essay musical instruments

Essay on Musical Instruments

Students are often asked to write an essay on Musical Instruments in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Musical Instruments

What are musical instruments.

Musical instruments are tools that make sounds. People play them to create music. Some are old, like drums and flutes, and some are new, like electronic keyboards. Instruments can be simple, like a shaker, or complex, like a piano.

Types of Instruments

There are many kinds of instruments. They are often grouped by how they make sound. String instruments use strings, wind instruments need air, and percussion instruments make noise when hit. Keyboard and electronic instruments are also popular.

Learning to Play

Playing an instrument takes practice. Many start learning at school or with a teacher. It’s fun and can be a hobby or a job. Playing music helps with learning and brings joy.

Instruments in Culture

Instruments are important in culture. They are used in celebrations, religious events, and for entertainment. Each country has unique instruments that make their music special. Instruments help keep traditions alive.

Musical instruments are a key part of human life. They bring people together and let them express feelings through music. Learning about instruments teaches us about history, culture, and art.

250 Words Essay on Musical Instruments

Musical instruments are tools that people use to create music. Just like a painter uses a brush to paint pictures, musicians use instruments to make sounds. There are many kinds of musical instruments, and they come in all shapes and sizes. Some are small enough to fit in your pocket, like a harmonica, while others are so big they fill up a whole room, like a pipe organ.

Types of Musical Instruments

Instruments are often grouped by how they make sound. String instruments, like guitars and violins, have strings that you pluck or bow to make music. Wind instruments, such as flutes and trumpets, need air blown into them. Percussion instruments, like drums and tambourines, make sounds when you hit them. Finally, keyboard instruments, like pianos and electronic keyboards, have keys that you press to create notes.

Playing an instrument takes practice. At first, it might be tough to make a nice sound, but with time, you can learn to play songs. Some people take lessons with a teacher, while others teach themselves. Playing an instrument can be a fun hobby and a great way to express yourself.

Music Brings Us Together

Music is a language that everyone can understand, and instruments are the tools we use to speak that language. They help us to share our feelings, celebrate, and come together. Whether in a big concert or a small gathering at home, musical instruments add joy and excitement to our lives.

500 Words Essay on Musical Instruments

Musical instruments are tools that people use to make music. Just like a painter uses a brush to paint pictures, musicians use instruments to create sounds. There are many kinds of musical instruments, and each one can make different noises. Some are played by hitting them, like drums. Others are played by blowing air through them, like flutes. There are also instruments that make sound when you pull strings, like guitars.

Musical instruments can be grouped into families based on how they make sound. The main families are strings, woodwinds, brass, percussion, and keyboards. String instruments have strings that vibrate to make sound, like violins and cellos. Woodwind instruments, like clarinets and saxophones, make music when air is blown inside. Brass instruments, such as trumpets and trombones, also need air but they have a buzzing sound. Percussion instruments, like drums and cymbals, are hit to produce sound. Keyboards, like pianos and organs, have keys that you press to make music.

Learning to Play an Instrument

Playing an instrument can be fun, but it also takes practice. When you learn, you start with simple notes and rhythms. As you get better, you can play harder pieces of music. Many schools have music classes where students can learn to play. Some kids also take lessons outside of school from a music teacher. It’s important to practice regularly if you want to improve.

The History of Musical Instruments

Musical instruments have been around for a very long time. Thousands of years ago, people made instruments from natural materials like wood, bone, and stone. Over time, as people learned more about music and making things, instruments became more complex. For example, early flutes were just hollow tubes, but now they have keys and parts that make them easier to play and sound better.

Musical Instruments Around the World

Different places in the world have their own special instruments. In Africa, there are drums that are unique to their culture. In India, there is an instrument called the sitar that has a long neck and many strings. In Scotland, people play the bagpipes, which have bags full of air that push out through pipes. Every country has its own music that sounds different and uses different instruments.

The Role of Instruments in Music

Instruments add beauty and feeling to music. They can be loud or soft, high or low. When many instruments play together, like in an orchestra, they can make a big, rich sound. Each instrument has its own part, but when they all play together, it’s like they’re having a conversation in the language of music.

Musical instruments are a big part of what makes music so wonderful. They come in all shapes and sizes and can make all kinds of sounds. Learning to play an instrument is a skill that can bring a lot of joy. Whether it’s the beating of a drum or the melody from a violin, instruments help us tell stories and express feelings through music.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Music Influence On Society
• Essay on Music Importance In Life
• Essay on Favourite Family Member

Apart from these, you can look at all the essays by clicking here .

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What My Musical Instruments Have Taught Me

By Jaron Lanier

“Waves Only Get Real When They Break,” by Colin Farish (piano), Jaron Lanier (guzheng), and Jhaffur Khan (flute).

It started after my mother died. She was a concentration-camp survivor—a prodigy concert pianist in Vienna who was taken when she was only a girl. She taught me the piano by holding her hands over mine, bending my fingers into arches above the keys. When I was just a boy, she died in a car accident. Afterward, I was both boundlessly angry and attached to the piano. I played it with extreme force, sometimes bleeding onto the keys. I still feel her hands when I play. I feel them even more when I’m learning a new instrument.

As I write this, on a laptop in my kitchen, I can see at least a hundred instruments around me. There’s a Baroque guitar; some Colombian gaita flutes; a French musical saw; a shourangiz (a Persian instrument resembling a traditional poet’s lute); an Array mbira (a giant chromatic thumb piano, made in San Diego); a Turkish clarinet; and a Chinese guqin. A reproduction of an ancient Celtic harp sits near some giant penny whistles, a tar frame drum, a Roman sistrum, a long-neck banjo, and some duduks from Armenia. (Duduks are the haunting reed instruments used in movie soundtracks to convey xeno-profundity.) There are many more instruments in other rooms of the house, and I’ve learned to play them all. I’ve become a compulsive explorer of new instruments and the ways they make me feel.

I keep a small oud in the kitchen, and sometimes, between e-mails, I improvise with it. Ouds resemble lutes, which in turn resemble guitars. But where a guitar has a flat back, an oud has a domelike form that presses backward against the belly or chest. This makes playing one a tender experience. You must find just the right way to hold it, constraining your shoulders, moving mainly the smaller muscles below the elbows. Holding an oud is a little like holding a baby. While cradling an infant, I feel pretensions drop away: here is the only future we truly have—a sacred moment. Playing the oud, I am exposed. The instrument is confessional to me.

But that’s not how all players experience their ouds. The most famous oud player of the twentieth century was probably the Syrian-Egyptian superstar Farid al-Atrash, who was both a respected classical musician of the highest order and a pop-culture figure and movie star. (Imagine a cross between Jascha Heifetz and Elvis Presley.) His playing was often crowd-pleasing, extroverted, and muscular. I have an oud similar to one Atrash played; it was created by a member of Syria’s multigenerational Nahat family, whose instruments are often described as the Stradivariuses of the oud world. In the nineteen-forties, my Nahat was savaged by a notorious Brooklyn dealer who tried to claim it as his own by covering the original label and marquetry. Later, an Armenian American luthier tried to remake it as an Armenian instrument, with disastrous results. After I bought the oud out of the attic of a player who had given up on it, two remarkable luthiers restored it, and the oud started to speak in a way that possessed me. Listeners notice—they ask, “What is that thing?”

