Seminar Report 2012-2013 Music

ABSTRACT

The music of India includes multiple varieties of folk, popular, pop, classical

music and R&B. India's classical music tradition, including Carnatic and Hindustani

music, has a history spanning millennia and developed over several eras. Music in

India began as an integral part of socio-religious life and that Indian music is

essentially melodic: sounds follow one another expressing an emotional state in an

aesthetic unity.

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CONTENTS

1. INTRODUCTION

2. CLASSIFICATION OF MUSIC

3. MUSICAL INSTRUMENTS

4. TYPES OF INSTRUMENTS

5. MUSIC THERAPY

6. CONCLUSION

7. REFERENCE

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INTRODUCTION

Indian Music is probably the most complex musical system in the world with a

very highly developed melodic and rhythmic structure. This (structure) includes

complicated poly-rhythms, delicate nuances, ornamentations and microtones which

are essential characteristics of Indian music. This makes it very difficult to notate

every detail in Indian music.

Originally Indian music was passed on by oral tradition (lit. Guru means

teacher; shishya means student and parampara means tradition) from one generation

to another for centuries. The music was never written down until much later. The

notation system was actually developed much later more as a memory-aid than

something from which to learn or something from which to perform. This is why the

tradition wherein the student learns from a Guru on a "one-on-one" basis is

considered to be the only real way to learn music since there are so many aspects that

cannot be learned from a book because the existing notations are only a skeletal

representation of the music.

Indian Music had its origins in the Vedas (4000 B. C. - 1000 B. C.) Four in

number, the Vedas are the most sacred texts which contain about a thousand hymns.

They were used to preserve a body of poetry, invocations and mythology in the form

of sacrificial chants dedicated to the Gods. Great care was taken to preserve the text,

which was passed down by oral tradition, so much so that both the text and the rituals

remain unchanged to this day. The literature of the Vedas is divided into four parts:

the Rig Veda, the Sama Veda, the Yajur Veda and the Atharva Veda. The oldest, the

Rig, dates back to about 4000 B. C. It was recited, at first, in a monotone; it was later

developed to three tones (one main tone, and two accents, one higher and the other

lower called Udatta and Anudatta respectively.) This was done to accentuate the

words since the text was of primary importance. The Yajur Veda which mainly

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consists of sacrificial formulas mentions the Veena as an accompaniment to vocal

recitations during the sacrifices.

CLASSIFICATION OF MUSIC

The two main traditions of classical music are Carnatic music, found

predominantly in the peninsular regions, and Hindustani music, found in the northern

and central regions. Basic understanding of this music that includes Shruti, Swara,

Alankar, Rāga, Tāla. Its tonal system divides the octave into 22 segments called

shrutis, not all equal but each roughly equal to one quarter of a whole tone of Western

music. Melody is based on the system of ragas, which are melody types used as the

basis for improvisation.

Hindustani music

Hindustani music,  one of the two principal types of South Asian classical

music, found mainly in the northern three-fourths of the subcontinent, where Indo-

Aryan languages are spoken. (The other principal type, Karnatak music, is found in

the Dravidian-speaking region of southern India.) The two systems diverged

gradually, beginning in the 13th century, when the Islamic conquest of northern parts

of the subcontinent introduced highly influential Arab and Persian musical practices

that then merged with Hindu traditions. (The influences from Muslim cultures played

virtually no role in the development of Karnatak music.)

Northern India shares with the south the use of ragas (melodic frameworks for

improvisation and composition), the rhythmic principles of tala (cyclic metric patterns

sometimes of great complexity), and the practice of nonmetric, rhythmically “free”

improvisation. Although vocal music plays an important role, instrumental music is

more important in Hindustani music than it is in Karnatak; there are some purely

instrumental forms, such as the theme with variations known as gat.

The most prominent instruments of Hindustani music are the sitar (a long-

necked fretted lute with about 30 melodic, drone, and sympathetic strings), sarod (a

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short-necked unfretted lute with sympathetic and drone strings), sarangi (a bowed

fiddle), shehnai (an oboelike wind instrument), tabla (a set of two drums played by

one musician, the right-hand drum carefully tuned), and tambura (a large long-necked

lute with four strings, used only to play the supporting drone, a single repeated chord).

