5 Reasons Listening to Classical Music Could Be Good for Your Health



Classical music can be a wonderful thing to experience, with its varying moods and tones, and science actually shows us that classical music in particular can have the power to improve our health. Here are five ways you might benefit from listening to classical music.

1. Classical Music Might Lower Our Blood Pressure


Researchers from the University of Oxford presented findings at the British Cardiovascular Society Conference in Manchester recently that certain genres of music appear to lower blood pressure. The researchers believe that the key may be the 10-second repeated rhythm that is found in many classical works such as Va Pensiero, Nessun Dorma, and Beethoven’s 9th Symphony. Classical music that had a faster rhythm, such as Verdi’s Four Seasons, did not produce this effect.

The researchers caution that their findings need more extensive testing, but this may be the underlying reason why classical music has been shown to have various other benefits, and so has been greeted with cautious optimism by other researchers.

2. Can’t Sleep? Try Some Sebelius

Research has shown that stress-related insomnia can be tough to beat if we don’t resort to medication, however controlled studies have shown that students who listen to classical music tend to sleep better and sometimes for longer (in terms of unbroken sleep) than those who listen to things like audiobooks or nothing at all. It’s unlikely that classical music alone will cure a chronic case of insomnia, but it might be that if you’re just having a rough patch, classical music could form part of an improved sleep routine.

3. Classical Music May Help Calm Your Road Rage (But There’s a Catch)

Due to the fact that classical music is calming, some therapists have recommended classical music as part of a stress reduction program for people who experience what’s often termed “road rage.” Interestingly, a recent study actually showed that music by popstars like Adele might offer even more of a calming effect, and other studies show that soft-rock may have a similar impact.

However, being too relaxed on the road can be a bad thing. One study has shown that classical music might actually be too soothing and could put the average driver in danger of becoming complacent, so if you do listen to classical music while driving, try to go for lively pieces that will keep you engaged.

4. Classical Music Won’t Improve Your Memory But it Could Help You Study Better

The idea that listening to certain kinds of music can help improve your memory or even raise your intelligence has actually been disproved. Researchers have repeatedly tested the so-called Mozart effect, and found that it doesn’t hold true–or, at least, not in the way that we traditionally perceive improved brain performance. However, what the research does show is that well-chosen background music can help to make for a better study experience which in turn might lead to better fact retention and cognitive performance. It doesn’t have to be Mozart or even classical music though, as genres like soft jazz and other mostly instrumental music with a gentle tempo tend to aid concentration.

5. Classical Music May Help Boost Your Mood


It’s not going to be a substitute for medical help if you have a mental health condition, but incorporating music as part of your own wellness strategy might be a good idea. Some studies have shown that classical music and other, so called softer music, might be good for helping to ease depressive states. The reason why that might be isn’t fully understood, but some researchers think it’s because it helps us to regulate our breathing better and generally relaxes us in ways that other interventions can’t. As above, classical music also improves sleep quality, and this in turn is a known benefit for combating mood disorders. Other studies have shown that music in general helps to elevate our moods.

This is not to say that other musical genres don’t have their worth. In fact, science shows that rap music and heavy rock may be particularly good if you are working out because its tempo can help you keep your heart rate up which, if safely managed, can ensure you’re getting the maximum benefits from a fat burning workout.

Read more: Care2.com

The Composer and His Muse: Pyotr Ilyich Tchaikovsky and Désirée Artôt



The Belgian mezzo-soprano Désirée Artôt started her career at the Paris Opera in 1858 when Giacomo Meyerbeer engaged her to sing in his Le prophète. Berlioz, uncharacteristically, could not find enough accolades to praise her singing. However, she quickly bid farewell to the French repertoire and went on to sing in Italy a year later. With an Italian opera company under the direction of Merelli, she extensively toured throughout Europe, and in 1868 arrived in Moscow. Moscow immediately fell in love with her. An anecdote relates that at a reception for her at the home of Maria Begicheva, “the hostess knelt before Artôt and kissed her hand.” But Begicheva was not the only artistic personality smitten with Artôt. Pyotr Ilyich Tchaikovsky had also met Artôt at a Begicheva soiree, and when they met again a couple of months later, she “started to send him invitations every day, and he became accustomed to visiting her every evening.”

