Music Lessons For Your Young

If you are a parent of a young child, then now is the perfect time to introduce music. Some theories have even proven that if you play music to your baby while it is in the womb or when it is an infant then it will improve all types of things, such as their IQ and their motor skills. Before your child becomes impressionable through schooling and other children, you should introduce them to music while they still have such an open and fresh mind. For this purpose, music lessons are an asset. It is an effective way to help your child learn to play any type of instrument, and you might find out that your child is very gifted when it comes to the art of music. Figuring out where to begin with music lessons is usually the hardest step for parents. They are unsure which instrument to purchase for their child and they are unsure as to which teacher to choose or who might be safe for their child. It is first important to understand what happens in a typical lesson environment. The teacher, or experienced musician, helps share his or her expertise on the instrument with the student. During the lesson, the teacher observes the difficulties that the student might be having as well as noticing their strengths. The teacher will then introduce newer and harder concepts as the student progresses, which can only happen with practice and homework. One factor to keep in mind if you are considering music lessons is that they do require much more commitment both on your part and your child as opposed to cub scouts or dance lessons. This is due to the fact that most of the learning is your child’s responsibility. It is up to them how advanced they become with the instrument, and it is based on how often they practice. One thing that many children forget is that they are supposed to practice at home, not just with their teacher. Without the practice, your child’s progress will not excel and you will end up paying more money than you expected for the teacher’s time. You should also remember that this is supposed to be fun for a child. While practice does make perfect, never force your child to do something such as practice. While you should encourage it, forcing them only makes them dislike the instrument that much more. Their heart truly has to be in it in order for them to excel at the art. Usually, as your child gains confidence and starts to see how well they are doing with the instrument, then they will eventually become very passionate. Having them partake in music lessons not only gives them the confidence but it will help with their focus and concentration in school. Usually, children at the age of 7 and up will be the best candidates for music lessons because they already have a desire to learn, have great listening skills, and a willingness to practice. Younger children also advance well in music lessons, but it is more common if they are in a group environment that is slightly more playful. Starting your children young in a music class will help them gain a passion for the art and prepare them for regular music lessons when they are a little older. You can also have your own music time at home if you have younger children. Encourage them to sing silly songs, make home-made musical instruments, or even buy them a kid sized instrument. No matter what you decide to do, remember that music lessons will be a valuable investment towards your child’s future. You need to be prepared to commit to it just as they will so that you can make sure they attend the classes and are positive about practicing. With your guidance and patience, your child could be on their way to being the next musical genius.

source:http://www.articlesofnote.com/children-s-music-lessons.php

[TOP 100 ALBUMS OF 2007] [STAFF PICKS] [WRITER PICKS]

