Category: Music

To describe in one article the features of the performance of music of six centuries  from the 9th century to the 14th  a task that requires such a level of generalization, behind which, perhaps, the music itself will not be visible. If you look at the Earth from space, it is difficult to imagine all the diversity of the colors on it or its landscape features. Each musical genre and school of that time was devoted to dozens of meaningful dissertations and hundreds of wonderful articles. I would like to focus on a specific example of Middle age music in this post.

Hocket is a vocal technique (characteristic just for motets) in which the melodic line is, as it were, torn between voices, distributed between them by one or more notes. This technique is extremely rare today in vocal works, but it can be found, for example, by Anton Webern in instrumental works. In rock, variants of the instrumental hocket can be considered, for example, the roll call of the guitars of Robert Fripp and Adrian Belew in King Crimson. One could, for example, listen to Fractured from 00:27 to 01:10. Thus, these medieval techniques are definitely is trill relevant in modern music.

Moreover, if one has played rock, metal, or punk guitar, they are most likely familiar with power chords (fifth cords)  chords without thirds. Many well-known songs were built on riffs with them, such as Smells Like Teen Spirit by Nirvana. For the history of music, this is surprising in that the establishment of the third as a perfect consonance marks the transition from medieval music to the Renaissance (Caldwell). Medieval music (the so-called Gothic polyphony) is characterized by reliance on fourths and fifths, including fifth chords. This is another example showing how close some specific riffs of the Middle age are to modern rock.

Works Cited

Caldwell, John. Medieval music. Routledge, 2019

FraKctured. YouTube, uploaded by King Crimson, 2020, Web.

Introduction

It has long been recognized that many countries, ancient and modern, have their style of music, or at least try to impose a national stamp on this art. The Republic of Colombia is fortunate to have fascinating and intriguing music themes, recently featured in Emilio Murillos songwriting and the full orchestration of Andres Martinez Montoya, both well-known composers of renowned republics (Murillo 34). Nevertheless, the essay discusses:

• Introduction of the first songs in Colombia.
• Major category themes of traditional Colombian songs.
• Traditional Colombian instruments. The essay discusses the Accordion, Guacharaca, Tip, Tambura, and Gaita instruments.

It is thought that the first songs were introduced in Colombia by people from Africa who worked in the mines and large agricultural areas. These workers sang beautifully and loudly, attracting those who admired the songs. In the United States, it is known that the most beautiful songs are those of the south. However, Colombian Bambuco has a background that sets it apart from other genres of music. Moreover, when one listens to the same music nowadays, no talented artist has changed it so far or adapted it to become more cultivated music and less popular than the ones sung and played by the natives (Murillo 34). It can be said that this design marks the first such transformation of Bambuco.

Colombian musical themes are mainly known for their richness in cultural heritage. These themes are a vital part of Colombian culture. The major musical themes of Colombian nature are Bambuco, based on the whole rhythm though unusual; torbellino, bambuco, bunde, pasillo, and guabina (Murillo 34). These are all beautiful rhythms, whether verbal or instrumental. It is impossible to put down the first three in music writing, as this is not enough to show the character, in a figurative sense, of this kind of music, the rhythm of which is harmoniously harmonized.

Traditional Colombian Instruments

Musical instruments are created with a purpose, although existing tools can be used as instruments. For instance, an object that can produce a sound can be an instrument. However, there must be a sense of sound and the desire to create (Montagu 1). Nevertheless, the clapping of hands, use of a few sticks or stones to make musical sounds might be the origin of musical instruments. The discussed musical instruments are considered vital to Colombian culture.

Accordion

The instrument is assumed to have been in Colombia for the first time in the 1800s. Legend has it that the accordion was rescued from a German shipwreck on the Magdalena River. The accordion became a nations backbone instrument for Colombian folk music. Accordions are also found in cumbia music (Colombia). Moreover, it is considered to be the most purchased instrument in Colombia. They are the musical instruments that have inspired world music. In addition, Colombia hosts the worlds largest accordion playing tournament.

Guacharaca

Guacharaca is a metal instrument consisting of a tube with poles carved out, and a portion of it folded. It was invented around the 20th Century on the northern coast of Colombia by the Tairona people. It is made from the trunks of small palm stem. Its sound is one of the most adored since it mimics the singing of the guacharaca bird (Colombia). The guacharaca player is known as the guacharaquero.

Tiple

The tiple is a small guitar first played by local artists and now by famous people worldwide. It was invented in the 18th Century. It is also known to have many variations compared to the first tiples made. Tiple is often played near the tambourine and is an important part of Colombias rural heritage (Colombia). It is said to have been brought by Spanish conquistadores to the New World.

Tambora

Tambora is a large bass drum popular with Colombian communities, mostly played with a baqueta. The tambora is made of tree bark and is covered with goat or sheepskin. Tambora is important when playing cumbia music, and a music genre performed using drums and claves. It is mainly used by performers when performing traditional rituals. Tambora is widely known since all Colombian communities use it (Colombia). These traditions are transmitted passed over to generations.

Gaita

The gaita, an indigenous wind instrument, contains cactus with feathers at the end and holes for different notes. It is a long wooden tube with a head made of beeswax and vegetable charcoal, cut with a turkey feather. It is thought to have been played by the Kogi people for the first time (Colombia). The gaita is also commonly known as the Colombian bagpipe, as it sounds like the Spanish drums.

Conclusion

In totality, I refer to traditional Colombian music as the most beautiful music that should never be far from every Colombian heart. Colombias passion for music indicates how music culture is essential to Colombian communities. As aforementioned, Colombias music has a rich cultural heritage as their traditional instruments are. Their taste for music is excellent. It is not surprising when the music experts are more interested in Colombian music.

Work Cited

Colombia. Traditional Colombian Instruments: Marca País Colombia. Colombia Country Brand, 2021, Web.

Montagu, Jeremy. Origins and development of musical instruments. Scarecrow Press, 2007.

Murillo, Emilio. Indigenous Music in Colombia. Bull. Pan Am. Union 57 (1923): 34.

