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I’ve had a passion for music since i can remember because I grew up with music around me. with my grandma being a music teacher, she always encouraged me to pursue music. At the moment, she is teaching me how to play the piano while she’s in England for the month. I prefer hearing music live because of the atmosphere. I recently saw ‘Mother Mother’ live along with ‘Catfish and the Bottlemen’. I attended this course last year and gained some confidence with performing in front of an audience, something i’ve struggled with for years.

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ABOUT ME: Write a about you and your interests in music, giving examples of artists or bands that have inspired you. You should discuss:

Who you are and your interests and hobbies

Do you play, sing or produce music?

Favourite bands and artists

Favourite songs - explain why you like them

Have you been to any gigs? Who would you like to see perform live?

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This is where you will write a final evaluation of your assignment work. You should discusss:
What went well?
What would you improve?
What did you learn?
What did you enjoy?

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Each week, you should reflect on your practical sessions. You should discuss:

What you did

What you learnt

What went well

What you could improve on

Include screenshots and videos from your own projects and performance sessions

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Present research on music industry job roles explored in class each week, discussing the responsibilities needed for each job. Give examples of famous people.

TIP: You should make us of at least 2 research sources to help you gather your information (websites, articles, videos etc)

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Write a bit about yourself and what you want to achieve with your music one day:

What are your aspirations in music?

What job in music would you like to have one day?

Why do you want to achieve these things?

How do you think you will achieve them (college study, making beats, university, playing in bands etc)?

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Add links to at least 2 songs that you listen to. You should discuss:

What it is you like about each song

The types of sounds and instruments used

What the lyrics, vibe or mood of the songs mean to you?

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Explain the importance of health and safety in the music industry. Provide examples from different environments:

Live performances

Recording studios

Theatres

Music Festivals

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Explain the following keywords, using definitions ions and explanations from your own research sources

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Research, in music, is having the capability of studying and analysing topics such as genres, historical backgrounds, artists/producers, and critiques/theories.

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Introduction to Researching Music – Music Research Essentials

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Music Research Essentials is for undergraduate music students and provides discipline-specific information on the fundamentals of doing music research. Students will gain knowledge and skills in responding to a topic or question, developing effective research strategies, using information technology and search tools efficiently, locating and discriminating between sources of information, using secondary and primary sources, documenting and referencing sources, as well as setting assignment work out clearly and consistently. Music Research Essentials has been designed with first-year students in the School of Music at the University of Queensland in mind, but it also provides generic information that is more widely applicable.

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The music industry, as a whole, defines fans, agents, producers, managers, artists etc. as they all contribute into the profit that music makes today.

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The music industry consists of people and companies that help music-makers – ie frontline artists, backing vocalists, session musicians, composers, songwriters, lyricists, beat-makers and studio producers – to make money out of their music making. It’s as simple as that

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DAW stands for 'Digital Audio Workstation'. This is a software that allows you to record and edit music. DAW's are important as they make creating music more accessible and require less people, as well as manual processing.

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What Is a DAW and What Can You Do With It?

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A Digital Audio Workstation (DAW) is a software application to record, edit and produce your music. Put simply, it is an all-in-one music creation suite.

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A professional in the music industry falls under an umbrella as there are professional artists, producers, teachers etc.

Being a professional is to have the ability to earn enough money off of creating, producing, or teaching music in order to make a full time career out of it.

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Composition is writing and creating music, whether or not it's original materials.

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musical composition, the act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation.

Societal perspectives

Whether referring to the process or to the completed work, composition implies the creation of a unique musical event that may or may not be based on original musical materials. At certain cultural levels and in many non-Western societies, unique performance characteristics tend to assume greater significance than composition itself. In oral traditions, related variants of common origin often take the place of unalterable musical entities, so that tune families rather than single autonomous tunes form the collective repertoire. Where certain patterns of musical structure have gained broad recognition (as the ragas, or melody types, of India), musicians will as a rule rework such patterns extemporaneously though in accordance with prevailing conventions.