Nahat ouds can be especially big. My arms have to travel more in order to move up and down the longer neck; the muscles around my shoulders become engaged, as they do when I’m playing the guitar. Moving this way, I become aware of the world beyond the small instrument I’m swaddling; I start to play more for others than for myself. The cello also makes me feel this way. You have to use your shoulders—your whole back—to play a cello. But cellos summon a different set of feelings. Playing one, you’re still bound up in a slightly awkward way, bent around a vibrating entity—not a baby, not a lover, but maybe a large dog.

The khaen, from Laos and northeastern Thailand, is the instrument I play the most in public. It’s a mouth organ—something like a giant harmonica, but with an earthy, ancient tone. Tall bamboo tubes jut both upward and downward from a teak vessel, angling into a spire which seems to emerge, unicorn-like, from the forehead of the performer. I first encountered one as a teen-ager, in the nineteen-seventies, during a time when I was exploring Chinese music clubs in San Francisco. These were frequented mainly by older people, and often situated in the basements of faded apartment buildings. The khaen isn’t Chinese, but I noticed one resting against a wall in a club and asked if I could try it. As soon as I picked up the khaen I became a rhythmic musician, driving a hard beat with double- and triple-tonguing patterns. The old men applauded when I finished. “Take it,” a woman holding an erhu said.

Later, I learned that my instant style was completely unrelated to what goes on in Laos. It emerged, I think, from how the khaen works with one’s breathing. On a harmonica, as on many instruments, the note changes when you switch between inhaling and exhaling—but on a khaen, one can breathe both in and out without changing pitch. Breathing is motion, and so the khaen and its cousins from Asia, such as the Chinese sheng, are liberating to play. I’ve been lucky enough to play khaen with many great musicians—with Jon Batiste and the Stay Human band on “The Late Show with Stephen Colbert,” for instance, and with Ornette Coleman. When I played the khaen with George Clinton and P-Funk, Clinton stood facing me, leaning in until we were just inches apart; he widened his eyes to make the channel between our beings as high-bandwidth as possible, breathing ferociously to transmit the groove he was improvising. It was the most physically demanding performance of my life.

If playing the khaen turns me into an extroverted athlete, then the xiao—which is held vertically, like a clarinet or an oboe—invites me to explore internal dramas. This isn’t just a mind-set but a physical sensation: while playing xiao I feel a rolling movement in the air just behind my upper front teeth, and a second area of resonance in my chest, and I seem to move these reservoirs of air around as I use the instrument. I’m not the only one to have this kind of sensation: singers often say that they experience air in this way, and flute teachers I’ve known have talked about “blue” or “yellow” air flows. I’ve had long conversations with wind players about how we seem to be painting the flow of air inside our bodies. I have to suspend my skepticism when this sort of talk starts—I don’t think we’re really doing what we describe, but I do think we’re describing something real. It’s possible to shape tone by adjusting the mouth, tongue, lips, jaw, throat, and chest. When I find my tone, I even feel the presence of a structure in the air between my lips and the flute—a tumbling, ineffable caterpillar, rolling rapidly on its long axis. The caterpillar collaborates with me, sometimes helping, sometimes pushing back, and by interacting with it I can explore a world of tone.

Did the xiao players of the past perceive invisible caterpillars like mine? Maybe they did. Xiaos have come in many shapes and sizes over the centuries, but, judging by the illustrations that have been preserved, they’ve all been recognizably xiao. On the other hand, there are many ways to play a flute. Perhaps xiao notes used to end in elegant calligraphic rises; maybe the breath was emphasized so that the sound of the flute seemed continuous with nature; or possibly ancient xiao tones were lustrous and technical, with perfect stability. Perhaps the sound that xiao players sought was deceptively transparent but filled with little features, or maybe they were show-offs, playing high, fast, and loud. These descriptions fit contemporary flute-playing styles, and it seems possible that historical styles resembled them—or not.

In recent years, a heightened spirit of experimentation in xiao-building has developed. Most of the experiments have to do with the shape of the blowing edge—the place where one edge of a flute’s tube has been thinned, forming a tiny ridge that’s positioned against the bottom lip to receive the breath. At the blowing edge, the air alternately flows more to the inside or the outside of the flute. This oscillation radiates as sound. Flutists of all cultures are vulnerable to debilitating fascinations with the tiniest design choices in blowing edges and the nearby interiors of their flutes. In Taiwan, a small cult has arisen around the idea of combining an outside cut in the form of a letter “U,” which is typical of some schools of xiao design, with an inside form that’s more like a “V.” Debates about the new cut run rampant in online forums.

After reading some of them, I finally ordered a flute with the new cut. (That I could do this so effortlessly made me feel momentarily better about how the Internet has turned out so far.) When I played my “U”/“V” xiao for the first time, I made the futile blowing sound familiar to beginning flutists. Eventually, though, I managed a few weird, false notes. I was surprised but also delighted. Some of my favorite moments in musical life come when I can’t yet play an instrument. It’s in the fleeting period of playing without skill that you can hear sounds beyond imagination. Eventually, I cajoled the caterpillar and found a tone I love, solid yet translucent. When that happens, the challenge is remembering how to make those fascinating, false notes. One mustn’t lose one’s childhood.

I’m a computer scientist by profession, and I started travelling to Japan at the beginning of the nineteen-eighties, when I was developing the first virtual-reality headsets and searching for business partners and technical components. I was surprised to find few young people there interested in traditional Japanese music. Precious and playable antique instruments like the shakuhachi, a traditional bamboo flute, could be bought at flea markets for less than the price of breakfast—and they were being snapped up not by Japanese students but by young Westerners who worshipped the remaining teachers. Meanwhile, interest in European classical music, which was declining in the West, was growing in Japan. I met many Japanese musicians who found Mozart as appealing as the Beatles , and who played violin and piano along with rock and roll. In Western countries, the social institutions that kept classical music alive—conservatories, instrument builders, teachers, contests—were being sustained by an influx of stunning musicians from Asia. A kind of cultural trade was taking place.

My experiences studying music in Japan were often astonishing. I chased down a teacher who claimed to be the holder of an ancient Buddhist shakuhachi tradition that had been suppressed by the mainstream musical world; his lessons were fused with a tea ceremony. I met another teacher who would only accept a student who could walk into the forest and choose a stalk of bamboo that, when it was cut down, would turn out to be in tune as a flute. (He gave me only one chance to get it right, and I failed.) In one of the main shakuhachi “lodges” in Tokyo, I came across a culture of male-dominated locker-room talk, in which some styles of playing were approved as sufficiently macho while others were denigrated as “gay.” Much of what I encountered startled me—it didn’t reflect what I’d read in books back in America about the shakuhachi.

