Latin American women should be recognized.

The propensity toward promoting feminist topics and discussing the relevant issues has been quite noticeable in the rap and hip-hop music realm for quite a while; herein lies the reason for a fast and comparatively efficient introduction of the identified issues into the realm of the trap music genre. According to a study conducted by Gardner, the specified phenomenon can be observed in the modern hip-hop and rap music domains since the said genre as a transnational cultural art form and practice is not self-limiting in creativity, politics, genres, multimodality, or cultural hybridity (Gardner 13).

Therefore, rap and hip-hop open a plethora of opportunities for artists to study the nature of social issues and express them in a manner that will immediately attract the attention of the target audience, thus, leading to further discussions. Trap, in turn, incorporating the elements that make it a more poignant artistic genre for expressing emotions, allows sending a message about a particular issue immediately, at the same time spurring further heated discussions and, thus, contributes to the identification of the strategies that can be used to handle the conflict in question. Thus, the fact that female Latin American singers choose the trap genre as the area in which they can explore opportunities for advancing some of the topical feminism-related issues should not be a surprise.

One might argue that writing and singing a song about pressing social issues does not lead to the immediate creation of a successful solution thereof. While the identified statement is, to some extent, true, the emotional weight of trap songs, their expressivity, and the call for action that they incorporate must be recognized. Put differently, trap songs performed by modern Latin American singers, particularly, women, can be interpreted as a powerful impetus for fighting social injustice. A number of trap songs performed by Latin American women revolve around the topics of violence and the lack of justice in the context of contemporary society.

Thus the songs provide a decent foundation for not only raising awareness about the subject matter but also compelling the members of American communities to join forces and address the staggering lack of justice and the conflicts that seem to have been perpetuated in the modern social environment. The songs created by the modern trap singers, thus, lead to the resurgence of social movements aimed at restoring social justice and creating a safer environment for communication between the representatives of different cultures. Furthermore, the focus on conflicts and increasing violence levels in modern Latin American communities allows discussing the issue on a statewide level as opposed to a local one. Consequently, more efficient tools for managing the subject matter can be introduced into the Latin American community.

In addition, the very image of Latin American women seems to have suffered impressive changes in the trap music realm. Evolving from a rather stereotypical idea of a female character being merely eye candy to the representation of a woman as an independent and unique person, the somewhat aggressive and, thus, insistent music has contributed massively to revisiting the current opinions about the role of a woman in the Latin American society. Indeed, the scrutiny of some of the songs that have been released recently will point to the fact that the propensity toward viewing women as an attribute, which has been a rather popular tendency in the rap music for quite a while, seems to have been transformed into the necessity to introduce equality into the relationships between men and women, as recent trap songs show.

That being said, one must admit that the voices of most female singers in the trap music industry are shrugged off by the contemporary music industry. The reasons for the specified phenomenon to take place are rather basic and quite understandable; with a drastic and rapid change toward the promotion of new ideas to which most audiences are likely to be unprepared, music studios will not generate the required amount of profit. However, the underrepresentation of female artists by modern label companies is beyond irritating since the artists in question have innovative and crucial ideas that they can communicate to the target demographics to improve the current social situation. As a recent article stresses, a recent album by Simbi Ajikawo, which featured groundbreaking ideas and an innovative approach toward handling social and gender issues in rap and trap songs, was received warmly by fans yet rejected by the industry: The album didnt even chart within the top 100. There were no Mercury or Brit nominations. Apart from her hardcore fanbase, the record was greeted with little more than a shrug (Wolfson). One might argue that the lack of interest toward the unique and profound ideas that modern female Latin American trap singers offer implies that people are not ready for a massive and radical change.

