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Background music (British English: piped music) is a mode of musical performance in which the music is not intended to be a primary focus of potential listeners, but its content, character, and volume level are deliberately chosen to affect behavioral and emotional responses in humans such as concentration, relaxation, distraction, and excitement.
Educational music, is a genre of music in which songs, lyrics, or other musical elements are used as a method of teaching and/or learning. It has been shown in research to promote learning. Additionally, music study in general has been shown to improve academic performance of students.
For example, the use of music along with the footage of animals, such as the circumstance in which "The courtship of tarantulas was set to a tango, while the movements of two scorpions were showcased with square dance music in the background" was criticized at the time; the purpose of the music was to enhance the footage, but some people took ...
Throughout the history of music education, many music educators have adopted and implemented technology in the classroom. Alice Keith and D.C. Boyle were said to be the first music educators in the United States to use the radio for teaching music. Keith wrote Listening in on the Masters, which was a broadcast music appreciation course. [44]
Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music.
Aestheticism (also known as the aesthetic movement) was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. [ 1 ] [ 2 ] According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson , create a parallel , or perform another didactic ...
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In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music.
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