Introduction

The Jewish culture is unique, which is reflected in the Klezmer music tradition. This genre emerged in the 9th century, and during the 16th and 17th centuries, klezmer musicians were widely known as musicians playing at weddings. After the Second World War, this genre was forgotten by the general public. However, the Jewish community in the United States continued listening to and playing klezmer music, contributing to its development. This paper will focus on examining the tradition of Klezmer music in Jewish communities, its origins, and the specifics of this genre.

What is Klezmer music?

Klezmer music is a unique representation of the Jewish culture, with an extensive history of development. A notable factor emphasized by Feldman is the fact that scholars have difficulty when examining this genre because it originated in eastern Europe (1). Hence, the geographical distance between the originators and the current community, as well as historical events that implied cultural assimilation, make it challenging to study klezmer music.

Most importantly, the events that occurred within Eastern Europe and Russian initiated by Hitler and Stalin had a significant impact on the Jewish community. Feldman argues that modern-day klezmer music is a result of work done by immigrants to the United States, Canada, and South America (1). Therefore, one should understand the historical context of klezmers development to have a complete comprehension of all the elements that affected this genre.

Firstly, it is necessary to define the notion of Klezmer music. Klezmer is a term used to describe a musical tradition of the Jewish population from Eastern Europe (Frühauf 166). When translated from Hebrew, this word means instrument and song. Sapoznik distinguishes between the American and Jewish understanding of the notion since, according to the author, the latter refers to a musician. In the context of the American culture, however, klezmer is usually understood as a music genre, which originated from Yiddish folk. Therefore, the notion of klezmer music tradition incorporates both the music genre and other elements associated with performers of klezmer.

An important note is that the word klezmer is Hebrew, and there are other terms that describe Jewish instrumental music and musicians. However, the development of klezmer and its popularity suggests the need to focus on this specific genre. According to Frühauf, the term itself was first introduced in the 1980s in Europe (166). Klezmers were male musicians who played instrumental music. Usually, these people were Jewish, which explains the connection of this music tradition to this community (Frühauf 167).

Moreover, klezmers craft was usually inherited from father to son. Feldman notes that historically, klezmer musicians earned their living by performing at events, meaning that this genre was supported by professional musicians (2). Also, the Klezmer music tradition developed under the influence of cultures and folk music of different states in Eastern Europe.

Next, it is essential to examine the origins of this music tradition. Sapoznick argues that this genre originated in the 9th century as part of the Ashkenazi culture. This signifies the fact that klezmer is a music genre that is essential for the Jewish culture because of its long history. However, Feldman points out that klezmer, as it is known today, emerged at the beginning of the 16th century. It became less popular and lost its relevance after the Second World War. This is mainly connected to cultural assimilation and the mass immigration of the community.

The popularity of the Klezmer tradition is supported by the novels and stories about klezmer musicians. One example is Stempenyu by Aleichem, which is based on the life of Yosef Druker. One of the famous klezmer musicians was Felix Mendelson-Bartholdy, whose wedding a march is a favorite option at celebrations even today (Feder 5). This highlights the fact that klezmer was an integral part of the Jewish community, as well as an essential element of other cultures since Mendelsons march is well-known across the world.

Klezmer music tradition is usually connected to the performance of an instrumental band. These bands performed at ceremonial events, for instance, weddings. Klezmer musicians did not perform solo; and instead, they joined bands. Typically, such a band consisted of violinists, usually two, and a bass or a cello player (Frühauf 167). Other instruments were optional and depended on a specifics of a particular band. Sapoznick points out that the variety of instruments used by klezmer musicians reflects the primary purpose of this genre, which is to serve as entertainment at weddings. In addition, the author states that a musical instrument, tsimbl, which is a part of a klezmer band, is associated with the Jewish culture.

Specifics of Klezmer Music Tradition

Klezmers music tradition differs from folk music and other similar genres, although it incorporates features associated with the Jewish culture. This feature is a result of the fact that klezmer was the music of Yiddish people, a group that lived in a vast territory across different European states (Feldman 2). This may be the result of the fact that the Jewish community resided in many different states across the world, incorporating some elements of different cultures into their music tradition.

A distinct characteristic of Klezmer music is the soulfulness of the melody. This characteristic is similar to other genres that emerged in the Jewish community (Frühauf 167). It is also connected to the religion of this community as it borrows some of the elements associated with traditional Jewish music. Sapoznick describes this genre in the following manner  it reflects the Jewish soundscape, featuring the modes, scales, and articulations of cantorial (synagogue) music.

Therefore, the klezmer tradition is a reflection of the Jewish community. Weiss provides the following characteristic of this music  it evokes images of sage-looking, bearded men in long, dark coats; babushka-clad women; decrepit little houses dotting winding, narrow roads; and a host of other iconic trappings of a bygone era in eastern Europe (302). The distinct features of this music genre make it unique and highlight the connection to the Jewish community.

Finally, the contemporary tradition of Klezmer music in Jewish communities is an essential factor to consider. In the United States, the Klezmer Music tradition emerged and developed due to mass immigration. Most notably, immigration in the 1880s of the Jewish communities from Eastern Europe to the United States signified the emergence of the klezmer tradition. Feldman argues that the term klezmer was used to describe all music produced by the Jewish community, and many debates regarding the specifics of this genre occurred in the 1970s and 1980s (15). However, currently, it is recognized that this notion refers to a distinct genre characterized by an expressive melody.

Over time, klezmer integrated into the music landscape of the United States. Netsky refers to the Russian Sher melody, a song that was popular in 19th century Philadelphia (89). Due to the fact that this melody was often used during wedding ceremonies, it was later referred to as Philadelphia Sher, This highlights the fact that klezmer music integrated into the culture of the United States while remaining to be an essential element of the Jewish culture. Such development of this music tradition is also connected to the evolution of the Jewish community after the Second World War (Netsky 89). This is because the Jewish community moved to the suburbs and began constructing synagogues leading to the culture becoming mainstream.

A notable factor is the fact that klezmer is a music tradition rather than a genre. Netsky states that the majority of scholars and klezmer musicians refer to klezmer in connection with the community (137). The author argues that the current efforts directed at reviving this genre serve as a means for constructing a new identity for the Jewish people. This is achieved by various musicians who use their artistic imagination to produce new klezmer music. On the other hand, this music continues to be an integral and functional part of modern-day celebrations because many klezmer melodies are associated with weddings or other events.