He later told his brother Modest, that she possessed “exquisite gesture, grace of movement, and artistic poise.” He even stopped working on his symphonic poem Fatum to give her all his attention. Tchaikovsky did, however, write a little Romance in F minor for piano, which he dutifully dedicated to her.


Artôt’s mother was fiercely opposed to the marriage on official grounds that Tchaikovsky was too young—he was seven year’s her junior—and that he would force Désirée to live in Russia. It is more likely that she found out about Tchaikovsky’s sexual orientation and wasn’t going to allow her daughter to engage in a destined to be unhappy union.

Désirée was quickly rushed off to her next singing engagement and kept far away. Tchaikovsky sensed that something was afoot, and writes to his brother Anatoly, “This affair is beginning to fall apart.” Maybe he instinctively knew that Artôt had quietly married the Spanish baritone Mariano Padilla y Ramos without telling him. Tchaikovsky was in the middle of rehearsals for his opera The Voyevoda, and when Nikolai Rubinstein brought him the news, “he became quite upset, abandoned the rehearsal, and left immediately.” Musicologists have suggested that the musical chipper of her name, in the manner of Schumann, appears in his First Piano Concerto, and Tchaikovsky certainly never revealed the program of Fatum. And let’s not forget that Romeo and Juliet was completed a mere two months after Artôt’s clandestine marriage.


It was in December 1887 that they actually renewed their acquaintance in Berlin. He spent an evening at her place, and later wrote in his diary. “This evening is counted among the most agreeable recollections of my sojourn in Berlin. The personality and the art of this singer are as irresistibly bewitching as ever.” She asked him to compose a song on a text by a French poet, and he sent her a set of six. “I have tried my best,” he writes, “to serve you and hope that you will be able to sing them all, since all six of them correspond to the current range of your voice. I sincerely hope that you will enjoy these melodies, but unfortunately, I am not so sure of this. I must confess that I have been working very hard lately and that my latest compositions have sprung from good intentions rather than from true inspiration. And besides, it is a little awkward to write for a singer whom I consider to be the greatest among the greatest.”

Tchaikovsky never revealed exactly how deep a wound this affair inflicted, he in his personal letters, always praising her beauty and artistry.  His torch for Artot may perhaps never have been totally extinguished.

Tchaikovsky may have coded her name into works such as his First Piano Concerto and the Romeo and Juliet Fantasy-Overture. The use of initials spelled out in musical pitches is a device often used by Robert Schumann (for example, in his Carnaval), and Tchaikovsky was a great admirer of Schumann's music.



There are other suggestions that Tchaikovsky coded his own name into the concerto, and Artôt's name into the symphonic poem Fatum, the Symphony No. 3, and the Romeo and Juliet Fantasy-Overture. He never revealed the program of Fatum, and later even destroyed the score (although it was reconstructed from the orchestral parts and published posthumously as Op. 77).




The Artôt episode was very fresh in Tchaikovsky's mind at the time he wrote Romeo and Juliet. He could easily have drawn a parallel between his personal loss and the tragedy of Shakespeare’s drama.

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Bizarre Musical Instruments



Since the advent of electronic instruments and the need by composers to produce unique and new sounds, many unusual instruments have been invented or restored to life. This is a list of the ten most bizarre instruments.

Aeolian Harp

The Aeolian Harp is a musical instrument that is “played” by the wind. It is named for Aeolus, the ancient Greek god of the wind. Aeolian harps were very popular as household instruments during the Romantic Era, and are still hand-crafted today. Some are now made in the form of monumental metal sound sculptures located on the roof of a building or a windy hilltop. The clip is a contemporary version – with a wind turbine provided the rhythm. The constant unchanging sound in the background is the Aeolian harp.




Ondes Martenot

The Ondes Martenot is an early electronic musical instrument with a keyboard and slide, invented in 1928 by Maurice Martenot and originally very similar in sound to the Theremin. The sonic capabilities of the instrument were subsequently expanded by the addition of filter banks and switchable loudspeakers. The instrument is especially known for its eerie wavering notes produced by the thermionic valves that produce oscillating frequencies. The ondes Martenot has been used by many composers, most notably Olivier Messiaen.

