Here’s an interesting article that speaks about how the brains of practicing instrumentalists differs from those of people who don’t play an instrument (I’m not certain if vocalists are covered, since there’s no physical instrument in their hands). Essentially, brain symmetry, the communication between left and right hemispheres, is increased – particularly for keyboardists. This can lead to heightened hearing, dexterity, pitch and speech recognition and even picking up on emotional changes.
Here’s a fascinating article dealing with findings about musicians’ brains. It deals with personality traits, aptitudes, creativity and a lot more. There are comparisons with the general populace and with other types of artists and musicians – especially with visual artists. Links throughout the article provide a lot of additional supporting info.
Apparently, musicians – especially instrumental musicians – are more open, conscientious and agreeable than non-musicians. I mostly agree with that (is that being agreeable?!). Regarding music and expression in general, when reading various music forums and even listening to people when I’m outside or at shows, I notice that those who don’t play instruments tend to vocalize more critical opinions about what they’re hearing than those who do play one. Instrumentalists tend to observe more, and their criticisms are generally in comparison to their own experiences. I often wonder if they’re imagining themselves playing along with what they’re hearing, which is something I do all the time. I unconsciously tap out rhythms and keep time whenever I’m listening to something.
Anyway – give the article a look. The concept of “bold introvert” is new to me, much like the ambivert was, from something else I was reading.
This is great. 😉
I was reading a thread on Talkbass while eating in which the original poster asked for advice on constructing bass lines. He wants to be able to create something that infuses the sounds of Les Claypool and Geddy Lee. He’s gotten a lot of advice so far, but what caught my eye as I was munching is a video from Bobby McFerrin, who back in the 80s released that all-vocal song, Don’t Worry, Be Happy.
I never cared for the song – probably on account of me being in my early teens and not being happy – but I can’t discredit him for being talented and working with a wide range of accomplished musicians. I’m also curious now about how our toddler would take to it – she’s been making a lot of interesting noises and plays a game where we have to imitate her sounds, pretty much every day. Wifey laughed just last night about how much it sounds like Mandarin.
Anyway, here’s a video from McFerrin that illustrates audience participation using the pentatonic scale. Its a scale that’s always intrigued me. I remember reading about how its considered a sort of universal scale. Cultures all over the world make use of its 5 tones, from aboriginal people to Native Americans to various African and European people everywhere.
It actually ties-in with research from earlier this year about feelings of power and the low end:
Here are videos of some of the songs that were included in Mr. A‘s series, The Amazing Human Musical Mind, in which he discusses the developmental impact of music on children’s brains. I’ve actually never heard any of these songs before, and here I thought I knew a lot of nursery rhymes…
The 2nd song, “No More Pie” is interesting in that its an echo song, so after something is sung, the child sings it back. The instructor, Hannah Lynn Mell, has some other videos, including a song called “My Aunt Came Back” which adds body movements to the song as well. It looks a little more complicated than walking and chewing bubble gum at the same time.
Over the last ten posts, I offered a series on early childhood music education. Today, I’d like to share with you some of the songs I mentioned and recommended in that series. Below you will find some videos of music educators performing these songs. The materials from John Feierabend are available from GIA Publications.
“The Crabfish” is a delightful song that children enjoy. It is one of those stories one can sing to children while they just listen and enjoy.
“No More Pie” is an echo song used to develop a good singing voice and accurate repetition. I also suggested using the song with your own words to help children memorize days of the week, the weather, or whatever you are teaching them.
Here is a video of an early childhood music class with parents participating. You will see children trying to time their movements to those of the adults…
View original post 270 more words
I meant to reblog this a while ago, but got caught up in other things. Here’s the last segment of Mr. A‘s series, The Amazing Human Musical Mind, in which he discusses the developmental impact of music on children’s brains. In his concluding piece, he speaks about singing to children as part of conversation or when giving directions, as well as incorporating call-and-response so that they sing back when communicating with you.
Apparently, children often sing in two pitches, which he identifies as mi and so, or the 3rd and 5th of a given scale, which are chord tones. I never realized that, so now I need to look for it with our toddler.
Anyway, singing like this allows children to explore pitch and rhythm – which means they’re also learning about space and time, including following patterns and predicting the next note when answering (or even when listening along). Reading poetry aloud accomplishes the same thing – which is interesting, because I read a lot of nursery rhymes and other rhyming stories to our toddler, and she does seem to pick up on the rhythm when I get it right. She chants stuff back to me during the day a lot – in particular, nursery rhymes.
Here are the other parts of the series:
Another way you can work singing into your normal routine is to converse with children by singing. All it takes is two or three pitches, and you can easily say or ask children anything while you sing. For example, you could sing Boys and girls; it’s circle time going back and forth between two pitches.You could also sing directions, such as, Sit in a circle and then I’ll read you a poem. Or, you can use call and response. Ask your children what day of the week it is, and then they sing back the answer. Boys and girls, what day is it?Mr. Adams, it is Friday. All this on just two pitches, like the two you hear children naturally chant when they are playing. Musicians recognize…
View original post 722 more words
Here’s a fantastic video that was posted on the blog Music Incom plete. It demonstrates cymatics, something I’ve not heard of before, but I’ve seen simple displays of and never thought about. According to Wikipedia:
Cymatics is the study of visible sound co vibration, a subset of modal phenomena. Typically the surface of a plate, diaphragm, or membrane is vibrated, and regions of maximum and minimum displacement are made visible in a thin coating of particles, paste, or liquid. Different patterns emerge in the excitatory medium depending on the geometry of the plate and the driving frequency.
This video is just plain cool. The thing that I really liked about it was how these elements and materials shifted in a way that I have never seen and they changed to the sound of music. The fire and water were really cool to watch. This makes it feel like all of these different things are connected and the music is the glue. I also noticed that the video quality was very nice. Each shot was very specific as you see the right angle that shows you the reaction of these materials to the power of bass and the levels of music. I think it’s a neat way to look at music from a physical stand point. Check it out below!
(Video provided by Nigel John Stanford)