Every fall, Paste’s staff piles into the conference room to hash out our favorite records of the year. Feelings get hurt. One staffer’s favorite record is inevitably the bane of another’s existence. Most come ready to champion a personal darkhorse and see how far they can spur it up the chart. People raise their voices and gesticulate nervously. Hours go by. Pizzas are purchased. Feelings get hurt some more. And eventually the releases are ranked. We now humbly present you with the fruits of our fighting.
But first, a state of the union from the venerable Geoffrey Himes...
It bothers me that Sam Baker’s Pretty World is my favorite album of the year. Not because it’s anything less than an amazing record. No, what bothers me is that Baker’s music has been heard by so few that it’s hard to have a conversation about it. Of course, it’s not your fault that you haven’t heard this selfreleased, poorly distributed gem any more than it’s my fault that I haven’t heard the obscure disc that’s your favorite album of the year.
This is the inevitable result of the music business’s ongoing decentralization. More and more of us are obsessed with our own private discoveries, and fewer and fewer of us connect with the shared experience that puts the “pop” in pop music. Much has been gained by the withering of music monopolies and the democratization of recording, but something has been lost, too.
On one hand, the collapse of the old paradigm—where a few record companies determined what got recorded and what got heard—means that it’s easier for a Texas construction worker to make his own record and for me to stumble across it along some forgotten byway of the Internet. It’s easier for you to discover a Cleveland skatepunk band on MySpace or a bootleg burn of a new rapper from Baltimore.
On the other hand, there was a distinct pleasure in sharing the same music—whether it was Elvis Presley, The Beatles, Prince or Nirvana—at the same time with millions of other people. That’s a pleasure that DIY recording, long-tail marketing and cyber-word-of-mouth hasn’t been able to replicate.
Baby-boomers like to claim that pop music was better in the ’60s than it was before or since. After 40 years of reviewing records for a living, I would argue that there is more or less the same amount of great music in any given year. The only thing different about the ’60s was that more of that great music was prominent on radio, television and the charts. What has changed, in other words, is not the quantity of terrific music but rather its visibility. And today, as a panicky music industry tries to defend the fortress crumbling around it by making ever more conservative choices, the most interesting music is often (though not always) pushed to the margins while the least interesting is set under the spotlight.
Sure, it’s good news that the margins have grown so broad and fertile, but we also need a strong center we can share. Somewhere out there in some dorm room or suburban bungalow or cramped apartment is the person who’s going to figure out how to rebuild that center in this decentralized environment. And that person is going to change the course of pop music forever.
Geoffrey Himes is a Paste senior contributing editor.
Next Page: Paste's Top 100 albums of 2007
TOP 100 ALBUMS OF 2007] [STAFF PICk [WRITER PICk
1. The National - Boxer2. Arcade Fire - Neon Bible3. Bruce Springsteen - Magic4. The White Stripes - Icky Thump5. Feist - The Reminder6. M.I.A. - Kala7. Wilco - Sky Blue Sky8. Modest Mouse - We Were Dead Before the Ship Even Sank9. Band of Horses - Cease to Begin10. Iron & Wine - The Shepherd's Dog11. Radiohead - In Rainbows12. Avett Brothers - Emotionalism13. Amy Winehouse - Back to Black14. Loney, Dear - Loney, Noir15. Kanye West - Graduation16. Ryan Adams - Easy Tiger17. Josh Ritter - The Historical Conquests of Josh Ritter18. Miranda Lambert - Crazy Ex-Girlfriend19. Ted Leo & the Pharmacists - Living with the Living20. Blonde Redhead - 2321. Jens Lekman - Night Falls Over Kortedala22. LCD Soundsystem - Sound of Silver23. Black Lips - Good Bad Not Evil24. Patty Griffin - Children Running Through25. Over The Rhine - The Trumpet Child26. The Shins - Wincing the Night Away27. Derek Webb - The Ringing Bell28. Mary Gauthier - Between Daylight and Dark29. Spoon - Ga Ga Ga Ga Ga30. Björk - Volta31. Of Montreal - Hissing Fauna, Are You The Destroyer?32. Andrew Bird - Armchair Apocrypha33. PJ Harvey - White Chalk34. Bright Eyes - Cassadaga35. Peter Bjorn & John - Writer's Block36. Joe Henry - Civilians37. Eleni Mandell - The Miracle Of Five38. Olof Arnalds - Vid Og Vid39. The Perishers - Victorious40. Damien Dempsey - To Hell Or Barbados41. Brandi Carlile - The Story42. Lifesavas - Gutterfly43. The Everybodyfields - Nothing Is Okay44. Norah Jones - Not Too Late45. Sharon Jones & the Dap Kings - 100 Days, 100 Nights46. Justice - †47. Linda Thompson - Versatile Heart48. The Weakerthans - Reunion Tour49. Carolina Chocolate Drops - Dona Got A Ramblin’ Mind50. Battles - Mirrored51. The Frames - The Cost52. Thurston Moore - Trees Outside the Academy53. Fionn Regan - The End Of History54. Broken Social Scene Presents: Kevin Drew - Spirit If...55. Sunset Rubdown - Random Spirit Lover56. Kate Nash - Made of Bricks57. The Clientele - God Save The Clientele58. Romantica - America59. Imperial Teen - The Hair The TV The Baby & The Band60. The Broken West - I Can't Go On I'll Go On61. Prince - Planet Earth62. Joseph Arthur - Let's Just Be63. Explosions In The Sky - All Of A Sudden I Miss Everyone64. Animal Collective - Strawberry Jam65. Caribou - Andorra66. Apples In Stereo - New Magnetic Wonder67. St. Vincent - Marry Me68. Office - A Night At The Ritz69. Bat For Lashes - Fur & Gold70. Ween - La Cucaracha71. Josh Rouse - Country Mouse City House72. Bettye Lavette - Scene Of The Crime73. Warm In The Wake - American Prehistoric74. Beirut - The Flying Club Cup75. Great Lake Swimmers - Ongiara76. Okkervil River - The Stage Names77. Jeremy Fisher - Goodbye Blue Monday78. The New Pornographers - Challengers79. Deerhoof - Friend Opportunity80. Akron/Family - Love Is Simple81. Art Brut - It's A Bit Complicated82. Dan Deacon - Spiderman of the Rings83. Deerhunter - Cryptograms84. Liars - Liars85. Menomena - Friend and Foe86. Ruthie Foster - The Phenomenal Ruthie Foster87. White Rabbits – Fort Nightly88. Do Make Say Think - You, You're A History In Rust89. Anat Cohen - Noir90. Devendra Banhart - Smokey Rolls Down Thunder Canyon91. The Fratellis - Costello Music92. Jesse Sykes – Like, Love, Lust & the Open Halls of the Soul93. Lori McKenna - Unglamorous94. Suzanne Vega - Beauty & Crime95. The Good, The Bad & The Queen - The Good, The Bad & The Queen96. Arctic Monkeys - Favourite Worst Nightmare97. Marissa Nadler - Song III: Bird on the Water 98. Dinosaur Jr. - Beyond99. The Fiery Furnaces - Widow City100. Stars – In Our Bedroom After The War

