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Almost a decade ago, Internet was only a new medium for advanced communication. However, today, with the advancements in technology, Internet is something more than just a tool for communication. Everyone around the planet is aware of the fact that Internet is the largest source of entertainment available today. Thousands of online music site have spawned in the Internet in a short span of time. Almost overnight, the Internet’s gone from a technical wonder to an entertainment must. With lots of legal issues people are restricted from free music downloads. However, with the introduction of online music sharing websites, free music downloads have no limits today. Just keep reading on the article to know more about the benefits of using online music sharing websites.

Downloading free music from online music sharing websites is 100% legal

The important fact to be noted while downloading music is that, not all the websites that provide free music downloads have the legal rights to share music. Most of the websites available today carry the pirated copy of music files. By downloading music from such websites makes you too involved in piracy.  The online music sharing websites are under the act of Voluntary Collective Licensing of Music Files. This type of licensing benefits both the artists and the worldwide music fans. Hence it is legal to download music form online music sharing websites. However there are certain guidelines of use for music downloaded from the online music sharing websites. You should make sure to comply with all those guidelines.

High Speed unlimited music downloads

When it comes to music downloads, there are two common problems that are faced today. The first hurdle that comes with the music download is the low download speeds. Second difficulty is the quality of music. With the use of the online music sharing websites, both these difficulties could be overcome with ease. The online music sharing websites host the best quality audio files which can be downloaded at the maximum speed supported by your internet service provider.

Share your music files with the other music fans

The online music sharing websites are excellent for sharing the music files that you have. The music files can be uploaded to these online music sharing websites with just a few mouse clicks. You can even host you music files online so that you can listen to your favorite songs on the go. The hosted music files can be accessed from these online music sharing websites using your laptop or PDA. Moreover, uploading your favorite music to the online music sharing websites preserves the valuable data. You don’t have to loose your favorite music due to unexpected computer crashes.

The above mentioned benefits of using the online music sharing websites are only a few of a bunch of other benefits that you can get. When it comes to free, legal, unlimited music downloads the online music sharing websites are the ones to look for.

Read more on The Importance of Music Sharing Websites…

IT HAS often been said that music is an international language. Proof of this is the folk music of the world. Enjoyment of it is not confined to the land of its origin. People can and often do enjoy hearing the music of lands other than their own. Getting acquainted with the music of other lands can be a delightful experience.

If you were to travel to every section of our earth you would find that each nation or group of people has its own characteristic songs and dances. Each one has contributed its own “accent” to the “language” of music. And this “accent” is generally so distinctive that a person can identify the land in which a certain song or dance originated, in much the same way that he can tell a foreigner’s nationality by his accent.

Most folk music was not composed by professional composers. Some of it has existed for thousands of years. In early times tunes were made up by musically inclined persons and these were handed down from generation to generation. The words of songs dealt with love, peace, war, drinking, fictional characters and amusing incidents. And people danced to the tunes, each group developing its own style.

So when people got together on social occasions in village marketplaces, in homes or around campfires, they sang and danced to music that had been handed down from their forefathers. Of course, the topography and climate of their land as well as their history, language, customs and temperament helped to mold their songs and dances. And these are the things that give each group’s folk music that peculiar “accent” that identifies it as belonging to them.

The Music of Europe

Much of the greatest music of the Western world was produced in Europe. From the seventeenth century onward a number of outstanding musical composers wrote a great quantity of music both for instruments and the voice. Their orchestral music called for many stringed instruments, as well as the wind and percussion types. Their beautiful concertos featured a solo instrument with an orchestra for accompaniment. And there were moving works that called for a large chorus of voices along with an orchestra.

Europe is known for its operas. As the play is acted out on a stage, with sets and costumes, the presentation is made more moving because the words are usually sung rather than spoken. An orchestra accompanying the singers adds dramatic effect. Operettas, like operas, have plots, but they are lighter and the music is gay.

Oratorios began in this part of the world. These compositions usually deal with Bible history. No stage props and costumes are used. Soloists sing the various parts, and a chorus and orchestra are employed. G. F. Handel wrote great Biblical oratorios dealing with Joseph and his brothers, Israel’s deliverance from Egypt, Joshua, Deborah, Jephthah, Samson, Saul, Solomon, Athaliah, Belshazzar and the fall of Babylon, Esther and the Messiah. In many of these thrilling masterpieces the divine name Jehovah appears.

