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I am not a professional musician and I don't know music terms and I can not read notesheets so bear with me. One day doing web-surfing about some music I came across a comment about song that I really like. Comment was like "Oh, I like this song, because it is so upbeat!".

So, google says that upbeat is "an unaccented beat preceding an accented beat". It's just one beat, right? How the whole song can be upbeat? Further research give me this: "The downbeat is the first beat of the bar, i.e. number 1. The upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat.". Upbeat at the beginning also called "anacrusis".

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Okay, how this can be related to the whole song? Further research tells me that upbeat is when conductor do upward stroke, and downbeat is when conductor do downward stroke. Well, I don't understand anything in conductor's gestures, so it means nothing to me.

So, I asked my collegues. They aren't professional musicians either. One of them suggested: "May be upbeat is just means cheerful and happy?". Well, this may make some sense, but I personally can't call Megalovania a happy or cheerful song, especially considering context of this song in a game - it's battle with Sans and it is one of the most dramatic or even tragic moments in a whole game. How can someone call this "happy?". Other upbeat songs I like also came from boss battles.

In this context, the commenter is using it in the "happy, cheerful, optimistic music" sense; though I would be inclined to use more emotionally neutral terms like fast-paced and active, full of motion etc. -- as you've noticed "upbeat" doesn't always map straightforwardly to happy (for every listener).

As far as I can tell, there is no strong relationship between this overall feel of the music and the more technical use of the term upbeat to refer to the un-accented subdivisions in the meter (or ever more stringently: the un-accented subdivision just prior to the start of the measure) . Indeed, you'd usually refer to music that accentuates the off-beats as being "[highly] syncopated', not upbeat.

Outside of classical music, people tend to be a bit looser with language, and may use "upbeat" to refer to any/all of the subdivisions that lie between the main beats -- as in the OP, the &'s in "1&2&3&4&".

"Upbeat" can be used by music critics (not necessarily performers) as a way of saying that the rhythm is lively. This may include music that is "hot", "hard" and so on but can include music that is "soft" and "light" if the tempo of the music is sufficiently quick enough. Take Frank Mill's "Music Box Dancer" as an example. "Hard" and "heavy" music can be considered "upbeat" if the rhythm of the song is comparatively above that of other songs of similar likeness.

Upbeat also has connotations of causing one to leap in dance. Quick marches are like that, as is quick jazz tunes which you see people doing the lindy hop to. In terms of metal, an upbeat tune will likely cause the audience to thrash less and perhaps engage in more hopping and jumping.

This is the answer for the music critic side. For the performers, upbeat can mean something completely different. It can mean the end of the bar where a conductor punctuates the end with an upward flick of his baton. The downbeat then is the start of the bar.

Music can have a profound effect on both the emotions and the body. Faster music can make you feel more alert and concentrate better. Upbeat music can make you feel more optimistic and positive about life. A slower tempo can quiet your mind and relax your muscles, making you feel soothed while releasing the stress of the day. Music is effective for relaxation and stress management.

Research confirms these personal experiences with music. Current findings indicate that music around 60 beats per minute can cause the brain to synchronize with the beat causing alpha brainwaves (frequencies from 8 - 14 hertz or cycles per second). This alpha brainwave is what is present when we are relaxed and conscious. To induce sleep (a delta brainwave of 5 hertz), a person may need to devote at least 45 minutes, in a relaxed position, listening to calming music. Researchers at Stanford University have said that "listening to music seems to be able to change brain functioning to the same extent as medication." They noted that music is something that almost anybody can access and makes it an easy stress reduction tool.

So what type of music reduces stress the best? A bit surprising is that Native American, Celtic, Indian stringed-instruments, drums, and flutes are very effective at relaxing the mind even when played moderately loud. Sounds of rain, thunder, and nature sounds may also be relaxing particularly when mixed with other music, such as light jazz, classical (the "largo" movement), and easy listening music. Since with music we are rarely told the beats per minute, how do you choose the relaxation music that is best for you? The answer partly rests with you: You must first like the music being played, and then it must relax you. You could start by simply exploring the music on this web page. Some may relax you, some may not. Forcing yourself to listen to relaxation music that irritates you can create tension, not reduce it. If that happens, try looking for alternatives on the internet or consult with Counseling Service staff for other musical suggestions. It is important to remember that quieting your mind does not mean you will automatically feel sleepy. It means your brain and body are relaxed, and with your new calm self, you can then function at your best in many activities.