In retrospect, the phenomenon of change that the trap music brought into the realm of both music and social relationships is beyond unexpected. Despite being extraordinarily young, the identified genre has already managed to subvert a range of stereotypes including the role of women, in general, and African American women, in particular. The fact that the trap music is taking the world by storm shows that the specified alterations are currently viewed as not only natural but also welcomed and appreciated. By subverting the ideas of masculinity and femininity that have worn out their welcome and are no longer viewed as the standards that are set in stone, female Latin American trap musicians contribute to the advancement of feminist ideas. Therefore, it can be assumed that contemporary trap music can become the device for handling some of the gender-related conflicts. The introduction of equality-based ideas into the realm of the contemporary trap music is bound to affect Latin American women, as well as other members of vulnerable populations, to a considerable extent. By declaring the significance of equality-based communication on a statewide level with the help of trap music as a genre that is getting increasingly wide popularity, Latin American female singers may reinvent the landscape of the modern society.

While the obstacles mentioned above are admittedly impressive and requiring a lot of effort to manage, the current tendency among Latin American female trap singers to focus on essential societal concerns proves that one can make a difference in the modern society. The fact that the problems that used to be overlooked, at best, and silenced, at worst, are nowadays brought up to be discussed freely serves as a graphic proof that the influence of Latin American female singers on the development of the trap music in the context of the present-day feminist movement has been huge. Furthermore, the fact that trap singers have a new unique sound to offer to their fans shows that the contemporary trap music industry has a huge potential as a niche and, therefore, is likely to evolve, embracing an increasingly large number of listeners and, thus, attracting more peoples attention to the problems faced by Latin American women in the present-day environment.

At this point, it is necessary to mention that the trap music genre was lucky enough to be created at the point when technological development was on the rise. With new groundbreaking IT innovations emerging on a regular basis and the sweeping impact that social networks have on the development of social relationships and the enhancement of certain cultural influences, Latin American female trap songs are likely to attract a lot of attention. Consequently, the problems that are addressed or hinted at in the sings produced by Latin American female trap singers are going to become widely analyzed, and the solutions to the identified issues are bound to be produced faster. Thus, the impact of Latin American female singers on the evolution of trap music, as well as its impact on modern American society, cannot possibly be underrated.

Conclusion

Creating opportunities for an artistic interpretation of some of the most controversial and topical social issues, the singers working in the trap music genre place emphasis on the problems faced by women in the context of the Latin American culture. It would be wrong to claim that the current representation of women in rap is deprived of any controversy and does not imply exploitation of their image to help the music industry generate profit. However, one must give some of the Latin American female trap artists credit for attaining significant success in not only their music career but also the promotion of their messages associated with peace-based management of the gender conflict, the idea of gender equality, and the enhancement of compromise and cooperation as the basis for relationships.

Works Cited

Boom. Watch Snow Tha Product New Video, Problems. TuneCollective, 2017, Web.

Gardner, Lauren M. We Either Move or Petrify: Transnational Hip Hop Feminisms Amongst Hip Hop Dancers and Graffiteras  A Critical Literature Review. GEMS (Gender, Education, Music, & Society), vol. 7, no. 4, 2014, pp. 13-21.

Moreno, Carolina. Cardi B Responds To Backlash For Calling Herself The Trap Selena. Huffington Post. 2017, Web.

Oosten, Joanna M. F., et al. The Influence of Sexual Music Videos on Adolescents Misogynistic Beliefs: The Role of Video Content, Gender, and Affective Engagement. Communication Research, vol. 1, no. 1, 2015, pp. 1-23.

Rigby, Claire. How Latin American Women Are Changing Hip-Hop. The Guardian. 2015, Web.

Roggeband, Conny. Ending Violence against Women in Latin America: Feminist Norm Setting in a Multilevel Context. Politics and Gender, vol. 12, no. 2, 2016, pp. 143-167.

Wolfson, Sam. Rap and the Gender Gap: Why Are Female MCs Still Not Being Heard? The Guardian. 2017, Web.

Seussical is a spectacular musical for kids, which is based on the books of Dr. Seuss. The plots of several stories intricately intertwine in order to create a totally unprecedented magical world full of fantastic creatures and breathtaking adventures of the Cat, Horton the Elephant, and his small friend Jojo.

The reception of the performance is largely affected by two design constituents making up the visual semiotics of the play: set design and costumes. These components create a unique theatrical space which helps understand the themes, the mood, and the emotional message of the play.