European music was communicated orally well into the Middle Ages and received important stimuli from a variety of oral traditions even after musical notation had developed to a high degree of precision. Indeed, the lower population strata, especially in rural areas, never abandoned the relative freedom that comes from reliance on the ear alone, and the sophisticated music of the upper strata, throughout its rapid evolution, rarely severed its connection with folk music altogether. Ultimately, the process of composition, as seen by the American musicologist Alan P. Merriam, does "not seem to differ radically between literate and non-literate peoples save in the question of writing." As a conscious act of social communication it always "involves learning, is subject to public acceptance and rejection, and is therefore a part of the broad learning process which contributes, in turn, to the processes of stability and change." Whether explicitly or not, composition is thus subject to rules that represent the stylistic consensus of a specific segment of society at a given stage of cultural development. During the Middle Ages, when man's natural instincts were held in particularly low esteem, musical compositions were often judged primarily in terms of their adherence to the rules. Hence, the supreme authority in matters musical was the musicus as theorist; only he was considered sufficiently conversant with musical science to vouchsafe its continued existence as the sonorous embodiment of universal truths. And it was because the metaphysical properties of numbers were allegedly embedded in the rules of composition that music, on a par with arithmetic, geometry, and astronomy, attained and retained an honorable place as a constituent member of the quadrivium, the more exalted of the two divisions of the seven liberal arts. Characteristically, music was not classified with grammar, rhetoric, and logic, the "rhetorical arts" gathered in the trivium. About 1300, musical composition as a mere craft was ranked by Johannes de Grocheo, a shrewd observer of the Parisian musical scene, with shoemaking and tanning.

Musical elements

At its most fundamental level the act of composition involves the ordering of pitched sounds in musical time and space. Pitch relationships are referred to as intervals; their specific occurrence in musical time is determined by rhythm, a concept that embraces all durational aspects of music. Rhythm in turn may or may not be regulated by metre. In metrically organized rhythm, recurring patterns of accented and unaccented "beats" furnish a durational substructure that necessarily affects all the other elements of composition, including the nature of melody, harmony, and texture. Metrical rhythm is nearly always present in dance music because its patterning is largely analogous to that of bodily motions and step figurations. But logogenic, or word-determined, music also often employs metrical patterns, corresponding as a rule to those of the poetic text. The first large corpus of logogenic compositions transmitted through the ages is that of medieval plainchant, consisting of monophonic settings (limited to a single melodic line) of liturgical texts for the entire year, based on a system of eight church modes, diatonic scales abstracted from the melodic motives utilized by medieval singers. Modality-whether referring to a melodic or a rhythmic framework-furnishes compositional frames of reference in a wide variety of essentially monophonic musical styles, especially in Asia. Asian influences upon early European music cannot be ruled out, whether by way of ancient Judaea, Greece, Byzantium, or the medieval Arab invasions. But unlike their Asian counterparts, Europeans at first limited modality to melody, through pitch arrangements. The rhythmic properties of plainchant have largely remained a matter of conjecture, for no systematic discussion of plainchant rhythm survives, and the notation used was noncommittal with respect to rhythm. By the same token, plainchant no doubt owed much of its amazing vitality to the absence of an all-encompassing notation, which made possible the flexibility of performance and regional variation inherent in a partly written, partly oral tradition.

Music like medieval plainchant, in which the lengths of individual tones tend to be rather uniform, is often referred to as nonrhythmic or rhythmless. Such careless terminology denies the very essence of music as a temporal art, which implies by definition the omnipresence of rhythm as "order in musical time." Actually, the relative presence or lack of rhythmic differentiation in the duration of tones can act as a decisive stylistic determinant. Thus the rhythmic equanimity of the monophonic plainchant, at least in the interpretation set forth by the 19th-century Benedictine monks of Solesmes, France, and recognized as authoritative by the Roman Catholic Church, effectively symbolizes an atmosphere of faith and inner peace. By contrast, the strictly metrical organization of rhythm in most 18th-century music reflects the thinking of an age of reason, favouring mathematically definable, hence "natural," structures in its music.

The smallest melodic-rhythmic unit (minimally two separately perceived sounds) is the motive. Pitched sounds are, however, not of the essence: drum motives are so effective rhythmically precisely because they lack pitch definition. By and large, rhythmic motives are used to endow pitch relationships with identifiable durational characteristics. And consequently rhythmic identity often serves to establish motive connections between different intervals. A famous case in point is the opening short-short-short-long motif of Beethoven's Symphony No. 5 in C Minor, Opus 67, which serves as an effective element of structural cohesion in this large-scale work.

