I Can’t Sleep - Music Part 3 | Gentle Bedtime Reading for Sleep

Episode Date: December 3, 2019

Drift off with calm bedtime reading about music in this third part of the series, created to ease insomnia and restless nights. This soothing episode continues the exploration of music’s history, culture, and influence, offering gentle insights into how sound and rhythm shape human expression. Benjamin’s peaceful cadence transforms learning into relaxation, with no whispering or hypnosis—just calm, fact-filled storytelling. You’ll reduce stress, quiet your mind, and find rest while discovering more about music’s enduring role in our lives. Press play and drift into sleep. Want More? Request a Topic: https://www.icantsleeppodcast.com/request-a-topic Ad-Free Episodes: https://icantsleep.supportingcast.fm/ Shop Sleep-Friendly Products: https://www.icantsleeppodcast.com/sponsors Join the Discussion on Discord: https://discord.gg/myhGhVUhn7 This content is derived from the Wikipedia article on Music, available under the Creative Commons Attribution-ShareAlike (CC BY-SA) license. Read the full article: Wikipedia – Music. Happy sleeping! Learn more about your ad choices. Visit megaphone.fm/adchoices

You're listening to a Glassbox media podcast. What if I told you that most of the modern day self-help advice you've been hearing could actually make you worse? The key to a better life isn't about feel-good gimmicks that sound catchy. The Mentally Stronger Podcast gives you access to a licensed therapist who shares science-backed tools that will actually change your life. Hi, I'm Amy Morin, psychotherapist, mental strength trainer, and international best-selling author. In each episode, we cover research-back strategies, like how to stop relying on willpower and start creating habits for lasting change. And the five mental strength-building exercises you can do from your couch. I also speak to world-class experts like Dr. Nicole Kane, who shares how to permanently heal anxiety by addressing the root cause.

With over 200 episodes in our catalog, this podcast is for you if you're ready to crush self-doubt, conquer challenges, and become stronger than ever with therapist-approved strategies that can change your life. Listen to Mentally Stronger with therapist Amy Morin, wherever you get your podcasts. Welcome to the I Can't Sleep podcast, where I read random articles from across the web to bore you to sleep with my soothing voice. I'm your host, Benjamin Boster. Today's episode is part three in a series on music from Wikipedia.org. An individual's culture or ethnicity plays a role in their music cognition, including their preferences, emotional reaction, and musical memory. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy.

And adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features. Additionally, individuals' musical memory abilities are greater for culturally familiar music than for culturally unfamiliar music. Many ethnographic studies demonstrate that music is a participatory community-based activity. Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert, forming a music community, which cannot be understood as a functional, of individual will or accident. It includes both commercial and non-commercial participants with a shared set of values.

Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a high culture and low culture. High culture types of music typically include Western art music, such as Baroque, classical, romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

Other types of music, including but not limited to, jazz, blues, soul, and country, are often performed in bars, nightclubs, and theaters, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between high and low musical forms was widely accepted as a valid distinction that separated out better quality, more advanced art music from the popular styles of music heard in bars and dance halls. However, in the 1980s and 1990s, musicologists studying this perceived divide between high and low musical genres argued that this distinction is not based on the musical value or quality. of the different types of music. Rather, they argued that this distinction was based largely on the socioeconomic standing or social class of the performers or audience of the different types of music.

For example, whereas the audience for classical symphony concerts typically have above-average incomes, the audience for a rap concert in an inner-city area may have below-average incomes. even though the performers audience or venue where non-art music is performed may have a lower socioeconomic status the music that is performed such as blues rap punk funk or ska may be very complex and sophisticated when composers introduce styles of music that break with convention there can be a strong resistance from academic music experts and popular culture Late period Beethoven's string quartets, Stravinsky Ballet Scores, Serialism, B-Bop-era, jazz, hip-hop, punk, rock, and electronica have all been considered non-music by some critics when they were first introduced.

Such themes are examined in the sociology of music. The sociological study of music, sometimes called socio-musicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology. Women have played a major role in music throughout history, as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics, music journalists, and other musical professions. As well, it describes music movements, events and genres related to women, women's issues, and feminism. In the 2010's, while women comprise a significant proportion of popular music and

classical music singers and a significant proportion of songwriters, many of them being singer-songwriters, there are few women record producers, rock critics, and rock instrumentalists. Although there have been a huge number of women composers in classical music, from the medieval period to the present day, women composers are significantly under-reported. presented in the commonly performed classical music repertoire. Music history textbooks and music encyclopedias, for example, in the concise Oxford's history of music, Clara Schumann is one of the only female composers who is mentioned.