At times these composers dug into the treasury of European folk music. They would either use a folk tune outright or would compose a melody having the distinctive characteristics of a nation’s folk music. At the beginning of their composition they often indicated that it was in the style of the music of a certain land.

As for the folk music of Europe, the most distinctive is that of Spain. The Moorish occupation of this land from the eighth to the fifteenth century C.E., as well as Gypsies, left their imprint on Spain’s music. Perhaps no other people have as many different kinds of dances as do the Spanish, yet that Spanish “accent” of vitality is evident in all of them. Adding to this “accent” are the instruments used by their folk musicians, namely, the guitar, the tambourine and the castanets with their clacking sound.

The Western music of Europe might be said to find a basic representative in the German. It stresses the bright-sounding major scale and is rich in harmony. Italian music is generally more melodious than is German, and is much lighter. The folk music of the French is also very melodious; however, the emphasis in their music is usually more on rhythm.

The Oriental flavor in European music is especially apparent in that of Russia. This could well be due to the Mongols who overran that country in the thirteenth century. Also, the deprivation of the people under the despotic czars no doubt helped to give Russian music its minor, sad strain. Further, the long, bleak winters there contributed to this melancholy “accent.”

Scandinavian music might be said to lie somewhere between that of the Germans and that of the Russians. Finnish music seems to have an Oriental tinge about it. However, many folk tunes of Denmark and Holland are quite similar to German folk music. Polish folk music shows both Russian and French influences.

Today it is usually the Europeans living in the country who do not merely listen but sing and dance their folk music. Those living in the cities are more inclined to go to concert halls and to listen to music on the radio.

That Latin-American “Accent”

Latin-American music is a combination of Spanish, African and, depending on the country, native Indian music. In this music the African influence is especially noticeable in the greater use of drums, the strong stress on rhythm and on variety in rhythm. Examples of these characteristics are found in such dances as the conga, the rumba, the samba and the beguine. In these dances, as well as others, the rhythm is sharply defined, being highlighted by drums and other percussive instruments. It is this quality that makes this music so catchy and moves one to want to dance to it.

Among Latin Americans there are many who like to have music all the time—and loud. So it is not unusual for them to have music on the radio all day long and frequently far into the night, with the volume turned up full blast. Cafés with jukeboxes and shops with radios add to the sound that can be heard by a good part of the neighborhood. At social affairs a band may be hired, or a phonograph turned up to full volume may provide the music. Of course, preferences vary. In some sections, people will pick up a guitar or accordion and provide their own music, singing or dancing together.

Read more on The Music of Many Lands…

THE origins of traditional Japanese music reach back more than a thousand years. Included are classical or refined music, chamber music, theater, folk and festival music, as well as a host of vocal forms. This treasury of music was passed on from generation to generation without the help of musical scores.

Between the third and fifth centuries C.E., Buddhist missionary priests came to Japan to spread their views. The chants and background music associated with their religion gradually merged with the Shinto traditional music, forming a basis for nearly all native Japanese music.

By the seventh century this music of Japan developed into what became known as Gagaku, the classical (literally, “elegant”) music. From Gagaku, which became the music of the imperial court, the secular use of instrumental music grew, as did theatrical music. Meanwhile, folk and festival music appeared, with its loud drumming and lively rhythm, contrasting sharply with the quiet music of Gagaku.

The Instruments

Today many instruments are employed in traditional Japanese music. The three most commonly heard are the koto, shakuhachi and shamisen.

The koto, imported from China around the ninth century, is a long wooden box-type instrument about six feet (1.8 meters) long and one foot (.3 meter) wide. With the instrument lying before him, the seated player plucks its 13 strings with a plectrum. A skillful player can produce music that pleasantly resembles that of the harp.

The Japanese bamboo flute, measuring about 21 inches (53 centimeters) in length, is called shakuhachi. This instrument has five finger holes, and a mouthpiece at the upper end. The player holds the shakuhachi vertically. By skillfully adjusting his lips to the mouthpiece at varying angles and moving his neck into different positions as he covers the holes with his fingers, the instrumentalist is able to produce three octaves of tones. The plaintive wail produced by this flute may generate feelings of vagueness and melancholy.

