I realized, recently, that this blog is so different in purpose than my other blog that I have never linked the two. This blog is completely random in design and purpose; however, the other one is specifically a poetry blog, where I "showcase" my current poetry projects and experiment with juxtaposing music and poetry, which I think is a beautiful art. So, here is the link! If you enjoy poetry of any sort, you'll probably find something you like. Some is very dark, some is funny, some is purely experimental:
http://kinshop.blogspot.com/
Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts
Monday, October 1, 2012
Saturday, November 5, 2011
I Hate Pop Music
In a recent conversation with my father (recent meaning in the past five months), we were discussing classic “hippy” music and other music from the 70’s which my father so enjoyed. I’ve been exposed to and love quite a bit of it, and I was sharing with him some of my irritation with how little regard it is given – especially since it is such a staple in the United States’ history. My father pointed out, with some disgust, that at least the music of that age – despite the trashing it often receives these days – meant something. People were trying to spread messages to other people about what was important to them politically, spiritually, and socially. As he said this, I did not challenge him, but I did wonder: do the singers who are popular today still express “the issues” as they did in the 70’s? Has that desire to influence been lost?
First, it is important to note exactly what is important to people during this age. To name several issues off the top of my head: sexual liberties (a freedom to express your sexuality without fear of discrimination – I am not only referring to gay rights but also to the feminist movement and similar movements), animal and nature protection/rights, self esteem (the need to feel beautiful, important, and completely in charge or your life), carpe diem (the freedom to live how you want to, even if that means being an alcoholic or living on a constant high), the need to be number one in someone’s life (to be in love – even if with someone who isn’t right for you or doesn’t want to be with you), and being rich (the ultimate goal is to be powerful with as little effort as possible). These are, in my estimation, those issues which are most important to this generation, whether they be right or not
I took my thoughts even further. Music for my father’s generation was meant to represent that generation, and what they represented was clear in their music. Even if my generation isn’t singing about the issues which are important to them, what messages are they sending about what is important? What will people be studying in fourty years and saying: “What the heck were they on?”
To answer my own questions, I pulled two albums: one of a feminist and one of an openly homosexual male who are considered two of the top artists in America. They are performers, they are singers, they are 21st century American icons: Christina Aguilera and Adam Lambert. I decided to pay close attention to the messages these two artists are sending to other countries, this generation, and the next generation. The albums I pulled were “For Your Entertainment,” and “Bionic.” If you read further, please take note that I will be referencing lyrics which may be offensive – containing language and sexually explicit phrases. It is my intention to prove to you that this generation of pop singers is attempting to indoctrinate certain beliefs into this generation and the next through their music. They use crude, blunt methods to get their points across, and it is my hope that you will see the dangerous power to which we expose ourselves and others.
Now, I have spent a lot of time listening to both of these albums. I am intimate with each of them partially because I have a sister who enjoys listening to this sort of music. I do not wish to insult her or anyone else by saying that listening to this music rots your brain, but I will say that I hope you come to understand how influential the music you listen to can be.
First, I will pick one song from each album which I believe addresses one or more of the issues I mentioned and discuss each in some detail.
From Adam Lambert’s album: “For Your Entertainment.” This song cannot be played on the radio because of the sexually vulgar lyrics. Some songs, you can just bleep out a few words, and it’s okay, but not with this song. This song describes, in great detail, the sexual encounter of two people. We are not told the sexual orientation of this “couple,” but that is the only vague thing about the lyrics. There are three things especially disturbing about this song: There is an intimation that the performer has seduced or trapped the other person into the sexual encounter. Things are said like: “There’s no way you’ll ring the alarm,” “no escaping when I start,” and “I’ma hurt ya real good, Baby.” Although it is never directly said, it is implied that this experience is not completely consensual. Second, there is a hunger – a need – for complete power and dominance: “It’s all right, you’ll be fine, Baby, I’m in control. Take the pain, take the pleasure; I’m the master of both.” Thirdly, and probably most disturbing, this seduction and hunger for power are combined and portrayed as a gift to the victim: “Ya thought an angel swept ya off your feet. Well I’m about to turn up the heat; I’m here for your entertainment.” What is a person to say? Hey, I’m being molested, but I’m sure entertained!
From Christina Aguilera’s album: “Vanity.” Here’s another one you won’t hear on the radio. It is full of crude sexual references and language. The basis of the song is that the singer is so amazing, she can live life within herself, regardless of what people think of her. Again, I have three things I want to point out which are particularly troublesome in this song: Right away, you are brusquely told that the singer is clearly the star of… everything. The singer makes some startling claims such as: “Mirror, mirror on the wall, who’s the flyest bitch of them all? Never mind, I am… ain’t nobody got shit on me; I’m the best for sure.” Secondly, there is a complete disregard of anyone who might think little of the singer: “Hit up Prince Charming, telling him give me a call. Never mind, screw him… I make myself so much wetter… Can’t love no one else ‘til you love yourself, and if they don’t like it, tell ‘em get in line and kiss your ass… It’s me. Bow down; get on your knees.” Obviously, this person needs power, and she isn't shy about her self conceit: "And now I take myself to be my lawfully wedded bitch." Lastly, the performer claims that powers are her birth-given rights, and she can do with them as she wishes. Having this power means she will live forever in the memories of later generations: “V is for vanity. Every time I look at me I turn myself on… thank you, Mom and Daddy… and the legacy lives on, going strong. Let us not forget.” The song ends with the singer asking: “Who owns the throne?” You hear the voice of her baby son saying: “You do, Mommy.” In an interview, Aguilera was asked how she felt about her son hearing her singing such music. Her answer was that she wanted her son to be aware and appreciate the powers and rights of strong women. Hm…
If you flip through the other music of these two artists, you will find more themes that draw attention to what is important to this generation: “Everybody’s looking for some love, but they don’t know how to let it all hang out, and that’s why they’re solo” (Lambert: Strut). “Step in the light for your perfect close-up. Be superficial; it’s your one shot… it’s all an attitude” (Aguilera: Glam). “I know every apple here ain’t bad, but I found a worm in every single one I had. Boys, they’re only good for fruit – I mean bananas… oh, boys, you should pack ‘em up and ship ‘em out… I hate ‘em” (Aguilera: I Hate Boys).
When people study our music, years from now, what will they see? Will they know about the politics of the time or will they see the true desires of a generation? I’ve come to agree with my father: music used to give important messages in an attempt to better the human race. This generation, however, is all about self satisfaction. I gave you two horrible examples, but they are in no way the worst, nor are they uncommon. If you think you can handle it, try listening to the entire Aguilera album and feeling uplifted or hopeful. Perhaps try turning on the radio and finding popular music which isn’t focused on being on top.
I tried.
First, it is important to note exactly what is important to people during this age. To name several issues off the top of my head: sexual liberties (a freedom to express your sexuality without fear of discrimination – I am not only referring to gay rights but also to the feminist movement and similar movements), animal and nature protection/rights, self esteem (the need to feel beautiful, important, and completely in charge or your life), carpe diem (the freedom to live how you want to, even if that means being an alcoholic or living on a constant high), the need to be number one in someone’s life (to be in love – even if with someone who isn’t right for you or doesn’t want to be with you), and being rich (the ultimate goal is to be powerful with as little effort as possible). These are, in my estimation, those issues which are most important to this generation, whether they be right or not
I took my thoughts even further. Music for my father’s generation was meant to represent that generation, and what they represented was clear in their music. Even if my generation isn’t singing about the issues which are important to them, what messages are they sending about what is important? What will people be studying in fourty years and saying: “What the heck were they on?”
To answer my own questions, I pulled two albums: one of a feminist and one of an openly homosexual male who are considered two of the top artists in America. They are performers, they are singers, they are 21st century American icons: Christina Aguilera and Adam Lambert. I decided to pay close attention to the messages these two artists are sending to other countries, this generation, and the next generation. The albums I pulled were “For Your Entertainment,” and “Bionic.” If you read further, please take note that I will be referencing lyrics which may be offensive – containing language and sexually explicit phrases. It is my intention to prove to you that this generation of pop singers is attempting to indoctrinate certain beliefs into this generation and the next through their music. They use crude, blunt methods to get their points across, and it is my hope that you will see the dangerous power to which we expose ourselves and others.
Now, I have spent a lot of time listening to both of these albums. I am intimate with each of them partially because I have a sister who enjoys listening to this sort of music. I do not wish to insult her or anyone else by saying that listening to this music rots your brain, but I will say that I hope you come to understand how influential the music you listen to can be.
First, I will pick one song from each album which I believe addresses one or more of the issues I mentioned and discuss each in some detail.