Conclusion

Overall, this paper examined the tradition of Klezmer music in Jewish communities. This genre originated in the 9th century in the Ashkenazi culture. Klezmer inherited their profession and typically played in a band. These groups of musicians were often invited to play at weddings or other ceremonial events. After the Second World War, this genre became popular in the United States, with Philadelphia Sher becoming a famous melody for wedding celebrations.

Works Cited

Feldman, Walter. Klezmer: Music, History, and Memory. Oxford University Press, 2016.

Frühauf, Tina. Experiencing Jewish Music in America: A Listeners Companion. Rowman & Littlefield, 2018.

Netsky, Hankus. Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. Temple University Press, 2015.

Sapoznik, Henry. Klezmer. Oxford Music Online. Web.

Weiss, Rays. Klezmer in the New Germany: History, Identity, and Memory. Three-Way Street: Jews, Germans, and the Transnational, edited by Jay Howard Geller and Leslie Morris. University of Michigan Press, 2016, pp. 302320.

Introduction

The moment that changed the music business occurred when Shawn Fanning started working on Napster, once a famous file-sharing platform. Although distributed file networks existed on the Web, Napster focused on MP3 files combined with a relatively conventional interface. Accordingly, this enabled the service to reach 80 million registered users (Vonderau, 2019). The platform gained popularity because it contained unreleased and hard-to-find music, such as studio recordings and old songs. From many perspectives, Napster paved the way for todays streaming economy. Thus, it is essential to establish the evolution of the distribution and consumption of music from the mid-1990s to the present.

The Fight Against Piracy

The market started to form under the influence of Napster. Platforms with a similar method emerged, specifically Gnutella, Freenet, BearShare, Kazaa, LimeWire, AudioGalaxy, and Madster. It is essential to mention that each of these platforms has been undermined by copyright litigation. For example, the band Metallica has filed a copyright infringement lawsuit against Napster (Vonderau, 2019). The artists found a demo version of their song I Disappear on the site. The situation for Napster became more complicated when major record labels defended the musicians. They filed a suit against the site through the Recording Industry Association of America (RIAA). The company Napster failed in court and closed down in July 2001 (Vonderau, 2019). Apple CEO Steve Jobs was the one who contested traditional understanding. He questioned the value proposition of exchanging files for downloads.

It is significant to emphasize that piracy was not the catalyst for Napsters tremendous growth and influence on Jobs. Instead, the combination of simplicity and convenience was the determinant of chaos. Steve Jobs enlisted the aid of Jeff Bezos and Amazons famous patent to make sense of the mathematics of buying behavior. In September 2000, Apple became the first company to license Amazons 1-Click patent and trademark it for use in Apples e-commerce. This creation allowed Apple to store billing and shipping data, permitting customers to click once without details access. It was the key to solving the music industrys problem for Jobs (Vonderau, 2019). If the conversion was made easy and ownership simple, consumers would choose legal ways to listen to music.

The Recording Industry Progression

The music industry continued to increase, but there were still problems with legitimate listening and downloading files. In 2003, the iTunes music store surpassed its closest competitor, the legal version of Napster. iTunes was a precursor to 2005s Pandora and 2008s Spotify (Vonderau, 2019). When the director of Universal Music in Sweden first saw a demo of Spotify, he found that the service could be an avoidance of plundering. The music industry was losing billions of dollars, with more than $27 billion in the industrys revenues in 1999 and falling to $14 billion in 2008 (Vonderau, 2019). These circumstances convinced the entrepreneurs to involve the major record companies in their projects.

It is significant to remark that the development of the industry occurred when record companies were capable of negotiating with streaming services. Owners Universal, EMI Music, Sony (SNE), and Warner (WMG) transferred their music libraries to the Swedish startup. Spotify uses flexible pricing in 2018, with subscription prices ranging from $2.93 to $18.42, depending on the country (Vonderau, 2019). A family type of subscription was introduced in October 2014, and users can subscribe to it for a maximum of six people. The display of advertisements and functional restrictions in free access remained, but the monthly listening limit disappeared. In 2014, many artists accused Spotify of underpaying for listening to their music on the service (Vonderau, 2019). If a track did not become a sensation or arise on numerous playlists, artists revenue was considerably lower than their musics values in stocks.

In response to the claims, Spotify explained that it pays record companies for listening to songs, and how much of it the artist receives depends on the labels. Generally, musicians only get about 15 percent. Spotify has paid more than $11 billion to record labels since its launch, and the company realized that musicians were only gaining a small portion of that amount (Vonderau, 2019). To reverse the problem and settle the dispute with the artists, in October 2018, Spotify proposed a new way to work with musicians.

In this method, the organization suggests growing earnings from listening to songs and sharing the musics ownership with the artists themselves. It will also provide an opportunity to license their creativity and have exclusive rights to publish their music on Spotify and other streaming services. In the last ten years, Google Music, YouTube Music, Tidal, Deezer, Amazon Music, and Rhapsody have all emerged in the music streaming market (Vonderau, 2019). Thus, they offer paid subscriptions or partially paid use of their servers to users, which helps artists and record labels to generate income.

Conclusion

Therefore, Napster was the precursor of a market adjustment. The client had to buy a whole CD to hear two or three of the tunes they selected until this moment. Napster allowed ownership of individual tracks and, conversely, devalued sales of whole albums. In other words, between 2000 and 2015, the loss of physical sales eventually led to the industry becoming the one people know today.

Reference

Vonderau, P. (2019). The Spotify effect: Digital distribution and financial growth. Television & New Media, 20(1), 3-19. Web.

Pop or popular music is one of the most widely spread music genres these days. Even though it seems to be one general genre, it is very inhomogeneous. First of all, pop music varies in styles developed by various performers, it contains several sub-genres. Secondly, pop music differs a lot depending on its geography. For example, pop music in Canada is very different from that of Russia, Turkey or Brazil. This paper will focus on studying pop music of the countries of East Asia such as Japan, Korea and China.

