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Example One: Research Humanities and Social Sciences 9 th September 2011 Engaging With Music A Study into How Musicianship Alters the Interaction and Perception of Music The study of music culture investigates the ways in which all forms of music inhabit daily life, from the background Muzak heard in public buildings, to the revolutionary music that defined a generation. But instead of focusing distinctly upon audiences, what about those who compose and perform this music? Would it not be correct to consider musicianship as being a culture within itself? This study focuses precisely on that. The objective of this research is to determine whether becoming a musician would in any way alter how musicians now engage with music, their opinions in relation to styles, artists and pieces, and their overall perspective of music. In terms of the studies approach, in an ideal world the preferred method would to be able to spend time with developing musicians whilst studying how they relate to music over a long-term basis, but as time was of the essence, interviews with musicians were instead conducted, directly questioning whether they felt becoming a musician had altered their engaging, perception, and tastes in relation to music, alongside, their musical tastes and the significance of their musicianship to them. Proceeding onto the findings, in terms of engaging with music, the most significant difference that occurred within the overall findings was best annotated by Chris, who described an everyday situation in which he would play a piece of music to his girlfriend, who, unlike himself, would show no interest in the piece, as he would 'latch onto the guitar' (7.39), displaying how they, as musicians, now engage with music by centring their attention to each of the instruments individually within a piece, the guitar most of all. This certainly proved to be in-depth, as Chris stated how, when focusing upon the instrument, 'it could be just like a note on a solo that they (the musician performing) pick out that's interesting, like, say they picked out a Major 7th' (8.50), and this observation of individual notes and the detection of single noteworthy sound amongst numerous indeed demonstrates the shear importance of music and it's counterparts to musicians when engaging with music, shown also through the intent to identity such notes and then understand why the relationship between the musical parts are creating a particular sound, such as that illustrated, a Major 7 th , which Chris would be able to relate to his own music playing, hence why the guitar has a greater priority than other instruments within a piece. Trainor and Corrigall's scientific approach to understanding musicians coincides with this also, finding that in terms of brain function, the MMN, which is 'activated when an unexpected sound is inserted into a stream of similar sounds', is 'larger in musicians than in non-musicians', also demonstrating a significant physical development due to musicianship. Moreover, this finding cohered with one of the centre points of the engaging with music: the identifying of instrumental parts that they themselves could perform, whether it be a guitar part or the transposition from another instrument, driven by the desire to decipher the instrumental parts by ear, as noted by Berx, who stated that even though he doesn't play a varying number of instruments, 'when I hear these great things written for them, it's just like, 'wow', it just makes me go back to my instrument, I want to work it out' (26.08), thus challenging themselves as a musician to develop their skills, and so establishing the connection between musicianship and music listening. It was this engaging that undoubtedly proved to have the most significance, as Manny also mentioned how he would be 'listening to how other instruments play everything they're playing and try and see how you would translate it onto guitar' (13.23). However, it was only Berx who noted when this mode of engaging began to occur within his development as a musician, during of his lessons in Classical guitar: 'gradually after going to second year I would notice, sort of things in music' (20.57), referring to how he 'would pick things out of the music that I wouldn't normally be aware of, for example, drum fills' (21.43), coinciding with how he even now he would still 'really look out for the drums' (21.43), information that is formidable in support of this research. Furthermore, what was also intriguing was how Berx regarded it as innate, as 'sometimes you want to listen to it as a whole but you can't help but pick things out' (22.53), exemplifying the impact that becoming a musician has had on their music listening.

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Page 1: Linkedin Uplaod

Example One: Research

Humanities and Social Sciences9th September 2011

Engaging With Music

A Study into How Musicianship Alters the Interaction and Perception of Music

The study of music culture investigates the ways in which all forms of music inhabit daily life, from the background Muzak heard in public buildings, to the revolutionary music that defined a generation. But instead of focusing distinctly upon audiences, what about those who compose and perform this music? Would it not be correct to consider musicianship as being a culture within itself? This study focuses precisely on that.

The objective of this research is to determine whether becoming a musician would in any way alter how musicians now engage with music, their opinions in relation to styles, artists and pieces, and their overall perspective of music.

In terms of the studies approach, in an ideal world the preferred method would to be able to spend time with developing musicians whilst studying how they relate to music over a long-term basis, but as time was of the essence, interviews with musicians were instead conducted, directly questioning whether they felt becoming a musician had altered their engaging, perception, and tastes in relation to music, alongside, their musical tastes and the significance of their musicianship to them.

Proceeding onto the findings, in terms of engaging with music, the most significant difference that occurred within the overall findings was best annotated by Chris, who described an everyday situation in which he would play a piece of music to his girlfriend, who, unlike himself, would show no interest in the piece, as he would 'latch onto the guitar' (7.39), displaying how they, as musicians, now engage with music by centring their attention to each of the instruments individually within a piece, the guitar most of all.

This certainly proved to be in-depth, as Chris stated how, when focusing upon the instrument, 'it could be just like a note on a solo that they (the musician performing) pick out that's interesting, like, say they picked out a Major 7th' (8.50), and this observation of individual notes and the detection of single noteworthy sound amongst numerous indeed demonstrates the shear importance of music and it's counterparts to musicians when engaging with music, shown also through the intent to identity such notes and then understand why the relationship between the musical parts are creating a particular sound, such as that illustrated, a Major 7th, which Chris would be able to relate to his own music playing, hence why the guitar has a greater priority than other instruments within a piece. Trainor and Corrigall's scientific approach to understanding musicians coincides with this also, finding that in terms of brain function, the MMN, which is 'activated when an unexpected sound is inserted into a stream of similar sounds', is 'larger in musicians than in non-musicians', also demonstrating a significant physical development due to musicianship.

Moreover, this finding cohered with one of the centre points of the engaging with music: the identifying of instrumental parts that they themselves could perform, whether it be a guitar part or the transposition from another instrument, driven by the desire to decipher the instrumental parts by ear, as noted by Berx, who stated that even though he doesn't play a varying number of instruments, 'when I hear these great things written for them, it's just like, 'wow', it just makes me go back to my instrument, I want to work it out' (26.08), thus challenging themselves as a musician to develop their skills, and so establishing the connection between musicianship and music listening.

It was this engaging that undoubtedly proved to have the most significance, as Manny also mentioned how he would be 'listening to how other instruments play everything they're playing and try and see how you would translate it onto guitar' (13.23).

However, it was only Berx who noted when this mode of engaging began to occur within his development as a musician, during of his lessons in Classical guitar: 'gradually after going to second year I would notice, sort of things in music' (20.57), referring to how he 'would pick things out of the music that I wouldn't normally be aware of, for example, drum fills' (21.43), coinciding with how he even now he would still 'really look out for the drums' (21.43), information that is formidable in support of this research.

Furthermore, what was also intriguing was how Berx regarded it as innate, as 'sometimes you want to listen to it as a whole but you can't help but pick things out' (22.53), exemplifying the impact that becoming a musician has had on their music listening.

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Example Two: Journalism

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Example Three: Review

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Example Four: Report

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Example Five: News

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Example Six:Social Media