From Adam Lambert’s album: “For Your Entertainment.” This song cannot be played on the radio because of the sexually vulgar lyrics. Some songs, you can just bleep out a few words, and it’s okay, but not with this song. This song describes, in great detail, the sexual encounter of two people. We are not told the sexual orientation of this “couple,” but that is the only vague thing about the lyrics. There are three things especially disturbing about this song: There is an intimation that the performer has seduced or trapped the other person into the sexual encounter. Things are said like: “There’s no way you’ll ring the alarm,” “no escaping when I start,” and “I’ma hurt ya real good, Baby.” Although it is never directly said, it is implied that this experience is not completely consensual. Second, there is a hunger – a need – for complete power and dominance: “It’s all right, you’ll be fine, Baby, I’m in control. Take the pain, take the pleasure; I’m the master of both.” Thirdly, and probably most disturbing, this seduction and hunger for power are combined and portrayed as a gift to the victim: “Ya thought an angel swept ya off your feet. Well I’m about to turn up the heat; I’m here for your entertainment.” What is a person to say? Hey, I’m being molested, but I’m sure entertained!
From Christina Aguilera’s album: “Vanity.” Here’s another one you won’t hear on the radio. It is full of crude sexual references and language. The basis of the song is that the singer is so amazing, she can live life within herself, regardless of what people think of her. Again, I have three things I want to point out which are particularly troublesome in this song: Right away, you are brusquely told that the singer is clearly the star of… everything. The singer makes some startling claims such as: “Mirror, mirror on the wall, who’s the flyest bitch of them all? Never mind, I am… ain’t nobody got shit on me; I’m the best for sure.” Secondly, there is a complete disregard of anyone who might think little of the singer: “Hit up Prince Charming, telling him give me a call. Never mind, screw him… I make myself so much wetter… Can’t love no one else ‘til you love yourself, and if they don’t like it, tell ‘em get in line and kiss your ass… It’s me. Bow down; get on your knees.” Obviously, this person needs power, and she isn't shy about her self conceit: "And now I take myself to be my lawfully wedded bitch." Lastly, the performer claims that powers are her birth-given rights, and she can do with them as she wishes. Having this power means she will live forever in the memories of later generations: “V is for vanity. Every time I look at me I turn myself on… thank you, Mom and Daddy… and the legacy lives on, going strong. Let us not forget.” The song ends with the singer asking: “Who owns the throne?” You hear the voice of her baby son saying: “You do, Mommy.” In an interview, Aguilera was asked how she felt about her son hearing her singing such music. Her answer was that she wanted her son to be aware and appreciate the powers and rights of strong women. Hm…
If you flip through the other music of these two artists, you will find more themes that draw attention to what is important to this generation: “Everybody’s looking for some love, but they don’t know how to let it all hang out, and that’s why they’re solo” (Lambert: Strut). “Step in the light for your perfect close-up. Be superficial; it’s your one shot… it’s all an attitude” (Aguilera: Glam). “I know every apple here ain’t bad, but I found a worm in every single one I had. Boys, they’re only good for fruit – I mean bananas… oh, boys, you should pack ‘em up and ship ‘em out… I hate ‘em” (Aguilera: I Hate Boys).
When people study our music, years from now, what will they see? Will they know about the politics of the time or will they see the true desires of a generation? I’ve come to agree with my father: music used to give important messages in an attempt to better the human race. This generation, however, is all about self satisfaction. I gave you two horrible examples, but they are in no way the worst, nor are they uncommon. If you think you can handle it, try listening to the entire Aguilera album and feeling uplifted or hopeful. Perhaps try turning on the radio and finding popular music which isn’t focused on being on top.
I tried.
Adagio for Strings: A Lesson of Contemplation
Samuel Barber was born the ninth of March, 1910, surrounded by experimental composers such as Copland, Stravinsky, and Cowell – all composers who had dabbled in the trends of modern composing but also composed music which was more easily responded to by a listening audience. Barber, however, rarely bothered to follow the composing movements of his time. He had been raised with the extensive music training of friends and family, because it was noticed early in his life that he had great musical talents and abilities. His vocal training was the focus, and his experiences as a singer gave him a sensitive ear when composing that greatly influenced his musical style. His music often had long, plaintive melody lines that sounded strongly influenced by vocal music. His music was conservative and simple yet was composed with such intuitiveness, it did not sound apathetic; rather, it sounded contemplative.
Barber’s piece Adagio for Strings is an epitome of his composing style. It seems to express the depth of emotions in a style that ‘speaks.’ The melody lines and harmonies are quite simple, and the form is repetitive and easy to follow. Looking at that alone would make the piece appear rather boring, but it is made rich by overlapping of melodies, suspensions, and subtle builds and fading. Nothing is so unexpected that you are jerked from the meditative reverie the music draws you into; instead, you find yourself carried through stages of lament and pondering. It is clearly influenced by Barber’s vocal experience – so much so that it has been arranged for vocals.
Different performances of the piece take various approaches and showcase assorted musical things. In one vocal recording I listened to, the choir was so in tune, you could hear overtones of the base line.
There was a recording of the piece which was faster than many versions, which some would have an aversion to; however, I found that it moved very much at the speed of thought. Although it probably was, indeed, faster than Barber had intended, it more was introspective than the slower versions. I found it similar to the idea that some would quote Shakespeare slowly and thoughtfully while others prefer to quote him quickly, as though they are speaking as quickly as they consider.
Most of the recordings I listened to averaged just over ten minutes long, but no matter how long the recording is, the piece never loses its elegiac contemplation. In many live recordings, the audience is so enraptured with the piece the end is often followed by five to ten seconds of absolute silence. In one recording, the conductor of the piece was weeping.
I did not find that I preferred one version over the others. It is one of those pieces which immediately captures the listener with its expressiveness and exploration of melancholy articulation. It has a subtle energy that you rarely find in pieces which focus on complicated rhythms, harmonies, and melodies.
For myself, I fell even more in love with the piece than I already was. I often scour my music resources for pieces which are filled with passionate emotion. A Russian at heart, I often find the romantic music of the European composers more emotionally satisfying. That which is complicated often catches my ear, so I am naturally drawn to such music. Tonality isn’t that important to me, so I am just as mesmerized by Penderecki’s ‘Polymorphy’ as the prelude to Wagner’s ‘Lohengrin.’ I have found, however, that simpler music can be just as beautiful when the composer has a strong understanding of how to subtly express emotions. Pärt is an excellent example of this. His minimalist composition ‘Summa for Strings’ was a piece that I found myself thinking about as I listened to Barber’s ‘Adagio for Strings.’ The pieces are similar in the slow, pensive way they were written. Though the ‘Summa’ is a faster piece and with a more concise vocal range, it is melodically rich with a related dynamic style. There are not the same variation elements, but there are the same uses of dissonances and tensions. The biggest difference, I think, is that the ‘Adagio’ is more introspective whereas the ‘Summa’ is more contextual and outwardly focused. One is personal while the other is almost expression for the sake of expression. That does not necessarily make one better than the other, though some would argue that music which is emotionally engaging is always the preeminent choice.
After realizing this, it is no wonder that Barber is one of the most performed composers in Europe. Through his subtle forms of expression and emotion, and his love of the musical voice, he has captured a musical picture of the most passionate heart. It is never the number of pieces that a composer writes that makes him or her one of the best but rather the quality of those singularly outstanding works and their ability to touch people in a way that no other music can. Paul Wittke said of him: “His heart was rarely on display, well concealed under his Roman patrician manner. But his heart was large, his wit hid his sensitivity, his melancholy was his response to the sadness of the world.” Perhaps, though, the simplest way to describe his music is to use the words of French author Victor Hugo: “Music expresses that which cannot be said and on which it is impossible to be silent”
~~~~~~~~~~~~~~~~~~~~
A link for my favourite recording: http://www.youtube.com/watch?v=lV3SHBFyDZM&feature=related
Barber’s piece Adagio for Strings is an epitome of his composing style. It seems to express the depth of emotions in a style that ‘speaks.’ The melody lines and harmonies are quite simple, and the form is repetitive and easy to follow. Looking at that alone would make the piece appear rather boring, but it is made rich by overlapping of melodies, suspensions, and subtle builds and fading. Nothing is so unexpected that you are jerked from the meditative reverie the music draws you into; instead, you find yourself carried through stages of lament and pondering. It is clearly influenced by Barber’s vocal experience – so much so that it has been arranged for vocals.
Different performances of the piece take various approaches and showcase assorted musical things. In one vocal recording I listened to, the choir was so in tune, you could hear overtones of the base line.
There was a recording of the piece which was faster than many versions, which some would have an aversion to; however, I found that it moved very much at the speed of thought. Although it probably was, indeed, faster than Barber had intended, it more was introspective than the slower versions. I found it similar to the idea that some would quote Shakespeare slowly and thoughtfully while others prefer to quote him quickly, as though they are speaking as quickly as they consider.
Most of the recordings I listened to averaged just over ten minutes long, but no matter how long the recording is, the piece never loses its elegiac contemplation. In many live recordings, the audience is so enraptured with the piece the end is often followed by five to ten seconds of absolute silence. In one recording, the conductor of the piece was weeping.
