![]() ![]() Taken together, background and intentional music listening add up to more than 5 hours a day of exposure to music for the average American ( Levitin, 2006 McCormick, 2009). In addition to all of these uses of music as a background, a form of sonic wallpaper imposed on us by others, many of us seek out music for our own listening – indeed, Americans spend more on music than they do on prescription drugs ( Huron, 2001). Manufacturers use it to sell their products, while yoga, massage, and exercise studios use it to relax or invigorate their clients. It accompanies movies, television programs, and ball games. It is piped into retail shops, airports, and train stations. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and auditory characteristics of the music. We have interpreted and labeled these factors as: 1) a Mellow factor comprising smooth and relaxing styles 2) an Urban factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz 3) a Sophisticated factor that includes classical, operatic, world, and jazz 4) an Intense factor defined by loud, forceful, and energetic music and 5) a Campestral factor comprising a variety of different styles of direct, and rootsy music such as is often found in country and singer-songwriter genres. The findings from three independent studies converged to suggest that there exists a latent five-factor structure underlying music preferences that is genre-free, and reflects primarily emotional/affective responses to music. Here, we introduce a model of musical preferences based on listeners’ affective reactions to excerpts of music from a wide variety of musical genres. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. * Celine Dion, Avril Lavigne, Bryan Adams.Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. And by the end of the track, you'll believe "girl" to be one of the most amazing words in the English language-but only when it's pronounced "gahyrl." JULIANNE SHEPHERD It also demonstrates the energy and humor of British emcees fusing with the sped-up, propellant crunk of UK garage. Rhymed over a springy, sporadic beat which approximates the sound of a knife sharpener, 19-year-old Dizzee laments, "She keep callin' my phone/she don't leave me alone/ she just moan and groan/ she keep ringin' me at home." In a seriously Positive K moment, guest lady answers, "That boy's some prick, y'know/All up in my hair/ thinks that I care/ followin' me here, followin' me there/ these days I can't go nowhere." "I Luv U" captures two glib folks fronting cool as courting process. AARON MILESįor now, it's only available in America as an import, but if you ever wished Mike Skinner of the Streets would drop the cheemo and just rap, this Dizzee Rascal single makes swimming the English Channel seem like a good idea. days and asks, "Can Watts get some paper?" Since this platter will be in every DJ's crate soon, I'd say it's paper time. On Alma Mater, Libretto pays homage to his Watts, L.A. ![]() These tracks, like Libretto says, will no doubt "keep the dance floor wet." Dirty Thangs discusses life's literal funk, like "crime on the brain," "crackin' bed frames," and stolen Disneyland key chains. Jumbo's upbeat productions have a classic West Coast, P-funk influenced vibe with tweaked, high-pitched voices over skanky guitar riffs and keyboard punctuation. Libretto and the Lifesavas' Jumbo, both from Portland's Misfit Massive crew, deliver many bounce ounces on this single. Slowly bobbing your head in a blunted daze to some indie-hop is alright, but it's more fun to bounce like it's 1995, with hands in the sky and ass in motion. "Dirty Thangs" b/w "Alma Mater" 12" single Now if you'd just wipe that smirk off your face. But that doesn't mean they can't rock-or get crazy with the vocoder-and when they trick out their atmospheric operas with titles like "I Know You Are But What I Am" it's very much a beautiful thing. These days, Mogwai is approaching the same heady territory that bands like Radiohead and Sigur Rös seem to be permanently perched atop, sling-shooting sonic experiments stamped "file under four star review" toward the earth's soil. For those of us who spend our days listening to unhappy songs for unhappy people-um, where exactly is that new Elliott Smith record?!?-it's not nice to be poked fun at, even if it is with an album of lush and sweetly dripping post-rock that drips even sweeter and sadder than the band's last album, 2001's Rock Action. ![]()
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