Women comprise a significant proportion of instrumental soloists in classical music, and the percentage of women in orchestras is increasing. A 2015 article on concerto soloists and major Canadian orchestras, however, indicated that 84% of the soloists with the orchestra symphonique de Montreal were men. In 2012, women still made up just 6% of the top-ranked Vienna Philharmonic Orchestra. Women are less common as instrumental players in popular music genres such as rock and heavy metal, although there have been a number of notable female instrumentalists and all-female bands. women are particularly underrepresented in extreme metal genres.

In the 1960s pop music scene, like most aspects of the music business in the 1960s, songwriting was a male-dominated field. Though there was plenty of female singers on the radio, women were primarily seen as consumers. Singing was sometimes an acceptable pastime for a girl, but playing an instrument, writing songs, or producing records. simply wasn't done. Young women were not socialized to see themselves as people who create music.

Women are also underrepresented in orchestral conducting, music criticism, music journalism, music producing, and sound engineering. While women were discouraged from composing in the 19th century, and there are few women musicologists, women became involved in music education, to such a degree that women dominated this field, during the latter half of the 19th century and well into the 20th century. According to Jessica Duchin, a music writer from London's The Independent, women musicians in classical music are too often judged for their appearances rather than their talent,

and they face pressure to look sexy on stage and in photos. Dutchin states that, while there are women musicians who refuse to play on their looks, the ones who do tend to be more materially successful. According to the UK's Radio 3 editor, Edwina Wollstonecroft, the music industry has long been open to having women in performance or entertainment roles. But women are much less likely to have positions of authority, such as being the leader of an orchestra. In popular music, while there are many women singers recording songs,

there are very few women behind the audio console acting as music producers, the individuals who direct and manage the recording process. One of the most recorded artists is Asha Bosla, an Indian singer best known as a playback singer in Hindi cinema. The music that composers make can be heard through several media. The most traditional way is to hear it live in the presence of the musicians, or as one of the musicians, in an outdoor or indoor space, such as an amphitheater, concert hall, cabaret room, or theater. Since the 20th century, live music can also be broadcast over the radio, television, or the internet. or recorded and listen to on a CD player or MP3 player.

Some musical styles focus on producing a sound for a performance, while others focus on producing a recording that mixes together sounds that were never played live. Recording, even of essentially live styles such as rock, often uses the ability to edit and splice to produce recordings that may be considered better than the actual performance. technology has had an influence on music since prehistoric times when cave people used simple tools to bore holes into bone flutes 41,000 years ago. Technology continued to influence music throughout the history of music, as it enabled new instruments and music notation reproduction systems to be used, with one of the watershed moments in music notation being the invention of the printing press in the 1400s, which meant music scores no longer had to be hand-copied.

In the 19th century, music technology led to the development of a more powerful, louder piano and led to the development of new valves brass instruments. In the early 20th century, in the late 1920s, as talking pictures emerged in the early 20th century, with their pre-recorded musical tracks, an increasing number of movie house orchestra musicians found themselves out of work. During the 1920s, live musical performances by orchestras, pianists, and theater organists were common at first-run theaters.

With the coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians, AFM, took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a can labeled canned music, big noise brand, guaranteed to produce no intellectual or emotional reaction, whatever. Since legislation introduced to help protect performers, composers, publishers, and producers, including the Audio Home Recording Act of 1992 in the United States, and the 1979 revised Byrne Convention for the Protection of Literary and Artistic Works in the United Kingdom,

recordings and live performances have also become more accessible through computers, devices and internet in a form that is commonly known as music on demand. In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through a recorded form, such as sound recording or watching a music video, became more common than experiencing live performance, roughly in the middle of the 20th century.

Sometimes live performances incorporate pre-recorded sounds. For example, a disc jockey uses disc records for scratching, and some 20th century works have a solo for an instrument or voice that is performed along with music that is pre-recorded on a tape. Computers and many keyboards can be programmed, to produce and play musical instrument digital interface music. Audiences can also become performers by participating in karaoke. An activity of Japanese origin centered on a device that plays voice eliminated versions of well-known

songs. Most karaoke machines also have video screens that show lyrics to songs being performed. Performers can follow the lyrics as they sing over the instrumental tracks. The advent of the internet and widespread high-speed broadband access has transformed the experience of music, partly through the increased ease of access to recordings of music via streaming video, and vastly increased choice of music for consumers. Chris Anderson, in his book The Long Tail, Why the Future of Business is Selling Less of More, suggests that while the traditional economic model of supply and demand describes scarcity,

the internet retail model is based on abundance. Digital storage costs are low, so a company can afford to make its whole recording inventory available online, giving customers as much choice as possible. It has thus become economically viable to offer music recordings that very few people are interested in. Consumers growing awareness of their increased choice results in a closer association between listening tastes