 


Theremin

The Theremin is one of the earliest fully electronic musical instruments. It was invented by Russian inventor Léon Theremin in 1919, and it is unique in that it was the first musical instrument designed to be played without being touched. It consists of two radio frequency oscillators and two metal antennas. The electric signals from the theremin are amplified and sent to a loudspeaker.

 

The Glass Armonica

The glass harmonica, also known as glass armonica, ‘”hydrocrystalophone” or simply armonica (derived from “armonia”, the Italian word for harmony) is a type of musical instrument that uses a series of glass bowls or goblets graduated in size to produce musical tones by means of friction, making it both a crystallophone and a friction idiophone). This mechanical version was invented by Benjamin Franklin.

 

Gravikord

The gravikord is an electric double harp invented and patented by Robert Grawi in 1986. It is modeled after the 21 string West African kora. It is made of welded stainless steel tubing, with 24 nylon strings but no resonating gourd or skin. The bridge is a synthetic material designed very differently from the kora and the range of pitches is greater. While the hands are in a more ergonomic and natural position to the strings, the playing technique is similar to that of the kora: the player plucks the strings with the thumb and index finger of each hand.



Read more at Listverse


Music makes everything better!

New research says singing daily reduces stress, clears sinuses, and helps you live longer 

Music makes everything better! It can relieve pain, reduces stress, makes you work harder, and helps you relax. Music is one of life's most beautiful gifts.

To quote Jimi Hendrix:
Music doesn't lie. If there is something to be changed in this world, then it can only happen through music.
One of the best ways to capture the benefits of music is through singing. It allows you to truly feel the song with your mind, body, and soul.

Research has shown singing can improve your health, increase happiness and even extend your life!


No matter who or where you are, you can reap the many benefits of music by singing along to some tunes! Sing wherever you are.

Singing is even good for your brain and can make you feel high. It releases endorphins, hormones that produce pleasure, simultaneous to oxytocin, hormones that diminish stress and anxiety.

Oxytocin also decreases feelings of depression and loneliness, making us feel more connected with the world, which is precisely why singing with other people feels even better!



A study done by scientists at the University of Gothenburg in Sweden found people who sing together become so connected they exhibit synchronized heartbeats.


Anyone who has ever been in choir can attest to this. When the magical sound of several people singing together is created, there is an unexplained unity between those singing.

Singing also requires deep concentration on breathing, which works major muscle groups in the upper body and is great for both lung and cardiovascular health.

Björn Vickhoff, the leader of the study, stated:

Song is a form of regular, controlled breathing, since breathing out occurs on the song phrases and inhaling takes place between these. It gives you pretty much the same effect as yoga breathing. It helps you relax, and there are indications that it does provide a heart benefit.

Therefore, one could make the argument that singing is better for you than doing yoga!

Research has also proven that singing produces lower levels of cortisol, reducing stress while improving our immune systems.

Lastly, a joint study from Harvard and Yale Universities in 2008 found singing increases life expectancy. If you want to feel less stressed, become happier, and live longer: Start singing!

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Happy Birthday Giuseppe Verdi the "King of Opera"

Image result for verdi


He might have been born 205 years ago (Oct. 10, 1813), but Verdi's box office brawn has never flagged. From Fairbanks and Philly to Seattle, Chicago, Miami and Minneapolis, Verdi productions — and concerts featuring his Requiem — have probably never been easier to find.

For being known as the "king of opera," Verdi was actually born in modest circumstances in the middle-of-nowhere northern Italy (near Busseto). He struggled for success and in 1842, at age 28, it finally came with his bold new opera Nabucco, about the fall of Jerusalem in 587 B.C. While the opera is justly famous for its moving chorus "Va, pensiero" — which became a rallying cry for Italy's struggle for independence and was sung spontaneously by a few hundred thousand people at Verdi's funeral in 1901 — it should be noted that the entire opera is a forward thrusting, rollicking affair. You would not be incorrect in describing it as "ass-kicking Verdi."