I did not find that I preferred one version over the others. It is one of those pieces which immediately captures the listener with its expressiveness and exploration of melancholy articulation. It has a subtle energy that you rarely find in pieces which focus on complicated rhythms, harmonies, and melodies.
For myself, I fell even more in love with the piece than I already was. I often scour my music resources for pieces which are filled with passionate emotion. A Russian at heart, I often find the romantic music of the European composers more emotionally satisfying. That which is complicated often catches my ear, so I am naturally drawn to such music. Tonality isn’t that important to me, so I am just as mesmerized by Penderecki’s ‘Polymorphy’ as the prelude to Wagner’s ‘Lohengrin.’ I have found, however, that simpler music can be just as beautiful when the composer has a strong understanding of how to subtly express emotions. Pärt is an excellent example of this. His minimalist composition ‘Summa for Strings’ was a piece that I found myself thinking about as I listened to Barber’s ‘Adagio for Strings.’ The pieces are similar in the slow, pensive way they were written. Though the ‘Summa’ is a faster piece and with a more concise vocal range, it is melodically rich with a related dynamic style. There are not the same variation elements, but there are the same uses of dissonances and tensions. The biggest difference, I think, is that the ‘Adagio’ is more introspective whereas the ‘Summa’ is more contextual and outwardly focused. One is personal while the other is almost expression for the sake of expression. That does not necessarily make one better than the other, though some would argue that music which is emotionally engaging is always the preeminent choice.
After realizing this, it is no wonder that Barber is one of the most performed composers in Europe. Through his subtle forms of expression and emotion, and his love of the musical voice, he has captured a musical picture of the most passionate heart. It is never the number of pieces that a composer writes that makes him or her one of the best but rather the quality of those singularly outstanding works and their ability to touch people in a way that no other music can. Paul Wittke said of him: “His heart was rarely on display, well concealed under his Roman patrician manner. But his heart was large, his wit hid his sensitivity, his melancholy was his response to the sadness of the world.” Perhaps, though, the simplest way to describe his music is to use the words of French author Victor Hugo: “Music expresses that which cannot be said and on which it is impossible to be silent”
~~~~~~~~~~~~~~~~~~~~
A link for my favourite recording: http://www.youtube.com/watch?v=lV3SHBFyDZM&feature=related
Appreciating the Eloquence of Rachmaninov’s 3rd Concerto
Sergei Rachmaninov was born on April 1st, 1873. He was the one of six children in a well-to-do, aristocratic, Russian family. He lived a life tinged with sorrow and disappointments. At a very young age, he was encouraged in his piano abilities by his mother, a professional pianist, and Rachmaninov was later able to obtain a scholarship to the Petersburg Conservatory. To the disappointment of teachers, who recognized his talent, he was an unruly and troublesome student.
In 1885, by recommendation of Alexander Siloti, Nikolai Zverev took Rachmaninov as a piano student in his special school for aristocratic families. Talent, not wealth, was a necessity. Rachmaninov was not eager to move to Moscow, but was comforted by the fact that his sister, Elena, would also be moving there to sing in the Bolshoi Opera House. However, she died before she even was able to travel there. Rachmaninov was devastated.
Rachmaninov’s studies with Zverev were intense and demanding. Practice began at two in the morning, and the students were required to play extremely complicated music from memory for distinguished dinner guests. One piece Rachmaninov learned to play by heart, after only two years of study, was Beethoven’s Fifth Symphony, for eight hands, two pianos. Memorization of music was, without doubt, one of Rachmaninov’s greatest gifts.
Throughout his life, Rachmaninov continued his musical studies with various teachers, such as Taneyev. His compositions grew more and more complex, until three happenings in rapid succession, ripped his world apart. Two of his heroes, Tchaikovsky and Zverev, died, and the performance of his first symphony was a disaster, because of a drunken orchestra director. Rachmaninov sank into a deep depression, and after several years, when it become apparent that he was not getting any better, his friends persuaded him to seek help. After three months of intense therapy from Dr. Dahl, Rachmaninov started composing again.
In 1909, just nine years later, Rachmaninov wrote one of his greatest works: His Piano Concerto No. 3 in D Minor. This piece was, and is still today, considered the most difficult piece for any accomplished pianist to master. Rachmaninov himself, a master of the piano, did not deny having problems with the technical aspect of the piece. The piece was written to be played in Rachmaninov’s first tour of the United States. Played for the first time in New York, it was a great success.
The third concerto is a work of art no matter from which aspect you view it. It has a beautiful melody line that you find yourself humming. It is simple enough to remember, yet varied in numerous ways so that it never becomes monotonous. The technicality is daunting to any musician, but the skilled pianist makes it look and sound easy. The piece as a whole is haunting and tainted with a Russian aura that permeated many of Rachmaninov’s works.
Rachmaninov’s concerto was unique in that it did not fit the style of concertos during that time. Mozart had long ago set the style for any concerto: Three movement form, with contrasting rhythms and tones. This basic form was still used during Rachmaninov’s time, but a more atonal and dissonant sound was being heard in the music, and the scores were written in such a way that the soloist and orchestra were rivals. Rachmaninov adhered to the style of the Romantic period, not so much focusing on the idea of the orchestra playing against the piano, as if in combat, but rather the orchestra and piano complimented each other, more like dance partners.
Today, the 3rd concerto is considered to be ‘the’ piece for an accomplished pianist to learn. It was the piece selected by Olga Kern which won her the International Van Cliburn Competition in 2001. In 2007, it won Alexander Ghindin first prize in the Cleveland International Competition. In the 2006 Hamamatsu International Piano Competition, in Japan, the concerto was played by the third prize winner, Tae-Hyung Kim. It was used by Leif Ove Andsnes as his Russian debut piece. It is a piece mastered by talents from all over the world such as Lang Lang (China), Martha Argerich (Argentina), Van Cliburn (United States), Vladimir Ashkenazy (Russia),Vikingur Olafsson (Iceland), and Jorge Bolet (Cuba). It was also made popular through the movie “Shine,” based on the story of David Helfgott and his mission to learn the concerto.
What is it about Rachmaninov’s 3rd Concerto that makes it such a attraction, not only to pianist wanting to show off his or her technique, but also to those that listen to it? Perhaps a walk through the concerto will help paint the clearest vision of this masterpiece.
The concerto opens with an extremely short orchestral introduction, to establish the rhythm and key signature of the piece. The piano enters at the third measure, establishing the main theme. The theme is a simple, step-wise melody line that is beautiful as well as mysterious. When the melody has been introduced, the orchestra repeats it, with the piano playing complicated arpeggios and trills above it, making it appear that the piano and orchestra have switched parts. The theme grows in intensity and is developed by layering the melody more and more subtly within the development. Rachmaninov’s love of full sounding chords, complicated technique, and a beautiful melody line are very obvious. After the development, the theme is reintroduced and then developed in a way that heads into a totally different direction. Whereas the development in the beginning had contained a sweeter and more sympathetic overtone, the second major development is darker and heavier, as if the music is reaching for it’s highest emotional pull, so as to convey the great emotions it can not put into words. The climax of the second development slowly dies, with the help of light, chromatic scales, and seems to enter into a new world of musical curiosity. This development seems to end on a question mark, rather that a statement. Then the development is further developed into an almost angry or frustrated tone color. In the soloist’s cadenza, the music seems to climb upwards, as though trying to grasp that emotion that it can’t quite express completely. As the climax reaches it’s fullest height, Rachmaninov again used gentle arpeggios to relax the listener, and leads into a gentle melody that makes you want to laugh and weep all at once. This quiet melody subtly leads you into the third repeat of the main melody, and before you know it, you are back where you started. The Allegro unexpectedly ends on a note of mystery.
The second movement (Intermezzo) introduces an entirely new theme, as well as a new rhythm and tone. The orchestra plays a long introduction, which has a great feeling of the lowest depths of sadness. When the piano finally enters, it is on a note of a heavier sadness, as though one is angry at the same time. The pianist has a brief moment to explain the pain and the orchestra reenters, as if to quiet the piano with a calmer descant. The piano seems to agree to calm, though a burst of anger seems to come through, as if it cannot not be completely calmed. It is an unexpected emotion in this movement, because it started so quietly. As the melody develops, however, the huge chords take on a different light, the sound seeming almost painful in musical texture. It further develops into a section that has quick repetition of notes, sound almost like flight, then slowly mellows away from this idea. The orchestra takes over, developing this theme and bringing us back to a sound similar to the beginning of the Intermezzo. This idea is suddenly burst and forgotten when the piano enters with flying scales, octaves, and thick chords. This abrupt change brings you dramatically into the Finale.