Music operates on a plane separate from literature, and a lot of information about it isn’t written down. Most of the world’s compositions were never notated, and what was written down is often minimal; although scores do exist for very old Chinese music—some of the oldest are for the noble guqin, a kind of zither—they amount to mnemonic devices, lists of strokes and playing positions. The earliest European scores are similar, with lists of notes. What we now call “early music” is largely a modern stylistic invention. I tend to learn the rudiments of my instruments and then develop my own style; I’m an eternal amateur. But I console myself by noting that there are very few musical conservatories structured enough to preserve musical styles over long periods of time. We can study how Bach’s music might have sounded, or how the shakuhachi was actually played, but we can never really know. What would it have sounded like to be at court in ancient Egypt, Persia, India, China, Greece, Mesopotamia? The truth has been lost to time.

The exquisite skills involved in making instruments can seem to hover just beyond the edge of scientific understanding, and can easily be lost when war, plague, and famine break the chains linking masters and apprentices. And yet the traditions of a lost musical culture can sometimes be revived. Modern instrument makers can copy preserved examples of old instruments, or even work from illustrations. In the case of the xiao, much was lost through the centuries, and then again in the Cultural Revolution —but xiaos are small and easy to hide. Some musicians are said to have buried them in secret locations, in hopes of escaping Mao Zedong ’s attempts to engineer culture from scratch. This complex history means that, today, there are contrasting contemporary approaches to playing the xiao. Some players see learning and performing with the instrument as a spiritual quest to reconnect with the past; others play what sounds to me like a Hollywood composer’s idea of Chinese music from the early twentieth century—a musical genre that’s aged surprisingly well. There’s no verifiably authentic way to play such an ancient instrument.

As a technologist, my work has often focussed on the creation of interactive devices, such as head-mounted displays and haptic gloves. It’s sobering for me to compare the instruments I’ve played with the devices that Silicon Valley has made. I’ve never had an experience with any digital device that comes at all close to those I’ve had with even mediocre acoustic musical instruments. What’s the use of ushering in a new era dominated by digital technology if the objects that that era creates are inferior to pre-digital ones?

For decades, researchers have been attempting to model acoustic instruments with software. Simulated saxophones and violins can sound impressive but only within an artificially constrained frame. Listen to one note at a time and the synthetic instruments sound good. Connect the notes together and the illusion fails. This may be because the experience of interacting creatively with such models is sterile, vacant, and ridiculous. One is usually clicking on little dots on a screen, or pushing buttons, or—in the very best case—adjusting variables with physical knobs and sliders. From a commercial point of view, this doesn’t make simulated instruments useless; embedded in the mix, splashed with reverb and other effects, they sound just fine. But physical instruments channel the unrepeatable process of interaction, a quality lost with modern production technology.

Human senses have evolved to the point that we can occasionally react to the universe down to the quantum limit; our retinas can register single photons, and our ability to sense something teased between fingertips is profound. But that is not what makes instruments different from digital-music models. It isn’t a contest about numbers. The deeper difference is that computer models are made of abstractions—letters, pixels, files—while acoustic instruments are made of material. The wood in an oud or a violin reflects an old forest, the bodies who played it, and many other things, but in an intrinsic, organic way, transcending abstractions. Physicality got a bad rap in the past. It used to be that the physical was contrasted with the spiritual. But now that we have information technologies, we can see that materiality is mystical. A digital object can be described, while an acoustic one always remains a step beyond us.

Today, tech companies promise to create algorithms that can analyze old music to create new music. But music is ambiguous: is it mostly a product to be produced and enjoyed, or is the creation of it the most important thing? If it’s the former, then being able to automate the production of music is at least a coherent idea, whether or not it is a good one. But, if it’s the latter, then pulling music creation away from people undermines the whole point. I often work with students who want to build algorithms that make music. I ask them, Do you mean you want to design algorithms that are like instruments, and which people can use to make new music, or do you just want an A.I. to make music for you? For those students who want to have optimal music made for them, I have to ask, Would you want robots to have sex for you so you don’t have to? I mean, what is life for?

Much of the music we enjoy today makes use of audio loops, by means of which a note can be repeated with absolute precision. Because of my work with computers, I had early access to looping tools, and I was able to play around with loops earlier than most musicians. At first, the techniques didn’t speak to me; music is about change, I thought, while loops are about artificially preventing change. When so-called minimalist composers— Philip Glass , Terry Riley—ask musicians to play the same phrases repeatedly, what emerges from this technique isn’t repetition but an exquisite awareness of change: using a traditional, physical instrument, each repetition reflects your breath, your pulse, the weather, the audience, the light, bringing subtlety into consciousness. My understanding of loops shifted when hip-hop appeared. Here was a genre that was often angry, often a protest—the use of loops could evoke the strictures a rapper raged against. Some musicians now make their loops a little blurry, as if to suggest impermanence. For many people, of course, loops have become so commonplace that it’s hard to perceive them as a contrast to anything else.

In my own musical life, I prize the edge of chaos; that which cannot be repeated. I usually don’t record myself when I play alone; I don’t want to trick myself into a false mentality that lives outside of time, as if we weren’t time’s prisoners. I want to send music out into the universe, not into a computer’s memory. As crazy as it is to learn to play a multitude of instruments, my madness is the opposite of the loop. I’m often asked if I’ve learned all these instruments in order to make a sample library, or if I’d be willing to have someone come to the house to make such a library. Though I offer positivity from afar to musicians who like samples, I am travelling in a different direction.

If you work with virtual reality, you end up wondering what reality is in the first place. Over the years, I’ve toyed with one possible definition of reality: it’s the thing that can’t be perfectly simulated, because it can’t be measured to completion. Digital information can be perfectly measured, because that is its very definition. This makes it unreal. But reality is irrepressible.

I sometimes dwell on these ideas when I play the piano. A piano is essentially a row of keys, plus some pedals. Once a key has been depressed, a mechanism sends a felt hammer flying toward a string, which is not in direct contact with the key. In theory, this means that a piano played without the damping pedal ought to be abstract, like an electronic keyboard. The only information the hammer seems to convey from a key to a string is a single number—velocity. That’s also how much information a key press communicates in an electronic keyboard. And yet the experience of playing an acoustic piano, and of listening to one, is that more is being conveyed. When pianists trade off on the same instrument, they perform with individual touches and sounds. Pianos are somewhat abstract devices that have transcended abstraction.