It's fun to trivialize Trovatore, Verdi's 18th opera, because of its outlandish plot. The Marx brothers spoofed it magnificently (but with a palpable appreciation) in their 1935 film A Night at the Opera. OK, so an old gypsy woman throws the wrong baby into the bonfire, setting off a string of unfortunate events. It could happen to anyone! Still, Trovatore is a treasure trove of some of Verdi's best and most hummable tunes, and they come lickety-split one after another. There's the crowd-pleasing "Anvil Chorus," plus "Di quella pira," with its brain-splitting high notes for the tenor, two gorgeous arias for soprano ("Tacea la notte" and "D'amor sull'ali rosee"), the exuberant "Stride la vampa" for the mezzo-soprano and "Il balen," a gorgeous moment of reflection for the baritone.



Verdi's operas act on deeply sociopolitical levels, and La Traviata is a perfect example. Here Verdi empowers the common individual. The opera stars a prostitute — something unheard of at the time — and she's the smartest, most sane and honest person in the opera. It takes very little imagination to see how this realistic story (nice boy falls in love with hooker, who breaks up with him to save his family's honor) dovetails with our contemporary concerns. La Traviata was also an act of daring for Verdi, a little jab at the conservatives of his native Parma who balked at the fact that he wasn't married to the woman he lived with. The lead soprano role is so multifaceted and difficult it almost requires three different types of sopranos to pull it off.


By the time Verdi wrote Simon Boccanegra, he was the king of opera. Even so, Boccanegra flopped at its 1857 premiere. (Verdi revised it successfully 24 years later.) It's not too nerdy to note that whatever one thinks of the convoluted plot (a 14th century doge, amid intense political maneuvering, manages to find his long-lost daughter), the work contains examples of two Verdi trademarks: The father-daughter duet and the "Verdi baritone." Verdi excelled at richly drawn, highly expressive roles for the baritone voice (Rigoletto, Falstaff, Macbeth, Iago, Nabucco) and Boccanegra is one of the most rewarding and detailed. He also focused on father-daughter relationships and the duet "Orfanella il tetto umile" from Boccanegra's first act, when he realizes Amelia is indeed his daughter, is a two-hankie affair.


Near the end of Verdi's incredible six decades in opera, he threatened to quit, but instead came up with one fresh work after another. Finally, after some two dozen serious operas, he capped it all off with a comedy. Falstaff is witty and furiously paced but with the autumnal warmth of an old man looking back on his life with a chuckle. Falstaff's Act 3 monologue is a slice of operatic heaven. Drenched from being dumped in the river (with the laundry), Falstaff muses on his fate in a cruel world. As the wine warms his immense belly in the late afternoon sun, he's revived, and the trill of a cricket (listen for it in the music!) brings a smile. Falstaff is one of three ingenious operas (with Macbeth and Otello) Verdi based on Shakespeare. The composer ends his final masterwork with a chorus of "Tutto nel mondo è burla" — everything in the world is a joke.

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The Relationship Between Music and Science


Music is both an art and a science, and music and science are closely related. Both use mathematical principles and logic, blended with creative thinking and inspiration to arrive at conclusions that are both enlightening and inspirational. It could be said that Science is the music of the intellect, and Music is the science of the heart. 


Music is Math


Music composition is basically a mathematical exercise. From a basic source of sounds, rhythms and tempos, an infinite variety of musical expressions and emotions can be produced. It is the interaction of sounds, tempo, and pitch that creates music, just as the interaction of known facts and knowledge coupled with imagination, conjecture and inspiration produces new scientific discoveries. Both Science and Music use “formulas” and “theories” to solve problems, and to explore the intangible mysteries of life.



Music is as complex and varied as any scientific principle or theory
There are a number of scientific theories that try to explain music. This is a clear indication that music is as complex and varied as any scientific principle or theory. As mathematics is both a science and an art, Music is both an art and a science.  In this way, the art of music and the science of mathematics are related.