A typical Hindustani performance, which may last well over an hour, begins

with a long, nonmetric improvisation (alapa, or alap) by the singer or melodic soloist,

followed by jor, or improvisation without metric cycle but with a perceptible pulse,

and eventually by the similar but faster jhala. Then follows the composed piece,

which is performed with improvised variations—most typically khayal (a poetic form)

in vocal music and gat, a short, rhythmically distinctive theme, in instrumental music.

Here, the soloist is accompanied by the percussionist on tabla, and the improvisations

often involve various kinds of virtuosic rhythmic competition and cooperation.

The centres of Hindustani music in the 21st century are the cities of Delhi,

Kolkata (Calcutta), Varanasi, and Mumbai (Bombay), but, until the early part of the

20th century, smaller cities with princely courts, such as Jaipur, Agra, and Gwalior,

played a major role. In the early 21st century, the practitioners of Hindustani music

best-known outside the subcontinent included Ravi Shankar, Ali Akbar Khan, and

Bismillah Khan.

Carnatic music

Galaxy of Musicians by Raja Ravi Varma depicts Indian women dressed in

regional attire playing a variety of musical instruments popular in different parts of

the country. The present form of Carnatic music is based on historical developments

that can be traced to the 15th - 16th centuries AD and thereafter. However, the form

itself is reputed to have been one of the gifts bestowed on man by the gods of Hindu

mythology. It is one of the oldest musical forms that continue to survive today.

Carnatic music is melodic, with improvised variations. It consists of a composition

with improvised embellishments added to the piece in the forms of Raga Alapana,

Kalpanaswaram, Neraval, and, in the case of more advanced students, Ragam Tanam

Pallavi. The main emphasis is on the vocals as most compositions are written to be

sung, and even when played on instruments, they are meant to be performed in a

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singing style (known as gāyaki). There are about 7.2 million ragas (or scales) in

Carnatic Music, with around 300 still in use today.

Purandara Dasa is considered the father of carnatic music. Sri Tyagaraja, Sri

Shyama Shastry and Sri Muthuswami Dikshitar are considered the trinity of carnatic

music and with them came the golden age in carnatic music in the 18th-19th century.

Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi

Ramanuja Iyengar (the father of the current concert format), Semmangudi Srinivasa

Iyer, Prapancham Sita Raman, TN Seshagopalan and more recently Sanjay

Subrahmanyan, Balamuralikrishna, K J Yesudas, N.Ramani, Lalgudi Jayaraman,

umayalapuram sivaraman, Dr.Mysore Manjunath, Mysore Nagaraj, TM Krishna,

Bombay Jayashri, etc.

Every December, the city of Chennai in India has its six week-long Music

Season, which has been described as the world's largest cultural event. It has served as

the foundation for most music in South India, including folk music, festival music and

has also extended its influence to film music in the past 100–150 years or so.

Western music

Classical music, a genre of art music produced or rooted in the traditions of

Western liturgical and secular music from the 10th century onward. The canonical

common practice period was from 1550 to 1900, although the style continues to be

performed and developed to this day.

Western music (North America), a style of music that celebrates the life of the

cowboy. Originally a form of folk music with English, Irish, Scottish, and Mexican

influences that developed in the western areas of the United States and Canada.

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MUSICAL INSTRUMENTS

Hindustani Music and Instruments

India is a diversified land which does offer growth for many music forms a

genres. As a result of this, the arsenal of Indian musical instruments is far more

complete than any other cultural music. Various unique instruments have established

a sacred place in the whole musical scenario of Indian music.

Hindustani music of India which is mostly practiced in the Northern part of

India has a set of musical tools which distinguishes them from other music. A shade

of Persian and Arabic influence is found in the true Hindustani music.

Tabla: Most popular instrument of

North India, Tabla consists of two drums. The

bigger of them is called the ‘Bayan’ and the

smaller is known as ‘Dayan’. The drums are

tuned to a specific note depending on the mood

of the music. Usually the Dayan (right hand

side drum) is made of wood while the Bayan (left hand side drum) is made of metal-

brass, copper or even aluminum. Tabla has two resonators and the tension of both

drums differ from each other. Rag and Tal, two major concepts of Hindustani music

can be easily played on Tabla.