The Japanese media system is organized around the public obsession with idols, which are desirable consumption products; they are designed in a way to fulfill the viewers most popular wishes and desires, so being a fan means being a very devoted consumer; this phenomenon started to develop in Japan around 1970s (Galbraith and Karlin 2). Recently it also began to spread to Korea and China. Idols are celebrities of various kinds; they can be well known models, dancers, singers or actors both male and female, mainly in their teen age or early twenties. They are actively and widely promoted. The popularity of idols is all-consuming. Idols gain their fame gradually, coming from various talent shows. Idols are elected by the fans, this provides the feeling of inclusion or the masses, allows them to choose their own favorites, such practice supports the principle of consumption and advertising. Besides, the election and voting attracts huge numbers of people, making it hard for the individuals to stay away from the general obsession with the promoted idols. This way idolized celebrities become popular franchises standing in the centers of their markets and holding the whole industries together. Their roles are to maintain the rates of consumption of products more or less related to the celebrities such as clothes and shoes, accessories, hairstyles, pictures, posters, CDs, films, interviews, shows, makeup, even food and drinks.

Pop music industries of the countries of East Asia such as Japan, Korea and China are mainly based on the concept of idol pop. This is a powerful tool for developing a popular and profitable franchise. Japan, Korea and China have some of the strongest and quickly developing economies of the world. These countries are highly business oriented, culturally eclectic and are perfect marketers of their own goods. The concept of idol pop works well for these nations due to their high rates of consumption and group mentality. The people of Japan, Korea and China really enjoy joining all kinds of streams, clubs, working and resting in a company of several people. This is why being a fan of someone or something is so popular there. A promoted product, would it be clothes, food, drinks, a cartoon character or a person, very quickly becomes highly fashionable, although this crazy popularity deteriorates very fast too. This is why Japan, Korea and China need to maintain a quick pace of fashion turnover and generate new concepts and franchises. East Asian idol pop is based on the fact that the artists coming to pop industry of any of these countries have to be ready to give up their individualities and completely give in to the visions of their promoters and producers, whose roles are to turn the new talents into the goods for national consumption (Covington par. 2). This way East Asian idol pop fits perfectly into the world of their marketing, positioning the audience as the consumers and the artists as products.

Japanese pop music also known as J-Pop generates dozens of new artists a year. This industry is strong and its popularity and success are based on the promotion of youth, cheerfulness, good shape and innocence. Japanese pop industry is crowded with girl bands, which normally include a large number of participants. In some cases, this number is too large for the audience to memorize the names and appearances of the individual artists. Bands that include over seven people are oriented at delivering a variety because in music, just like in any other market  a variety of products attracts the customers. Japanese pop bands mostly consist of young women or girls. Age of J-Pop artists may vary from seven to twenty. All of the artists have to be kawaii, which is a well known Japanese description of cuteness and adorableness. Japanese girl bands promote innocent sexuality, sometimes have scandalous reputations, and widely interact with their fans. Individualities and characters of the stars are often the products of the producers promotion actions.

Korean pop music is similar to Japanese one, yet it also differs in many aspects. One of them is gender. The majority of the bands and individual artists popular in Korea are male. This way, Korean pop industry promotes a large variety of very handsome, young and glamorous guy images. Dancing skills play an important role for a Korean pop star, because the majority of Korean pop music videos involve the artists performing complex dances along with singing. This way, Korean boy bands resemble many of the western boy bands popular in the end of 1990s and the beginning of 2000s, such as Nsync or Backstreet Boys. K-Pop bands have between four or nine members, at least one of which has a rapper status (Gani par. 5) Korean pop music is more melodic and rich in tunes and soundings than that of Japan. Besides, Korean performers prefer more subtle colors such as grey, black and white, as opposed to super colorful images of J-Pop.

Chinese pop music or simply C-Pop differs from pop industries of Japan and Korea by its focus on solo artists. The number of bands in C-Pop is much smaller than the number of individual singers. One more interesting feature of the Chinese pop music is that it is the most Western out of the three pop industries discussed in this paper. Chinese pop stars are oriented to adopt a variety of western trends in dancing, clothing styles, the overall keys of music videos. Besides, many C-Pop music clips involve non-Asian actors or dancers, or they can be made within European or American surroundings. Adaptation of the Western soundings and styles is also widely present in K-Pop music, it includes parts of the songs performed in English.

East Asian pop music is rather popular within the Canadian youth nowadays. This popularity can be based on several different factors. First of all, J-Pop, K-Pop and C-Pop successfully promote some of the most marketable concepts of the present days  youth, beauty, fashionable clothing, parties and dancing (Naznim 24). Secondly, both male and female Canadians are attracted to very good looking pop artists of East Asia, especially knowing that Korea, Japan and China yearly generate a wide variety of artists with all kinds of styles and appearances, such variety is always ready to please any taste. Even though the majority of Canadian citizens do not speak any of the East Asian languages, some of the J-Pop, K-Pop and C-Pop songs include bits in English, which makes them overall understandable, besides, their melodies are so catchy, it is hard to forget them. Good examples of such tunes are the famous Gangnam Style by Psy or The Boys by Girls Generation. Thirdly, East Asian pop music widely employs cute and innocent anime-like characters, which immediately attracts the Canadian viewers, who are fond of manga and anime films. Besides, the good looking male and female performers advertising petite and slim bodies, naturally has the attention of millions of young people all around the world, including Canada. Finally, Canada has one of the largest Asian communities of the world, and these people are very likely to be the fans of J-Pop, K-Pop and C-Pop, which adds to the overall popularity of these pop industries on the territory of Canada.

To conclude, Japan, Korea and China are some of the worlds fastest developing states, they are excellent at using different advertising and marketing strategies, which they effectively apply to their music and show industries. Today, J-Pop, K-Pop and C-Pop are quickly growing out of their local statuses and become known and loved in a number of other countries some of which are Russia, Great Britain, United States and Canada. These fresh and attractive pop industries have a lot to offer to the Western audiences, this is why they are gaining popularity year after a year.

Works Cited

Covington, Abigail. Unraveling a fantasy: A beginners guide to Japanese idol pop. 2014.

Galbraith, Patrick W. and Jason G. Karlin, eds. Idols and Celebrity in Japanese Media Culture. Tokyo: Palgrave Macmillan, 2012. Print.

Gani, Aisha. K-pop: a beginners guide. 2014.

Naznim, Sofia. Popularity of K-POP & Its Influences. 2014.