The scenery is surprisingly simplified for the play which addresses kids as a target audience. We can see a large black and white drawing depicting something resembling the jungle in the foreground and a small town with surrealistic houses, plants, and mountains in the background. The drawing is placed in the middle of the stage so there is just an empty space with no other settings on each side of it. In the course of the performance there appear some moveable parts (e.g. a tree with a nest) that are created using the same technique. These frugal settings help the play a great deal as they do not distract attention from the main characters and events.

If we try to estimate how helpful this kind of scenery is to the performers, it will be fair to note that it does not actually assist them in their acting. There is no furniture to sit on and there are practically no props that you can take in hands to interact with. However, neither can we claim that such settings hinder the actors  the scenery is far from being overbearing and does not require any specific skills to deal with. It exists as independently as possible.

Even so, the settings still contribute to the mood and the style of the production. Their surrealism helps create the atmosphere of an unknown planet, which is, nevertheless, similar to ours. Besides, it aligns with the absurdity of the plot and complements the gaudy costumes.

These curvy shapes as well as the absence of color are symbolic. The idea is proved by the conversation of Jojo and Horton, in which the former says I dream in bright colors, and the latter answers Me too! (Seussical The Musical, 2016). Thus, we can conclude that the main intention of the director was to show that the inner world of the two protagonists is more vivid and colorful than all those things that surround them. They are both dreamers for whom fantasies are more real than reality itself.

The overall design is aesthetically pleasing but not in the traditional sense of it. There is nothing to admire in the settings but there is nothing repulsive either. No element leaps to the eye and none of them are out of place.

As far as the costumes are concerned, the choice of them is perfect for both the play and its recurrent theme. Kids are attracted by brightness and beauty. That is why stories for them are usually staged in vibrant colors. Here we also deal with sharp contrasts that help understand who is the real victim and who is the villain. The historical period is not specified, which would be redundant for a fairy-tale.

The costumes meet the major requirement they should meet: they help actors express the individuality of their characters. For instance, even the Whos all dressed in yellow are depicted as those who able to become someone elses sun, no matter how small and insignificant they may seem.

The design of the costumes is neither good nor bad. On the one hand, it does not show any extravagance or particular originality. There is nothing unusual and memorable about it. On the other hand, it is good that costumes do not exaggerate the features that each character must have in order to be recognizable: you can identify an elephant even though he does not have huge ears or a trunk. The Cat does not have any specific traits of a cat either. It means that the main emphasis is still on what the actors say and do, not on what they wear. The choice of bright colors compensates for the absence of colors in the settings and attracts the audiences attention to the participants of the events.

Major and minor characters are very different in their costume styles: the latter often have identical costumes (e.g. monkey, Whos, etc.), whereas the former are all unique. The good and the bad are contrasted too. Horton, Gertrude and the other good ones are dressed in calm pastel shades: gray, blue, light yellow, etc. Those who are on the evil side prefer striking, extravagant colors (Mayzies sparkling red dress is the best example). The Cat and Jojo, who are the narrators of the story, are dressed in striped clothes, which makes them stand apart from everyone else. It allows us to assume that the director wanted to emphasize the significance of the inner beauty over the outer glamor.

Works Cited

Seussical the Musical (Full Show). YouTube, uploaded by BigelliElli. 2016. Web.

Introduction/Thesis statement

Nowadays, it represents a commonplace practice to discuss the significance of music in conjunction with how the aesthetic medium in question affected the course of humanitys historical progress. Such an analytical approach does appear to make much sense. After all, there can be only a few doubts that the evolution of musical genres, as we know it, was in part made possible by different breakthroughs in the field of empirical science that continued to take place throughout history. In its turn, the continually advancing forms of musical expression never ceased having a strongly contributive effect on the pace of the ongoing cultural and technological progress, as a whole. Therefore, while hypothesizing about the yet-to-be-invented means of music reproduction, one must take into account the dialectical (cause-effect) nature of the relationship between the notions of music, technology, and society (Wan-Chi, 2006). In this paper, I will explore the validity of the above-stated at length while promoting the idea that it is indeed possible to predict what will account for the qualitative specifics of the audio format in the future, outlining some of them, and expounding on the discursive significance of the papers analytical insights.