The Finale takes on such an unexpected transformation from the Intermezzo that one almost forgets to pay attention to the wonderful developments taking place through the virtuosic technique of the pianist. Almost before you can catch your breath, the pure dramatic display of this new, and yet familiar theme being fully revealed. Rachmaninov’s ability to express so much, and yet not simplify anything in the least, was one of his greatest gifts. He was considered to be a pianist who knew the limits of the virtuosic pianist, and his music pushed for every ounce of talent and technique the performer could possibly muster. It did not transcend the pianist’s ability, but rather it made sure that the pianist could not play without the utmost balance of talent and well-practiced technique. The Scherzando of the Finale seems to briefly move away from the theme, and show off the players technical abilities, then it moves from that into light arpeggios and scales, almost imperceptibly playing a beautiful melody line, which too few performers of the piece seem to recognize. This theme lowers quickly, running down the scale, and into the development of the Finale’s beginning theme. One of the best things Rachmaninov did for this piece was to give the player a rest from the large chorded climaxes and melded into the piece many fragments of lighter developments of the theme. He used this structure well throughout the entire piece, but it is especially noticeable in the finale. The melody is given time to structure itself and is given an almost transcendent beauty as the piano takes its moments to breath and slowly play a small melody line before the orchestra quietly hums the beginning chords and the movement has recognizably begun it’s main theme over again. One can almost feel that the orchestra is holding back slightly, as though afraid to reenter the world of heightened emotions that the soloist is constantly bringing its listener back to; However, when the soloist enters, the orchestra seems to finally give in to the pure magic of rich emotions that only Rachmaninov was able to display in his music. The Vivace noticeably draws it’s listener into a climax with its upward motion and march-like tempo. The orchestra builds up suddenly, allowing the soloist to almost sing it’s melody line from the first movement, which has developed in such a way that it unifies the entire piece together. The listener wonders how the music has reached a place of such naked and vulnerable emotion. As if coming to grips with the emotions themselves, the soloist makes one last climb to the greatest heights of emotion, almost bringing its listener to tears, then brings itself back down, as if resolved to no longer be controlled by sadness and determined to live life to its fullest.
Classical music critics have not been easy on Rachmaninov. His works are so technical that they believe he is too technical. They compare him to the composers who wrote scores and scores of some of the most beautiful music ever heard; and yet one should still consider this: Perhaps it is not the amount of pieces that a composer writes that makes he or she the best but rather the quality of those singularly outstanding works and their ability to touch people in a way that no other music can. Rachmaninov may not have written the most outstanding music, or the best, even, but he did something that no other composer has ever done: He wrote music that defines emotions in their most quintessential form and surpasses what we can put into words.
In 1885, by recommendation of Alexander Siloti, Nikolai Zverev took Rachmaninov as a piano student in his special school for aristocratic families. Talent, not wealth, was a necessity. Rachmaninov was not eager to move to Moscow, but was comforted by the fact that his sister, Elena, would also be moving there to sing in the Bolshoi Opera House. However, she died before she even was able to travel there. Rachmaninov was devastated.
Rachmaninov’s studies with Zverev were intense and demanding. Practice began at two in the morning, and the students were required to play extremely complicated music from memory for distinguished dinner guests. One piece Rachmaninov learned to play by heart, after only two years of study, was Beethoven’s Fifth Symphony, for eight hands, two pianos. Memorization of music was, without doubt, one of Rachmaninov’s greatest gifts.
Throughout his life, Rachmaninov continued his musical studies with various teachers, such as Taneyev. His compositions grew more and more complex, until three happenings in rapid succession, ripped his world apart. Two of his heroes, Tchaikovsky and Zverev, died, and the performance of his first symphony was a disaster, because of a drunken orchestra director. Rachmaninov sank into a deep depression, and after several years, when it become apparent that he was not getting any better, his friends persuaded him to seek help. After three months of intense therapy from Dr. Dahl, Rachmaninov started composing again.
In 1909, just nine years later, Rachmaninov wrote one of his greatest works: His Piano Concerto No. 3 in D Minor. This piece was, and is still today, considered the most difficult piece for any accomplished pianist to master. Rachmaninov himself, a master of the piano, did not deny having problems with the technical aspect of the piece. The piece was written to be played in Rachmaninov’s first tour of the United States. Played for the first time in New York, it was a great success.
The third concerto is a work of art no matter from which aspect you view it. It has a beautiful melody line that you find yourself humming. It is simple enough to remember, yet varied in numerous ways so that it never becomes monotonous. The technicality is daunting to any musician, but the skilled pianist makes it look and sound easy. The piece as a whole is haunting and tainted with a Russian aura that permeated many of Rachmaninov’s works.
Rachmaninov’s concerto was unique in that it did not fit the style of concertos during that time. Mozart had long ago set the style for any concerto: Three movement form, with contrasting rhythms and tones. This basic form was still used during Rachmaninov’s time, but a more atonal and dissonant sound was being heard in the music, and the scores were written in such a way that the soloist and orchestra were rivals. Rachmaninov adhered to the style of the Romantic period, not so much focusing on the idea of the orchestra playing against the piano, as if in combat, but rather the orchestra and piano complimented each other, more like dance partners.
Today, the 3rd concerto is considered to be ‘the’ piece for an accomplished pianist to learn. It was the piece selected by Olga Kern which won her the International Van Cliburn Competition in 2001. In 2007, it won Alexander Ghindin first prize in the Cleveland International Competition. In the 2006 Hamamatsu International Piano Competition, in Japan, the concerto was played by the third prize winner, Tae-Hyung Kim. It was used by Leif Ove Andsnes as his Russian debut piece. It is a piece mastered by talents from all over the world such as Lang Lang (China), Martha Argerich (Argentina), Van Cliburn (United States), Vladimir Ashkenazy (Russia),Vikingur Olafsson (Iceland), and Jorge Bolet (Cuba). It was also made popular through the movie “Shine,” based on the story of David Helfgott and his mission to learn the concerto.
What is it about Rachmaninov’s 3rd Concerto that makes it such a attraction, not only to pianist wanting to show off his or her technique, but also to those that listen to it? Perhaps a walk through the concerto will help paint the clearest vision of this masterpiece.
The concerto opens with an extremely short orchestral introduction, to establish the rhythm and key signature of the piece. The piano enters at the third measure, establishing the main theme. The theme is a simple, step-wise melody line that is beautiful as well as mysterious. When the melody has been introduced, the orchestra repeats it, with the piano playing complicated arpeggios and trills above it, making it appear that the piano and orchestra have switched parts. The theme grows in intensity and is developed by layering the melody more and more subtly within the development. Rachmaninov’s love of full sounding chords, complicated technique, and a beautiful melody line are very obvious. After the development, the theme is reintroduced and then developed in a way that heads into a totally different direction. Whereas the development in the beginning had contained a sweeter and more sympathetic overtone, the second major development is darker and heavier, as if the music is reaching for it’s highest emotional pull, so as to convey the great emotions it can not put into words. The climax of the second development slowly dies, with the help of light, chromatic scales, and seems to enter into a new world of musical curiosity. This development seems to end on a question mark, rather that a statement. Then the development is further developed into an almost angry or frustrated tone color. In the soloist’s cadenza, the music seems to climb upwards, as though trying to grasp that emotion that it can’t quite express completely. As the climax reaches it’s fullest height, Rachmaninov again used gentle arpeggios to relax the listener, and leads into a gentle melody that makes you want to laugh and weep all at once. This quiet melody subtly leads you into the third repeat of the main melody, and before you know it, you are back where you started. The Allegro unexpectedly ends on a note of mystery.
The second movement (Intermezzo) introduces an entirely new theme, as well as a new rhythm and tone. The orchestra plays a long introduction, which has a great feeling of the lowest depths of sadness. When the piano finally enters, it is on a note of a heavier sadness, as though one is angry at the same time. The pianist has a brief moment to explain the pain and the orchestra reenters, as if to quiet the piano with a calmer descant. The piano seems to agree to calm, though a burst of anger seems to come through, as if it cannot not be completely calmed. It is an unexpected emotion in this movement, because it started so quietly. As the melody develops, however, the huge chords take on a different light, the sound seeming almost painful in musical texture. It further develops into a section that has quick repetition of notes, sound almost like flight, then slowly mellows away from this idea. The orchestra takes over, developing this theme and bringing us back to a sound similar to the beginning of the Intermezzo. This idea is suddenly burst and forgotten when the piano enters with flying scales, octaves, and thick chords. This abrupt change brings you dramatically into the Finale.