source:http://www.pastemagazine.com/articles/2007/11/signs-of-life-2007-best-music-1

Hindustani Classical Music
From Hindustani To Vedas
Hudustani classical music and traditional dance abounds in India. Travelers to the country enjoy it for the sake its beauty, never realizing that the music and dance is steeped in history, each movement conveying a message. Often worship rituals involve dances created hundreds of years ago. Each step, gesture and musical note brings with it a meaning, however subtle. The dances or India are an art.Rajasthan is one of the most richly rewarding regions for folk dances, devotional songs and music. Professional tribal performers in brilliantly colored costumes entertain visitors and residents throughout the area. Their performances include fire dances, dramas on mock horses and cymbal and drum dances. All this is accompanied by haunting ballads and handcrafted instruments.Originating from the chanted hymns of the sacred Vedas, music evolved to express the seasonal cycles and the rhythm of agricultural work, became interlinked with dance forms to celebrate the harvest, greet a particular season or worship a specific god.Originally, these dances were performed in Hindu and Jain temples. In time, however, temple leaders began to consider the dances too suggestive and the ritual dancing was banned within the temples. Today, you can only find these traditional dances performed in temples at three events each year. The Khajurako Dance Festival is held in March. December sees two festivals, the Konark Dance Festival and the Mamallapuram Dance Festival. Visitors to India at these times will enjoy a rare treat by attending one of these festivals.Two forms of dance worship bear mentioning, Kathakali and Odissi. Kathakali of Kerala is a male-only dance form. The performers wear colorful costumes and the dances are full of intense drama. Odissi is Orissa's ancient dance form. The performers act out ancient myths in extravagant costumes, accompanied by musicians and singers. These dances can often be seen during the Konark Dance Festival in November.

sourcehttp://www.articlesofnote.com/

What Use Is Music?

Why on earth should anyone want to learn such things? Geometry is practical–for building pyramids, for instance–but of what use is musical knowledge? Here is one idea. Each child spends endless days in curious ways; we call this play. A child stacks and packs all kinds of blocks and boxes, lines them up, and knocks them down. What is that all about? Clearly, the child is learning about space! But how on earth does one learn about time? Can one time fit inside another? Can two of them go side by side? In music, we find out! It is often said that mathematicians are unusually involved in music, but that musicians are not involved in mathematics. Perhaps both mathematicians and musicians like to make simple things more complicated, but mathematics may be too constrained to satisfy that want entirely, while music can be rigorous or free. The way the mathematics game is played, most variations lie outside the rules, while music can insist on perfect canon or tolerate a casual accompaniment. So mathematicians might need music, but musicians might not need mathematics. A simpler theory is that since music engages us at earlier ages, some mathematicians are those missing mathematical musicians.
Most adults have some childlike fascination for making and arranging larger structures out of smaller ones. One kind of musical understanding involves building large mental structures out of smaller, musical parts. Perhaps the drive to build those mental music structures is the same one that makes us try to understand the world. (Or perhaps that drive is just an accidental mutant variant of it; evolution often copies needless extra stuff, and minds so new as ours must contain a lot of that.)
Sometimes, though, we use music as a trick to misdirect our understanding of the world. When thoughts are painful we have no way to make them stop. We can attempt to turn our minds to other matters, but doing this (some claim) just submerges the bad thoughts. Perhaps the music that some call 'background' music can tranquilize by turning under-thoughts from bad to neutral, leaving the surface thoughts free of affect by diverting the unconscious. The structures we assemble in that detached kind of listening might be wholly solipsistic webs of meaninglike cross-references that nowhere touch "reality." In such a self-constructed world, we would need no truth or falsehood, good or evil, pain or joy. Music, in this unpleasant view, would serve as a fine escape from tiresome thoughts.
sourcehttp://web.media.mit.edu/~minsky/papers/MusicMindMeaning.html