Historical excurse

The initially invented sound-reproduction format is now being referred to as analog. It presupposes the necessity of a physical medium (such as the phonograph cylinder) for recording, storing, and reproducing sounds. The formats roots can be traced back to the 16^th century, which marked the invention of a barrel organ. However, barrel organs could not record music and it was not up to 1877 that the recording of sound waves became possible. On August 12 of this year, Thomas Edison shouted Mary had a little lamb at a cylinder wrapped in tin foil, cranked the machine up again, and heard a reproduction of his voice (Knowles, 2003, p. 1)  hence, proving the workability of the worlds first phonograph. The inventions main elements included a hand-winded cylinder (wrapped in tinfoil) and a detachable needle (connected to a sound membrane) in the immediate proximity to it. While reacting to the incoming sounds (amplified by the membrane), the needle would move up and down  hence, producing groves of varying depth on the cylinder. The reproduction of the recorded sound was achieved by allowing the needle to slide through these groves, with its vibrations being transformed into the sound waves by the membrane and amplified into the audible sounds while through the attached tube.

It must be noted that Edison never fully realized what would account for the discursive significance of his invention while preferring to think of it in terms of a curiosity (Butler, 2012). However, it did not take too long for the sound-recording/reproducing technology to begin accounting for a cultural phenomenon of its own. The validity of this suggestion can be illustrated regarding the societal implications of the sub-sequential milestones on the way of the analog standards continual development. In this respect, we can mention the invention of gramophone (shellac) discs by Emile Berliner in 1889  the development that made possible the consequential rise of the sound recording industry. The reason for this had to do with the fact that, as compared to what it used to be the case with Edisons cylinders, Berliners discs were much more durable and could store up to three times of the recorded audio data. Moreover, discs also outperformed cylinders in terms of laudability/sound quality.

The year 1948 marked the invention of vinyl discs. As compared to the shellac ones, they were non-brittle. Being designed to rotate at the rate of 33 turns per minute (much slower than that of shellac discs), vinyl discs could last reproducing music for as long as 30 minutes. The reduced self-cost of producing these discs was another factor that contributed rather substantially towards initiating the so-called vinyl era in the domain of music reproduction through the 20^th centurys sixties, seventies, and eighties. During the historical period in question, vinyl records attained the status of an important household commodity. It is understood, of course, that by then the descendants of Edisons original phonograph (gramophones and pathephones) were all electrically operated.

Another major step on the way of the analog sound recording technologys development had to do with the invention of magnetic recording during the 1930s and the sub-sequential popularization of tape recorders (or magneto phones). In a tape recorder, sound waves are transformed into the electromagnetic ones and then recorded onto the magnetic tape (by the mean of polarization) that moves across a tape head. The reproduction of recorded sounds/music is achieved by converting information on the magnetic tape back into sound waves and amplifying them accordingly. The Germans pioneered the technology, The German magneto phone developed by Telefunken and BASF used plastic tape coated with iron oxide, which could be magnetized by amplified electrical impulses to encode a signal on the material. Playback simply reversed the process (Garofalo, 1999, p. 333). Even though the concerned sound recording/reproducing technology became available as early as before the outbreak of WW2, it was not up until the 1960s that tape recorders proved the sheer out-datedness of vinyl discs as the physical mediums for storing music.

Through the 20^th centurys closing decades, the pace of the ongoing progress in the field of IT attained an exponential momentum  something that predetermined the rise of computer technology and the eventual emergence of the digital sound format. The latter development can be traced back to 1979  the year when Sony and Phillips introduced the worlds first optical (later renamed compact) disc  CD. Prior to being recorded on such discs, the sound data must be digitalized (as the sequence of ones and zeroes). The recording process is concerned with the laser leaving burnt and blank marks (burning) onto the spinning CD. They are later to be deciphered into the electromagnetic data (by another laser) and eventually turned audible. The most obvious advantage of the digital format is that it guarantees the supreme quality of reproduced music and allows it to be replicated with ease in an essentially cost-free manner.