Art

In the painting Impression Sunrise (1872-1873), Claude Monet managed to convey the unity of the sea surface with the sky and the rising sun with extraordinary accuracy (Monet). The glare of the rays on the surface of the water appears to the audience as if alive. Claude Monet expressed all this with a stunning combination of shades. It is worth noting that this picture reflects various details of industrialization. Thus, the principles of realism developed by the artist became a combination of the principles of science and musicality (Monet). The reflection of reality in such an approach allows viewers to feel peace, which was difficult to capture in a rapidly developing environment.

The painting does not abound in many colors, and the play of light is depicted in rather dark tones, perfectly conveying the vastness of the sea and the infinity of the sky reflected in the sea. The bright disk of the sun, reflecting in the water like a path, attracts attention. Thus, it should be noted that this picture is associated with a positive image of the Beautiful Age. On the other hand, the appearance of impressionism may be due to the desire to reflect the era in its negative aspect. This is due to new forms that seek to hide reality rather than express it in detail.

Literature

The main motives of Chekhovs dramaturgy can be considered the motif of time, expressing the course of life, although the characters almost always live not in their own time: either in the sense of the past or in anticipation of the future. Anton Chekhov portrayed the Russian aristocracy approaching the end of its existence at the turn of the century in decline and disappointment (Chekhov). It is worth noting that this aspect is also reflected in The Lady With the Dog. The idea of the story is to show how the fear of public condemnation can constrain human feelings and become an obstacle on the way to happiness (Chekhov 13).

Moral reflection thus acts as a natural human reaction to the introduction to the life of the natural world, which has an indisputable priority and sets an objective scale for self-assessment. In his work, Chekhov summed up the past and discovered the anti-humanity of the old system of society and the futility of searching for a way out within it. This helped advance political thought in building a new system.

Music

The negative aspect of this era is emphasized in music through the transition to various new techniques. One of them is Atonality and Serialism, which were developed by composer Arnold Schoenberg. A similar approach is observed in his work Der Mondfleck (Schoenberg). Extremely sharpened expressive means create the impression of a continuous increase in tension. The speech freedom of melodic utterance is emphasized by deliberately uneven rhythmics and constant tempo changes. The revolution carried out by Schoenberg in the field of musical writing had a significant impact on the evolution of modern music.

The transition to such art forms is conditioned by the desire to express internal confrontation and uncertainty about the era. However, on the other hand, new forms of expression become the impetus of art, which emphasizes the industrial spirit of the Beautiful Age. Thus, Chekhovs works seek to put humanity in the first place by elevating it above progress.

Works Cited

Chekhov, Anton.  The Lady with the Dog. HUM203-OL08B.Fa2022: Chapter 18  Literature, Thomas University. Class Handout.

Chekhov, Anton. The Lady With the Dog. HUM203-OL08B.Fa2022, Thomas University. Class Handout.

Monet, Claude.  Impression Sunrise. HUM203-OL08B.Fa2022: Chapter 18  Art, Thomas University. Class Handout.

Schoenberg, Arnold. Der Mondfleck. HUM203-OL08B.Fa2022: Chapter 18  Music, Thomas University. Class Handout.

One Direction is a boyband from the United Kingdom that was formed in 2010. The current group members are Niall Horan, Harry Styles, Liam Payne, and Louis Tomlinson. The former member, Zayn Malik, had left the band in 2015. Since 2016 the group went on indefinite hiatus, after which each member pursued their solo projects. OBrien (n.d.) reports that the group was discovered during the seventh series of the British TV show X-Factor. It is a televised singing competition, where all five boys auditioned as solo artists. They were picked up as a group by X-Factor judge Simon Cowell and offered a contract by Syco Records.

The band performs their music in pop and pop-rock genres. Their impact on pop culture was immeasurable, and most of it came from their image as teen idols. The band has one of the biggest fan bases in the world due to its successful debut in 2012. They became the first British music band to reach the top of the Billboard 200 list for their first album, Up All Night (OBrien, n.d.). Mccormick (2012) described the success of One Direction as the markets need for clean-cut, wholesome, whiter-than-white, middle-class parent-friendly pop: cute boys advocating puppy love.

One Direction has been my favorite band since the second half of 2012 because their songs are full of beautiful lyricism peppered with catchy choruses and powerful guitar riffs. Their music is available on all music platforms, including Spotify and Apple Music. Unfortunately, I think the band will never perform together again since all of the members succeeded in their solo projects. One Direction has sold over 70 million records worldwide throughout its career (OBrien, n.d.). After the decade since the bands debut, their music continues to inspire many new artists.

References

Mccormick, N. (2012). The Wanted & One Direction: Why British boybands are conquering America. The Telegraph. Web.

OBrien, J. (n.d.). One Direction. All Music. Web.

Everyday activities like going to school, drinking coffee, working out, and occasionally even sleeping involve listening to music. People frequently choose music based on their feelings. When people are joyful or sad, they will listen to different types of music. People do this because music has the power to alter their moods minute by minute. Music has the ability to alter peoples emotions, whether it is a rock on the radio or an opera in the library. The fact that feelings play a crucial role in education and peoples healing processes makes it crucial to comprehend how music can alter peoples emotions.

Peoples emotions are influenced by music because of the brain. Contrary to popular belief, music actually engages every portion of the brain, having an impact on practically every bodily function (Chen et al., 2022). This goes against the popular belief that music processing solely occurs on the right side of the brain. The auditory cortex is responsible for processing sound, whereas the cerebral cortex and cerebellum are responsible for processing rhythm. The entire brain contributes to the emotions that the individual experiences (Whiteford et al., 2018). Several concurrent processes influence a persons emotions in different ways. Peoples feelings become complicated as a result of the way that one emotion feeds into another. Many people in this world may benefit from learning about music and how emotions are produced.

A complex musical notation must be read and translated into sequential motor action in order to play an instrument, which is a multisensory motor experience. These and related cognitive functions are referred to as skills like these. Both making music and listening to it need the utilization of all cognitive processes. Thus, music affects mental processes like brain plasticity, memory, emotions, and speech (Chen et al., 2022). The structure and operation of the human nervous system must be the source of human cognition. The brain is one such component of the neurological system. A person learns new habits through experiences thanks to the brains plasticity (Whiteford et al., 2018). There has been speculation that music may have an impact on human brain development.