The Finale takes on such an unexpected transformation from the Intermezzo that one almost forgets to pay attention to the wonderful developments taking place through the virtuosic technique of the pianist. Almost before you can catch your breath, the pure dramatic display of this new, and yet familiar theme being fully revealed. Rachmaninov’s ability to express so much, and yet not simplify anything in the least, was one of his greatest gifts. He was considered to be a pianist who knew the limits of the virtuosic pianist, and his music pushed for every ounce of talent and technique the performer could possibly muster. It did not transcend the pianist’s ability, but rather it made sure that the pianist could not play without the utmost balance of talent and well-practiced technique. The Scherzando of the Finale seems to briefly move away from the theme, and show off the players technical abilities, then it moves from that into light arpeggios and scales, almost imperceptibly playing a beautiful melody line, which too few performers of the piece seem to recognize. This theme lowers quickly, running down the scale, and into the development of the Finale’s beginning theme. One of the best things Rachmaninov did for this piece was to give the player a rest from the large chorded climaxes and melded into the piece many fragments of lighter developments of the theme. He used this structure well throughout the entire piece, but it is especially noticeable in the finale. The melody is given time to structure itself and is given an almost transcendent beauty as the piano takes its moments to breath and slowly play a small melody line before the orchestra quietly hums the beginning chords and the movement has recognizably begun it’s main theme over again. One can almost feel that the orchestra is holding back slightly, as though afraid to reenter the world of heightened emotions that the soloist is constantly bringing its listener back to; However, when the soloist enters, the orchestra seems to finally give in to the pure magic of rich emotions that only Rachmaninov was able to display in his music. The Vivace noticeably draws it’s listener into a climax with its upward motion and march-like tempo. The orchestra builds up suddenly, allowing the soloist to almost sing it’s melody line from the first movement, which has developed in such a way that it unifies the entire piece together. The listener wonders how the music has reached a place of such naked and vulnerable emotion. As if coming to grips with the emotions themselves, the soloist makes one last climb to the greatest heights of emotion, almost bringing its listener to tears, then brings itself back down, as if resolved to no longer be controlled by sadness and determined to live life to its fullest.
Classical music critics have not been easy on Rachmaninov. His works are so technical that they believe he is too technical. They compare him to the composers who wrote scores and scores of some of the most beautiful music ever heard; and yet one should still consider this: Perhaps it is not the amount of pieces that a composer writes that makes he or she the best but rather the quality of those singularly outstanding works and their ability to touch people in a way that no other music can. Rachmaninov may not have written the most outstanding music, or the best, even, but he did something that no other composer has ever done: He wrote music that defines emotions in their most quintessential form and surpasses what we can put into words.
Saturday, July 4, 2009
All People Are Stupid - Chapter One
All People Are Stupid
A Guide to Helping People Think
by Sarah D. Miller
Chapter 1: How to Get A’s In Class
Success In High School, College, and Beyond
When taking classes, there is always this need for students to get an A in everything; However, there is also the misconception that there are special tricks to getting this coveted grade. This chapter is to help the reader come to the realization that an A that is hard to get is given only to the student who wants it. How have I come to this conclusion? Simply by knowing that getting an A requires work, and the work required seems far too much for some to handle. Through this chapter, I hope to make the task a little easier and clearer to those who have a difficult time. Also, to those who are no longer in school and think that there is no need for them to read this chapter, you are wrong! Much of the information in this chapter can be helpful to people who are not students, especially when it comes to learning about how the brain reacts to its surroundings.
There are 7 major steps to doing well in classes.
Attending
Listening
Knowing when to take notes
Asking Questions
Studying/Doing Homework
Follow Up
Taking Good Tests
The first step is to attend the class. This may seem like an obvious thing to say, but it is not uncommon for college students to simply skip a class for no real reason at all. I’ve watched students come in for a class, and if the teacher was not already there, they would leave. I often heard other students discuss skipping their next class just because they wanted to. This is a very bad habit to begin and very hard to break if started. If you ever feel the urge, immediately ban that idea from your mind. Skipping class means you could miss out on what could be a major class lecture and/or discussion. There may be an important assignment given, due the next class, which you will not be able to hand in, unless you ask about the class (which most students do not do). Even skipping a review class is unwise, because good teachers, although most of the time very well organized, will sometimes forget about important information you may need to know until they look over the test you are reviewing for. If this is ever the case and you miss a review class, you might fail based on the information you could not have possibly studied for. I have watched students fail classes as a direct result from this very problem. It is never a good idea to miss a class.
The second step is to listen to the teacher. This is one of the hardest parts, believe it or not. The newest generations are being raised on fast-paced sports, video games, movies, etc. As a result, anything that does not vary its method of output about every five minutes will soon become boring to its audience. This is bad for the teachers who are trying to teach wandering minds and eyes. The most interesting teacher I had was one who was constantly varying his methods. I never came close to falling asleep in his classes. One minute he would be writing on the board, then next he would have the overhead on, the next he would start a discussion, the next there was a pop quiz. However, another teacher of equal caliber I found extremely dull, because he never varied his teaching methods. I was almost always feeling lulled to sleep in his class. It was not that the class bored me. I was interested in it, but I could not easily keep my attention on the same method of teaching for almost hour and thirty minutes (which was how long my classes were, on average). Note: I said it was not easy, but neither was it impossible. When faced with a class that is too methodical and meticulous, it becomes important to keep your brain alert. There are hundreds of ways to do this, and every person is different. Everyone can do this in a different way. I knew someone who did word-searches to keep from being distracted. I knew someone else who color coded all her notes. When I was falling asleep, I retraced my notes. This kept me awake and alert. The key is to find out what can keep you alert, but also undistracted. Do not choose to do a crossword puzzle or something that would require you to think. Pick something that will be not be distracting to others and that you can do without thinking.
The third step is knowing when and how to take notes. There are only three things you should ever write down. Write down whatever your teacher writes on the board or has on the power-point notes, especially term definitions. Do NOT write down something if your teacher says it will not be important. If you do, later when you are studying, you will see the ‘unimportant’ as just as important as everything else. This will keep you from having everything else as solid as it could have been. If you want to write it down just because you think it is interesting, have a special place in your notebook or binder to put down these notes.
The second thing to write notes for is on whatever the teacher says, “This is important,” or something along those lines. If the teacher says it’s important, always write it down. Also write it down if the teacher repeats something several times. This is a teacher’s way of giving you time to write something down that is relevant to whatever you are studying. Pay close attention if you want to catch this. It is one of the more subtle ways a teacher can help you take notes.
The final things you would write down would be notes on the lecture itself. This means: a lecture that is given without the teacher writing on the board or providing power-point notes. This is the hardest way to take notes, but if you know how to take notes, it will be easier. Often a teacher will emphasize a point by pronouncing words very carefully and slightly louder than usual. Write these things down. Be sure to write down names, dates, and term definitions wherever they come up, unless you are told they are not important.
My final point is on how to actually take notes. The most important thing you can ever learn about notes is: Do not try to write down everything word for word, except for some definitions. This makes notes copious and hard to read when you are later studying for tests. You have to write so fast that your words are sloppy, and often to difficult to translate later. The key is to choose key words from the main point. If the teacher says, “It is important to remember this: In 1918, although the life expectancy was twelve years higher, the Spanish Influenza killed enough people of middle age for this to be lowered.” You can shorten this greatly by writing down only some key words: 1918 - Spanish Influenza -twelve year life expectancy drop (You could even shorten this further if you learn to use appropriate numbers, symbols, and abbreviations in place of a whole word: Span Flu ‘18 - 12 yr. exp. Drop). You don’t have to write down anything except that which will help you to remember the information given. I once had a teacher that only allowed three words per main point, but it is easier for me to remember from fragments of phrases, whereas I had a sibling who could remember a whole paragraph from just a few words. To each his own, but shorten your notes to as few phrases or words as possible. This will save you a lot of time in studying later.
The fourth step is asking questions. This can be very difficult for some, but with the new world of technology, teachers now have e-mail! This means that you can never make excuses about not knowing material or being sure about your facts! Even if you don’t have your teachers personal e-mail, if you are in college, there are often e-mails for instructors on the college website; However, if it is possible, you should always ask the teacher your questions in person. E-mail should be a last resort. I often e-mailed my instructors to set up a time when we could meet, and I could ask questions. What sort of questions should you ask? Ask about anything you aren’t clear on, especially if you are confused about a difference between two terms or ideas. Also make sure you are completely clear about what your assignments are and what will be on your test. Asking questions about your grades is also a good idea, especially if you received a grade that was lower than your expectations. This is not to say you should challenge the grade. The point is to learn from your mistakes and try to do better on your next test and/or assignment. You teacher will be pleased with your coming and requesting advice on how to do better. A student who asks questions is greatly valued by a good teacher.