As time went on, there were more and more standards emerging within the digital audio format, such as WAV, FLAC, and Mp3, with the latter having proved the most versatile of all. This development has led to the creation of numerous web-based platforms for sharing music (such as Napster) over the Internet, which operated in a striking contradiction the conventional provisions of the copyright law. As Carey and Wall (2001) pointed out, A program called a CD Ripper rips or encodes a music CD and converts it into an Mp3& The legality of the action is challenged when Mp3 files are uploaded to the internet and the copyrighted piece of work is offered for public consumption, without the copyright holders permission (p. 35). The developments yet another consequence was the introduction of portable devices for playing digital music, which is now being commonly referred to as Mp3 players.

As of today, the digital format of recording/reproducing music has completely phased out the conventional (analog) ones. Moreover, it continues to be perfected as we speak. The validity of this suggestion can be exampled regarding the comparatively recent introduction of the Digital Versatile Disc (DVD) standard for recording and storing the digitalized audio and video data, which provides ten times higher of a compression rate, as compared to that of CDs. The compression methods are being continually improved as well  something best illustrated for the 1994 presentation of the VQF audio standard. Its main advantage is that while requiring 35% less storage space on the hard drive, it provides a substantially increased quality of the reproduced audio data. For example, in terms of sound quality, the 80kbps VQF audio file can be compared to the 128kbps Mp3 file.

Another current trend in the domain of music reproduction has to do with the rapidly expanding share of digital music stored on the web in one way or another and the fact that, as time goes on, more and more people prefer to stream audio files of the Internet, as opposed to downloading them. What contributes to this trend even further is that there are now several web-based multitrack recording applications (such as Mixcraft) available for musically minded individuals to use  often free of any charge, whatsoever (Anderton, 2008). Because of these applications, just about anyone is now in the position to create the professionally sounding compositions of its own, even without knowing how to play musical instruments or read notes.

Predictions

As it was pointed out in the Introduction, it is important to discuss the adoption of different audio formats throughout history in conjunction with what is used to account for the affecting socio-cultural circumstances of relevance in each case. The earlier provided historical excurse is perfectly illustrative in this respect. What this means is that, before proceeding to predict the future of the audio format, we must first outline what will account for the qualitative specifics of the socio-economic situation in the West through the decades to come. After all, there can be only a few doubts that this situation will have a strong effect on peoples predisposition towards music, in general, and various audio formats, in particular. We will also need to take into account that the digital format is likely to enjoy a complete dominance in the domain of music reproduction for at least another century. The rationale behind this suggestion is concerned with the scientists estimate of how long it may take to develop the first workable quantum-computer  the gadget that will enable the sub-sequential invention of many new previously unheard-of audio formats.

The most easily identifiable of the mentioned would-be specifics is concerned with the fact that while trying to adjust their actions to be consistent with the ideological provisions of economic Liberalism, people in the West are encouraged to yield to their consumerist instincts (Gray, 2016). Therefore, it will be appropriate to expect the continual commodification of music in the future. This term stands for the process of more and more individuals beginning to regard music as a thoroughly tangible commercial product while expecting it to match their consumerist specifications with exactness. In its turn, this establishes a discursive ground for the currently adopted audio formats to grow increasingly advanced, in the technological sense of this word and allows us to come up with the first prediction, concerning the shape of things to come in the domain of music reproduction.

In the near future, the available digital audio standards will serve the purpose of recording and reproducing the so-called audio scenes, consisting of sounding objects that are associated with input (source) signals, a certain position or trajectory in the virtual space and other source parameters (Geier, Spors, & Weinzierl, 2010, p. 9). The main implication of the predicted development is that it should enable listeners (at least theoretically) to modify music as they are being exposed to it. Consequently, this will add yet another qualitative dimension to the aesthetic experience in question. As Morrison (2009) aptly observed, Multichannel digital recording& is
nally making it possible to ful
ll the dream of early recordists of placing the listener in the virtual presence of the performers (p. 82). As of today, the multichannel audio format for digital music continues to be developed and there is a good chance for it to become available in a few years from now.