When artists are compared to non-musicians, functional and structural differences in brain areas important to music are found. Specifically, the size, density, and structure of the brain vary among musicians and non-musicians, and they tend to have larger regions in charge of motor control and auditory processing (Chen et al., 2022). Thus, compared to a non-musician, a person who has trained in music or equipment will have faster processing times and greater cognitive abilities. Variations in the grey matter are also included in this. When comparing musicians to non-musicians, researchers were able to detect substantial variations in the amount of grey matter in the motor, auditory, and visuospatial brain regions using the voxel-by-voxel morphometric technique.

Every area of cognitive function is affected by music, and music and emotion are closely related. This is due to the limbic systems effect on music and emotions processed in the limbic system (Kim et al., 2019). Every person has a specific emotion they associate with music, whether it be happy, sad, or emotional. Instead of saying they enjoy or detest the music, they describe the song as happy or sad based on how it makes them feel (Whiteford et al., 2018). As a result, loud, followed-by-performance music may inspire one to feel upbeat and vivacious, while slow, soothing music may cause one to feel down or resting.

It is useful to provide some information on my own experience with music as well. For example, when I listen to soothing piano music when I am sleeping, I feel quiet and comfortable, yet any time I listen to loud, electric music, my head starts to pound. Individuals emotional, mental, and physical health is improved by music therapy. Music affects our respiration and heart rate in addition to improving our mental wellness. Additionally, there is proof that the release of the neurochemical Dopamine coincides with the tremendous pleasure felt while listening to music (Hesmondhalgh, 2013). The chills down the spine feeling is another emotion that people experience. It describes the emotional responses to music that are complemented by physical sensations like goosebumps and shivers.

Therefore, a person may have chills when listening to music that has special meaning to him or to which he has strong emotional connections. Every time I hear the song, I can picture her face in my head as I relate to every word. Therefore, a lovely recollection was the cause of this chilling sensation. Memory is another aspect of cognition that music affects (Hesmondhalgh, 2013). Encoding, decoding, and retrieving information are all steps in the memory process. Semantic memory and episodic memory are the two types of memory. It has an impact on both.

One significant way that musical experiences elicit emotions is through memories. Musical feelings and memories can persist long after other types of memory have vanished, as the late neurologist Oliver Sacks noted (Buchholz, 2018). The fact that music engages numerous brain regions and stimulates connections and associations may contribute to musics long-lasting impact. People also want escapism to escape their problems and problems amid uncertain times. Regulating emotions is made possible by music. Music can be used to boost mood, keep concentration on a task, and lessen boredom, among other things (Small, 1998). For instance, sorrowful music helps the listener turn away from upsetting circumstances like breakups and instead concentrate on the melody of the music. Additionally, lyrics that hit home for the listeners unique experience might give voice to emotions or experiences that the listener otherwise might not be able to express.

A strong emotional stimulus like music can alter ones perception of time. When a person is listening to calming music, time does actually seem to fly. As a result, music is played in waiting areas to shorten the perceived length of time while waiting and in supermarkets to entice customers to stay longer and spend more money. The ability to process time appears to be distracted by listening to enjoyable music. Furthermore, the effect of peaceful music with a slow speed on concentration seems to be stronger. Not only does music affect us on an individual level but also on a social and intergroup level (Small, 1998). The emotions that the music expresses are reflected in the listeners behavior, such as melancholy for sad music or joy for cheerful music. Similar to how it impacts the moods of eaters and shoppers.

To conclude, the reward region in the brain seems to be involved in both the appreciation of music and other pleasures like food, sexuality, and drugs. One might argue that an artistic stimulus, like music, can automatically target the brains dopamine circuits, which are frequently implicated in highly addictive and reinforcing behaviors. Both when it meets expectations and when it does not, music can be enjoyed. The musical experience is more unexpected the more surprising the happenings in the music are. People enjoy music that is complex and sophisticated but predictable in a pattern.

References

Buchholz, N. (2018). Seeing music? An inquiry into the place of music in deaf culture. Journal of American Sign Languages and Literatures, 1, 1-8. Web.

Chen, W. G., Iversen, J. R., Kao, M. H., Loui, P., Patel, A. D., Zatorre, R. J., & Edwards, E. (2022). Music and brain circuitry: Strategies for strengthening evidence-based research for music-based interventions. Journal of Neuroscience, 42(45), 8498-8507. Web.

Hesmondhalgh, D. (2013). Why music matters. John Wiley & Sons.

Kim, S. G., Mueller, K., Lepsien, J., Mildner, T., & Fritz, T. H. (2019). Brain networks underlying aesthetic appreciation as modulated by interaction of the spectral and temporal organizations of music. Scientific Reports, 9(19446), 1-15. Web.

Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.

Whiteford, K. L., Schloss, K. B., Helwig, N. E., & Palmer, S. E. (2018). Color, music, and emotion: Bach to the blues. i-Perception, 9(6), pp. 23-45.

Introduction

This study examines the cultural meanings of peoples music-related activities in society, particularly Korean popular music or K-pop. The study is based on a review of relevant literature, musical and textual analyses, participant observation, and interviews with people of the K-pop world, with critical eyes on self-reflexivity issues. The act of K-pop, its nationalism, and its national identity are all examined in this essay. Special attention is given to the self-reflexivity of different stakeholders within the K-pop industry as well as available literature on the contribution of K-pop towards nationalism and national identity. This study argues that extensive cultural consumption affects a few peoples lives and can significantly strengthen nationalism and national identity.

Background of the Study

The popular music genre known as K-pop, or Korean popular music, originates in South Korea and is an integral part of its culture. Internationally popular styles and genres such as pop, hip hop, R&B, experimental, rock, jazz, gospel, reggae, electronic dance, and folk are only some of those that are represented (Anderson 2020). In addition to its origins in traditional Korean music, K-pop also incorporates other genres and styles like country, disco, and classical. In the 2000s, K-pop gained popularity, particularly on a global scale. Gayo is the term used in Korea for domestic pop music, which is still often used in South Korea (Yoon, 2022). Regardless of genre, this is all Korean music, and performers connect it to the nations entertainment and idol industries.