Some have postulated that music is the father of mathematics. To make music, you must know how to break “sound” into elements of pitch, rhythm and tempo. Science teaches us that sound is vibration, and the frequency of vibration is what makes different sounds. Music then is the study of the sound created by those vibrations, and puts them into patterns that elicit emotion. Music is based on mathematics. And mathematicians view mathematics as “music for the intellect”. Their joy in a perfect mathematical solution or theorem is as inspiring to them as a Bach Cantata.



Music Makes Us Human

But music is not just an arranged set of noises pleasant to the ear. Music is a bridge that spans the gap between cultures and languages. Music is a means of finding compatibility within a society, as well as a link with other societies. Music has the ability to progress past science.




Music is the common human denominator. All cultures have it. All cultures share it. There are many scientific theories about music and it’s origins, but a purely scientific explanation of music misses the point. Music is emotion. Music is an unexplainable manifestation that is uniquely human. Birds “sing”, but do they weep or cheer as they march to war at the sound of it?

Music is a force that can unite humans even as they are separated by distance and culture. Science can explain many things, but science alone cannot create them. Science can explain music, but only intellect and emotion can create it.


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Happy Birthday George Gershwin

George Gershwin wrote great songs and shows for the theatre, but he always fancied himself as a serious composer. And he was - in fact, one of the 20th century’s greatest.

George Gershwin piano composer


George Gershwin was born in New York City into a Russian Jewish immigrant family. As a boy, George frequented the local Yiddish theatres, ran errands for them and appeared onstage as an extra. Around the age of 10, he took to playing the piano his parents had bought for his older brother Ira.

Young George GershwinThe acclaimed piano teacher Charles Hambitzer took Gershwin on at the age of 14 and immediately realized the level of talent he had on his hands. ‘I have a new pupil who will make his mark if anybody will. The boy is a genius,’ Hambitzer wrote to his sister. Gershwin was sent off to concerts and given significant pieces by the great composers to learn for the piano. Hambitzer's efforts certainly paid off.

Gershwin began his career as a song plugger in New York’s Tin Pan Alley. To earn extra, he also worked as a rehearsal pianist for Broadway singers. In 1916, he composed his first published song, ‘When You Want ’Em You Can’t Get ’Em.’ His first big hit was 'Swanee', composed in 10 minutes on a bus. Not long afterwards, the singer Al Jolson heard it and recorded it. ‘Swanee’ sold a million sheet music copies, and an estimated two million records. It became the biggest-selling song of Gershwin’s career.


 
In his 20s, Gershwin started composing Broadway musical theatre works with his brother Ira writing the lyrics. They even created an experimental one-act jazz opera Blue Monday, set in Harlem – a pre-cursor to Porgy and Bess. In 1924, the brothers collaborated on the stage musical Lady Be Good, which included the classic song Fascinating Rhythm. 


 
Gershwin's most ambitious composition was Porgy and Bess, which he called a ‘folk opera’. The action takes place in the fictional neighbourhood of Catfish Row, South Carolina. The opera contains some of Gershwin's most sophisticated music and some huge hit arias – ‘Summertime’, ‘I Got Plenty o' Nuttin'’ and ‘It Ain't Necessarily So’. When it was first performed in 1935, it was a box office flop. It is now widely regarded as one of the most important American operas of the 20th century.

After the disappointing reception for Porgy and Bess, Gershwin moved to Hollywood and worked on many film scores. His music for Shall We Dance, starring Fred Astaire and Ginger Rogers, married ballet with jazz in a new way, and ran for more than an hour in length. It took Gershwin several months to write and orchestrate it.


 
Early in 1937, Gershwin began to complain of blinding headaches and there were signs he was suffering coordination problems. He was diagnosed with a brain tumour. An operation was unsuccessful, and Gershwin died on 11 July at the age of 38.

From the opening clarinet glissando of Rhapsody in Blue to such standards as 'Embraceable You' and 'Someone to Watch Over Me', Gershwin's music has been part of our world for almost a century. It evokes an era of glamour and sophistication and gave the United States its first authentic voice in the concert hall. The American singer Michael Feinstein has said, 'The Gershwin legacy is extraordinary because George Gershwin died in 1937, but his music is as fresh and vital today as when he originally created it.'

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