The shamisen has no counterpart among Western musical instruments. It came to Japan from China by way of Okinawa around the year 1560 C.E. But only the instrument is an import. The manner in which the shamisen is played, the kind of music produced with it and the construction of the instrument itself are strictly Japanese. It looks somewhat like a banjo, is made of wood covered with cat skin, and has three gut strings. The shamisen is played by striking the strings with a large plectrum.

When music is produced on the shamisen, the most important thing is not the sound of the instrument but the words for which the music provides the background. Without the words, the music has little meaning. It varies according to the meaning of the song. When words fail to express what is to be conveyed, such as the cold of falling snow or the trickling of a brook, the shamisen is used to “imitate” these things, and the story is told without words.

Appreciating the Music

What is the composite effect produced by Japanese instrumentalists? If you are listening for the first time, your reaction may be that you are hearing the same thing over and over again. It may seem that you are listening to a kind of melody, and yet there appear to be conflicting melodies. But there is something delightful about seeing the musicians perform. Their movements, posture and expressions all appear to be choreographed and in perfect harmony. Yes, in Japan, not just the music, but how it is played and how the performance looks to the observer are important.

Japanese music is very different from the music common in Western lands. This difference includes the scale, the rhythm and the sound. In Western orchestral music, sounds from the various instruments blend, producing harmony. But in Japanese music the individual instruments can be heard playing conflicting melodies. Nevertheless, together they create an aesthetic balance.

Western Influence

In the last 100 years, the Western style of music has become the norm in Japan. Under Emperor Meiji’s reform, music began to be taught in the schools, and it was the music of the West. In spite of this, there is no danger that the ancient traditional music will die out. Many Japanese people want to preserve the traditional music. Therefore, the various guilds that perpetuate this music and teach it continue to thrive.

Because music of the Western world has become so much a part of Japanese culture, one can find old Japanese songs written in Western notation and scored for the piano or guitar. Also, in the last century many new Japanese songs have been written according to the Western style. But it cannot be said that these are truly Western songs. Rather, the Japanese simply have used a medium to enrich their own musical heritage. The development is music with a distinct Japanese flavor, though scored and played in the Western style.

Read more on Music Made in Japan…

During The Pirate Bay trial, the music industry placed the blame for the decline in their revenues squarely on the shoulders of file-sharers. Their logic is clearly flawed, but it could sway the verdict if no alternative explanation is presented. So, if piracy isn’t to blame, then what is *actually* killing the music industry?

According to Per Sundin, CEO of Universal Music, the decline in music revenues in the past 8 years can be fully attributed to illegal file sharing. If this were actually true, many of us might even respect his decision to go after pirates as fiercely as the music industry is doing right now. However, the past 8 years have seen a lot more changes in the landscape of home entertainment than Per Sundin would like to admit, and some of those changes have had a massive impact on music profitability – much more so than any amount of piracy.

Let us refresh our memories and take a look at what actually happened during and just before the past 8 years:

1. First, the explosive rise of computer and console gaming. This competitive ‘third element’ has appeared in the entertainment landscape, beaten both music and movies to the curb and taken a huge cut out of the music industry’s revenues. Consumers don’t have infinitely-deep pockets, and billions of ‘recreation dollars’ that used to go almost exclusively to music, are now going into gaming.

2. International trade agreements have allowed consumers to buy their music across borders, rather than accepting local prices on music based on the ‘relative wealth’ of nations, rather than the actual value of the product.

3. New forms of distributable media, most notably MP3s but also CDs, have become mainstream. These new media don’t degrade over time and rarely break at all, making music rebuys a thing of the past, and allowing the second-hand market for music to thrive and expand – both of which take a cut out of the music industry’s former revenues.

4. Radical technological innovation has taken place in the field of music creation, processing, mixing, and mastering. Recording hardware, CD burners, music software, and media encoders have evolved to the point where most artists can actually afford decent-quality equipment to do their own recording and producing. Furthermore, this has fostered literally thousands of smaller, specialized studios that are challenging the ‘Big 4? with lower prices, better terms for artists, genre-specific expertise, etc. Successful artists can now leave the big labels and start their own recording outfits on relatively modest budgets. Naturally, super stars like The Beatles or Frank Sinatra have always had this option, but the recent technological advances have lowered the bar drastically. This development is depriving the ‘Big 4? of many of their former cash cows, who now use the major labels for their advertising and distribution infrastructure alone.