Santoor: The ancient instrument of India,

Santoor has its origins in Kashmir. The trapezoidal

instrument originally had 100 strings and was

known as Shata-tantri Veena. Now-a-days, Santoor

is comprised of 72 strings and is played by

hammering a special shaped ‘mezrab’. Made from

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walnut wood, a range of 3 octaves is possible due to the sets of bridges. The particular

technique is improvised for a specific position and is practiced in the same manner.

Sarangi: A bowing instrument which is

more popular in Rajasthan folk music, Sarangi

consists of 40 strings. 37 out of them are

sympathetic and are played in vertical position.

Every string is to be pressed by nails while bow is

maneuvered above them. Sarangi resembles more of

human vocals than any other musical instruments.

Sarangi is made of hollow wood and has ivory inlays which make it unique.

Sitar: This traditional instrument has an

interesting construction which combines 20 frets and 6

to 7 main chords. In order to produce and adjust the

notes, the frets are moved up and down while the

resonator at the base of the neck produces a series of

frequencies. It is one of those instruments which are

difficult to be found in the Carnatic music system.

Bansuri: Often known as the common Indian

flute, the Bansuri is a hollow cylinder which is either

made of bamboo or reed. Normally, a Bansuri has 6 to

7 holes which help in regulating the flow of wind on

the inner walls. It forms the basis of Indian classical

music. The varying lengths of the Bansuri make them versatile in many forms of

music. The air column through the holes creates resonances which are similar to

Indian octave notes of sa-re-ga-ma-pa-dha-ni.

Carnatic Music and Instruments

Music has been an integral part of the Indian civilization. Various musical

forms, rather, classical forms have found their origin from the sub continent itself.

Instruments thus are vital elements which assists the whole process. Indian musical

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instruments are not supplementary to the music. In fact they are the essence of the

whole musical journey

Mridangam: A percussion instrument

widely used in Carnatic music, Mridangam is a

vital instrument in every south Indian musical

concert. It is a double sided drum which was

originally made of clay, but, presently these

Mridangams are constructed from a single wood

block. Jackwood is the most common wood which

is used. The unique fibrous structure, less number

of pores and the wood density is the prime reason for the use of Jackwood. The left

side of the Mridangam, the thoppi, is made of two layers of goat-skin while the right

side has three layers of goat-skin. Unlike the Tabla, Mridangam is a single resonator

and the tension on both sided is inseparable. The instrument is played with fingers,

palms and hands and produces the largest acoustic bass by any instrument.

Veena: As the national instrument of India,

Veena or Vina has a prominent place in both Carnatic

and Hindustani music. Carnatic music uses Saraswati

Veena (with frets) and Chitra Veena (without frets)

while Hindustani music uses Rudra Veena (with

frets) and Vichitra Veena (without frets). This most

ancient wooden, string instrument has a resonator attached to its neck. Saraswati

Veena has 24 metal frets under 4 principle metal strings which brings desired

frequencies. Playing a Veena is not a child’s play; one has to have proper syncing of

both hands which simultaneously work on both frets and strings.

Venu: The side windblown, keyless

transverse flute of bamboo has found its importance

in the South Indian music from years. A more

sophisticated instrument as compared to Bansuri

(similar instrument used in North Indian music with

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6/7 holes). Venu has 8 holes which are capable of producing 2 ½ octaves (just like

human voice) when wind is overblown or fingers are crossed on the holes.

Ghatam: Made from clay/mud, Ghatam is one

of the versatile south Indian musical tools. It uses clay,

copper, brass and iron filings while its production. The

playing of the instrument uses both hands, fingers, nails

wrists and even heels to create bass on the inner

surface. The mouth of the instrument is pressed against

the stomach which helps in controlling the vibrations

created while striking. The resonance created while striking is the soul of the

instrument.

Harmonium: It is the used in almost all

forms of Indian music. The reed organ

instrument has a keyboard attached to it and

mainly fork on the air sucked or blown through

the free reeds. Played in the similar manner like

that of piano, Harmonium consist of 2 ½ octaves

and a bellow. One hand works on the keyboard while the other operates the bellow to

create sounds of desired pitch, note and frequency.