and social identity and the creation of thousands of niche markets. Another effect of the internet arose with online communities and social media websites like YouTube and Facebook, a social networking service. These sites make it easier for aspiring singers and amateur bands to distribute videos of their songs, connect with other musicians, and gain audience interest. Professional musicians also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own. According to Don Tapp Scott and Anthony D. Williams in their book, Wikinomics,

there has been a shift from a traditional consumer role to what they call a pro-sumer role, a consumer who both creates content and consumes. Manifestations of this in music include the production of mashes, remixes, and music videos by fans. The music industry refers to the businesses connected with the creation and sale of music. It consists of songwriters and composers who create new songs and musical pieces, music producers and sound engineers who record songs and pieces, record labels and publishers that distribute recorded music products and sheet music internationally, and that often control the rights of those products. Some music labels are independent, while others are independent, while others

are subsidiaries of larger corporate entities or international media groups. In the 2000s, the increasing popularity of listening to music as digital music files and MP3 players, iPods or computers, and of trading music on file-sharing websites, or buying it online in the form of digital files, had a major impact on the traditional music business. Many smaller independent CD stores went out of business as music buyers decreased their purchases of CDs, and many labels had lower CD sales. Some companies did well with the change to a digital format, though, such as Apple's iTunes, an online music store that sells digital files of songs over the internet.

In spite of some international copyright treaties, determining which music is in the public domain is complicated by the variety of national copyright laws that may be applicable. U.S. copyright law formerly protected printed music published after, 1923 for 28 years and with renewal for another 28 years. The Copyright Act of 1976 made renewal automatic, and the Digital Millennium Copyright Act changed the calculation of the copyright term to 70 years after the death of the creator. Recorded sound falls under mechanical licensing, often covered by a confusing

patchwork of state laws. Most cover versions are licensed through the Harry Fox agency. Performance rights may be obtained by either performers or the performance venue. The two major organizations for licensee are BMI and ASCAP. Two online sources for public domain music are IMSLP International Music Score Library Project and choral Public Domain Library, CPDL. The incorporation of some music or singing training into general education for preschool to post-secondary education is common. in North America and Europe. Involvement in playing and singing music is thought to teach basic skills such as concentration,

counting, listening, and cooperation, while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas. In an elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of what. Western art music and traditional music. Some elementary school children also learn about popular music styles. In religious schools, children sing hymns and other religious music. In secondary schools and less commonly in elementary schools, students may have the opportunity to perform in some

styles of music ensembles, such as choirs, a group of singers, marching bands, concert bands, jazz bands or orchestras. In some school systems, music lessons on how to play instruments may be provided. Some students also take private music lessons after school with a singing teacher or instrument teacher. Amateur musicians typically learn basic musical rudiments, e.g. learning about musical notation for musical scales and rhythms, and beginner to intermediate level singing or instrument playing techniques. At the university level, students in most arts and humanities programs can receive credit for taking a few music courses, which typically take the form of an overview course on the history of music,

or a music appreciation course that focuses on listening to music and learning about different music styles. In addition, most North American and European universities have some types of musical ensembles that students in arts and humanities are able to participate in, such as choirs, marching bands, concert bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yoghikaarta Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum

to include music of non-Western cultures, such as the music of Africa or Bali, e.g. Gamelan music. Individuals aiming to become professional musicians, singers, composers, songwriters, music teachers, and practitioners of other music-related professions, such as music history professors, sound engineers, and so on, study and specialized post-secondary programs offered by colleges, universities and music conservatories. Some institutions that train individuals for careers and music offer training in a wide range of professions, as is the case with many of the top U.S.

universities, which offer degrees in music performance, including singing and playing instruments, music history, music composition, music education, for individuals aiming to become elementary or high school music teachers, and in some cases conducting. On the other hand, some small colleges may only offer training in a single profession, e.g. sound recording. While most university and conservatory music programs focus on training students in the classical music, there are a number of universities and colleges that train musicians for careers as jazz or popular music musicians and composers, with notable U.S. examples including the Manhattan School of Music and the Berkeley College of Music. Two important schools in Canada which offer professional jazz training are McGill University and Humber

College. Individuals aiming at careers in some types of music such as heavy metal music, country music or blues are less likely to become professionals by completing degrees or diplomas in colleges or universities. Instead, they typically learn about their style of music by singing and or playing in many bands, often beginning in amateur bands, cover bands, and tribute bands. studying recordings available on CD, DVD, and the Internet, and working with already established professionals in their style of music, either through informal mentoring or regular music lessons. Since the 2000s, the increasing popularity and availability of Internet forums

and YouTube how-to videos have enabled many singers and musicians from metal, blues, and similar genres to improve their skills. Many pop, rock, and country singers train informally with vocal coaches and singing teachers. Undergraduate university degrees in music, including the Bachelor of Music, the Bachelor of Music Education, and the Bachelor of Arts, with a major in music, typically take about four years to complete. These degrees provide students with a grounding in music theory and music history, and many students also study an instrument or learn singing technique.