The fifth step is to study and apply yourself to your homework. Study? Homework?! Yes! It is recommended that you apply at least two hours of study a week for every class credit you take. The harder the class, the more study required. During your study time, finish the homework first, and in the order it is due. If you have three assignments, a paper Tuesday, a study guide on Friday, and a page of work due the next week, the logical thing to finish first would be the paper. It doesn’t matter which assignment is harder. Do what comes first. After you are done with the assignments immediately due then you can move on to other assignments. When simply studying for a subject, to not overwork yourself. If you need to study Psychology for an hour, but after 20 minutes you feel brain-dead, take a break and work on something else. Do your best to eliminate all distractions. Distractions are not the same for everybody. Some people study better with music playing while others would be banging their heads against the wall if music was playing in the next room. It is also important to remain alert while you are studying. This means you probably shouldn’t study on your bed, especially if you’re tired. When I study, I have music playing and lots of water available. The music keeps my mind from wandering, and drinking the water keeps me from falling asleep. Find things like this to keep you awake, but try not to make snacking one of these things. Snacking while doing homework in college can cause unwanted weight gain.
The sixth step in acquiring A’s is following up on your classes. This is a step that is skipped by most students, but it is also a very rewarding step. There are two parts of it. The first is to do research on your class subject. For instance, if you are doing critical reading, a good way to follow up on this would be to research the author, the time period, and the story itself (Critical essays, similar stories, discussion of plot, symbols, theme, etc.). I did this for all of my interactive classes, and it helped a great deal. It is extra work, and it is certainly not required, but you will always do better, especially critically, if you have researched the topic of discussion. Like I said, it is extra work, but the outcome is tremendous, and your teachers will notice the extra effort.
The second way to follow up on classes is to either have a study group with either classmates and/or have someone with whom you can discuss what you are learning in class. This is extremely important. Studies have shown that people who discuss what they are learning in class are able to conserve what they learn at a much higher percentage than those who just take notes, especially if they discuss it in a teaching fashion. You have to know your information extremely well to teach it, so teaching it will require you to learn and retain the information you need to remember.
Following up on your classes and studies requires extra work than is actually required, but if the class is important to you, you should be willing to do whatever you can to make the class worth your time.
The final step to getting A’s in class is doing well in tests. This might seem like a no brainer, but even if you apply the other six steps, you can still get a bad grade or even fail your class. Yes, this might seem silly. If you’ve spent hours and hours studying, surely the grade is absolute, but that is a very foolish assumption. In preparation for a test, studying is only one part. There are six things, aside from studying, that you need to watch when preparing for your tests.
Alcoholic and drug intake
Sleep
Eating
Music/TV
Time spent just before
God
Watching your alcoholic and drug intake is very important. Note: Caffeine and prescription medications count. Anything that can make you tired, jittery, or confused, is something that you should avoid like the black plague before a test - At least an entire days abstinence. If you walk in for a test drunk or so heavily medicated you can barely keep your eyes open, hours of study go to waste.
Sleep is also very important. Getting enough sleep is critical. You should have at least two nights good sleep before a test, preferably three. Just a good night’s sleep before the day of the test is not enough. If you are tired, it is just as bad as coming in sick. Sleep keeps your brain energized. If your brain is not energized, you can not hope to do as well as you could.
Eating the necessary meals before a tests is also extremely important, especially breakfast. Just as sleep helps the brain prep, food helps the mind sharpen and wake up faster. Also, it is very distracting to yourself and others if your stomach is growling because you are starving. Hunger is a distraction, and if it can be avoided, it should be.
Music and TV are some of the less obvious but most important things to watch when prepping for a test. The most obvious, perhaps, is to make sure you’re not staying up late, watching TV (For those who don’t realize the obvious - TV includes DVD’s, TV programs, and any sort of video game). Also, TV right before a test can be very distracting. This is a bad idea. Avoid staying up late, and avoid direct contact the day of the test.
Music is least obvious because most people aren’t aware of the affects of music on how your brain and body work. Music like Hip Hop, Rock and Roll, and Rap, for example, can have a negative effect. This is because most music of these genres use what is often referred to as staggered rhythm. This means that if the music has four beats (Like 4/4), the downbeat is not played on one and three like it should be - It is played on two and four. If the music has three beats (3/4 for example), the downbeat should be played on one, but in these genres it is often played on beat two or three. The original downbeats of music were designed to be on one and three because they then follow the natural rhythms of the body. Your heartbeat and pulse beat naturally on one and three. When you listen to music that fights this natural rhythm, your body becomes stressed. You may not feel it, but it is there. Another downside is that the music is often very repetitive, and repetitive music is bad for your brain. When it is repetitive, your mind stops computing, because there is no change. The less your mind computes, the more neglected it becomes. The more neglected it becomes, the less able you will be to process thought and information. Obviously, with these downsides, you do not want to be listening to Rap right before a test. This is not to say that these genres should be forever abandoned from your library. It should only show you that a great variety is necessary.
What should you listen to? Studies have shown that students listening to Mozart for ten to twenty minutes, just before a test, resulted in an average of over 50% greater testing results, in each student who participated. Why is this? One of the trademarks of Mozart’s music is its great complexity and rhythmic drive. In fact, most Classical music has been shown to help increase IQ, aide the ability to concentrate, and to help the listener relax. I strongly recommend listening to Classical music just before a test. So, instead of pulling out musicians like Muse, Nickleback, or Snoop Dogg, pull out ones such as Mozart, Beethoven, Vivaldi, or my personal favorite, Rachmaninov. This might upset some who would never be caught dead listening to Classical music, of all things, but there is just as much variety in the world of Classical music as there is in anything else. If you look, I have no doubt in my mind that you will find a type that suits you. Quite frankly, I have yet to meet someone who does not like at least one Classical composer.
It is also important to watch the time you spend within an hour or two of your test. Do not spend this time joking with friends, on your computer, or just messing around. Spend this time preparing and focusing on the tests. You can also spend this time invigorating your mind with the other things in this list I gave. Listen to Mozart, eat a filling snack, and make sure your mind is awake and concentrated on what is coming up. This is not the time to cram but simply to focus on the task ahead.
The very last, and I believe most important thing to watch, is that you have prayed and done your devotions for the day. This might seem silly to some. There have not been studies to show that this greatly increases your grade average, but I know from experience that I feel at greater ease when taking my tests if I feel comfortable in my relationship with God. God gives His children a peace that is comforting at any time, and I welcome it when I am testing! I do not get an A on every test because of this, but I do get them because of God. It is because of Him that I have what intelligence I have, and I think it is important to thank Him for it (And maybe to even remind Him that He wants me to get an A!). I believe He even helps His children remember what they have learned, at times, and have even heard accounts of people who said they only passed tests because of God. Whether or not you choose to believe this practice, I believe it has honestly helped me, or I would not have included it.
Now you know how to take good tests! There is no magic spell or tips for last minute cramming. Getting A’s does not even require intelligence. All it requires is work, work, more work, and a lot of determination to do your absolute best, and it is always worth it.
A Guide to Helping People Think
by Sarah D. Miller
Chapter 1: How to Get A’s In Class
Success In High School, College, and Beyond
When taking classes, there is always this need for students to get an A in everything; However, there is also the misconception that there are special tricks to getting this coveted grade. This chapter is to help the reader come to the realization that an A that is hard to get is given only to the student who wants it. How have I come to this conclusion? Simply by knowing that getting an A requires work, and the work required seems far too much for some to handle. Through this chapter, I hope to make the task a little easier and clearer to those who have a difficult time. Also, to those who are no longer in school and think that there is no need for them to read this chapter, you are wrong! Much of the information in this chapter can be helpful to people who are not students, especially when it comes to learning about how the brain reacts to its surroundings.
There are 7 major steps to doing well in classes.
Attending
Listening
Knowing when to take notes
Asking Questions
Studying/Doing Homework
Follow Up
Taking Good Tests
The first step is to attend the class. This may seem like an obvious thing to say, but it is not uncommon for college students to simply skip a class for no real reason at all. I’ve watched students come in for a class, and if the teacher was not already there, they would leave. I often heard other students discuss skipping their next class just because they wanted to. This is a very bad habit to begin and very hard to break if started. If you ever feel the urge, immediately ban that idea from your mind. Skipping class means you could miss out on what could be a major class lecture and/or discussion. There may be an important assignment given, due the next class, which you will not be able to hand in, unless you ask about the class (which most students do not do). Even skipping a review class is unwise, because good teachers, although most of the time very well organized, will sometimes forget about important information you may need to know until they look over the test you are reviewing for. If this is ever the case and you miss a review class, you might fail based on the information you could not have possibly studied for. I have watched students fail classes as a direct result from this very problem. It is never a good idea to miss a class.