• Western Musical Instruments

Piano

The piano is a musical instrument played by

means of a keyboard. It is widely known as one of the

most popular instruments in the world. Widely used in

Classical music for solo performances, ensemble use,

chamber music, and accompaniment, the piano is also

very popular as an aid to composing and rehearsal. Although not portable and often

expensive, the piano's versatility and ubiquity have made it one of the world's most

familiar musical instruments. Pressing a key on the piano's keyboard causes a felt-

covered hammer to strike steel strings. The hammers rebound, allowing the strings to

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continue vibrating at their resonant frequency. These vibrations are transmitted

through a bridge to a sounding board that couples the acoustic energy to the air so that

it can be heard as sound.

When the key is released, a damper stops the string's vibration. See the article

on Piano key frequencies for a picture of the piano keyboard and the location of

middle-C. According to the Hornbostel-Sachsmethod of music classification, pianos

are grouped with chordophones.

Gitar

The guitar is a plucked string instrument,

played either with fingers or a pick. The guitar

consists of a body with a rigid neck to which the

strings, generally six in number but sometimes more,

are attached. Guitars are traditionally constructed of

various woods and strung with animal gut or, more

recently, with either nylon or steel strings. Some

modern guitars are made of polycarbonate materials. Guitars are made and repaired

by luthiers. There are two primary families of guitars: acoustic and electric.

Acoustic guitars (and similar instruments) with hollow bodies, have been in

use for over a thousand years. There are three main types of modern acoustic guitar:

the classical guitar (nylon-string guitar), the steel-string acoustic guitar, and the arch

top guitar. The tone of an acoustic guitar is produced by the vibration of the strings,

which is amplified by the body of the guitar, which acts as a resonating chamber. The

classical guitar is often played as a solo instrument using a comprehensive

fingerpicking technique.

Violin

Another instrument that has greatly influenced the

development of western music is the violin. Nearly every

classical composer has written something for the violin.

Some used it very heavily, both as a solo instrument and in

orchestral compositions. With the advent of the electric

violin, this instrument has been making its way into other

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sectors of western music. Jazz and rock are beginning to lean more heavily on the

violin as a pop instrument, rather than as a solely classical instrument. The fiddle--

simply another name for the violin--is a staple in many types of folk music.

TYPES OF INSTRUMENTS

String instruments

String instruments are musical instruments that produce sound from vibrating

strings. In the Hornbostel-Sachs scheme of musical instrument classification, used in

organology, they are called chordophones. Some common instruments in the string

family are guitar, sitar, rabab, electric bass, violin, viola, cello, double bass, banjo,

mandolin, ukulele, bouzouki, and harp.

Construction

String instruments can be divided in three groups.

Lutes - instruments in which the strings are supported by a neck and a

bout ("gourd"), for instance a guitar, a violin, a saz.

Harps - instruments in which the strings are contained within a frame.

Zithers - instruments with the strings mounted on a body, such as a

guqin, a cimbalom, an autoharp, or a piano.

It is also possible to divide the instruments in groups focused on how the instrument is played.

Types of playing techniques

All string instruments produce sound from one or more vibrating strings,

transferred to the air by the body of the instrument (or by a pickup in the case of

electronically amplified instruments). They are usually categorized by the technique

used to make the strings vibrate (or by the primary technique, in the case of

instruments where more than one may apply.) The three most common techniques are

plucking, bowing and striking.

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Plucking: Plucking is used as a method of playing on instruments such as the

banjo, ukulele, guitar, harp, lute, mandolin, oud, sitar, and either by a finger or

thumbther quills (now plastic plectra) to pluck the strings.

Instruments normally played by bowing (see below) may also be plucked, a

technique referred to by the Italian term pizzicato.

Bowing: Bowing (Italian: Arco) is a method used in some string instruments,

including the violin, viola, cello, and the double bass (of the violin family) and the old

viol family. The bow consists of a stick with many hairs stretched between its ends.

Bowing the instrument's string causes a stick-slip phenomenon to occur, which makes

the string vibrate.

Ancestors of the modern bowed string instruments are the rebab of the Islamic

Empires, the Persian kamanche and the Byzantine lira. Other bowed ins, hardingfele,

nyckelharpa, kokyū, errde effects.

