Love Music Mp3 !LINK!

I am just curious why people who love music don't make it themselves? It is such a great form of therapy. Your goal doesn't have to be to become famous or to make music that everyone will love. It can be like sitting down with a zen garden. Just making something in that moment and then walking away from it. I just would love to see more people who love music give making music a chance. So if you are someone that loves music, but has never made a song before, can you explain to us why that is? What would it take to inspire you to try to make your own?

Edit: I've noticed a lot of people mentioning that the reason they don't make music is because they have never learned an instrument before. If you are someone who is interested in learning, I would suggest getting a cheap midi keyboard or digital piano and following along with Michael New's music tutorials: =5Y01jIorpeA&list=PLTKhUdPIHIuhhCrMuKJWcjnXUfAN3f5Mn

Love Music Mp3

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Our Alternative Love Blueprint celebrates over 300 musicians, artists, managers and producers who (in our opinion) have been pivotal to the evolution of the alternative and independent music scene, from Bill Hayley & His Comets whose 1950s Rock Around the Clock became the first ever anthem for a rebellious youth, through to experimental rock bands Arctic Monkeys and Radiohead.

Which brings us to the question that forms the title of this article: why do we love music? On its face, there is no apparent reason why a sequence or pattern of sounds that has no specific propositional meaning should elicit any kind of pleasurable response. Yet music is widely considered amongst our greatest joys.3 Where does this phenomenon come from?

This process is accomplished by operations happening in three separate brain areas: the brainstem, thalamus, and auditory cortex. A cello string when plucked, for example, will vibrate at a characteristic frequency based on the physics of its materials and its tension; if it is the first string of a conventionally tuned cello, for example, the entire length of the string would vibrate about 65 times in one second, corresponding to the musical note C. Neurons in the aforementioned nuclei and the cortex will respond in a synchronized manner with a corresponding neuronal oscillation4 of 65Hz, thus transforming physical energy to a pattern of neural activity representing sound frequency.

A great deal of research suggests that neurons in the auditory cortex, especially in the right cerebral hemisphere, are important for distinguishing fine gradations of frequency, creating the psychological sensation of pitch.5 Pitch is fundamental to most music, but it is not sufficient merely to detect that a pitch has changed; it is essential to determine the relationships between pitches within a musical system.

An introductory class in music theory would, accordingly, include a description of musical intervals, the ratio between the frequencies of two tones, which determine the patterns that form melodies (when the tones are sequential) and harmonies (when the tones are simultaneous). Importantly, intervals are defined by the relations between pitches independently of the pitch values themselves. That is, a minor third is defined (roughly) as the ratio six to five, so any frequencies in that relation will be perceived as a minor third.

The advantage of this approach was that chills are accompanied by physiological changes (increased heart rate, respiration, skin conductance, and so forth), from which we could derive an objective index of the timing and intensity of maximal pleasure. To implement this idea, we asked each participating individual to select their own favorite music, guaranteed to elicit maximal pleasure. Thus armed, we were able to demonstrate in a series of studies that both dorsal and ventral striatum does indeed respond to moments of peak pleasure induced by music15 and, using a neurochemically specific radioligand (a radioactive biochemical substance that binds to a relevant molecule), that dopamine release occurred in the striatum during these moments.16

These studies transformed our understanding of the neurobiology of musical pleasure but left unanswered precisely how or why the reward system is thus engaged. A clue to this question was our observation that there were two phases to the dopamine response: an anticipatory phase, occurring a few seconds prior to peak pleasure in one sub-portion of the striatum, and a second response in a different sub-region at the actual point of pleasure.16 This finding indicates that expectations are as important a source of pleasure as resolutions. Interestingly, music theorists have posited something similar for many years: that emotional arousal and pleasure in music arise from creating tension and then leading the listener to expect its resolution, which resolution is sometimes delayed or manipulated to increase the expectation even further.9

Using the chills response proved very useful; but one could ask whether the engagement of the reward system is limited to this experience; since not everyone gets chills, and since music can be very pleasurable even without any chills, it seemed important to test musical pleasure without any chills being involved. To do so we used a paradigm adapted from neuroeconomics, in which people listen to music excerpts and decide how much money they would be willing to spend to buy a recording of it. The monetary amount is then a proxy for value, and indirectly, for pleasure. With this approach we also found that the ventral striatum showed increased activity as value increased. 17

When we scanned their brains, we discovered that their reward system responded normally to a gambling game, but not to music; and the coupling between auditory and reward systems was essentially absent during music listening.20 Thus, as predicted by our model, musical anhedonia emerges in the absence of the typical interaction between the two systems.