My fondest hope for computing is that digital devices will become as much like pianos as possible. But the subtlest qualities of analog instruments are hard to study, in part because the controls necessary to make studies rigorous risk obscuring important elements of musical experience. There have been many studies comparing old and new violins, for instance, or flutes made of different metals, in which a player is hidden behind a screen and listeners are asked to identify which instrument is being played. The problem with this approach is that the difference between a good instrument and a great one could inhere in the player’s experience, rather than in the external sound. If an instrument inspires a musician, then the music will be more meaningful, even if listeners can’t distinguish the sound of one instrument from another. Music is an interior art before it becomes exterior.

For me, the piano has an interior aspect. The piano is one of the few instruments that’s bigger than you. Playing it, you are the baby: strike as much as you like, it remains the same. After my mother died, I became obsessed with fast arpeggios, and I zoomed between the extremes of the keyboard; I was also drawn toward the American-Mexican composer Conlon Nancarrow, who wrote superhuman piano music for player pianos, using hand-punched player-piano rolls. When I was a teen-ager, I often hitchhiked from New Mexico to visit him in Mexico City. I was determined to play as fast as the pianos automated by Conlon; his machines, in their unreality, were a flight from human frailty and trauma. I emulated them by challenging them in my own piano playing. In my fury, the piano became a chunk of reality to obliterate, though quixotically. You can caress a piano or attack it, be loud or soft, become proficient or not, make as much beauty as you can or flail in chaos—the instrument will most likely endure beyond you.

Decades have passed since that time. Today, I love to have musicians over to my house, where we can combine different instruments to see what happens. The joy that transpires when things go well is multilayered. There is the pleasure of connection with other people, and there is also the happiness of finding a new little corner of aesthetic interiority together. Music can conjure a new flow, a new pattern, a new flavor, between and inside people. And playing sufficiently obscure instruments forces a different approach to music. How can you be competitive about raw skill, or get into some other macho trap, when the task at hand is so esoteric? Who is to judge the winner in a contest that must invent itself over and over? When music made collaboratively with other musicians goes right, I feel a budding, rising warmth and comfort. Is this my mother smiling on me? Or maybe it’s me, smiling on her. ♦

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Essays on Musical Instruments

Faq about musical instruments.

Guide on How to Write a Music Essay: Topics and Examples

Let's Understand What is Music Essay

You know how some school assignments are fun to write by default, right? When students see them on the course syllabus, they feel less like a burden and more like a guaranteed pleasure. They are about our interests and hobbies and therefore feel innate and intuitive to write. They are easy to navigate, and interesting topic ideas just pop into your head without much trouble.

Music essays belong to the category of fun essay writing. What is music essay? Anything from in-depth analysis to personal thoughts put into words and then to paper can fall into a music essay category. An essay about music can cover a wide range of topics, including music history, theory, social impact, significance, and musical review. It can be an analytical essay about any music genre, musical instruments, or today's music industry.

Don't get us wrong, you will still need to do extensive research to connect your opinions to a broader context, and you can't step out of academic writing standards, but the essay writing process will be fun.

In this article, our custom essay writing service is going to guide you through every step of writing an excellent music essay. You can draw inspiration from the list of music essay topics that our team prepared, and later on, you will learn what an outstanding essay on music is by an example of a music review essay.

What are Some Music Topics to Write About

There are so many exciting music topics to write about. We would have trouble choosing one. You can write about various music genres, be it country music or classical music; you can research music therapy or how music production happens.

Okay, forgive us for getting carried away; music makes us enthusiastic. Below you will find a list of various music essay topics prepared from our thesis writing service . Choose one and write a memorable essay about everyone's favorite art form.

Music Argumentative Essay Topics

Music essays can be written about an infinite number of themes. You can even write about performance or media comparison.

Here is a list of music argumentative essay topics. These edge-cutting topics will challenge your readers and get you an easy A+.

• Exploring the evolution of modern music styles of the 21st century
• Is it ethical to own and play rare musical instruments?
• Is music therapy an effective mental health treatment?
• Exploring the Intersection of Technology and Creativity in electronic music
• The Relevance of traditional music theory in modern music production
• The Role of musical pieces in the Transmission of cultural identity
• The value of historical analysis in understanding the significance of music in society
• How does exposing listeners to different genres of music break down barriers
• Exploring the cognitive effects of music on human brain development
• The therapeutic potential of music in treating mental disorders

Why is Music Important Essay Topics

Do you know which essay thrills our team the most? The importance of music in life essay. We put our minds together and came up with a list of topics about why music is so central to human life. Start writing why is music important essay, and we guarantee you that you will be surprised by how much fun you had crafting it.  

• Popular Music and its Role in shaping cultural trends
• Music as a metaphorical language for expressing emotions and thoughts
• How music changes and influences social and political movements
• How the music of different countries translates their history to outsiders
• The innate connection between music and human beings
• How music helps us understand feelings we have never experienced
• Does music affect our everyday life and the way we think?
• Examining the cross-cultural significance of music in society
• How rock music influenced 70's political ideologies
• How rap music closes gaps between different racial groups in the US

Consider delegating your ' write my essay ' request to our expert writers for crafting a perfect paper on any music topic!

Why I Love Music Essay Topics

We want to know what is music to you, and the best way to tell us is to write a why I love music essay. Below you will find a list of music essay topics that will help you express your love for music.

• I love how certain songs and artists evoke Memories and Emotions
• I love the diversity of music genres and how different styles enrich my love for music
• I love how music connects me with people of different backgrounds
• How the music of Linkin Park helped me through life's toughest challenges
• What does my love for popular music say about me?
• How the unique sounds of string instruments fuel my love for music
• How music provides a temporary Release from the stresses of daily life
• How music motivates me to chase my dreams
• How the raw energy of rock music gets me through my daily life
• Why my favorite song is more than just music to me

Need a Music Essay ASAP?

Our expert team is quick to get you an A+ on all your assignments!

Music Therapy Essay Topics

One of the most interesting topics about music for an essay is music therapy. We are sure you have heard all the stories of how music cures not only mental but also physical pains. Below you can find a list of topics that will help you craft a compelling music therapy essay. And don't forget that you can always rely on our assistance for fulfilling your ' write my paper ' requests!

• The effectiveness of music therapy in reducing stress and pain for cancer patients
• Does pop music have the same effects on music therapy as classical music?
• Exploring the benefits of music therapy with other genres beyond classical music
• The potential of music therapy in aiding substance abuse treatment and recovery
• The Role of music therapy in Addressing PTSD and Trauma in military veterans
• The impact of music therapy on enhancing social interaction and emotional expression in individuals with developmental disabilities
• The use of music therapy in managing chronic pain
• Does musical therapy help depression?
• Does music reduce anxiety levels?
• Is music therapy better than traditional medicine?

History of Music Essay Topics

If you love analytical essays and prefer to see the bigger picture, you can always write a music description essay. Below you can find some of the most interesting topics for the history of music essay.