Striking: The third common method of sound production in stringed

instruments is to strike the string. The piano uses this method of sound production.

Violin family string instrument players are occasionally instructed to strike the

string with the side of the bow, a technique called col legno. This yields a percussive

sound along with the pitch of the note. A well-known use of col legno for orchestral

strings is the Gustav Holst's "Mars" movement from The Planets suite.

Other methods: The aeolian harp employs a very unusual method of sound

production: the strings are excited by the movement of the air. Some instruments that

have strings have attached keyboards that the player uses instead of directly

manipulating the strings. These include the piano, the clavichord, and the harpsichord.

With these keyboard instruments too, the strings are occasionally plucked or

bowed by hand. Composers such as Henry Cowell wrote music which asks for the

player to reach inside the piano and pluck the strings directly, or to "bow" them with

bow hair wrapped around the strings, or play them by rolling the bell of a brass

instrument such as a trombone on the array of strings.

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Other keyed string instruments, small enough for a strolling musician to play,

include the plucked autoharp, the bowed nyckelharpa, and the hurdy gurdy, which is

played by cranking a rosined wheel.

Steel-stringed instruments (such as the guitar, bass, violin, etc.) can be played

using a magnetic field. An E-Bow is small hand-held battery-powered device which

can be used to excite the strings of an electric guitar. It provides a sustained, singing

tone on the string which is magnetically vibrated.

3rd bridge is a plucking method where the string is divided in two pieces and

struck at the side which is unamplified. The technique is mainly used on electric

instruments, because these have a pickup that amplifies only the local string vibration.

It's possible on acoustic instruments as well, but lesser convenient. For instance press

on the 7th fret on a guitar and pluck it at the head side and a tone will resonate at the

opposed part. At electric instruments this technique can generate multitone sounds

remniscent of a clock or a bell.

Guitar ( Hollow, Mandlin, Base Guitar)

Sitar

Veena

Thamburu

Violin

Sarangi

Mellophones

Cello

Wind instrument

A wind instrument is a musical instrument that contains some type of

resonator (usually a tube), in which a column of air is set into vibration by the player

blowing into (or over) a mouthpiece set at the end of the resonator. The pitch of the

vibration is determined by the length of the tube and by manual modifications of the

effective length of the vibrating column of air. In the case of some wind instruments,

sound is produced by blowing through a reed; others require buzzing into a metal

mouthpiece.

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Using different air columns for different tones, such as in the pan flute.

Changing the length of the vibrating air column by changing the length of the

tube through engaging valves (see rotary valve, piston valve) which route the

air through additional tubing, thereby increasing overall tube length, lowering

the fundamental pitch. This method is used on nearly all brass instruments.

Changing the length of the vibrating air column by lengthening and/or

shortening the tube using a sliding mechanism. This method is used on the

trombone and the slide whistle.

Changing the frequency of vibration through opening or closing holes in the

side of the tube. This can be done by covering the holes with fingers or

pressing a key which then closes the hole. This method is used in nearly all

woodwind instruments.

Making the column of air vibrate at different harmonics without changing the

length of the column of air (see harmonic series).

Almost all wind instruments use the last method, often in combination with

one of the others, to extend their register.

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Sound production in all wind instruments depends on the entry of air into a

flow-control valve attached to a resonant chamber (resonator). The resonator is

typically a long cylindrical or conical tube, open at the far end.

A pulse of high pressure from the valve will travel down the tube at the speed

of sound. It will be reflected from the open end as a return pulse of low pressure.

Under suitable conditions, the valve will reflect the pulse back, with increased energy,

until a standing wave forms in the tube.

Reed instruments such as the clarinet or oboe have a flexible reed or reeds at

the mouthpiece, forming a pressure-controlled valve. An increase in pressure inside

the chamber will decrease the pressure differential across the reed; the reed will open

more, increasing the flow of air. The increased flow of air will increase the internal

pressure further, so a pulse of high pressure arriving at the mouthpiece will reflect as a

higher-pressure pulse back down the tube. Standing waves inside the tube will be odd

multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, and a

pressure node at the open end. The reed vibrates at a rate determined by the resonator.