The second step is to listen to the teacher. This is one of the hardest parts, believe it or not. The newest generations are being raised on fast-paced sports, video games, movies, etc. As a result, anything that does not vary its method of output about every five minutes will soon become boring to its audience. This is bad for the teachers who are trying to teach wandering minds and eyes. The most interesting teacher I had was one who was constantly varying his methods. I never came close to falling asleep in his classes. One minute he would be writing on the board, then next he would have the overhead on, the next he would start a discussion, the next there was a pop quiz. However, another teacher of equal caliber I found extremely dull, because he never varied his teaching methods. I was almost always feeling lulled to sleep in his class. It was not that the class bored me. I was interested in it, but I could not easily keep my attention on the same method of teaching for almost hour and thirty minutes (which was how long my classes were, on average). Note: I said it was not easy, but neither was it impossible. When faced with a class that is too methodical and meticulous, it becomes important to keep your brain alert. There are hundreds of ways to do this, and every person is different. Everyone can do this in a different way. I knew someone who did word-searches to keep from being distracted. I knew someone else who color coded all her notes. When I was falling asleep, I retraced my notes. This kept me awake and alert. The key is to find out what can keep you alert, but also undistracted. Do not choose to do a crossword puzzle or something that would require you to think. Pick something that will be not be distracting to others and that you can do without thinking.
The third step is knowing when and how to take notes. There are only three things you should ever write down. Write down whatever your teacher writes on the board or has on the power-point notes, especially term definitions. Do NOT write down something if your teacher says it will not be important. If you do, later when you are studying, you will see the ‘unimportant’ as just as important as everything else. This will keep you from having everything else as solid as it could have been. If you want to write it down just because you think it is interesting, have a special place in your notebook or binder to put down these notes.
The second thing to write notes for is on whatever the teacher says, “This is important,” or something along those lines. If the teacher says it’s important, always write it down. Also write it down if the teacher repeats something several times. This is a teacher’s way of giving you time to write something down that is relevant to whatever you are studying. Pay close attention if you want to catch this. It is one of the more subtle ways a teacher can help you take notes.
The final things you would write down would be notes on the lecture itself. This means: a lecture that is given without the teacher writing on the board or providing power-point notes. This is the hardest way to take notes, but if you know how to take notes, it will be easier. Often a teacher will emphasize a point by pronouncing words very carefully and slightly louder than usual. Write these things down. Be sure to write down names, dates, and term definitions wherever they come up, unless you are told they are not important.
My final point is on how to actually take notes. The most important thing you can ever learn about notes is: Do not try to write down everything word for word, except for some definitions. This makes notes copious and hard to read when you are later studying for tests. You have to write so fast that your words are sloppy, and often to difficult to translate later. The key is to choose key words from the main point. If the teacher says, “It is important to remember this: In 1918, although the life expectancy was twelve years higher, the Spanish Influenza killed enough people of middle age for this to be lowered.” You can shorten this greatly by writing down only some key words: 1918 - Spanish Influenza -twelve year life expectancy drop (You could even shorten this further if you learn to use appropriate numbers, symbols, and abbreviations in place of a whole word: Span Flu ‘18 - 12 yr. exp. Drop). You don’t have to write down anything except that which will help you to remember the information given. I once had a teacher that only allowed three words per main point, but it is easier for me to remember from fragments of phrases, whereas I had a sibling who could remember a whole paragraph from just a few words. To each his own, but shorten your notes to as few phrases or words as possible. This will save you a lot of time in studying later.
The fourth step is asking questions. This can be very difficult for some, but with the new world of technology, teachers now have e-mail! This means that you can never make excuses about not knowing material or being sure about your facts! Even if you don’t have your teachers personal e-mail, if you are in college, there are often e-mails for instructors on the college website; However, if it is possible, you should always ask the teacher your questions in person. E-mail should be a last resort. I often e-mailed my instructors to set up a time when we could meet, and I could ask questions. What sort of questions should you ask? Ask about anything you aren’t clear on, especially if you are confused about a difference between two terms or ideas. Also make sure you are completely clear about what your assignments are and what will be on your test. Asking questions about your grades is also a good idea, especially if you received a grade that was lower than your expectations. This is not to say you should challenge the grade. The point is to learn from your mistakes and try to do better on your next test and/or assignment. You teacher will be pleased with your coming and requesting advice on how to do better. A student who asks questions is greatly valued by a good teacher.
The fifth step is to study and apply yourself to your homework. Study? Homework?! Yes! It is recommended that you apply at least two hours of study a week for every class credit you take. The harder the class, the more study required. During your study time, finish the homework first, and in the order it is due. If you have three assignments, a paper Tuesday, a study guide on Friday, and a page of work due the next week, the logical thing to finish first would be the paper. It doesn’t matter which assignment is harder. Do what comes first. After you are done with the assignments immediately due then you can move on to other assignments. When simply studying for a subject, to not overwork yourself. If you need to study Psychology for an hour, but after 20 minutes you feel brain-dead, take a break and work on something else. Do your best to eliminate all distractions. Distractions are not the same for everybody. Some people study better with music playing while others would be banging their heads against the wall if music was playing in the next room. It is also important to remain alert while you are studying. This means you probably shouldn’t study on your bed, especially if you’re tired. When I study, I have music playing and lots of water available. The music keeps my mind from wandering, and drinking the water keeps me from falling asleep. Find things like this to keep you awake, but try not to make snacking one of these things. Snacking while doing homework in college can cause unwanted weight gain.
The sixth step in acquiring A’s is following up on your classes. This is a step that is skipped by most students, but it is also a very rewarding step. There are two parts of it. The first is to do research on your class subject. For instance, if you are doing critical reading, a good way to follow up on this would be to research the author, the time period, and the story itself (Critical essays, similar stories, discussion of plot, symbols, theme, etc.). I did this for all of my interactive classes, and it helped a great deal. It is extra work, and it is certainly not required, but you will always do better, especially critically, if you have researched the topic of discussion. Like I said, it is extra work, but the outcome is tremendous, and your teachers will notice the extra effort.
The second way to follow up on classes is to either have a study group with either classmates and/or have someone with whom you can discuss what you are learning in class. This is extremely important. Studies have shown that people who discuss what they are learning in class are able to conserve what they learn at a much higher percentage than those who just take notes, especially if they discuss it in a teaching fashion. You have to know your information extremely well to teach it, so teaching it will require you to learn and retain the information you need to remember.
Following up on your classes and studies requires extra work than is actually required, but if the class is important to you, you should be willing to do whatever you can to make the class worth your time.
The final step to getting A’s in class is doing well in tests. This might seem like a no brainer, but even if you apply the other six steps, you can still get a bad grade or even fail your class. Yes, this might seem silly. If you’ve spent hours and hours studying, surely the grade is absolute, but that is a very foolish assumption. In preparation for a test, studying is only one part. There are six things, aside from studying, that you need to watch when preparing for your tests.
Alcoholic and drug intake
Sleep
Eating
Music/TV
Time spent just before
God
Watching your alcoholic and drug intake is very important. Note: Caffeine and prescription medications count. Anything that can make you tired, jittery, or confused, is something that you should avoid like the black plague before a test - At least an entire days abstinence. If you walk in for a test drunk or so heavily medicated you can barely keep your eyes open, hours of study go to waste.
Sleep is also very important. Getting enough sleep is critical. You should have at least two nights good sleep before a test, preferably three. Just a good night’s sleep before the day of the test is not enough. If you are tired, it is just as bad as coming in sick. Sleep keeps your brain energized. If your brain is not energized, you can not hope to do as well as you could.
Eating the necessary meals before a tests is also extremely important, especially breakfast. Just as sleep helps the brain prep, food helps the mind sharpen and wake up faster. Also, it is very distracting to yourself and others if your stomach is growling because you are starving. Hunger is a distraction, and if it can be avoided, it should be.
Music and TV are some of the less obvious but most important things to watch when prepping for a test. The most obvious, perhaps, is to make sure you’re not staying up late, watching TV (For those who don’t realize the obvious - TV includes DVD’s, TV programs, and any sort of video game). Also, TV right before a test can be very distracting. This is a bad idea. Avoid staying up late, and avoid direct contact the day of the test.
Music is least obvious because most people aren’t aware of the affects of music on how your brain and body work. Music like Hip Hop, Rock and Roll, and Rap, for example, can have a negative effect. This is because most music of these genres use what is often referred to as staggered rhythm. This means that if the music has four beats (Like 4/4), the downbeat is not played on one and three like it should be - It is played on two and four. If the music has three beats (3/4 for example), the downbeat should be played on one, but in these genres it is often played on beat two or three. The original downbeats of music were designed to be on one and three because they then follow the natural rhythms of the body. Your heartbeat and pulse beat naturally on one and three. When you listen to music that fights this natural rhythm, your body becomes stressed. You may not feel it, but it is there. Another downside is that the music is often very repetitive, and repetitive music is bad for your brain. When it is repetitive, your mind stops computing, because there is no change. The less your mind computes, the more neglected it becomes. The more neglected it becomes, the less able you will be to process thought and information. Obviously, with these downsides, you do not want to be listening to Rap right before a test. This is not to say that these genres should be forever abandoned from your library. It should only show you that a great variety is necessary.
