Music

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").[1]

The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics.[2] Music may be played and heard live, may be part of a dramatic work or film, or may be recorded.

To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."[3] Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

source - here

Music history

Music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies music from a historical viewpoint. In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are often categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The terms "music history" and "historical musicology" usually refer to the history of the notated music of Western elites, sometimes called "art music" (by analogy to art history, which tends to focus on elite art).

The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of the methods see the section on "Research in Music History" below) Some of the intellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and the reflections upon the place of music in society.

Although most performers of classical and traditional instruments receive some instruction in music, art pop, or rock and roll history from teachers throughout their training, the majority of formal music history courses are offered at the college level. In Canada, some music students receive training prior to undergraduate studies because examinations in music history (as well as music theory) are required to complete Royal Conservatory certification at the Grade 9 level and higher. Particularly in the United States and Canada, university courses tend to be divided into two groups: one type to be taken by students with little or no music theory or ability to read music (often called music appreciation) and the other for more musically literate students (often those planning on making a career in music).

Most medium and large institutions will offer both types of courses. The two types of courses will usually differ in length (one to two semesters vs. two to four), breadth (many music appreciation courses begin at the late Baroque or classical eras and might omit music after WWII while courses for majors traditionally span the period from the Middle Ages to recent times), and depth. Both types of courses tend to emphasize a balance among the acquisition of musical repertory (often emphasized through listening examinations), study and analysis of these works, biographical and cultural details of music and musicians, and writing about music, perhaps through music criticism.

More specialized seminars in music history tend to use a similar approach on a narrower subject while introducing more of the tools of research in music history (see below). The range of possible topics is virtually limitless. Some examples might be "Music during World War I," "Medieval and Renaissance instrumental music," "Music and Process," "Mozart's Don Giovanni." In the United States, these seminars are generally taken by advanced undergraduates and graduate students, though in European countries they often form the backbone of music history education.

The methods and tools of music history are nearly as numerous as its subjects and therefore make a strict categorization impossible. However, a few trends and approaches can be outlined here. Like in any other historical discipline, most research in music history can be roughly divided into two categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a combination of methods from both categories. It should also be noted that the act of establishing factual data can never be fully separate from the act of interpretation.

Archival work may be conducted to find connections to music or musicians in a collection of documents of broader interests (e.g., Vatican pay records, letters to a patroness of the arts) or to more systematically study a collection of documents related to a musician. In some cases, where records, scores, and letters have been digitized, archival work can be done online. One example of a composer for whom archival materials can be examined online is the Arnold Schoenberg Center.[1]

Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Scholars investigate questions such as which instruments or voices were used to perform a given work, what tempos (or tempo changes) were used, and how (or if) ornaments were used. Although performance practice was previously confined to early music from the Baroque era, since the 1990s, research in performance practice has examined other historical eras, such as how early Classical era piano concerti were performed, how the early history of recording affected the use of vibrato in classical music, or which instruments were used in Klezmer music.

Biographical studies of composers can give a better sense of the chronology of compositions, influences on style and works, and provide important background to the interpretation (by performers or listeners) of works. Thus biography can form one part of the larger study of the cultural significance, underlying program, or agenda of a work; a study which gained increasing importance in the 1980s and early 1990s.

Sociological studies focus on the function of music in society as well as its meaning for individuals and society as a whole. Researchers emphasizing the social importance of music (including classical music) are sometimes called New musicologists.

Semiotic studies are most conventionally the province of music analysts rather than historians. However, crucial to the practice of musical semiotics – the interpretation of meaning in a work or style – is its situation in an historical context. The interpretative work of scholars such as Kofi Agawu and Lawrence Kramer fall between the analytic and the music historical.

Source - here

mobile learning

The term m-learning or "mobile learning", has different meanings for different communities, that refer to a subset of e-learning, educational technology and distance education, that focuses on learning across contexts and learning with mobile devices. One definition of mobile learning is, "any sort of learning that happens when the learner is not at a fixed, predetermined location, or learning that happens when the learner takes advantage of the learning opportunities offered by mobile technologies."^[1] In other words, with the use of mobile devices, learners can learn anywhere and at any time.^[2]
M-learning technologies include handheld computers, MP3 players, notebooks, mobile phones and tablets. M-learning focuses on the mobility of the learner, interacting with portable technologies, and learning that reflects a focus on how society and its institutions can accommodate and support an increasingly mobile population. There is also a new direction in m-learning that gives the instructor more mobility and includes creation of on the spot and in the field learning material that predominately uses smartphone with special software such as AHG Cloud Note. Using mobile tools for creating learning aides and materials becomes an important part of informal learning.
M-learning is convenient in that it is accessible from virtually anywhere. M-learning, like other forms of e-learning, is also collaborative. Sharing is almost instantaneous among everyone using the same content, which leads to the reception of instant feedback and tips. This highly active process has proven to increase exam scores from the fiftieth to the seventieth percentile, and cut the dropout rate in technical fields by 22 percent.^[3] M-learning also brings strong portability by replacing books and notes with small RAMs, filled with tailored learning contents. In addition, it is simple to utilize mobile learning for a more effective and entertaining experience.

History

Pre-1970s

Arguably the first instance of mobile learning goes back as far as 1901 when Linguaphone released a series of language lessons on wax cylinders. This was followed up in later years as technology improved, to cover compact cassette tapes, 8 track tape, and CDs^{[4][dubious – discuss]}

1970s, 1980s

In 1968 Alan Kay and his colleagues in the Learning Research Group at Xerox Palo Alto Research Center [PARC] propose the Dynabook as a book-sized computer to run dynamic simulations for learning. "The Dynabook would carry an encyclopedia of information inside its circuits and plug into readily available networks containing the sum of human knowledge. Anybody from grade school up would be able to program it to do whatever was wanted. And there's no reason it would even have to be a book; it could just as well be a wristwatch, or woven into a T-shirt."^[5]

1990s

In May 1991, Apple Classrooms of Tomorrow (ACOT) in partnership with Orange Grove Middle School of Tucson, Arizona, used mobile computers connected by wireless networks for the 'Wireless Coyote' project.^[6] Universities in Europe and Asia developed and evaluated mobile learning for students. Palm corporation offered grants to universities and companies who created and tested the use of Mobile Learning on the PalmOS platform. Knowledgility created the first mobile learning modules for CCNA, A+ and MCSE certification using the core tools that later became LMA.

2000s

The European Commission began to fund the major multi-national MOBIlearn and M-learning projects.
Companies, specializing in these three core areas of mobile learning were formed.

1. Authoring and Publishing
2. Delivery and Tracking
3. Content Development

Conferences and trade shows were created to specifically deal with mobile learning and handheld education, including: mLearn, WMUTE, and IADIS Mobile Learning international conference series, ICML in Jordan, Mobile Learning in Malaysia, Handheld Learning in London, and SALT Mobile in USA.

2010 and beyond

As a large number of smart mobile devices came onto the market, m-learning developers faced a decision as to which devices (smartphone or tablet) and operating systems they would target.
Apple, Android and Blackberry are currently the three most popular operating systems. Multi-device learning design is becoming increasingly important as learning designers set out to design once and deliver to all three operating systems as well as a variety of device sizes.
2011 and 2012 saw the increasing availability of multi-device authoring tools such as Captivate, Articulate Storyline, Lectora and GoMoLearning. These tools allow e-learning courses to be delivered to a variety of mobile operating systems and devices as well as to PCs, although not all tools output to all operating systems and devices.

Source-   here