as part of their program. Graduates of undergraduate music programs can seek employment or go on to further study in music graduate programs. Bachelor's degree graduates are also eligible to apply to some graduate programs and professional schools outside of music, e.g. public administration, business administration, library science, and in some jurisdictions, teachers' college, law school, or medical school. graduate music degrees include the Master of Music, the Master of Arts, and Musicology, Music Theory, or another music field, the Doctor of Philosophy, Ph.T., A.G. and Musicology or Music Theory. And more recently, the Doctor of

musical arts, or D.M.A. The Master of Music degree, which takes one to two years to complete, is typically awarded to students studying the performance of an instrument, education, voice, singing, or composition. The Master of Arts degree, which takes one to two years to complete and often requires a thesis, is typically awarded to students studying musicology, music history, music theory, or ethnomusicology. The PhD, which is required for students who want to work as university professors in musicology, music history, or music theory, takes three to five years of study after the master's degree, during which time the student will complete advanced courses and undertake research for a dissertation. The DMA is a relatively new degree that was created to provide a credential for professional performers

or composers that want to work as university professors in musical performance or composition. The DMA takes three to five years after a master's degree and includes advanced courses, projects, and performances. In medieval times, the study of music was one of the quadrivium of the seven liberal arts and considered vital to higher learning. Within the quantitative quadrivium, music or more accurately harmonics, was the study of rational proportions. Musicology, the academic study of the subject of music, is studied in universities and music conservatories.

The earliest definitions from the 19th century defined three sub-disciplines of musicology, systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In 2010-era scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field of psychoacoustics. The study of music of non-Western cultures and the cultural study of music is called ethnomusicology. Students can pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several different types of degrees,

including bachelor's degrees, master's degrees, and PhD degrees. Music theory is the study of music, generally in a highly technical manner outside of other disciplines. More broadly, it refers to any study of music, usually related in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory even of music of the common practice period may take many other forms.

Musical set theory is the application of mathematical set theory to music, first applied to atonal music. Speculative music theory, contrasted with analytic music theory, is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation for composition. Zoolmusicalogy is the study of the music of non-human animals, or the musical aspects of sounds produced by non-human animals. As George Herzog, 1941, asked, Do animals have music? Francois Bernard Marchet, Music, Myth, Nature, Oludafin, D'Ein, D'Erein, 1983, a study of ornitho-musicology, using a technique of Nicholas Ruud's language,

music, poizier, 1972. paradigmatic segmentation analysis shows that bird songs are organized according to a repetition transformation principle Jean-Jacques Natiz 1990 argues that in the last analysis it is a human being who decides what is and is not musical even when the sound is not of human origin if we acknowledge that sound is not organized and conceptualized that is made to form music, merely by its producer, but by the mind that perceives it, then music is uniquely human. In the West, much of the history of music that is taught deals with the Western civilization's art music, which is known as classical music.

The history of music in non-Western cultures, world music, or the field of ethnomusicology, which typically covers music from Africa and Asia is also taught in Western universities. This includes the documented classical traditions of Asian countries outside the influence of Western Europe, as well as the folk or indigenous music of various other cultures. Popular are folk styles of music in non-Western countries varied widely from culture to culture and from period to period.

Different cultures emphasized different instruments, techniques, singing styles, and uses for music. Music has been used for entertainment, ceremonies, rituals, religious purposes, and for practical and artistic communication. Non-Western music has also been used for propaganda purposes, as was the case with Chinese opera during the Cultural Revolution. There is a host of music classifications for non-Western music,

many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music or art music and popular music or commercial music, including non-Western styles of rock, country, and pop music-related styles. Some genres do not fit neatly into one of these big two classifications, such as folk music, world music, or jazz-related music. As world cultures have come into greater global contact, their indigenous musical styles have often merged with other styles, which produces new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German, and African instrumental and vocal traditions, which were able to fuse in the United States multi-ethnic melting pot society.

Some types of world music contain a mixture of non-Western indigenous styles with Western pop music elements. genres of music are determined as much by tradition and presentation as by the actual music. Some works like George Gershwin's Rhapsody and Blue are claimed by both jazz and classical music, while Gershwin's Porgy and Bess and Leonard Bernstein's Westide story are claimed by both opera and the Broadway musical tradition. Many current music festivals for non-Western music include bands and singers from a a particular musical genre, such as world music. Indian music, for example, is one of the oldest and longest living types of music, and is still widely heard and performed in South Asia, as well as internationally,

especially since the 1960s. Indian music has mainly three forms of classical music, Hindustani, Carnatic, and Drupod styles. It is also a large repertoire of styles, which involve only percussion music such as the Talavadya performances famous in South India.