What should you listen to? Studies have shown that students listening to Mozart for ten to twenty minutes, just before a test, resulted in an average of over 50% greater testing results, in each student who participated. Why is this? One of the trademarks of Mozart’s music is its great complexity and rhythmic drive. In fact, most Classical music has been shown to help increase IQ, aide the ability to concentrate, and to help the listener relax. I strongly recommend listening to Classical music just before a test. So, instead of pulling out musicians like Muse, Nickleback, or Snoop Dogg, pull out ones such as Mozart, Beethoven, Vivaldi, or my personal favorite, Rachmaninov. This might upset some who would never be caught dead listening to Classical music, of all things, but there is just as much variety in the world of Classical music as there is in anything else. If you look, I have no doubt in my mind that you will find a type that suits you. Quite frankly, I have yet to meet someone who does not like at least one Classical composer.
It is also important to watch the time you spend within an hour or two of your test. Do not spend this time joking with friends, on your computer, or just messing around. Spend this time preparing and focusing on the tests. You can also spend this time invigorating your mind with the other things in this list I gave. Listen to Mozart, eat a filling snack, and make sure your mind is awake and concentrated on what is coming up. This is not the time to cram but simply to focus on the task ahead.
The very last, and I believe most important thing to watch, is that you have prayed and done your devotions for the day. This might seem silly to some. There have not been studies to show that this greatly increases your grade average, but I know from experience that I feel at greater ease when taking my tests if I feel comfortable in my relationship with God. God gives His children a peace that is comforting at any time, and I welcome it when I am testing! I do not get an A on every test because of this, but I do get them because of God. It is because of Him that I have what intelligence I have, and I think it is important to thank Him for it (And maybe to even remind Him that He wants me to get an A!). I believe He even helps His children remember what they have learned, at times, and have even heard accounts of people who said they only passed tests because of God. Whether or not you choose to believe this practice, I believe it has honestly helped me, or I would not have included it.
Now you know how to take good tests! There is no magic spell or tips for last minute cramming. Getting A’s does not even require intelligence. All it requires is work, work, more work, and a lot of determination to do your absolute best, and it is always worth it.
Wednesday, September 24, 2008
Enjoying Tchaikovsky
I have been listening to a lot of music recently... Big surprise, huh?! :) Some of you know that I love to listen to the same song played by many different artists... Preferably three at the very least. I'd much rather have ten or more options. Anyway, my song recently has been Tchaikovsky's 1st Piano Concerto. It is a beautifully intricate piece. I have listened to many different artists playing it, including Martha Argerich, Peter Toperczer, Ayako Uehara, Vladimir Ashkenazy, Cecile Licad, Van Cliburn (The Chopin competition recording and the newer recordings), Monty Python :), Dimitris Sgouros, Evgeny Kissin, and some others. It's amazing to me how differently a song can be portrayed. I just wanted to share a little bit of my Tchaikovsky enjoyment with you... So, enjoy!!!
Here is Martha playing the famous octaves:
In order, Vladimir Horowitz (1943)
Van Cliburn (1962)
Vladimir Ashkenazy (1962)
Arthur Rubinstein
Arturo Beneditti Michelangeli
Sviatoslav Richter
Emil Gilels (1979)
Martha Argerich (1980)
Mikhail Pletnev
Dimitris Sgouros (1984)
Alexei Sultanov (1989)
Evgeny Kissin (1988)
Sergio Tiempo
Dong-Heyk Lim (2003)
Boris Berezovsky (2004)
Lang Lang (2004)
(When you see Martha's face, it's Emil playing, and visa versa)
Here is Martha playing the famous octaves:
In order, Vladimir Horowitz (1943)
Van Cliburn (1962)
Vladimir Ashkenazy (1962)
Arthur Rubinstein
Arturo Beneditti Michelangeli
Sviatoslav Richter
Emil Gilels (1979)
Martha Argerich (1980)
Mikhail Pletnev
Dimitris Sgouros (1984)
Alexei Sultanov (1989)
Evgeny Kissin (1988)
Sergio Tiempo
Dong-Heyk Lim (2003)
Boris Berezovsky (2004)
Lang Lang (2004)
(When you see Martha's face, it's Emil playing, and visa versa)
Monday, August 18, 2008
My Favorite Contemporary Singer
Admittedly, he's the only one I listen to :) David Phelps, ladies and gentlemen. I'm not sure what to say about this great man of faith, except that you can see his faith in his singing, and you can hear it in his CD's. Enjoy!
Sunday, July 27, 2008
Do It With A Prayer
I just did another concert today... For those who don't know, I sing. It is a gift; not something I worked to get or bought from someone. Saying this I also say, most humbly, I sing pretty well. I boast of nothing I do not have in Christ, and this is true to the greatest extent.
I have to admit that I was not always humble about it. God had to show me that it was a gift, not something I won, in a way that humbled me greatly. I won't give any details, but suffice it to say I was greatly embarrassed at my big-headedness. God has shown me much since then, and though I can't say I showcase very well, He has shown Himself through me in the most amazing ways.
Something I've never told anyone about my singing is that I always pray and give my song to God before I sing. I do it several times, actually, depending on the amount of preparation I have. I just let God sing through me. I know this may sound very superficial and silly, but I've never felt like it was me singing after I started praying about it beforehand. Before I would struggle to show off, but now I leave it completely up to God what my performance will sound like. If I sound terrible, I can say it's His fault :)
After I started praying beforehand I noticed a difference in my singing that was probably unnoticed by others. If I forget to pray, it is noticed by others, whether they say so or not.
Tonight I prayed so hard. My music was out of place for the concert, because my style was very different... But I gave it to God, and He gave me His Spirit, just like I knew He would. The result? I believe Mom said, "They were transfixed as soon as you started."
All the glory and the honor belongs to my Father.
I have to admit that I was not always humble about it. God had to show me that it was a gift, not something I won, in a way that humbled me greatly. I won't give any details, but suffice it to say I was greatly embarrassed at my big-headedness. God has shown me much since then, and though I can't say I showcase very well, He has shown Himself through me in the most amazing ways.
Something I've never told anyone about my singing is that I always pray and give my song to God before I sing. I do it several times, actually, depending on the amount of preparation I have. I just let God sing through me. I know this may sound very superficial and silly, but I've never felt like it was me singing after I started praying about it beforehand. Before I would struggle to show off, but now I leave it completely up to God what my performance will sound like. If I sound terrible, I can say it's His fault :)
After I started praying beforehand I noticed a difference in my singing that was probably unnoticed by others. If I forget to pray, it is noticed by others, whether they say so or not.
Tonight I prayed so hard. My music was out of place for the concert, because my style was very different... But I gave it to God, and He gave me His Spirit, just like I knew He would. The result? I believe Mom said, "They were transfixed as soon as you started."
All the glory and the honor belongs to my Father.
Wednesday, April 23, 2008
J. S. Bach
Bach was an amazing guy! I've been doing a lot of research on Classical composers, and I found his life one of the most interesting.
He had a temper, like most composers. Once, he called a fellow musician "Kippelfagottist," and, "Nanny-goat Bassoonist!" The man that Bach was speaking to picked up a stick, Bach drew his sword, and they would have dueled if Bach’s friends had not prevented it!
But he was a devoted family man. He had 20 children! He was unlike composers in the fact that he prefered to compose in the middle of daily life, and not in solitude. He wrote his music in the kitchen of his home, while his wife was cooking, and his children running through. His children were allowed to bother him at any time, and he didn't scold them for it. He also enjoyed transcribing Vivaldi's compositions, which made Vivaldi famous.
He was also a godly man. His son, C. P. E. Bach, was said that the family, "Were in the habit of beginning everything with religion." Bach even wrote a godly poem about his tobacco smoking!
Bach loved listening to music so much that he traveled 200 miles, on foot, only to attend a worship service for Advent. He went because he knew that the renowned organist, Dietrich Buxtehude, would be playing. Bach himself sang, played the organ, and violin, and numerous other instruments.
He had a temper, like most composers. Once, he called a fellow musician "Kippelfagottist," and, "Nanny-goat Bassoonist!" The man that Bach was speaking to picked up a stick, Bach drew his sword, and they would have dueled if Bach’s friends had not prevented it!
But he was a devoted family man. He had 20 children! He was unlike composers in the fact that he prefered to compose in the middle of daily life, and not in solitude. He wrote his music in the kitchen of his home, while his wife was cooking, and his children running through. His children were allowed to bother him at any time, and he didn't scold them for it. He also enjoyed transcribing Vivaldi's compositions, which made Vivaldi famous.
He was also a godly man. His son, C. P. E. Bach, was said that the family, "Were in the habit of beginning everything with religion." Bach even wrote a godly poem about his tobacco smoking!
"On land, on sea, and home, abroad,
I smoke my pipe and worship God."
I smoke my pipe and worship God."
Bach loved listening to music so much that he traveled 200 miles, on foot, only to attend a worship service for Advent. He went because he knew that the renowned organist, Dietrich Buxtehude, would be playing. Bach himself sang, played the organ, and violin, and numerous other instruments.
Subscribe to:
Posts (Atom)