• The Significance of natural instruments in music production and performance
• Tracing the historical development of Western music theory
• How electronic music traces its roots back to classical music
• How the music industry evolved from sheet music to streaming services
• How modern producers relate to classical composers
• The Origins and Influence of Jazz Music
• How folk music saved the Stories of unnamed heroes
• Do we know what the music of ancient civilizations sounded like?
• Where does your favorite bandstand in the line of music evolve?
• The Influence of African American Music on modern pop culture

Benefits of Music Essay Topics

If you are someone who wonders what are some of the values that music brings to our daily life, you should write the benefits of music essay. The music essay titles below can inspire you to write a captivating essay:

• How music can be used to promote cultural awareness and understanding
• The benefits of music education in promoting creativity and innovation
• The social benefits of participating in music groups
• The Impact of Music on Memory and Learning
• The cognitive benefits of music education in early childhood development
• The effects of music on mood and behavior
• How learning to play an instrument improves cognitive functions.
• How music connects people distanced by thousands of miles
• The benefits of listening to music while exercising
• How music can express the feelings words fail to do so 

Music Analysis Essay Example

Reading other people's papers is a great way to scale yours. There are many music essay examples, but the one crafted by our expert writers stands out in every possible way. You can learn what a great thesis statement looks like, how to write an engaging introduction, and what comprehensive body paragraphs should look like. 

Click on the sample below to see the music analysis essay example. 

How to Write a Music Essay with Steps

Writing music essays is definitely not rocket science, so don't be afraid. It's just like writing any other paper, and a music essay outline looks like any other essay structure.

• Start by choosing a music essay topic. You can use our list above to get inspired. Choose a topic about music that feels more relevant and less researched so you can add brand-new insights. As we discussed, your music essay can be just about anything; it can be a concert report or an analytical paper about the evolution of music.
• Continue by researching the topic. Gather all the relevant materials and information for your essay on music and start taking notes. You can use these notes as building blocks for the paper. Be prepared; even for short essays, you may need to read books and long articles.
• Once you have all the necessary information, the ideas in your head will start to take shape. The next step is to develop a thesis statement out of all the ideas you have in your head. A thesis statement is a must as it informs readers what the entire music essay is about. Don't be afraid to be bold in your statement; new outlooks are always appreciated.
• Next, you'll need a music essay introduction. Here you introduce the readers to the context and background information about the research topic. It should be clear, brief, and engaging. You should set the tone of your essay from the very beginning. Don't forget the introduction is where the thesis statement goes.
• One of the most important parts of essay writing is crafting a central body paragraph about music. This is where you elaborate on your thesis, make main points, and support them with the evidence you gathered beforehand. Remember, your music essay should be well structured and depict a clear picture of your ideas.
• Next, you will need to come up with an ideal closing paragraph. Here you will need to once again revisit the main points in your music essay, restate them in a logical manner and give the readers your final thoughts.
• Don't forget to proofread your college essay. Whether you write a long or short essay on music, there will be grammatical and factual errors. Revise and look through your writing with a critical mind. You may find that some parts need rewriting.

Key Takeaways

Music essays are a pleasure to write and read. There are so many topics and themes to choose from, and if you follow our How to Write a Music Essay guide, you are guaranteed to craft a top-notch essay every time.

Be bold when selecting a subject even when unsure what is research essay topic on music, take the writing process easy, follow the academic standards, and you are good to go. Use our music essay sample to challenge yourself and write a professional paper. 

If you feel stuck and have no time our team of expert writers is always ready to give you help from all subject ( medical school personal statement school help ). Visit our website, submit your ' write my research paper ' request and a guaranteed A+ essay will be on your way in just one click.

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FAQs on Writing a Music Essay

Though music essay writing is not the hardest job on the planet, there are still some questions that often pop up. Now that you have a writing guide and a list of essay topics about music, it's time to address the remaining inquiries. Keep reading to find the answers to the frequently asked questions. 

Should Artists' Music be Used in Advertising?

What type of music is best for writing an essay, why do people love music, related articles.

Musical Instrument Families and Ensembles

Instrument families, the most important instrument, the most widely used musical instrument, the least used instruments, the jazz drum solo.

It is important to note that several instrument families possess unique characteristics. In the case of country music, the most used one is the strings family, which includes dobro, banjo, or autoharp. Similarly, rock also belongs to the strings family, such as bass and guitars. However, jazz mostly utilizes brass instruments, which include trombones, clarinets, and trumpets. The blues style is mainly based on the brass family, and these are saxophones and trumpets. Latin music primarily focuses on percussion instruments, such as timbale, conga, and pandeiro.

The most important instrument is the guitar because it offers variety and allows a performer to be able to cover a wide range of notes. In addition, it can go in conjunction with singing by generating the correct music background for the song. It is a member of the strings family, which is used in several music styles, starting from country music and ending with rock. There are variations of guitars, which include traditional and acoustic ones, where the latter can be technologically enhanced to match the style.

The most widely used musical instrument is the piano because it is a classical choice and generates beautiful sounds without any form of interference. It was utilized by the most historically prominent composers, such as Mozart, Chopin, and Beethoven. A piano is the centerpiece of the classical genre, which is highly regarded as the most sophisticated style. Operationally, the given instrument is the most appealing for its range that covers all 88 notes on the musical scale. In addition, the tool possesses a theatrical aspect, which makes it highly popular.

Theatricality, permeating the world of modern artistic culture, is one of the characteristic cultural phenomena, spreading its influence in various spheres. In the field of musical art, it is also possible to observe the process of penetration of this phenomenon into non-theatrical genres, such as choral art and instrumental performance. The history of piano performance is filled with examples of the manifestation of such expressive motions that distinguish the performance of outstanding pianists. Each master had his or her special stage portrait, reflecting all the richness of plastic movements, directly connected both with the drama of the works performed and associated with the formation of special acting styles. Such plastic manifestations not only bring additional expressive properties to piano performance but also largely contribute to the optimization of the process of artistic perception, enriching its communicative potential.

During the musical development in Europe, opera became the main musical genre, but it could only be heard in theaters. The piano was the only instrument for bringing it into the broad musical culture of people without an opera theater. It was also scrapped for distribution to music circles and broadcasting music to society. It can be considered that in this way, a huge class of musical transcriptions of operas, ballets, symphonies, and dances arose. Thus, an important function of the piano in musical culture is its role as a universal instrument of musical culture and the replacement of musical theater in its absence. This was manifested in numerous accompaniments to opera arias and solo piano works of the genre of transcriptions and paraphrases.

The least used and underrated musical instruments are the percussion family members due to their large size. Although some may find it harder to play the drums, they provide fuller and richer sounds that cannot be replaced by any other family. In addition, this category is based on the most natural of all playing styles, such as beating, and the instruments allow a performer to set the beat. The overall rhythm and dynamics forming capabilities are unmatched in the world of music. It is underrated because the percussion family is mostly used in the background of the act by outlining key moments and changes in direction.