The eventual introduction of the multichannel audio format should also result in bringing about the emergence of many new music genres, such as the one that may end up being referred to as dynamic music in the future. To understand better the subtleties of this futuristic music genre, one will need to get familiar with some of the recently released 3D video games that feature the so-called self-generative musical accompaniment, such as the 2013 Proteus. At first glance, Proteus may not appear particularly enticing, The game literally consists of strolling and observing the cycles and the rhythms of nature in an idyllic landscape (Harron, 2014, p. 19). However, it usually does not take too long for players to end up being enchanted by this game. The main reason for this is that as the player explores the games 3D landscape, he or she simultaneously (and effortlessly) creates some uniquely sounding musical compositions, reflective of the persons movements within the digital realm of Proteus.

The popularity of yet another recently released game Pokémon Go implies that it is indeed only a matter of time, before ones experience of listening to music on a portable device attains the quality of spatial integrity and ceases to be perceived as an utterly passive activity  the direct consequence of the would-be introduced multichannel music reproduction format. As Lacey (2013) argued, In the digital age, there is a sense in which the act of listening is rendered increasingly obscure. The new (multichannel) activity of the listener in personalizing and intervening in the production (of music)& most commonly conceptualized as actions in response to, or in advance of, the act of listening (p. 19). Such a development would correlate rather well with the listeners seemingly phenomenological but essentially consumerist desire to personalize music.

The foretold advent of the sound scene audio formats is likely to be followed by the invention of different biotechnical means for storing/reproducing digital music. One of the possible scenarios in respect will be concerned with making it possible for people to have a microchip with the digital audio data on it implanted under their skin. The electromagnetic signal would travel wirelessly from this device into the miniature headphones, implanted into the persons ears. The discursive soundness of this particular prediction can be substantiated regarding the recent technological breakthroughs in the field of hi-tech miniaturization (Bahney, 2006). However, this would-be occurrence is best discussed as having been predetermined by the earlier mentioned commodification of music in the West. The rationale behind this suggestion has to do with the fact that the contemporary realities of ones post-industrial urban living often prove utterly stressful  something that naturally prompts urban dwellers to refer to the listening of music when it comes to coping with stress, on these peoples part. What is crucially important in this regard, is ensuring that the concerned individuals are in the position to access their favorite tunes instantaneously  by allowing audio implants to be inserted in his or her body, one will be able to reach this objective with ease.

Conclusion

I believe that the earlier articulated predictions, regarding the possible future of the audio format, are fully consistent with the papers initial thesis. Apparently, it does make much sense expounding on this issue in a manner that takes into account the affiliated societal factors of relevance  just as it was hypothesized initially in the Introduction. This once again highlights the applicability of the cause-effect type of reasoning, within the context of defining the significance of a particular technology-related subject matter. Moreover, in light of what has been said in the papers analytical part, the mentioned commodification of music appears to have been predetermined by the law of historical dialectics, which works to substantiate even further the validity of the papers predictions with respect to the development of audio format in the future.

Annotated bibliography

Anderton, C. (2008). Acoustica Mixcraft 4: Multitrack audio recorder and sequencer (PC). Keyboard, 34(2), 56-66.

In this article, the author outlines the main features of the multitrack recording application Mixcraft 4, which allows the creation of the professionally sounding music tracks by both professionals and amateurs. The article contains many analytical insights, concerning the future of music as an aesthetic medium. This makes Andertons article discursively relevant.

Bahney, A. (2006). High tech, under the skin. Web.

In his article, Bahney discusses the practical implications of the fact that it is now possible to implant different hi-tech devices into ones body. As such, this particular article does help to substantiate the validity of one of the provided predictions as to what will account for the next step in the way of ensuring the ultimate user-friendliness of the audio storage/reproduction technologies in the future.

Butler, R. (2012). Thomas Edison speculates on the uses of the phonograph. Techtrends: Linking Research & Practice to Improve Learning, 56(4), 8-10.

The author of this article aimed to enlighten readers about the fact that the invention of the phonograph by Thomas Edison was essentially accidental. According to Butler, it never occurred to the inventor that his sound-recording apparatus had a number of different practical uses, besides the ones that Edison was able to envision initially (such as using the phonograph to record the last words of people on their deathbeds). The provided reference to this article helps to emphasize the papers overall phenomenological ethos.