For Lip Reed (brass) instruments, the player controls the tension in their lips

so that they vibrate under the influence of the air flow through them. They adjust the

vibration so that the lips are most closed, and the air flow is lowest, when a low-

pressure pulse arrives at the mouthpiece, to reflect a low-pressure pulse back down

the tube. Standing waves inside the tube will be odd multiples of a quarter-

wavelength, with a pressure anti-node at the mouthpiece, and a pressure node at the

open end.

For Air Reed (flute and fipple-flute) instruments, the flow of air over the

mouth of the instrument forms a flow-controlled valve. Some of the air-stream flows

into the instrument's mouth, leading to an increase in internal pressure, while some of

the air-stream flows across the top of the mouth—through a Bernoulli effect this

reduces the pressure at the mouth, drawing air out of the mouth and leading to a

decrease in internal pressure. When the pressure inside the chamber decreases, more

of the air-stream will enter the mouth, and less will flow across the top of the mouth.

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A pulse of high pressure arriving at the mouth will direct more air across the

top of the mouth; this will decrease the internal pressure, and send a low-pressure

pulse back down the tube. A pulse of low pressure arriving at the mouth will draw

more air into the mouth; this will increase the internal pressure, and send a high-

pressure pulse back down the tube.

Standing waves inside the tube will be multiples of a half-wavelength, with

pressure nodes at both ends. The air-stream across the mouth vibrates at a rate

determined by the resonator.

To a rough approximation, a tube of about 40 cm. will exhibit resonances near

the following points:

For a reed or lip-reed instrument: 220 Hz (A3), 660 Hz (E5), 1100 Hz (C#6).

For an air-reed instrument: 440 Hz (A4), 880 Hz (A5), 1320 Hz (E6).

In practice, however, obtaining a range of musically useful tones from a wind

instrument depends to a great extent on careful instrument design, and playing

technique.

Examples: Harmonium, Flute, Clarnet, Drumpet, Saxphones, Wind Piano

Percussion instrument

A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater (including attached or enclosed beaters or rattles), or struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, following the human voice.

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The percussion section of an orchestra, however, traditionally contains in

addition many instruments that are not, strictly speaking, percussion, such as whistles

and sirens. On the other hand, keyboard instruments such as the celesta are not

normally part of the percussion section, but keyboard percussion instruments (which

do not have keyboards) are included.

Percussion instruments are most commonly divided into two classes: Pitched

percussion instruments, which produce notes with an identifiable pitch, and unpitched

percussion instruments, which produce notes without an identifiable pitch.

Percussion instruments may play not only rhythm, but also melody and

harmony.

Percussion is commonly referred to as "the backbone" or "the heartbeat" of a

musical ensemble, often working in close collaboration with bass instruments, when

present. In jazz and other popular music ensembles, the pianist, bassist, drummer and

sometimes the guitarist are referred to as the rhythm section. Most classical pieces

written for full orchestra since the time of Haydn and Mozart are orchestrated to place

emphasis on the strings, woodwinds, and brass.

However, often at least one pair of timpani is included, though they rarely play

continuously. Rather, they serve to provide additional accents when needed. In the

18th and 19th centuries, other percussion instruments (like the triangle or cymbals)

have been used, again generally sparingly. The use of percussion instruments became

more frequent in the 20th century classical music.

In almost every style of music, percussion plays a pivotal role. In military

marching bands and pipes and drums, it is the beat of the bass drum that keeps the

soldiers in step and at a regular speed, and it is the snare that provides that crisp,

decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks

of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is

spoken. In more recent popular music culture, it is almost impossible to name three or

four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort

of percussive beat keeping the tune in time. Because of the diversity of percussive

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instruments, it is not uncommon to find large musical ensembles composed entirely of

percussion. Rhythm, melody, and harmony are all represented in these ensembles.

Eg: Drums (Jass, Tripple,), Tabala, Chenda, Mridangam, Thakil

FUSION

A fusion genre is music that combines two or more styles.

For example, rock and roll originally developed as a fusion of blues, gospel

and country music. The main characteristics of fusion genres are variations in tempo,

rhythm, and is sometimes the use of long musical "journeys" that can be divided into

smaller parts, each with their own dynamics, style and tempo. "Fusion" used alone

often refers to jazz fusion.