Percussion instruments have always been an important part of any musical culture. Therefore, the number of musical and instrumental groups in which percussion instruments are needed can hardly be accurately determined. One such musical group is a modern symphony orchestra, which cannot be imagined without a group of percussion instruments that convey such means of musical expression as rhythm, tempo, and dynamics. The group of percussion instruments in a symphony orchestra has changed over time, thanks to the development and changes in the music of different eras and directions. In a modern symphony orchestra, great attention is paid to the percussion group; it can be varied in the composition of instruments, depending on the nature of the works performed. The drums convey a certain message and idea of ​​a composer to a listener.

Although jazz is mostly reliant on the brass family and the instruments, such as trumpets, are key elements of the given style, drums can also be used in solo performances. For example, one can watch a drum-only jazz performance by Latin drummer Alex Acuña (“DRUMMERWORLD by Bernhard Castiglioni,” 2014). It is important to note that drums are best used in conjunction with other families. However, solo performance is possible regardless of the lack of range in providing more prolonged sounds.

DRUMMERWORLD by Bernhard Castiglioni. (2014). Alex Acuña: The jazz drum solo  Web.

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Teaching a Musical Instrument in School Essay

Introduction, recommendations.

Music education is a study field that deals with training of individuals interested in music. It entails all spheres of learning including psychomotor, cognitive and the effective domain. Psychomotor domain deals with ability development while cognitive domain deals with knowledge achievement. Effective domain is the most significant and entails the positive reception of music and sensitivity.

The integration of music education has become common in almost all academic institutions since music has become a primary constituent of human culture. The drive towards musical achievement is of great inherent value to both the learner and the society. As an immense subject, music needs to be trained in schools in several ways (Golby 2004 p. 218).

In elementary learning institutions, children are trained to use music appliances. Musical instruments taught include string instruments such as guitar and violin, woodwind instruments such as the flute, brass instruments such as the trumpet, percussion instruments such as the drum, the key board, and finally voice instruments such as the jazz.

They are also taught how to perform in small singing groups and the essentials of musical sound. Even though music education in many countries has conventionally strained on western music, the contemporary learning institutions are trying to integrate the use of non-western music. Students in learning institutions are often given the chance to sing in musical ensembles. Extra music classes are also offered (Steiner & Paul 2009).

Music education has two distinct strands, which include general education and private instrumental tuition. This paper will determine the most effective way of teaching a musical instrument in school. It will focus on formal individual instrumental tuition and class teaching as facilitated by the ‘Wider Opportunities’ initiative

. It will further examine the strengths and weaknesses of both approaches and draw evidenced conclusions. It will finally offer recommendations to improve the current delivery of instrumental tuition to enable access for all, whilst recognizing current financial and resource restraints (Green 2001 p. 128).

Formal individual instrumental tuition

Formal Individual instrumental tuition is an indispensable early beginning to education in music and coalesces great grounding for more prescribed lessons and immense fun. The lessons are broadly founded and comprise of teachings in rhythm, auditory skills, style, understanding, visual reading, and technological exercises.

To achieve satisfying progress, formal individual instrumental tuition ensures that each learner embarks on individual music practices nearly each day. This depends on age and knowhow of the learner. It takes place at set times of the day (Steiner & Paul 2009).

For learners showing a particular propensity, individual instrumental tuition by competent instrumental trainers is available as an enhancement of the formal educational syllabus.

Tuition in this teaching method is usually planned between the instructor and the learner’s parents. The instrumental teacher directly owes the parents. Peripatetic staff offers individual instrumental tuition to improve musical prospects in individual instrumental tuition (Golby 2004 p. 218).

Formal individual instrumental tuition involves all features of instrumental training and learning that occurs either at the learner’s residence or in school. It may involve only one learner or a very small group of learners. It is usually of specific concern to the peripatetic instructor who frequently works in segregation (Hallam1998 p. 26).

Strengths and Weaknesses of Formal individual instrumental tuition

One of the strengths of formal individual instrumental tuition is that the tutors are extremely skilled. Training sessions are tailored towards personal requirements hence giving each learner the best music assistance. In formal individual instrumental tuition, students are assigned an instructor that meets their wants to the maximum.

The lesson content relies on the learner’s objectives and interests. Students in this learning method have the benefit of learning for pleasure since musical exams are not compulsory (Green 2001 p. 128).However, at times learners in formal individual instrumental tuition are entitled to external assessments. All ratings and levels are gratified and this enables all music styles to be considered (Golby 2004 p. 218).

In formal individual instrumental tuition, the learners are taught how to play their preferred instruments. Each learner is taught at a different speed from the other and the syllabus is made in such a way that it fits the capabilities of every learner.

The use of daily or weekly homework in this method is an assurance of a stable progress. Time is usually allocated for different activities such as theory learning, exercises, and instrumental training. Time is also allocated for personal practice under the control of an instructor (Steiner & Paul 2009).

Learners are allowed to discover diverse aspects and contexts of music personally. They become more creative and their self-appreciation and musical capacity increases. Additional attention offered by close relatives in formal individual instrumental tuition boosts the learner’s interests.

Another strength of this approach is that there is profound relationship between the learner and his instructor. It is also in this kind of learning that instructors are often examined and obtain training all through the year. This assists them to develop their skills in teaching (Hallam1998 p. 26).

One of the criticisms, which have been made regarding the provision of formal individual instrumental tuition, is that it is elitist. This has been made on a number of grounds. First, the nature of tuition on offer is generally within the western classical musical tradition, although this is gradually changing. Secondly, and perhaps more important, this system is selective. Not everybody has had the opportunity to learn to play an instrument.

Because provision has been limited, only those with perceived musical ability have been given the opportunity to learn. Money is an issue when it comes to individual instrumental tuition. Access to tuition is restricted to those who can pay, hence denying opportunities to poor families (Cain1989).

Another criticism of formal individual instrumental tuition is that private instructors may fail to convey effectiveness and the learners’ parents end up paying vast amounts of school fees for this tuition with minimal or no-good outcome. Another issue involved in this type of teaching music is instrumental availability.

The learner’s parents usually provide the instruments used. In circumstances where the school offers the learning instruments required, then the parents are held accountable for lost or fortuitously damaged instruments (Steiner & Paul 2009).

Isolation of learners may also take place depending on their status. This may slow down the learning process especially in cases where the learners come from different families in terms of wealth. Learners from rich families may have very expensive musical instruments, and this may not be possible to those from disadvantaged families.

Problems of timetabling are a major drawback in this learning style. This is because there are no leaders and the tutor plans for his time. This might lead to poor time management since he is not answerable to any party (Hallam1998 p. 26).

An evidenced conclusion about how this teaching method works is the Cantiana Music institution, which offers individual instrumental tuition to kids and grownups from beginner to advanced levels. The involved learners are required to have their own instruments at home so that they can always practice while away from school.