Types of melody owe their aesthetic associations in many instances to their motivic peculiarities. In Western music motivic contrast has been identified with emotional conflict since at least the mid-16th century, when composers of madrigals (Italian polyphonic secular songs) began to set dramatic texts. The opening of Mozart's Symphony No. 35 in D Major, K 385 (the Haffner Symphony), offers an excellent example. Analogous in its motivic structure to a section of the first act of Mozart's opera Don Giovanni, the opening of the symphony engenders emotional contrasts similar to those inherent in the opera's dramatic action when Donna Anna, under the double impact of attempted rape and her father's violent death at the Don's hands, impulsively rejects Don Ottavio's sympathy until, realizing that she has no one else to rely on for help, she reverses herself and induces him to swear revenge. Conversely, melodic lyricism correlates with a high degree of motive affinity.
Peter Crossley-Holland

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Musical composition | Definition, History, Structure, Types, & Facts

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musical composition, the act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation.

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A music producer oversees projects and supports musical artists in order to create the perfect song for them. 'A music producer can come from a musical background, as a musician, or from a technical background, as a recording engineer, or both.' https://www.ukmusic.org/job-profiles/music-producer/

This career consists of skills such as:

1. Budget management - Producers have to get creative on how they want to create certain sound effects if it goes over the budget, which in turn leads to discussions on whether or not certain sounds or parts of a song are necessary.

2. Negotiation skills - This links to budget management as producers need the ability to work out compromises with artists and bands while still keeping them satisfied with their project.

3. People management - Producers have to be capable of working with people and creating a bond. This then makes it more comfortable for both parties to work on a projects together.

Sylvia Massy is a famous producer, who has worked with bands and artists such as Prince, System of a Down, and Red Hot Chilli Peppers. https://www.soundtoys.com/artist/sylvia-massy

Massy is the perfect example of how a producer should act. https://www.youtube.com/watch?v=HJtJY0KmkNE

In this video link, she states she feels compelled to make the artist(s) 'as comfortable... or uncomfortable as possible' , which shows that she is dedicated to getting the best out of that artist for their musical project. She also mentions how she has had to kick people out of the studio previously for not cooperating. This reflects Massy as a producer, showing she is professional and direct; Massy doesn't waste hers and her artists time.

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Legendary engineer Sylvia Massy uses Soundtoys to add special FX to her mixes.

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Learn more about how Sylvia Massy uses Soundtoys plug-ins to spice up her mixes.

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A music performer falls under many categories such as singer songwriters, band members, DJ's etc. Being a music performer doesn't just come down to entertaining an audience; There are certain responsibilities you must take on as a performer such as:

Performing - Creating music, melodies, and lyrics then performing them, (this can be in places like pubs, recording studios, radio stations etc.) brings the artist publicity and fans who enjoy their unique style.

Practice - Practising instruments, vocal techniques, and songs helps improve your skills

Promoting - Promoting your music is important in order to grow a fanbase and get recognised by labels, festivals etc. You can use social media, interviews and live events for this.

In order to perform these responsibilities efficiently, there are important skills that are needed:

Confidence - Being confident in yourself and your music, not only shows you take pride in what you make, but it also makes you less likely to mess up because you're in control of your emotions.

Stamina - Maintaining healthy, physically and mentally, is crucial for performers to prevent burn outs and keep high energy during performances.

Collaboration/connections - Collaborating with producers and other performers assists in building popularity and improving your own music pieces, same goes with having connections in the music industry.

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What does a music artist do? - CareerExplorer

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A music artist creates, performs, and shares music with others. They may sing, play instruments, write songs, or produce music, often blending creativity and personal expression to connect with an audience. Music artists can work in many styles and genres, from pop and rock to classical, jazz, hip-hop, and beyond. Their work can be shared through live performances, recordings, streaming platforms, and social media, reaching listeners around the world.

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This performance of 'Would?' by Alice In Chains is performed acoustically, unlike the released track, which contains electronic instruments. The setting of this gig is meant to be relaxed. This is proven with the stage having dim lighting, mainly from the candles, and the artists collectively sitting down.