The Music Manifesto

Music can be magic. It calls for and calls forth all human virtues: imagination, discipline, teamwork, determination. It enriches and inspires.
We have come together because we share a passion for the power of music. We believe that music is important in itself and for its ability to change how we think, feel and act. For this reason, music plays a prominent part in young people's lives, both in and out of school, and from the very earliest age.

We believe music has a unique contribution to make to education - and by that we mean the education of all children, not just those with the potential to become great professional musicians and composers. We know that the creativity at the heart of music-making can help raise attainment and motivate young people.
We believe that music is important for the social and cultural values it represents and promotes, and for the communities it can help to build and to unite. We share the conviction that music education should reflect the diversity of Britain today and should be accessible to everyone. We also recognise music for the important contribution it makes to the economy.

In this country, we are extremely fortunate in the richness of our musical heritage - and in the breadth and quality of our contemporary resources. From professional orchestras to aspiring DJs, from composers and songwriters to music publishers, from adult and mixed age ensembles to the youngest musicians, we have many strengths. But we believe that music can do more.

The signatories to this manifesto are committed to working together to deliver an exciting range of musical experiences to all young people, helping to create the soundtrack to their lives. The manifesto sets out our shared priorities over the next five years. It is not a conventional kind of manifesto. Most significantly, it is not a one-off statement.

The first part of the manifesto represents our joint commitment - a shared strategy and set of priorities for the future. The second part allows each organisation to showcase its own distinctive contribution. As each of our organisations moves forward, we will use this manifesto as a benchmark for our activity and Government will use it as a guide for future policy development. In this way we hope it will continue to inspire new supporters, and support initiatives, rather than gathering dust.

The Music Manifesto has been developed by DfES and DCMS in collaboration with music organisations and arts practitioners, with the music industry, the Musicians' Union, the TTA, the Specialist Schools Trust, Arts Council England, QCA, Ofsted and Youth Music.

Its purpose is to:
1. Act as a statement of common intent that helps align currently disparate activity
Set out a shared agenda for future planning, because we know that real progress depends on action by all of us
2. Make it easier for more organisations and individuals to see how they can contribute to music education
3. Guide Government's own commitment
4. Call on the wider community, in the public, private and community sectors, to join us in enriching the lives of schoolchildren

The time is ripe for a Music Manifesto. There is a groundswell of interest, energy and support from people who want to work together to ensure better music opportunities for all. There is an increasing belief in the power of music to contribute to whole school development and community regeneration. There is greater understanding about what young people want and an increased recognition of the need to bring music education into the 21st century.

Our vision is simple. We want to build pathways for progression in music so that all young people, whatever their background or abilities, have access to a rich and diverse range of musical experiences, within and outside school. We want to create opportunities for young people to pursue their interest wherever it takes them and to develop their talents to the full.

For some, the guidance and support they receive will lead to a passion for music which will last throughout their lives. For others it will lead directly to careers in music - as teachers, producers, composers or performers. Finally, we want to develop a flourishing music sector, strongly supported by music technology and the broadcast media.

The experience of each individual must lie at the heart of this vision. Working together, we have five key aims to fulfill.
sourcehttp://www.musicmanifesto.co.uk/key-aims ,http://skdesigns.com/internet/music/images/strings/

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