Class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative

Wider opportunities in music gives learners a chance to learn how to play a musical instrument for one academic year for free. The students are given an instrument for a whole year and given a loan of the musical instrument if they continue with learning into the second year. The lesson usually takes an hour every week. This is done by two professional musical instrument teachers and a syllabus music instructor.

In the beginning lessons, the features of the instrument teaching centers on the basic technique development while the latter lessons allow students to use their skills in a band or orchestra bands which provides them with experience as they work in variety of performances. Concurrent to the instrumental development, the students are given musicianship lessons by instructors and visiting syllabus music teachers.

The undertakings complement the learning progress and the scheme of performances ensure the student makes appropriate and important links with others. The system is made not only to reach students who are involved directly but also to improve musical partaking of the whole school (Hallam1998 p. 26).

Widening participation initiative has become an integral part of the work done by all UK opera companies and musical organizations.

Several stakeholders are involved in the class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative. The learners are the central point with the head teacher, the leader of music service, the class teacher, and the society musician being the experts who make sure that learning occurs. The head teacher evaluates how the musical teaching will harmonize the musical life of the learning institution.

He makes decisions on how this initiative will associate with other school undertakings and assesses the probable responses from the learners, instructors, families and the authority. He identifies the necessary resources and this entails space, finance, and time. He also judges how the musical instruments, genres, and techniques relate to the artistic concept of the society and the learning institution (Steiner & Paul 2009).

The leader of music service guides a group that aims at conveying an efficient and high-class service, which fulfills the corporate objectives of the education power. The music service establishes affiliations with learning institutions to utilize resources successfully to sustain expand and improve musical activities.

The leader of this service thus sustains a strategic synopsis of what is achievable and available. He decides on how resources should be allocated and establishes procedures for effective introduction and maintenance of instrumental teaching. The class teacher has a central role in musical education. He provides support and motivation to the learners (Myers 2006).

It is recommended that to build a victorious, sustainable affiliation, the roles, and accountabilities of all persons involved in this programme be well understood, and the objectives of Wider Opportunities Initiative be apparent. It is, therefore, critical that this programme receives total support from the institutions head since he is the one who keeps an eye on its delivery.

He makes sure that the work force is aware of the effects and the benefits associated with their full participation. This method operates directly with the music service and due to this, learning institutions are after sometime able to purchase in instrumental provisions, musical instruments for their learners. This are bought based on the choice of instrument for each learner.

Many academic institutions purchase this in ensembles to allow their learners to carry on learning in-group setting. For the learners to achieve actual wider opportunities knowledge, then there is need for the concerned institutions to arrange for variety of practices that will introduce the learners to the widest probable range of musical tools, customs and styles (Spruce 2002).

Strengths and Weaknesses of Class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative

The major strength of this approach of teaching musical instrument lies in its free charges. This allows the program to offer a chance to financially constrained students to show case their talents and have them molded into successful musicians. The program also offers learners with musical instruments that are very expensive and this has been another milestone in improving music in the society.

This teaching method harmonizes and enhances the general music provision in the learning institution. This entails the national syllabus, extracurricular actions, and the comprehensive programme of the learning institution. It is in this method that live music performances for schools are provided.

This ensures that the learners are aware of the various distinct music styles, types, and musical instruments played worldwide. Wider opportunities initiative ensures that the individual requirements of each musical learning institution are met.

The existence of discussions between the music service and the institutions head assist in the establishment of the best programme that would improve the schools melodic community (Evans & Philpott 2009).

Another fundamental strength of this method is the association between the music service and the class tutor. The programme ensures that that classroom instructors and music professionals gain knowledge from one another by mutually organizing and delivering improved musical performances.

Through this initiative, children are more sentient about the dedication needed in learning a musical tool, and are, therefore, more prone to carrying on with their musical studies after the programme year has ended.

It balances and improves the music syllabus and culture of the involved learning institution and the community at large. It builds upon melodious events, customs, and capital within the learning institution.

Instructors who are totally involved in the conveyance of wider opportunities have the chance to not only enhance their associations with the learners, but also develop their own talents as well as the resources they use in their work (Spruce 2002).

Class teaching provides reachable ways into music education, and creates a progressive opportunity for the disadvantaged in the society. Severely unfortunate pupils have been dynamically involved in this programme. The lessons are usually entertaining and stimulating and since all students work as a team, then they are likely to acknowledge and appreciate each other’s efforts.

Every learner in the class is involved in musical actions all through the programme. In circumstances where the pupils have a wide range of taster chances, then they are capable of making a more informed decision concerning their melodical futures due to guidance and encouragement from their classroom tutors and instrumental trainers (Evans & Philpott 2009).

This programme supports a broad array of musical styles and educational traditions. It introduces a variety of inventions, familiarity, and western classical melody. An evidence of this is samba tuition, which is founded on an acoustic tradition.

It provides motivating and pleasurable experiences for the involved students. High developments both technologically and melodiously are also realized. This teaching method also improves musical knowledge for learners who are secluded by geography or lack of musical instruments (Philpott & Plummeridge 2001).

This teaching method offers high quality musical familiarity for the learner. The learners attain a safe foundation to learning a musical instrument hence increased progress. Books for learner practice are efficiently utilized, and proper guidance given to the learner. The learner has the right to write down the duration of time used in practicing.

Some of the weaknesses facing class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative is the lack of parental responsiveness and understanding. The parents feel that school time being apportioned for music could have been used better if assigned to other subjects (Evans & Philpott 2009).

Another weakness is the fact that the range of choice in this learning method relies on and is usually constrained by what the music service can offer and manage. Some learners may not be technically fit to the available musical instrument and this limits their motivation and improvement (Claxton1996).

Another weakness of this program is that some of the students may feel that the quality of it is low, though this is not the case, based on the fact that it is offered free of charge. This can be a major deterrent in cases where the student has a negative attitude toward the program.

Formal individual instrumental tuition lessons usually lay the ground for musical education. The following are the recommendations I would offer to improve the current delivery of instrumental tuition to enable access for all, whilst recognizing current financial and resource restraint.

For instrumental teaching to be better implemented, it should embrace originality, sensitivity, invention and a broad array of pedagogical approaches. According to Odam, the shared fundamental philosophies of instrumental teaching lie in the growth of an individual musical reaction in learners.

This provides them with problem-solving abilities, which permit them to carry on learning and develop with optimistic self-criticism. The following example from the Suzuki method exemplifies this approach. In the Suzuki method with infantile children, a piece of material instrument is used for numerous weeks prior to using actual instruments.

Elementary movements that are fundamental to the fastidious instrumental performance are developed using the form instrument. The learners listen to the sound and build up auditory memories of good practice as they establish psychomotor routines that will, with luck, become second nature to them (Odam, 1995).

Musical education should be offered in such a way that it is closely associated to personal development and motivates emotional responsiveness and intelligence. Experienced and devoted instructors should be involved in instrumental tuition since every learner despite age, environmental setting, and position has a great prospective in growing musically.

