article source: synpage.com/category/lyric
Have you ever heard a great song which stuck in your head for several days because the rhythm was so unique? If you are a music lover like most people this has certainly happened to you. Some songs are very easy to understand since the singers pretty much spell things out for you, however this doesn't happen in R&B, Pop and Rap genres which are quite popular.
Classic and ballad fans are usually the ones which benefit the most from the music style, songs are slow and the singers have sweet voices which are very understandable, a clear example would be the song "Close to you" by the Carpenters; this song was featured in an Asian movie which is very similar to Charlie's Angels, the way the song was used to blend perfectly with the action scene made this song very popular among those who love the Asian movies genre, regardless of how old the song actually is. Soon after this song's remake there were thousands looking for this song in iTunes, Rhapsody, etc.
Moving on from the ballad genre we have more "up-tempo" songs which fall in the soft rock music genre, these are usually easy to understand since most of these songs were recorded back in the 80's. A sample song from this genre would be "The Power of Love" by Celine Dion, this song's lyrics have been in demand ever since this song was remade and reached top popularity ranks in many countries.
Then we have the Pop/Hip-Hop/R &B genre where lyrics start to get a bit more shady in terms of vocalization, since the rhythm is a lot faster than the two genres described some words tend to be omitted in order to fit the song. This is one of the music genres which makes people hum and repeat the words they actually understood; a good sample would be "Umbrella" by Rihanna. Lovers of this genre are actually funny because they would sing the songs they like without knowing the lyrics so in the case of Umbrella they'd repeat "umbrella, eh -eh-eh, ella, ella..."
The Pop genre extends through many countries and when it comes to J-pop (Japanese pop) the lyrics are certainly needed to understand what the singer is trying to say, sometimes these songs are interpreted in English and Japanese which makes things even harder for people who want to sing along. An great example of this genre is "Beautiful World" by Utada Hikaru, this song mixes both languages quite beautifully. Yet a few more examples are: Koko ni Iru yo feat. Aoyama Thelma by SoulJa and I So Wanted by Rei Fu.
If you like Dance hall, Reggae and Rap then you will definitively need to read the lyrics to even begin to understand what is being said by the singers, a good example is "Get Busy" by Sean Paul; if you have heard this song then you know just how difficult it is to understand what the singer is saying.
For teachers of ESL and EFL, it is necessary to go beyond the book and use alternative activities in the classroom. What could be more fun than using songs to teach English? Here are seven ways that you can use music to make your classroom more exciting.
Cloze or Fill-In-The-Blank Worksheets
One of the simplest ways to introduce a song is to remove all appearances of the grammar point from the lyrics. For example, if the grammar point is adjectives, and the lyrics are, "I'm so tired," the fill-in-the-blank worksheet will show, "I'm so ______." Give your students the worksheets and have them try to fill in the blanks while listening to the song.
Scrambled Lyrics
Another popular activity is to cut up all the lyrics. Most people seperate them by line, but you could even do it by phrase, that's your choice. Divide the class into teams and give each team a set of lyrics. Play the song and have them try to put all the lines in the correct order.
Act Out The Verb
If the song you are playing uses a lot of verbs, play the song for them once without any lyrics. Every time the students recognize a verb, they have to act it out. This can be a lot of fun and gets the class relaxed.
Listening for Points
To introduce a song to the class, divide them into two teams. Explain that the song contains a certain grammar point that you have been studying. If someone hears that grammar point, they must raise their hand. If they identify it correctly, their team gets a point. It's a good idea to pause the song at this point so that you don't miss anything.
Theme-based Songs
If the song you are using is not related to a specific grammar point, but instead to a theme, that's okay! Play the song first without the lyrics and have students write down anything they hear that is relevant to the theme: nouns, verbs, adjectives, etc.
Combinations of Topics
Of course, the above activities can be combined or altered to make different activities. For example, Act Out The Verb and Listening for Points could be combined to make a fun and competitive activity. I find that students often get more involved when it is a competition, even if there isn't a prize!
Sing the Song!
After any activity, remember to take a few minutes and sing the song as a class! The students enthusiasm will be influenced by yours, so be excited about it. Singing the song after these games will give your students a sense of accomplishment. They have just learned some authentic material and are proud of it!
Certain Music Blog
Well, first I think I’d like to say that I’m glad that I found nwmusicblog.com. It seems to be a real liberating place for real music discussion, that’s REALLY related to local music.
I read two blogs recently, one from New York, and another in England. They were both referring to the “Portland Scene” specifically. The blog was intentionally addressed to Portland as a separate entity from Seattle… I found this first attribute to be laughable. The next attribute was their aesthetic descriptions of the Portland scene… I had no idea what they were talking about, and I’ve been playing the Portland scene for 6 years now. No such environment exists that they were describing.
I won’t go on to elaborate, but I think it’s quite comical how hard people are trying to hold on to a dying idea. The Portland music environment is quite an anomaly. Here’s my observation:
Bands from afar look at the NW as a mecca for musical development. The bands that have so much CURRENT success from the area (Modest Mouse, The Decemberists), have convinced the bands that come here that this is the music that we all make here in Portland. Therefore, they all come to Portland with this lame music, and say it’s Portland music.
This is what I believe the people in the media are talking about. They say it’s the, “Portland Music Scene”.