What I like about this performance is the vocals; Whilst both singers are in a relaxing setting and sitting down, they give it their all, as they would any other performance, while still adding unique parts in, specifically towards the end.

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Alice In Chains - Would? (From MTV Unplugged)

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This performance of 'Change' by Deftones, unlike Alice In Chains', is performed electronically and similarly to the released track. The atmosphere for this gig is energetic, with flashing bright lights and a crowd, as well as the performers, standing up, cheering.

What made this piece stand out to me was the communication between both singers. With just looking at each other, they know when to come in and how to stay on the same page.

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Deftones - Change (In the House of Flies) (@ Jimmy Kimmel Live! 2010) (Remastered) [HD/2160p/60fps]

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1. Theatre Director

2. Sound & Lighting Technician

3. Stage Manager

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PLAYLIST: Create a playlist of music that inspires you. Try to pick a range of genres and tracks that highlight your interests within music. This can be:

Spotify links

YouTube links

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PROMOTION - Using the online graphic design software Canva, create some artwork that represents you as an artist.

https://www.canva.com/

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Using CANVA, design a H&S poster for a chosen performance/production space.

Upload your final poster here

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My aspiration in music is to become a singer/songwriter. I’ve always had a passion for writing as well as singing and to combine the two would be my dream career. I am hoping to attend a music university in Brighton, once i have the right qualifications, and study singing and songwriting as a profession.

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This is awesome, Zo!

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My first song for analysis is the song 'The Deal' by Mitski. I love this song because, as Mitski states in the video link, 'sometimes it's just so hard to carry the full weight of our existence' which I think is something everyone can relate to, however, throughout the lyrics, Mitski makes a point to show that our existence is what gives us our freedom and creativity.

The song contains instruments such as a synthesizer, cello, organ, two violins, and drums. The rhythm stays slow and simple through the verses creating a 'false sense of peace' https://www.afterglowatx.com/blog/2023/9/22/album-review-mitski-makes-it-clear-that-the-land-is-inhospitable-and-so-are-we

then progressively, the instruments become almost aggressive, showing the emotion and severity of 'The Deal'.

The tempo during the outro of this song speeds up, representing Mitski's fear and the realisation of what she's done.

Mitski explains in the video link that this song is based off a poem called 'How Charming is Divine Philosophy' by Maria Mitchell. The origin of this music piece is due to Mitski misreading a line in this poem as 'There's a deal to be made on a midnight walk' instead of 'There's a deal to be learned', which then created the story of 'The Deal'.

The first verse sets the narrative of the song by explaining what 'The Deal' is. The line 'It will ask what you'd give and what you'd take for it in return' is familiar to stories of those who make deals with The Devil. Of course, The Devil has connotations with death and evil, which links to Mitski's point of how our souls give us our freedom, making a Devil-like deal takes away that freedom. In the first chorus, Mitski sings:

'I want someone to take this soul
I can't bear to keep it
I'd give it just to give
And all I will take are the consequences
Will somebody take this soul?'

The line 'I'd give it just to give' emphasises how desperate Mitski, in this narrative, is to give away her soul in hopes of no longer having to deal with the pressures of life.

The lyrics 'Will somebody take this soul?' lead into the last verse and final chorus when Mitski sings 'there was no one in sight save a bird perched upon a streetlight, watching me So, I stopped and let it watch 'til I found that it said

"Now I'm taken, the night has me
You won't hear me singin'
You're a cage without me
Your pain is eased, but you'll never be free for now I'm taken, the night has me"'

Mitski references this 'bird' that is speaking to her, alluding that the bird was the 'somebody' who took her soul. This links to a line in the first verse 'hear it fall from above' the sound she is referencing in this line could have connotations with the bird being 'The Deal' itself. 'Your pain is eased, but you'll never be free' This line brings the listener back to the moral of this narrative; while not having to face the pressures of life may be safer, you can never express your true emotions, values and personality.

The final lyrics express Mitski's realisation of what she has done as she repeats 'There's a deal that I made' while the music becomes harsh, once again and the tempo speeds up.

In conclusion, Mitski wrote this song to tell a metaphorical story of how, without the painful weight of society and our lifestyles, we wouldn't be people but simply just humans.

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This song, 'Drinking' is by a band called 'Boa'.