5. The World Wide Web has become an omnipresent force in the world, allowing cheap, end-to-end distribution of digital music, increasingly cutting out the corporate music distributors, who deal in trucks and CD covers, rather than bytes and bandwidth. With iTunes leading the way (very successfully ‘competing with free’, I might add), billions of songs are now purchased digitally rather than physically, no longer necessitating the big labels’ distribution networks.

6. The total number of radio stations, music television networks and other ’streaming’ sources of music has grown exponentially, giving music fans a huge selection of free (and legal) music options. Satellite radio, DAB, and internet radio broadcasts have made it trivial for consumers to simply tune into a channel broadcasting the exact sub-genre of music that they feel like listening to (they can even have a stream created for them dynamically, e.g. on Pandora), making the *purchase* of music entirely optional for the casual listener.

7. A massive selection of entertainment alternatives (home computing, console gaming, mobile devices, etc.) have appeared in the home, effectively marginalizing music as an activity. 15-20 years ago, youths would regularly visit each other just to listen to music together; today, that is virtually unthinkable without some form of activity involved, such as playing Guitar Hero or Rock Band, or dancing at a concert.

8. And finally, the music industry itself has embraced the opportunities of digital media, at last letting consumers buy *single* tracks at a time rather than forcing entire albums full of ‘fillers’ on them. Looking at the RIAA’s own sales figures for the past 10 years, there is a *direct* correlation between the break-off in album sales and the introduction and increase in single track digital sales. Looking at the actual numbers, it is abundantly clear that the vast majority of consumers never wanted to buy full albums in the first place, but were merely forced to by the lack of affordable single-track media. Now that the digital revolution has arrived, countless millions of 16-track album sales are being turned into 1- or 2-track sales, *decimating* the former revenues on music. THIS is the real reason why the music industry is hurting.

In other words: The “it’s common sense” argument that the music industry is peddling in their attempt to tie the declining revenues to piracy, simply doesn’t hold. It is not as clear-cut as the industry believes; the true reason for the decline is something they are still unwilling to face, but will have to face sooner or later:

The fact is that the music industry’s revenues have been artificially inflated for decades because of limited consumer options. The last 15 years of innovation have lifted those limitations, effectively leaving the music industry with an obsolete, defective business model of monopolized production technology, forced album bundling, and almost nonexistent competition in the realm of home entertainment. What is happening now – the decline of music profits and the piracy witch hunt by the music industry – is merely the panicked struggle of a dying business model, a complacent industry’s refusal to accept its diminishing role in a digital world. The pirates are not the reason, and the decline is the not the disease. It is the cure.

This is a guest post by Jens Roland. Jens is a computer scientist by training, but a technology forecaster by trade. He has worked at international think tanks as a consultant and researcher in emerging technologies and has written more than 300 articles and a book on the subject.

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DATA: Net value of shipped music, in billion dollars

1991 7.83
1992 9.02
1993 10.0
1994 12.1
1995 12.3
1996 12.5
1997 12.2
1998 13.7
1999 14.6
2000 14.3
2001 13.7
2002 12.6
2003 11.9
2004 12.3
2005 12.3
2006 11.8
2007 10.4

(source: www.ayubs.weebly.com annual reports)

Read more on How To Kill The Music Industry…

Recording a music demo is the most vital step in pursuing a record deal. If you want a record deal, you need to really impress the record label and give them something professional, polished, unique and exciting. Finding the right record producer can be a painstaking process, but it’s absolutely necessary if you want to have a shot at a successful music career. The following are ten pitfalls you must avoid when recording your music demo.

Read more on Need to Record a Music Demo? – Learn Ten Pitfalls You Must Avoid When Recording Your Music Demo!…

 What’s imeem?

A social media service with which users interact with each other by watching, posting, and sharing contents of all digital media types, such as blogs, photos, audio, and videos. Now imeem has more than 25 million visitors per month with over 65,000 new users every day.

Read more on How to download imeem music with Wondershare Streaming Audio Recorder?…

Soul Music has its beginnings in Gospel and R&B of the 1940s and 1950s.  They both had  major influences on key soul singers including Ray Charles and Aretha Franklin, just to name a couple.

The birthplace of Soul Music, to be quite honest is unknown.  What is known? The United States inner cities, including Chicago, Detroit, Florence, Memphis, and New York, all created and produced their own soul music styles based on their demographics at the same time, thus making a “beautiful mixture“ of  sound variety across the states for us all to enjoy.