Classical Indian Music for Healing and Relaxing

Gayatri Govindarajan, "Pure Deep Meditation" track. Lovely and rhythmic music played on the veena, the most ancient of the Indian plucked-instruments, with nature scenes.

In order to evaluate the effects of background music on different cognitive abilities, we used tests tapping processing speed and declarative memory. Our decision was driven by three main reasons. Firstly, processing speed is one of those abilities sensitive to the tempo and the mode of the music in those studies involving students (e.g., Schellenberg et al., 2007; Angel et al., 2010), thus it could represent a clear probe of the possible different effects of positive and negative background music in older adults. Second, the effect of background music on memory is rather controversial in the literature on young adults, with evidences of both beneficial effects (e.g., Ferreri et al., 2013) and detrimental effects (e.g., Moreno and Mayer, 2000; Miskovic et al., 2008). Hence, we intended to assess the impact of different types of background music on tests tapping what are nominally called episodic memory (free recall) and semantic memory (phonemic fluency). Third, both processing speed and memory are cognitive abilities mostly affected by aging (see Salthouse, 2004), thus it is of interest to assess whether background music may have a negative or positive effects on these tasks among older adults.

In the first session all participants completed, in order, (a) the informed consent form; (b) demographic questionnaire; (c) Vocabulary test; (d) CES-D. Subsequently, both in the first and in the second sessions, they performed, for each background conditions, the parallel versions of the three cognitive tests. In this way, participants performed the same tasks in the four different background conditions. For example, half of participants in the first session performed the cognitive tests listening first to Mozart then the no-music condition (or first listening to Mahler and to white noise secondly), and in the second session performed the cognitive tests listening first to Mahler and then to white noise (or first Mozart followed by the no-music condition). Instead, in the first session, the other half of participants performed the cognitive tests listening first to white noise and secondly to Mozart (or first listening to white noise and to Mahler secondly) and, in the second session, performed the cognitive tests first with no-music in the background and then listening to Mahler (or first the no-music condition followed by Mozart).

From the analysis of semantic memory, emerged a significant main effect of background condition, F(3, 192) = 9.70, MSE = 32.95, 2 = 0.13. Follow-up analyses revealed a significant advantage of the Mozart condition over no-music, t(64) = 3.02, and white noise, t(64) = 5.21. Performance in the Mahler condition was significantly higher than in the white noise condition, t(64) = 3.36. The Mahler condition neither differ significantly from the no-music condition, t(64) = 1.93, nor from the Mozart condition, t(64)= 2.07. Finally, there was not significant difference between the two control conditions, t(64) = 1.58. Overall, listening to classical music increased semantic memory performance compared to white noise and no-music. The overall pattern of the impact of the independent variable on semantic memory is comparable to the one obtained in the free recall task.

From the analysis of how music was evaluated as sad, a significant main effect of background condition emerged, F(2, 52) = 19.78, MSE = 5.95, 2 = 0.43. Follow-up analyses revealed that Mahler was rated as more sad than Mozart (MMozart = 1.41; MMahler = 5.41), t(26) = 7.61, but comparable to white noise condition (Mwhite noise = 4.44), t(26) = 1.27, Finally, the white noise condition was rated more sad than Mozart (MMozart = 1.41), t(26) = 4.42.

A further consideration may be made. If emotional experience comprises two dimensions, valence and intensity (e.g., Duffy, 1941), our data seem to suggest that the effects of music on memory are due primarily to the intensity of the emotions induced by music, rather than their specific valence. This purely post hoc speculation obviously requires empirical testing before being considered as a valid explanation of the background music effect.

Furthermore, it is relevant to notice that a context dependent learning effect (e.g., Smith, 1985) should not be considered as a valid explanation of the results obtained in the memory tasks for two reasons. Firstly, in the white noise condition, as well in the music conditions, some comparable background sound was presented during the study and test phase of the free recall task. Nevertheless, performance was significantly lower than in the classical background music conditions. Secondly, due to the nature of the semantic memory task, there were no distinctive study and retrieval phases. Despite this feature of the task, classical music in the background led to the highest performance. e24fc04721