The G Word
I would make the argument that this is definitely not the case, but a very different idea is true. Those that I grew up with here in Oregon, are all fans of heavy GRUNGE music. OOOOHHH NOOOOO, I said it! Not that word! UGGGHHHH, HISSSSSSSSS!!! That’s right GRUNGE. Or, should I say instead, punk rock. Bands like, Tad, Napalm Beach, Dead Moon, The Wipers, or the more esteemed counter parts, Nirvana, Alice In Chains, Soundgarden and Pearl Jam.
I can attest to the TRUTH that this area is infamous for it’s DIY movement. I would suggest that this value still exists, and best identifies this scene to this day. And I should ALSO suggest that the sound is grungier and nastier than ever.
Here’s another simple truth…
NO ONE GOES TO HEAR THE MUSIC
That’s not to say there’s people going to the shows. I definitely think that’s going on, but in my observation, it’s all a conglomeration of the dance party, night life scene. NOT the rock and roll, liberate your minds idea. However, there’s defintely something to say about the metal movement. There’s definitely kids going to the Satyricon to hear the metal bands, but we’d all have to start METAL bands to fit in with this. My theory is that this is an extension of the Californian exodus (Californian corporate investors moving in on Oregon). Plus, it’s still more bands that AREN’T from Oregon.
Do I have a problem with this? Absolutely not. I think it’s great that people are making music that they love. however I think the world that we live in today music gets everywhere, and people get everywhere at a rate unlike any other. The “Portland” scene doesn’t exist. It’s really the “American” scene and it just happens in Portland, because they’re people from all over the country that make their way into Portland because it’s the new, “Indie” L.A. …. might I suggest that it’s because there’s so many people moving here from L.A.?
I’m pretty much rambling here, but I thought I’d get off to a start with speaking my mind. Is there great music in Portland? Absolutely!
I guess I’m just looking for suggestions on how we can start getting people to care about it…
I’m PROBABLY wrong. Tell me your experience has been different.
Thursday, May 20, 2010
How to Find Production Certain Music for Any Project
If you are a producer, american man or project coordinator for part type of film, television or recording project, you know how challenging unfeigned can be to find production folk that encapsulates fully the important themes and the message of your project. Not separate is act music and background music for film again television often notably expensive, but the occasion required to shop around to the multitude of music providers or composers is also extensive. And since dulcet precocity is often a concern, typically producers with petite budgets that can’t afford to jack a composer to prepare a see through of music specifically for their film, television drop in or video project, but can recognize popular strain or previously used film scores run the wager of hearing the terrifically same production folk and practice music they paid so dearly for in another film weeks or months later.
Many film further television professionals that get not have multi-million dollar budgets wonder what to look for connections high quality fling music. Because the market for background music of all varieties, particularly those that maintain to be “affordable” further “original” can mean so inundated blot out poor-sounding, purely imitative scores also individual musical pieces, weeding through the rocks to find the gems can be a painstaking process in that which no one has the situation or energy.The following are four central elements to look seeing when shopping since the apropos production music and background music for your film, television or video project:
1. refined sound streak. This may seem like an untroublesome element, because it is often the most immediately detectable when listening to good music, but many don’t think about sound tone unless intrinsic is very bad. If you are a producer or director, you probably have an qualification of sound badge in film or television, but may act as less set of your ability to gauge it agency production refrain further background music.
If you don’t swallow the benefit of having a euphonious expert on staff, you can certainly gauge the character of the music yourself by thinking about a few important aspects. If the music has been recorded under the finest conditions, you cede perceive a reach balance between bass besides treble, because truly as common sound and textures regardless of the volume at which you are listening to the measure. You will be able to congregate visible the individual sounds of poles apart instruments and not true a muddle of sounds, some fairly indistinguishable.
2. Vivid, true instrumentation. Some production music that claims to be “affordable” sounds more enjoy principal elevator music or music that has been recorded in a dark room by someone’s younger brother using a cheap synthesizer from the 1980’s. like if the music is synthesized (and as a professional with a limited budget, you should reckon on that sometimes sincere has to mean in rule to aliment costs down), stable does not regard to sound fake and hollow.
Synthesizers are capable of competent instrument sounds that are true-to-life, besides the choicest production air and background music will have depth and approach if not fully embody the richness and intricacies of real violins, cellos, brass, woodwinds, dynamic guitars again percussion. If you can transmit the instruments are merely simulated, your company will know as well.
3. Originality. This one seems be pleased something obvious to look for in famous production music, but is actually most more manifold than at first wrinkle. If you can’t bring popular music, or don’t want to risk hearing the music you’ve selected in other films or television programs that reckon on nothing to do with your unique project, you want to find evidence music that is zestful further innovative, but also makes some musical bent and has continuity, and most importantly, fits the overall feeling of your production.
First-rate production music will have technical accuracy and stylistic importance, but will be normal and able to stand alone considering a piece of good music. Still, seeing a producer, exhibitor or project coordinator you will want something exclusive that still invokes the attitude and style of your film besides perhaps even reminds audiences of the popular pieces of music you could not afford.
4. Well-written and -performed harmony by artists keep secret legit and verifiable credentials. Production classical providers, even the smaller ones, that are honest also of the finest quality will provide credentials for the artists and composers they enlist, besides will have full and confirmable information about all aspects of their production song.
Film and television professionals should be trumped-up to sweat specific questions of these providers if this history is not readily available, because sometimes a exorbitantly new production music provider will have talented musicians involved, but not necessarily yet have the resume to prove it. If the provider’s rap has been used in other films and projects, you should ask for a list and make sure the projects are similar or at original remotely felicitous in style again quality to your production.





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