Learners who embark on instrumental tuition should be optimistic towards obtaining fulfillment and pleasure. The opportunity for all learners, whether young or aged, to learn how to play a musical instrument should be viewed as an enhancement of the value of life.

This should hold as a fundamental value the self-esteem of instrumental teaching. It should mirror uniformly the broad areas of personalized instructions in all kinds of musical instruments (Spruce 2002).

The techniques and practices of teaching musical instruments should be researched to enable learning of diverse concepts of international music making. The most current and pertinent research that could help in instrumental teaching should be explored and conferred. Recognition of the exclusive value of instrumental teaching should be upheld in both the neighborhood as well as the whole nation.

People should campaign for improved governmental approval, appreciation and support in music teaching. Establishment of inventive approaches towards instrumental teaching should be encouraged. International perceptions on common matters influencing instrumental music teaching should be offered (Claxton1996).

Research should be carried out in all fields of instrumental teaching including presentation and the consequence of capacity on social feelings and personal abilities. The findings should be distributed to musical education bodies both regionally and globally.

The exchange of communication messages between the learner and the instructor should be facilitated. Ethical guidelines for training and learning associations between the instructor and the learner should be promoted. This results to mutual respect. The wants of the geographic location should be balanced with the instruments involved.

To improve the current delivery of instrumental tuition, the music department in every learning institution should also provide a secure, caring, and demanding environment, where all learners can experience a wide and fair melodic educational experience.

This experience should be in such a way that it accommodates all capabilities while simultaneously developing the learner’s individuality, skills, and concerns to the maximum. Learners should be given the opportunity to love and take pleasure in music in its broad context, participate in a wide array of performing activities and finally partake in an array of extracurricular activities related to music (Odam, 1995).

Class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative is the most effective criteria in learning a musical instrument. Learning institutions using this method may wish to aim at teachers with specific strengths for future musical education sustainability. It should, however, be noted that the inclusion of professionals in the conveyance of wider opportunities is crucial.

Wider opportunities initiative assist build affiliations with the music service as well as the community. It is a long lasting initiative and therefore learning institutions have to put into consideration what will ensue as the next group of learners switch to the subsequent wider opportunities next year.

This ensures that this programme is maintained and learners wishing to go on with musical education have the opportunity. This may entail the establishment of a new school band as well as improved instrumental lessons (Myers 2006).

This programme has further aggravated, thrilled, and enabled many young musicians to carry out music activities. In reality, this programme has acted as a beginning of a musical journey for learners. Sustainability is its guiding principle. Wider opportunities initiative is thus the answer to class teaching of musical instruments

Cain, M. (1989) The postman always rings twice. New York: Vintage Books

Claxton, G. (1996) Liberating the learner: lessons for professional development in education. Routledge: Routledge Publishers

Evans, J., & Philpott, C., (2009) A Practical Guide to Teaching Music in the Secondary School. New York: Taylor & Francis

Golby, J. (2004) Instrumental teaching in nineteenth-century Britain . Aldershot: England

Green, L. (2001) How popular musicians learn: a way ahead for music education Burlington: Ashgat

Hallam, S. (1998) Instrumental teaching: a practical guide to better teaching and learning . Oxford: Heinemann Educational.

Myers, K. (2006) Teaching children music in the elementary school . Englewood Cliffs: Prentice-Hall

Philpott, C., & Plummeridge, C., (2001) Issues in music teaching. Routledge: Routledge Publishers

Spruce, G. (2002) Teaching music in secondary schools: a reader. Routledge: Routledge Publishers

Steiner, T., & Paul, J., (2009) Musical futures: an approach to teaching and learning. London: Paul Hamlyn Foundation

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"Teaching a Musical Instrument in School." IvyPanda , 9 Dec. 2023, ivypanda.com/essays/teaching-a-musical-instrument-in-school-essay/.

IvyPanda . (2023) 'Teaching a Musical Instrument in School'. 9 December.

IvyPanda . 2023. "Teaching a Musical Instrument in School." December 9, 2023. https://ivypanda.com/essays/teaching-a-musical-instrument-in-school-essay/.

1. IvyPanda . "Teaching a Musical Instrument in School." December 9, 2023. https://ivypanda.com/essays/teaching-a-musical-instrument-in-school-essay/.

Bibliography

IvyPanda . "Teaching a Musical Instrument in School." December 9, 2023. https://ivypanda.com/essays/teaching-a-musical-instrument-in-school-essay/.

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A Musical Instrument

By elizabeth barrett browning, a musical instrument essay questions.

How does Pan's act of creating the flute affect nature?

When Pan first arrives at the river, he creates a scene of chaos and disruption. He disturbs the resting dragonfly and crushes the lilies that were thriving there. The act of cutting and notching the reed is perhaps the most destructive act toward nature in the whole poem. Pan's reckless behavior clearly makes nature suffer. However, once his flute is created and he begins to play lovely music, many of the natural elements around him begin to revive. One might say that the destruction was worth it, as it later brought joy and life back to nature. However, the true gods lament the loss of nature at the poem's conclusion, leaving the reader to decide whether beauty should be pursued at any cost.

How is the speaker's tone contradictory throughout the poem?

The speaker does not have a clear stance on Pan's actions. In the very first line, the speaker declares him "a great god" and repeats this epithet throughout the poem. One might say that the speaker always recognizes Pan's godly status and maintains a reverent tone. However, the speaker quickly refers to his destructive behavior before the first stanza's conclusion. In addition, the speaker shares personal opinions about Pan's actions twice in parentheses, first lamenting the mutilated reed and then reminding the reader that Pan continues to laugh throughout his flute making process. Therefore, while the speaker certainly acknowledges Pan's godly status, there is an ironic, questioning tone behind the use of the word "great," as the speaker seems ambivalent about Pan's actions.

A Musical Instrument Questions and Answers

The Question and Answer section for A Musical Instrument is a great resource to ask questions, find answers, and discuss the novel.

What is the relationship between art, beauty and mythology?

That's a pretty broad and detailed question for this short answer space. You might consider passion, identity, and search for meaning to be common factors in all of them.

How has the poet personified the sun as an admirer of the great god?

By the poem’s conclusion, Pan has created a musical instrument with which he can make beautiful music. However, he first disturbs and destroys nature to do so. One may read the poem as a description of the artistic process, just as a poet or an...

Find out any four literary device and their effect from the Poem “A Musical Instrument?”

“Spreading ruin and scattering ban”

“Then drew the pith, like the heart of a man”

Alliteration:

“Great god”

“The reeds by the river”

“Golden lilies afloat”

“Bleak steel”

For additional information check out...

Study Guide for A Musical Instrument

A Musical Instrument study guide contains a biography of Elizabeth Browning, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About A Musical Instrument
• A Musical Instrument Summary
• Character List