With the formation of the hip-hop boy band Seo Taiji and Boys in 1992, the more contemporary genre variation, initially referred to as rap dance, developed. In the 1990s, as K-pop idol music developed into a subculture with massive teen and young adult fandoms, modern K-pop idol culture was born. In 2003, a new generation of K-pop idols was introduced by TVXQ and BoA., which helped the genre break into the nearby Japanese market after a dip in early idol music (Oh 2021). Boy bands made up of Khonminam, attractive, androgynous young guys, are frequently the focus of K-pop. Their shoujo and bishounen-inspired art are geared toward the female gaze. The boys often have nicely coiffed or colored hair, minimal jewelry, light makeup, and various suit stylings.

The Korean government recognized the potential of K-pop in the early 2000s and was looking for new sources of power for future development. Government intervention led to K-pop becoming a popular culture among Koreans and people outside Korea and an essential national strategic item (Gibson 2020). As a result, it continued to develop into a component of cultural nationalism that dominated East Asia in politics and diplomacy. K-pop, a product of public-private cooperation, attracted attention as a crucial economic driver for Korea and developed into a social phenomenon that showcases the countrys cultural brilliance and gives Koreans a sense of nationalistic pride.

Literature Review

South Korean cultural practices like K-pop play a decisive role in enhancing nationalism and national identity. K-pop has played a fundamental role in improving the nations pride through different aspects. It differs from other international music due to the Korean lyrics, superb stage performance, dance style, costume, the local incubation system, and Kalgunmu. According to a study by Messerlin and Shin (2017), K-pop has quickly evolved over the past few decades into a global mass culture that reflects Korea and East Asia. Although K-pop has followers and stars from all over the world and crosses cultural and geographic boundaries, there has always been a certain amount of Korea in its foundations. K-pop serves as a tactical soft power asset that has aided South Koreas standing in the international arena. Additionally, an article by Valge and Hinsberg (2020) reveals that K-pops profitability and global marketability have brought capitalistic success to the country. K-inherent pops Koreanness and international popularity provide Koreans a reason to be proud of their country.

The global rise of K-pop has not only served to facilitate transnationalism. Research by Dieckhoff and Schoch (2017) reveals that the phenomenon has also helped to rejuvenate its cultural nationalism as represented not only through traditional cultural customs but also through youthful, contemporary, and digital cultural forms. Moreover, the global production and consumption of K-pop have undeniably offered young South Korean fans a cultural resource for affirming their national identity and pride (Berbiguier and Cho 2017). This rejuvenation of cultural nationalism, which is sometimes skeptically considered blind nationalism with a disapproving Korean slang term, gukbbong, may not be substantially different from older forms of nationalism.

While the gukbbong mentality is more about South Koreans self-assurance and pride, the soft-power discourse aims to instrumentalize the Korean Wave for political and economic gains systematically. State and non-state actors have used the Korean Wave as a means and signifier of national cultural power. Although K-pop is an undeniably hybrid form of cultural trend, it is often signified by the K (the country of origin) in several different yet potentially interwoven ways. An article by Gibson (2020) re-affirms acknowledging the importance of K-pop as a tool of soft power. The South Korean government has promoted it as a primary means of the countrys soft power and for cultural diplomacy.

The government has treated K-pop as a core national branding and cultural diplomacy sector. Consecutive presidents have often celebrated K-pop artists global popularity and cited them as examples of the countrys burgeoning creative industries. The instrumentalization of K-pop and, more widely, the Korean Wave for cultural diplomacy tends to define popular cultural practices as essentialized national culture under the K brand. This Korean Wavedriven cultural diplomacy discourse treats K-pop stars as agents through which state power is translated and disseminated to the public (Keith 2022, 59). This factor indicates the influence of K-pop in advancing nationality and nationalism through national branding.

The public and the media in South Korea have engaged with a nationalist interpretation of K-pop and the Korean Wave. The global K-pop phenomenon has often been celebrated as a symbol of excellence in the national culture and, thus, as a booster of a general sense of national pride. An article by Ji-won (2022) shows that news on K-pop artists and industries has continuously appeared in mainstream South Korean media. For example, BTSs U.S. billboard rankings have been reported in South Korea almost in real-time. The overseas recognition of K-pop and the Korean Wave may have fulfilled South Koreans desire. This desire was to overcome the post-colonial inferiority complex with which they often considered their pop music and culture as knock-offs of Western or Japanese counterparts (Yoon 2017). The nationalistic celebration of the global K-pop phenomenon has often occurred through South Korean news medias horse-racing style reports on Western medias recognition of K-pop.

K-pop is a relatively new genre, but its fanbase has grown tremendously in South Korea. A study by Jenol (2020) sought participant observation and semi-structured in-depth interviews to get into K-pop fans experiences, views, values, and lifestyles. According to the studys findings, being a K-pop fan carries a special meaning that transcends a fan of a music genre. It varies from providing a sense of belonging, unleashing a fans talent and capabilities, and offering a platform for escapism and emotional and motivational support through a para-social relationship. Through the interviews with K-pop fans, it is evident that K-pop plays a significant role in enhancing national identity.

The difficulty in identifying Koreanness in K-pop culture is an intriguing aspect. According to an article by Daymanb (2017), it might be challenging to identify similarities between K-pop and traditional Korean music. The former is centered on melismatic melodies, harsh voices, and the pentatonic scale. The former uses a diatonic scale and several English terms in its lyrics and frequently incorporates thunderous drum beats with strong dancing movements.

K-pop, described as Korean popular culture exported outside, is a genre. This does not suggest that there are simply no indications of Korean identity in K-pop. Psys Gangnam Style, in the opinion of Park Sang-jin, a retired professor of traditional Korean music at Dongguk University, attracted attention sincethere is something peculiar about it that cannot be found in western music (Koo and Koo 2022). He claims that Gangnam Style is a piece based on Hwimori jangdan, a traditional janggu rhythm known for being fast as a whirlwind. Given that it is difficult to say with certainty that K-pop has genuinely inherited the elements and values of traditional Korean music, it is distinguished from other world music by the fact that Korean stars continue to make up the vast majority, the use of Korean lyrics, outstanding stage performances, dance styles, costumes, the local incubating system, and Kalgunmu.