I picked this song because its origin comes from alcoholism, which is something I grew up with. Most songs that speak on this topic romanticise what it's like to be an alcoholic but very few talk about how alcoholics rely on drink 'instead of facing their emotions and responsibilities'. The tempo for this song is 176 BPM; It's a low/moody energy (https://songbpm.com/@boa/drinking).

The instruments used consists of acoustic and electric guitar, bass guitar, and tambourine.

The first verse starts off with 'You say the drinking is better than a woman' This line is repeated twice throughout the song, which I believe was done intentionally. Seeing as the vocalist of the band is a woman, the listener is meant to percieve the song as a message from her to the individual about their drinking. Jasmine Rodgers, the vocalist for Boa, intentionally repeats the line to show how much those words affected her.

'For to you, there′s nothing if there's no wine' This last line of the first verse emphasises that alcoholics become selfish people because they want 'nothing' but to drink.

The chorus repeats throughout with the same words, 'you have so much more' and 'here has your time gone?'. Rodgers believes that this individual has 'so much more' to offer in life than just simply being an addict but instead they're wasting their 'time' on alcohol.

The second verse contains the lines 'You sing like an angel, your voice melts my heart. Your words are of wisdom, your life has been hard'. This links back to the chorus as Rodgers mentions how this person sings 'like an angel', showing that they have more to them than just drinking. This also shows to the listener that the vocalist empathises with this person because their 'life has been hard', alluding that this is the reason they turned to alcohol, in order to escape from their life. 'Should you ever wonder where all the time has gone. You′ll find the answer far away from home' again, this references the alcohol and how much time this alcoholic has wasted on drinking.

The bridge, which is similar to the end of the song, contains the lines 'I don't want to see you like this when you're crawling. Please, don′t you weep ′cause I will shape the day and make you feel alright'. Rodgers is comforting this character because, like the previous verse implies, she feels empathy about where their life has led them.

Finally, the song comes to a conclusion with the lines of the bridge being repeated several times, specifically the lines 'Won't you weep for me, won′t you breathe for me'. This exhibits Rodgers hurt, shown in the first verse, towards the person's selfishness.

In conclusion, this song has an incredible perspective on how it is to watch an addict from an outside perspective, practically begging them to make a change, and knowing they won't because they only care about alcohol.

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Lyrics for Drinking by Boa. You say the drinking is better than a woman And you say the thinking takes too much time W...

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In the underground, we ran through the songs we sang on induction day. We learnt how to read musical notes with Abi, I practised a song called 'Glory Box' by Portishead in the booths with my band, ande we learnt how to use sound loops on Logic.

Although I knew a slight bit about music notes, I enjoyed learning notes I had not seen before. Whilst I did enjoy singing with my band, I think we could improve on our team work skills. For example, we have three singers and we were trying to figure out what we were going to sing that suited all of our voices, however, we could not hear each other over people playing the instruments.

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What is a Theatre Director?

A directors job is to oversee the performance and all the details that go into the project.

This career is extremely complex as Directors need to have a vast knowledge on production, design, casting, acting etc.

Some important responsibilities as a director include:

running auditions

multitasking

communication

time keeping

What is a Sound and Lighting Technician?

https://getintotheatre.org/blog/what-does-a-theatre-lighting-technician-do/

A Lighting Technicians job is to operate the stage lights and effects. A Sound Technicians job is to mix, amplify, and sync music, effects, and actors mics.

Sound and Lighting Technicians need similar skills in order to perform their job efficiently:

Communication - Lighting Techs need communication with the Lighting Designer to understand what they are asking for and if it's possible. Sound Techs need communication to organise sound cues exactly how the director and stage manager wants.

Rehearsals - Rehearsals are crucial for Technicians as they need to learn cues and be prepared for performances

What is a Stage Manager?

https://getintotheatre.org/blog/what-does-a-stage-manager-do-theatre/

A Stage Manager's job is to keep the production running smoothly, this includes arranging costume fittings, scheduling rehearsals, and maintaining props and furniture.

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At the heart of almost any theatrical performance is the guiding hand of a director, a unique professional who takes charge of the production process and shapes almost every aspect of the show. Directors audition and cast actors; assemble and oversee the production team; provide design directives; lead rehearsals; and manage the production schedule of the project, ensuring that all the moving parts connect. Perhaps most importantly, they also supply a unifying understanding of the text and a particular vision for the production, which might mean a unique setting, a visual style or mood, or an interesting design concept that plays off themes in the text.