In the 1970s, Hip Hop was born, which had a huge  influence on the Soul Music that followed.  New Jack Swing (aka Swing Beat), which combined Soul, Hip Hop, Gospel and Jazz, was absolutely rocking.

Disco and Funk Music also came to fruition in the 1970s, and started to decline in the early 1980s.  Undoubtedly, Soul Music was now being influenced by Electro Music and Funk – it became known as Contemporary R&B which was, and still is, great!.

House and Techno rose to mainstream popularity in the late 1980s and remained popular in the 1990s and 2000s.  Also starting in the 1980s, Soul Music from the United Kingdom became very popular – cheers mate!.

The development of Neo-Soul started around 1994.  This was due to mainstream record label marketing support for soul genres diminishing in the 2000s, as  the industry re-focused on Hip Hop – somewhat of a master stroke by the powers that be.

The many genres of Soul Music and R&B have reached a point, well before now of course, where they are now sub-divided into subgenres.  To be side tracked, even though I have not mentioned it above, true Soul Music connoisseurs know that Rock and Roll was, literally, born from Soul Music and Rhythm and Blues….another day, another article.

Subgenres:

Detroit (Motown) Soul Music
Strongly rhythmic and influenced by gospel music – includes hand clapping, a powerful bass line – called “dub“, Violins and Bells.

Deep Soul and Southern Soul Music
A driving, energetic soul style combining R&B’s energy with pulsating – down south, Gospel Music.

Memphis Soul Music
A shimmering, sultry style of soul music produced in the 1960s and 1970s – includes melancholic and melodic horns, organ, bass, and drums – truly remarkable.

New Orleans Soul Music
Directly came out of the R&B era – deep.

Chicago Soul Music
A light gospel-influenced sound – emotional.

Philadelphia Soul Music
AKA Philly Soul – Orchestral sound and “doo-wop” vocals.

Psychedelic Soul Music
A blend of psychedelic rock and soul music, which paved the way for funk music a few years later – yeah buddy!.

Blue-eyed Soul Music
Performed by white artists, it has evolved over decades and to a lesser extent, the term has been applied to singers in other music genres that are influenced by Soul Music – Kenny G is truly a great artist.

Neo Soul Music
A musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes – to chill out!.

Northern Soul and Modern Soul Music
Rare Soul Music that was played by DJs at nightclubs in northern England – includes obscure 1960s and early 1970s American soul recordings – It‘s the vibes that matter.

Nu-Jazz and soulful electronica Music
Various genres of electronic music such as House, Drum & Bass, UK Garage, and Down tempo – the fusion is “you are on one!”

There is something about really fantastic old rare soul music that will always stay with you , and will always have you wanting more of “the vintage stuff.”  Well look no further, because finally, there is this highly popular R&B and Rare Soul Grooves website featuring
Soul Music TV. Want to watch FREE 24 hour Soul Music Internet TV and receive 4 FREE Rare Soul CD Samplers?
Then visit: http://www.raresoulgrooves.com/106.html

Soulgrooves

Read more on The history of Soul Music and R&B…

How many times have you turned to music to uplift you even further in happy times, or sought the comfort of music when melancholy strikes?

Music affects us all. But only in recent times have scientists sought to explain and quantify the way music impacts us at an emotional level. Researching the links between melody and the mind indicates that listening to and playing music actually can alter how our brains, and therefore our bodies, function.

Read more on Music & Emotions: Can Music Really Make You a Happier Person?…

Unlimited music downloads are now made readily available on the internet from different online music stores and services. Some go on a pay-per-download basis, while others go on a subscription service, either on monthly or one-time basis. They reportedly carry millions of sound tracks and MP3 files from all the known music genres you can ever find. The question of where to download music is therefore answered by going to these music services which provide unlimited music downloads. But it is equally important to know which are the best deals in town when locating where to download music online. We take a look at what is downloading online music from these music download sites all about.

Read more on Unlimited Music Downloads – Where to Download Quality Music…

Music education, in some form, goes back as far as education itself. While sometimes struggling for legitimacy, it nonetheless has had its champions. More recently, as technology has flourished within education, technological applications designed specifically for the teaching of music have been developed. While much of this technology is designed primarily for the classroom there are programs designed for the student to utilize in the home, albeit limited to those students with a home computer and internet access.

Read more on Technology in and for the Instrumental Music Classroom…