One might say that musical anhedonia represents a chicken and egg problem: perhaps it is the lack of musical pleasure that leads to decreased connectivity between auditory and reward systems, and not vice versa. To exclude such a possibility, it is critical to test a second prediction arising from our model: if activity in the reward system really underpins musical pleasure, then we should be able to modulate that pleasure by manipulating activity within that system in the normal brain.

Previous work had shown it possible to excite or inhibit the reward system, by changing dopamine activity in the striatum with a noninvasive brain stimulation technique known as transcranial magnetic stimulation.21 We recently implemented this technique while people listened to music (their own favorites and some choses by us) and found that, just as we predicted, listeners reported more pleasure and showed greater physiological responses (skin conductance) to music in the context of excitatory stimulation, and reported less pleasure, even to their own selected music, and showed diminished physiological responses during the inhibitory stimulation.22 This finding provides causal evidence that musical pleasure is directly linked to reward system activity.

Quincy Jones almost nabbed this slice of loved-up electrofunk for Michael Jackson, but it ended up becoming a signature tune for R&B diva Khan when she sang it with her old band Rufus in 1983. When Frankie Knuckles gave it a piano house remix in 1989, a new generation went crazy for the song: now artists ranging from Mary J. Blige to KT Tunstall have recorded versions, but none of them reach the thrilling heights of Chaka as she hits the final chorus.

In 1976, a live cover version appears on the album LIVE performed by 3M Productions, also known as Major Harris, Blue Magic and Margie Joseph, recorded at the Latin Casino. In 1990, Chicago House music vocalist Darryl Pandy released a version of the song on Warner Bros. Records which remained faithful to the original version. The track featured a prominent keyboard riff, brass, and a driving House beat.

The song received favorable reviews from music critics. Barry Walters from The Advocate deemed it a "respectful rendering".[9] Larry Flick from Billboard described it as a "spirited reading of the O'Jays classic". He noted that Rozalla "has developed a smoother, more soulful vocal quality".[10] Gil L. Robertson IV from Cash Box named it a "standout track" of the Look No Further album.[11] Dave Sholin from the Gavin Report wrote, "International sensation Rozalla and producer Jellybean extract every ounce of excitement out of this 1976 O'Jays hit."[12] Alan Jones from Music Week said, "Though she acquits herself well, not one of the mixes approaches the classy exaltation of the original. For all that, this is sure to give Rozalla yet another hit."[13] In 1994, another editor, Andy Beevers, rated it four out of five, noting it as a "rather routine Jellybean-produced cover".[14] Wendi Cermak from The Network Forty declared it as "a fabulous remake".[15]

Music changes lives, much like St. Jude Children's Research Hospital. St. Jude is leading the way the world understands, treats and defeats childhood cancer and other life-threatening diseases. This is possible thanks to music fans like you.

From an evolutionary perspective, it makes no sense whatsoever that music makes us feel emotions. Why would our ancestors have cared about music? Despite many who'd argue the contrary, it's not necessary for survival.

It's quite possible that our love of music was simply an accident. We originally evolved emotions to help us navigate dangerous worlds (fear) and social situations (joy). And somehow, the tones and beats of musical composition activate similar brain areas.

One possibility, he notes, is that it's a function of our love of patterns. Presumably, we evolved to recognize patterns because it's an essential skill for survival. Does a rustling in the trees mean a dangerous animal is about to attack? Does the smell of smoke mean I should run, because a fire may be coming my way? 17dc91bb1f