It's the director's job to answer the difficult question of "why": why stage this show here, now, with these actors and for this audience? In essence, why does this performance matter?

Directors typically begin their work on a production with careful reading and analysis of the script and its characters, sometimes aided by a dramaturg. Following this, the director assembles a creative team that might include a set designer, costume designer, sound designer, lighting designer, prop artist, choreographer, music director, and even the playwright or librettist. This creative team works closely with the director, altering and polishing the production's artistic vision and providing insight on design implentation. The work continues in rehearsals, where the director-assisted by stage managers -guides actors through the process of understanding their roles and lines, controls and refines the pacing of scenes, and implements blocking and choreography. Once the show opens, the director's job is complete and responsibility for future performances passes to the stage manager, although the director might still provide small performance notes.

At a Glance

This senior position is, for many, the culmination of a long career in theater-working one's way up from stage and technical crews to become first a lead designer, stage manager, or production manager, then an assistant director, and then, finally, the director. Still, not everyone takes the same path; some break into directing early in their careers by producing their own work or founding a small theater company, while others find success as performers before trying their hand at direction. For directors, success means being hired by prestigious companies to direct high-budget productions, finding long-term positions or residencies at theater companies or universities, or rising to the top of a theater company as the artistic director.

Most directors are independent contractors who are hired by theater producers and companies on a per-project basis, although some have full-time positions or residencies with theater companies, or with university theater departments as professors or teaching artists. This is considered a tough field to break into, because aspiring directors can't learn the craft without doing it, and they can't get hired to do it until they've proven themselves capable. Aspiring directors should learn everything they can about theatrical direction, production, design, acting, and more-and if initial opportunities aren't forthcoming, should create their own by producing and directing shows independently. Additionally, building a network of connections and a solid industry reputation is vital to landing jobs, which are often found via word of mouth.

Hiring and leading a production team

Casting and running auditions

Basic theatrical design

A unique vision

Critical and analytical thinking

Communication

Collaboration

Leadership

Multitasking

Networking

Time management

Successful directors possess a large suite of interpersonal skill, including personal and artistic sensitivity, aesthetic acuity, excellent communication and organization, and the confidence to lead and inspire others through a difficult and unpredictable process. They are superb multitaskers and steady as a rock in the face of adversity. While not all directors are great collaborators, all must understand how to facilitate the collaborative process and synthesize the efforts of large creative teams. Finally, it's vital that directors possess the ability to think critically and analytically about a text, and the passion and conviction to pursue their interpretations. It's the director's job to answer the difficult question of "why": why stage this show here, now, with these actors and for this audience? In essence, why does this performance matter?

Like most theater artists, directors tend to work in bursts. Several months of intensive labor on a show culminate in the arduous final dash to the performance, followed by an abrupt transition to downtime, during which directors have the opportunity to relax, regroup, network, and acquire new skills before setting out on the next creative journey. Again like others in the theater industry, directors primarily work during the evenings and weekends.

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At the heart of almost any theatrical performance is the guiding hand of a director, a unique professional who takes charge of the production process and shapes almost every aspect of the show. Directors audition and cast actors; assemble and oversee the production team; provide design directives; lead rehearsals; and manage the production schedule of the project, ensuring that all the moving parts connect.

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Evaluation occurs throughout the music making process when you're listening, rearranging and adjusting your track.

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This term, we all performed cover songs. My band performed Glorybox by Portishead and, while we did learn another song, Karma Police by Radiohead, we didn't perform it for our assessment as it was incomplete.

What went well, for me, this term was that I gained a large amount of confidence when performing on stage and due to that, I've begun projecting my voice. As a class, I noticed that everyone put their best efforts into their performances as well as feedback for others, and logic producing.

What needs improvement is communication between band members. For example, people were having issues with band members, whether it was personality clashes, different song choices, or lack of dedication to the performance, but instead of talking about it and finding a resolution, people were leaving their or excluding band members from performances. Personally, an improvement I could make is not doubting myself as much and contributing my ideas with my band as I have a tendency to exclude myself from those conversations.