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The Musical Delusion: the Compulsion of Sheet Music

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The Musical Delusion: the Compulsion of Sheet Music
The Musical Delusion:
Compulsion of Sheet Music Considering the rapid and significant technological advancements made in the present generation, an argument can be made about the question of importance of extensive musical education and its requirement to establish oneself as a successful musician. There are plenty of professional musicians and band members out there who have successfully advanced in their career without pursuing in musical education extensively. A periodical by Alexander Reid, Music Reading Is Essential to Successful Music Making, published in the Clavier Companion argues how music reading is one of the most essential pieces in fabricating a song or a melody. The author establishes how teaching music notation is the primary goal for every music teacher for his or her amateur students. He talks about how the Grand Staff can aid in basic music concepts such as pulse duration, finger numbers and hand coordination. However, I strongly disagree with this opinion and personally believe that music notation is just a tool and not an essential factor in composing or arranging sweet melodies and thoughtful lyrics – essentially in the process of songwriting.
In earlier centuries, musicians in their learning stage found it somewhat a necessity to indulge themselves in the depth of education of music, spending years after years to reach the peak of perfection. On the contrary, there have been several professionals who managed to achieve success in the field of music by simply exploring their talents through practice, vocal training, self-assessment and experimental music-making. All they really needed to do was boost up their confidence by picking up a musical instrument and experimenting with the different musical notes it produces. In the modern generation, several musicians have accomplished their goals by following the same methodology. Additionally, the wonders of technology have provided access to an individual for excluding himself/herself from



Cited: Page Emond, Bruno. Gilles Comeau. Cognitive Modelling Of Early Music Reading Skill Acquisition For Piano: A Comparison Of The Middle-C And Intervallic Methods. Cognitive Systems Research 24. (2013): 26-34. Academic Search Complete. Web. 2 Apr. 2013. Isbell, Dan. Learning Theories: Insights for Music Educators. General Music Today 25.2 (2012): 1923. Academic Search Complete. Web. 2 Apr. 2013 Aldalalah, Osamah Ahmad. Fong Soon Fook. Music Intelligence And Music Theory Learning: A Cognitive Load Theory Viewpoint. International Journal of Psychological Studies 2.2 (2010): 150-158. Academic Search Complete. Web. 2 Apr. 2013. Alexandar, Reid. Music Reading Is Essential To Successful Music Making. Clavier Companion 1.5 (2009): 28-30. Academic Search Complete. Web. 2 Apr. 2013. Justextramusic. Paul McCartney Don’t Read Music, You Got A Problem With That?, 2007. Web. 2 Apr 2013. <http://www.youtube.com/watch?v=ca_GCvApODg> Woody, Robert H. Playing By Ear: Foundation Or Frill. Music Educators Journal 99.2 (2012): 82-88. Academic Search Complete. Web. 2 Apr. 2013. Paul, Lester. Stevie Wonder: ‘I Never Thought Being Blind And Black As A Disadvantage’. Guardian 30 08 2012, n. pag. Print. <http://www.guardian.co.uk/music/2012/aug/30/stevie-wonder blind-black-disadvantage/> Lamont, Alexandra. The Beat Goes On: Music Education, Identity and Lifelong Learning. Music Education Research 13.4 (2011): 369-388. Academic Search Complete. Web. 2 Apr. 2013. Dahl, Per. The Rise And Fall Of Literacy In Classical Music: An Essay On Musical Notation. Fontes Artis Musicae 56.1 (2009): 66-76. Academic Search Complete. Web. 2 Apr. 2013.

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