Music also has the ability to entrain the brain. Entrainment is the ability of the brain to synchronize the frequency of its brainwaves with external stimuli. While this can also include visual or tactile stimuli, auditory stimuli such as music can easily be used to induce different states in the brain. The five different brainwave frequencies, Gamma, Beta, Alpha, Theta, and Delta, correlate with different states of awareness. Potentially, by imbedding different frequencies in music, composers could create music that could intentionally alter their audiences' state of consciousness. They could imbed higher frequencies, bringing the audience into a more focused state, or they could imbed slower frequencies, bringing their audiences into a more
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Rather, scripting is almost more reliant on the music. This is evident through the historical success of dramatic performances that have little or no speaking, but just music and motion. Ballet is a prime example of the importance of music in theater. The dance is artistic and unique, but the majority of plot is conveyed through the music. For instance, Peter Illyich Tchaikovsky’s music for Swan Lake and The Nutcracker conveys the majority of the drama in the performances. Through auditory cues, the music guides the audience to better understand the narrative that the dance is striving to tell. Much like ballet, music also plays a prominent role in pantomime. Although pantomime is centered around the art of expressing emotion through gestures and facial expressions, it can be easy to lose focus of the plot. However, the addition of music helps keep the audience focused. In the recent off-off Broadway mime show “See Reverse,” the addition of music helped the audience know what they were supposed to feel even when the miming was clear as mud. Light bouncy music guided the audience through lighter, funnier scenes, while a monotonous, quivering tone helped to signify a state of hopelessness and …show more content…
There was a divide of wealth between houses, and this created a divide of quality in the music. Most smaller theaters only had a piano or an organ, but as the theaters grew in size they could afford to hire more musicians. The biggest houses could even afford to accompany their films with entire orchestras. As film grew in popularity and more houses were able to finance more musicians, theater music shifted towards continuous original scores created specifically for one film. Some of the earliest examples of these full scores were the music by Sigmund Romberg for Foolish Wives (USA, 1921), the music by Arthur Honegger for La Roue (France, 1922), and the music by Dmitri Shostakovich for The New Babylon (USSR, 1929). These early full scores paved the way for the advent of modern scoring that coincided with the dawn of talking
Rather, scripting is almost more reliant on the music. This is evident through the historical success of dramatic performances that have little or no speaking, but just music and motion. Ballet is a prime example of the importance of music in theater. The dance is artistic and unique, but the majority of plot is conveyed through the music. For instance, Peter Illyich Tchaikovsky’s music for Swan Lake and The Nutcracker conveys the majority of the drama in the performances. Through auditory cues, the music guides the audience to better understand the narrative that the dance is striving to tell. Much like ballet, music also plays a prominent role in pantomime. Although pantomime is centered around the art of expressing emotion through gestures and facial expressions, it can be easy to lose focus of the plot. However, the addition of music helps keep the audience focused. In the recent off-off Broadway mime show “See Reverse,” the addition of music helped the audience know what they were supposed to feel even when the miming was clear as mud. Light bouncy music guided the audience through lighter, funnier scenes, while a monotonous, quivering tone helped to signify a state of hopelessness and …show more content…
There was a divide of wealth between houses, and this created a divide of quality in the music. Most smaller theaters only had a piano or an organ, but as the theaters grew in size they could afford to hire more musicians. The biggest houses could even afford to accompany their films with entire orchestras. As film grew in popularity and more houses were able to finance more musicians, theater music shifted towards continuous original scores created specifically for one film. Some of the earliest examples of these full scores were the music by Sigmund Romberg for Foolish Wives (USA, 1921), the music by Arthur Honegger for La Roue (France, 1922), and the music by Dmitri Shostakovich for The New Babylon (USSR, 1929). These early full scores paved the way for the advent of modern scoring that coincided with the dawn of talking