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THE UNIVERSAL LANGUAGE

THE UNIVERSAL LANGUAGE. Religion. Religious music is used to set a devotional mood, for invocation or to focus on spiritual life. “How Great Is O ur God” by Chris Tomlin. World Edition English Hindi Indonesian Russian Spanish Portuguese Zulu Africaans Mandarin. Verse 1:

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THE UNIVERSAL LANGUAGE

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  1. THE UNIVERSAL LANGUAGE

  2. Religion Religious music is used to set a devotional mood, for invocation or to focus on spiritual life.

  3. “How Great Is Our God” by Chris Tomlin World Edition English Hindi Indonesian Russian Spanish Portuguese Zulu Africaans Mandarin Verse 1: The splendor of a King, clothed in majesty //Let all the earth rejoice// Verse 2: He wraps himself in Light, and darkness tries to hide //And trembles at His voice// Chorus: How great is our God, sing with me How great is our God, and all will see How great, how great is our God

  4. Entertainment It is very common and encompasses concerts and other live performances and the enhancement of media: movie and TV music, video games and computer presentations. What if our media had no music?

  5. Record History Music is often used to transmit a story or ballad. In this way, many long poems were memorized in pre-literate cultures. Oral tradition was often very common way to share the history of a tribe and music and singing was a way to remember significant events.

  6. Dance Physical movement, such as dancing, is a natural response to music and is a visual art accompanied by aural art. Can you think of a time when people would dance without music?

  7. Celebration Music is used to enhance festivals, parties, weddings, receptions, sporting events and other public and private social events.

  8. Sync In pre-technical society, work songs helped ease the burden of repetitious physical activity. -Chain Gangs -Sailors Rowing -Soldiers during physical training

  9. Political Songs Often protests, have a long history in America, dating back to Colonial times. Some of them have become national anthems or patriotic songs. “OH NO! WE WON’T GO!” - Chant

  10. Commercialism Any time we turn on the TV or radio, we are likely to be subjected to commercial jingles. They have been found very effective in selling products and services. What’s the best part of waking up?

  11. Music Therapy (Long Definition) Music is used within a therapeutic relationship to address physical, emotional, cognitive, and social needs of individuals. After assessing the strengths and needs of each client, the qualified music therapist provides the indicated treatment including creating, singing, moving to, and/or listening to music. Through musical involvement in the therapeutic context, clients' abilities are strengthened and transferred to other areas of their lives. Music therapy also provides avenues for communication that can be helpful to those who find it difficult to express themselves in words. Research in music therapy supports its effectiveness in many areas such as: overall physical rehabilitation and facilitating movement, increasing people's motivation to become engaged in their treatment, providing emotional support for clients and their families, and providing an outlet for expression of feelings.

  12. Music Therapy- Short Definition "Simply put, music can heal people.“ - Sen. Harry Reid It breaks down the walls of silence and affliction of autism, Alzheimer’s and Parkinson's disease, dementia, strokes and depression.

  13. Education Study/practice pieces are written for musicians to learn techniques on their instrument or voice. Children’s songs! Remember the Alphabet song?

  14. War Military music used to actually be played during a battle. The function of music in war has always been twofold: as a means of communication and as a psychological weapon. Bugle- CHARGE! Soldier Morale The Story of Gideon

  15. Judges 7

  16. Doctrine of Ethos The “Doctrine of the Affections” is a musical theory. It was widely accepted by late Baroque theorists and composers, that embraced the proposition that music is capable of arousing a variety of specific emotions within the listener. At the center of the doctrine was the belief that, by making use of the proper standard musical procedure or device, the composer could create a piece of music capable of producing a particular involuntary emotional response in his audience.

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