Carey, M., & Wall, D. (2001). MP3: The beat bytes back. International Review of Law, Computers & Technology, 15(1), 35-58.

In their article, Carey and Wall outline the scope of different legal issues, brought about by the introduction of the Mp3 audio format. According to the authors, the sheer innovativeness of the concerned format created the objective preconditions for the conventional provisions of the copyright law to be deemed hopelessly outdated. Given the papers topic, there can be only a few doubts that the article by Carey and Wall does directly relate to it.

Garofalo, R. (1999). From music publishing to MP3: Music and industry in the twentieth century. American Music, 17(3), 318-353.

Garofalos article contains many in-depth insights into the history of both analogue and digital music-recording/reproducing methods. As such, this article came in particularly handy within the context of how I proceeded to work on the Historical excurse part of the paper. The provided direct quotation from Garofalos article specifies what used to be the main technological principles behind the production of magnetic tape (used in tape recorders) in Germany during the 20^th centurys forties.

Geier, M., Spors, S., & Weinzierl, S. (2010). The future of audio reproduction. Web.

In their article, Geier, Spors, and Weinzierl strived to outline some of the major driving forces behind the ongoing progress in the field of audio recording/storing. The authors must be given credit for having succeeded in such their undertaking. The reading of this article proved extremely helpful through the researchs data-collecting phase.

Gray, J. (2016). The closing of the liberal mind. New Statesman, 145, 24-29.

In this article, the author discusses the main conceptual deficiencies of the Liberal (and Neoliberal) paradigm in political economy while promoting the idea that the former cannot possibly be considered a scientifically sound ideology  all due to the ideology advocates refusal to recognize the systemic implications of just about every societys functioning. The reading of Grays article proved indispensable when I was in the process of formulating the papers thesis statement.

Harron, N. (2014). Fully destructible. Alternatives Journal, 40(3), 16-23.

In his article, Harron expounds on some of the most noteworthy virtual reality features of the 2013 3D video game Proteus. In particular, the author focuses on the role of audio in the game, as the integral element of the gaming experience provided by Proteus. The reading of Harrons article proved complimentary to the research. The reason for this is that Fully destructible does contain a number of discursively relevant suggestions as to what kind of audio format will dominate the global sound scene in the future.

Knowles, S. (2003). Death by gramophone. Journal of Modern Literature, 27(1), 1-13.

This article enlightens readers on what used to be the particulars of the socio-cultural climate in the US and Europe through the late 19^th and early 20^th century  the historical period associated with the invention of sound recording. The article enables readers to attain a better understanding of the historical significance of Edisons invention. As such, Knowles article does directly relate to the Historical excurse part of the paper.

Lacey, K. (2013). Listening in the digital age. In J. Loviglio (Ed.), Radios new wave: Global sound in the digital era (pp. 9-21). New York, NY: Routledge.

In her article, Lacey advocates the idea that, as opposed to what it used to be the case before the advent of the Internet, the activity of listening to music has now attained the subtleties of a solitary pursuit. In its turn, this adds an additional momentum to the process of more and more people in the West deciding to adopt a socially withdrawn lifestyle. Laceys article contains quite a few argumentative claims that resonate with the papers thesis.

Morrison, J. (2009). Acoustic, visual, and aural space: The quest for virtuality in music production. Explorations in Media Ecology, 8(2), 81-98.

In his article, Morrison argues that the social significance of just about every audio recording technology should be assessed within the methodological framework of what used to account for the dominant socio-cultural discourse at the time when this technology came into being. I did benefit from reading this article; as such that tackles the concerned subject matter from the psychological perspective.

Wan-Chi, W. (2006). Understanding dialectical thinking from a cultural-historical perspective. Philosophical Psychology, 19(2), 239-260.

This article is concerned with outlining the main principles of dialectical (cause-effect) reasoning. According to the author, ones emotional comfortableness with this type of reasoning is the crucial prerequisite for the would-be undertaken research to prove productive. I drew from this article rather extensively while coming up with the requested predictions, regarding the future of audio format.