Artists who work in fusion genres are often difficult to categorize within non-

fusion styles, primarily because most genres evolved out of other genres. These artists

generally consider themselves part of both genres. For example, a musician that plays

predominantly blues influenced by rock is often labelled a blues-rock musician, such

as Stevie Ray Vaughan and Double Trouble. Vaughan, a Texas blues guitarist, used

rock and blues together. Ray Charles, who recorded gospel and jazz-influenced blues,

created what would become known as Soul Music. By fusing the two genres, Charles

pioneered the style of country soul, most famously on his landmark album Modern

Sounds in Country and Western Music, and influenced similar efforts by Candi Staton

and Solomon Burke. Another example of fusion music can be heard in the Middle

Eastern-influenced Franco-Arabic music as personified by Aldo. Franco-Arabic music

uses a blend of Arabic and many western styles, from rock to pop, and from Euro

styles to folk music. Jie Ma blends traditional Chinese instruments (pipa and ruan)

and Western and jazz compositions.

Fusion music as a genre broadened the definitions of jazz, rock, and pop

music. Herbie Hancock fused jazz, funk, rock, and smooth tones to accomplish a new,

rounder, more cultured sound for his band. See Head Hunters or Thrust. These sounds

generally consisted of a standard rhythm section: bass, drums, and sometimes guitar,

with layered keyboard tracks of rhodes, strings, clavinet, organ and synthesizers. Atop

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all of this, sampling was introduced as well as new technologies such as the talk box,

or vocator. Bands such as Brand-X and Return To Forever as well as musicians such

as John Abercrombie and Jack DeJohnette are also in this category.

MUSIC THERAPY

Music therapy is an allied health profession and one of the expressive

therapies, consisting of an interpersonal process in which a trained music therapist

uses music and all of its facets—physical, emotional, mental, social, aesthetic, and

spiritual—to help clients to improve or maintain their health. Music therapists

primarily help clients improve their health across various domains (e.g., cognitive

functioning, motor skills, emotional and affective development, behavior and social

skills, and quality of life) by using music experiences (e.g., free improvisation,

singing, songwriting, listening to and discussing music, moving to music) to achieve

treatment goals and objectives. It is considered both an art and a science, with a

qualitative and quantitative research literature base incorporating areas such as

clinical therapy, biomusicology, musical acoustics, music theory, psychoacoustics,

embodied music cognition, aesthetics of music, and comparative musicology.

Referrals to music therapy services may be made by other health care professionals

such as physicians, psychologists, physical therapists, and occupational therapists.

Clients can also choose to pursue music therapy services without a referral (i.e., self-

referral).

Music therapists are found in nearly every area of the helping professions.

Some commonly found practices include developmental work (communication, motor

skills, etc.) with individuals with special needs, songwriting and listening in

reminiscence/orientation work with the elderly, processing and relaxation work, and

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rhythmic entrainment for physical rehabilitation in stroke victims. Music therapy is

also used in some medical hospitals, cancer centers, schools, alcohol and drug

recovery programs, psychiatric hospitals, and correctional facilities. The Turco-

Persian psychologist and music theorist al-Farabi (872–950), known as "Alpharabius"

in Europe, dealt with music therapy in his treatise Meanings of the Intellect, where he

discussed the therapeutic effects of music on the soul. Robert Burton wrote in the 17th

century in his classic work, The Anatomy of Melancholy, that music and dance were

critical in treating mental illness, especially melancholia.

CONCLUSION

In music, the introduction is a passage or section which opens a movement or

a separate piece. In popular music this is often abbreviated as intro. The introduction

establishes melodic, harmonic, and/or rhythmic material related to the main body of a

piece. Introductions may be an ostinato that is used in the following music, an

important chord or progression that establishes the tonality and groove for the

following music, important but disguised or out of context motivic or thematic

material. As such the introduction may be the first statement of primary or other

important material, may be related to but different from the primary or other

important material, or may bear little relation to any other material. If a movement in

sonata form starts with an introductory section, this introduction is not usually

analyzed as being part of the movement's exposition.

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REFERENCE

www.wikipeida.org

www.howstuffworks.com

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