BTS, the most successful producer of Korean pop culture, has made a significant economic contribution to South Korea. This estimate includes purchases of the bands music, merchandising, concert tickets, and the additional number of visitors traveling to South Korea due to their interest in the group. According to estimates in the article by Suntikul, over 800,000 tourists visiting South Korea traveled there in 2017roughly 7% of all arrivalsbecause they were fans of BTS (2019). BTS members have been promoting Seoul as the citys Honorary Tourism Ambassador through the Live Seoul Like I Do campaign, which aims to bring tourists to the band members favorite spots.

Conclusion

The k-pop represents a music genre that shows how the cultural practices of the Korean people use music to advance nationalism and national identity. Through lyrics, costumes, dance moves, and government promotion of K-pop culture, the nation has been able to politically and economically reap from the cultural practice. Different studies provide the context in which K-pop has been fundamental in enhancing national identity. K-pop is celebrated as a symbol of excellence in the national culture and, thus, as a booster of a general sense of national pride. The government has treated K-pop as a core sector of national branding and cultural diplomacy to develop a sense of national identity and influence across other cultures. Indeed, the production and consumption of K-pop have undeniably offered young South Korean fans a cultural resource for affirming their national identity while promoting the nations nationalism.

Bibliography

Anderson, Crystal S. 2020. A Song Calling for You. Soul in Seoul, 4388.

Dayman, Lucy. 2017. Whats the Difference between J-Pop and K-Pop? Culture Trip. The Culture Trip. Web.

Dieckhoff, Alain, and Cynthia Schoch. 2017. The Nation as a Community of Culture. Nationalism and the Multination State, 1532.

Gibson, Jenna. 2020. How South Korean Pop Culture Can Be a Source of Soft Power  the Case for South Korean Soft Power. Carnegie Endowment for International Peace. Carnegie Endowment for International Peace. Web.

Ji-won, Choi. 2022. K-Pop Invasion: From a Local Trend to a Global Phenomenon, and Beyond. Asia News Network. Web.

Koo, Jeung Mo, and Hyun Mo Koo. 2022. The Columbia Journal of Asia. K-Pop from Local to Global: A Study on Cultural Nationalism in Korean Pop Culture. Yonsei University. Web.

Messerlin, Patrick A., and Wonkyu Shin. 2017. The Success of K-Pop. Asian Journal of Social Science 45 (4-5): 40939.

Oh, Youjeong. 2021. Pop City: Korean Popular Culture and the Selling of Place. S.l.: Cornell University Press.

Suntikul, Wantanee. 2019. BTS and the Global Spread of Korean Soft Power. The Diplomat. Web.

Valge, Claudia, and Maari Hinsberg. 2020. The Capitalist Control of K-Pop: The Idol as a Product. ICDS. Web.

Yoon, Kyong. 2022. Digital Mediascapes of Transnational Korean Youth Culture. S.l.: Routledge.

When signing up members into the intermediate choir, there are a number of vital aspects, which should be put into consideration. These are the aspects that will determine the level of commitment and the quality of the choruses from the choir members.

It is crucial to look at the interest levels of the potential choir members. When they are interested in singing they will more likely enjoy it. In as much as interest is vital, it is also important to look out for talented students as this will actually make it easier to teach them, a professional teacher will consider organizing auditions and rehearsals to attract more interested students. You should also look for attractive ways to perform for the school this should show a clear partnering of boys and girls so that the audience will feel and want to be part of it. is advisable to do songs that are familiar with. Recruiting some famous students will be important because this will make more students want to identify with them, thus increasing the interest in the choir. When choosing the songs for the choir, it is helpful to pick on a variety of songs that the students themselves can identify with. The topics of the songs chosen should be popular with the students if the preferred number of choir members is to be attained.

The choir director should show great dedication to the choir apart from loving music, singing with passion. When working with people, to get them to be enthusiastic about what they are doing, the leader also shows the same level of enthusiasm he/she expects. When the efforts of everyone are combined, there will be great synergy in the group, and this will improve the quality of the choirs songs.

A great way of getting talented students into the choir is by letting them go through auditions, but before the auditions, it is a fair practice to let all the interested parties rehearse and train to improve their chances of performing well in the auditions.

For most young people, image matters a lot and that is why, to keep the boys hooked to the choir, they should be let to do things in the choir which makes them come out as masculine and macho. For the ladies, they should be able to show off their beauty, elegance, and sensuality. The choir group should be given different chances to interact and practice with other different choir groups for example from colleges, high schools, or local church choirs..( Nina Gilbert,1995)This adds more ideas and improves the morale of the choir group.

When doing choreography, it is a great idea to get the services of a professional choreographer. Apart from this, letting the students participate in coming up with their original dance moves will inject creativity into the group and let the students develop their own capabilities more. A name may not have much in it, but it is important to have a sensibly good name for the choir. The group should also have a particular song that it is specifically identified with by everyone; this is called a signature tune.

For the group interest levels to stay high it is advisable to look for new ways of bringing new ideas to the members and a great way to do this is by giving them exposure. This can be attained by organizing for them to attend and participate in various musicals and concerts. The choir should be an inclusive one in terms of gender, ethnicity, and race. This makes everyone feel like part of the group and when the group is this mixed, it becomes easier for other new members to join and the choir will draw from a wide pool of talents. For the choir to have an almost steady stream of supply of members, it is advisable to arrange for concerts with the juniors in the school so that the juniors can develop interest to join when they come of age.

In some circumstances, it may be inevitable to get into personal contact with potential choir members by making inquiries from the other students and talking with them on a personal level. Organizing parties and letting the choir members bring along their friends is a great way of meeting the possibly talented students and encouraging them to join the choir..( Nina Gilbert,1995) The choir members themselves should be given some sort of motivation to make them put in more effort into convincing more people to join them in the choir.

The members of the school community to be involved in the activities of the choir for the success of the program are basically all the stakeholders. The parents should be involved since they will allow their children to go for the choir practices. Apart from this, they will also offer moral and financial support to the students in the choir. The student fraternity from which the choir draws its membership should be involved as they offer great moral support. ( Nina Gilbert,1995) Both the teaching and non-teaching staff offers also a great support to the students. The teachers will be involved in giving career advice to the students and so on.

The various sources of information about appropriate repertoire for chorus include music producers and relevant written materials that the teacher of music can find appropriate in the subject.

References

Nina Gilbert. ChoralNet resources. Tips for Recruiting Choral Singers. 1995. 2008. Web.