The Classical Period was an important time in music history. It lasted from 1750 to 1825. During this time, music became clearer and more balanced.

Before this era, music was often very complex. However, Classical composers focused on structure and simplicity. As a result, melodies became easier to follow.

Additionally, many composers worked with patrons. Patrons supported composers financially. Because of this, composers could create more music.

Two well-known composers stand out from this period. First, students learn about Wolfgang Amadeus Mozart. He began composing music at just five years old. Moreover, he continued composing throughout his lifetime. Mozart especially loved writing operas.

Next, students study Ludwig van Beethoven. He faced major challenges later in life. Over time, he began losing his hearing. However, Beethoven continued composing even when nearly deaf.

Together, these composers show perseverance and creativity. They also demonstrate how music can express emotion and balance. In turn, students learn important musical foundations.

Overall, studying the Classical Period builds listening skills. It also helps students understand music history. Most importantly, it connects past composers to modern learning.

Ecomusicology is a fascinating field where music and the environment meet. Put simply, it studies how music relates to nature and ecology. In addition, it considers how culture, sound, and the environment influence one another. For example, scholars examine how natural soundscapes shape music and listening. Therefore, ecomusicology goes beyond traditional music study. Instead, it blends musicology with ecological awareness and cultural analysis.

Where the Idea Came From

However, the idea did not emerge overnight. Its intellectual roots reach back to the late twentieth century. Soundscape studies played an important role in its early development. Meanwhile, scholars began using the term more widely around the year 2000. Today, ecomusicology draws from music, ecology, anthropology, and biology.

What Ecomusicologists Study

Ecomusicologists study a wide range of topics. First, they explore natural sound and its musical relationships. Second, they examine how people express environmental ideas through music. For example, songs about nature or environmental loss fit this area of study. In addition, they analyze field recordings used in musical composition. Moreover, they consider how performances and music production affect the environment.

Why Ecomusicology Matters

This field matters because environmental challenges affect communities worldwide. As a result, understanding sound and sustainability has growing importance. Music can raise awareness and encourage reflection. In turn, listeners may develop stronger connections to the natural world. Also, ecomusicology supports interdisciplinary learning and creative thinking.

Ecomusicology in Practice

In practice, ecomusicology appears in classrooms, studios, and performance spaces. In educational settings, it links music study with ecological ideas. Students may create compositions inspired by natural sounds. Likewise, listening activities often focus on soundscapes and place. Ultimately, ecomusicology helps people hear the world more thoughtfully.

Student Reflections on 2010s Pop Music

After learning about major pop figures of the 2010s, students returned to the music with fresh ears. First, they explored artists like Taylor Swift, Ed Sheeran, Justin Bieber, and the viral hit Friday by Rebecca Black. As a result, their listening and history responses clearly reflected the sound of the decade.

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Beats That Drive the Music

To begin, many students focused on rhythm. They noticed steady, clear beats across many songs. In many cases, students said the beat grows louder in the chorus. Often, drums drive the music forward.

In addition, some students noticed that songs start quietly and build over time. This gradual change helped create excitement. At the same time, a few students noticed that different songs shared similar beats. Meanwhile, others were surprised by unexpected endings. Together, these details show how strongly rhythm shapes 2010s pop music.

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Instruments and Vocal Style

Next, students listened closely to how songs were built. Many noticed that pop songs often use only a few instruments. Most notably, percussion and vocals stood out.

For example, several students mentioned guitars and pianos. Others also noticed clapping or layered background vocals. One student explained how harmonies fill space between lyrics. Additionally, another noted how singers often use lighter or brighter vocal tones. In some songs, students heard shifts from singing to rapping.

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Lyrics, Emotion, and Meaning

Beyond sound, lyrics played a big role in student responses. Many students noticed songs about romance and emotions. In some cases, they described lyrics that felt meaningful or inspirational. At times, students connected with the happy tone of many songs.

However, a few students pointed out that artists take lyrics seriously. Others noticed themes of internal struggle. Overall, these observations connect closely to 2010s pop artists known for emotional storytelling.

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Music Videos and Visual Culture

Along with the music, students paid close attention to music videos. Many noticed bright colors and bold visuals. For instance, some mentioned lyrics appearing on the screen. Others recalled surprising or unusual moments in the videos.

Additionally, several students recognized videos made by Vevo. In many cases, students noticed that videos matched the song’s message. As a result, visuals became a memorable part of the listening experience.

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Artist Stories and Perspective

During the history portion, students learned about the artists behind the music. For example, they noted that Justin Bieber grew up in Canada. They also learned that Ed Sheeran started playing guitar at a young age.

Meanwhile, students discussed Rebecca Black as a one-hit artist. At the same time, some reflected on how young artists can become famous. Others shared that being famous is not always easy. Through these discussions, students began to see musicians as real people.

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Listening Back to the 2010s

Overall, student reflections highlight what defined 2010s pop music. Strong beats stood at the center. At the same time, lyrics carried emotion and meaning. Meanwhile, visuals shaped how listeners experienced each song.

By listening closely, students built real connections to the music. In the end, they learned not only who shaped the decade, but how the music itself worked.

Reggae music is instantly recognizable by its relaxed groove, steady bass lines, and off-beat rhythm. Yet behind that signature sound lies a rich cultural and musical journey that stretches across decades of Jamaican history. Reggae did not appear overnight. Instead, it grew gradually from earlier styles, each one shaping what would become a global movement.

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Early Roots: Jamaica’s Folk Traditions and Mento

To begin with, the foundations of reggae can be traced back to Jamaica’s folk music traditions. In the 1940s and 1950s, a style known as mento was widely popular. Mento blended African rhythmic influences with European instruments and song structures. Acoustic guitars, banjos, hand drums, and the rumba box created a lively yet grounded sound.

Just as importantly, mento lyrics often told stories of everyday life. Humor, social observation, and local culture were woven into the music. This focus on storytelling and commentary would later become a defining trait of reggae itself.

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The Rise of Ska: Fast, Bright, and Full of Energy

As Jamaica’s cities grew and outside musical influences increased, mento began to evolve. American rhythm and blues and jazz made their way to the island through radio broadcasts and imported records. As a result, musicians blended these styles with traditional Jamaican rhythms, giving birth to ska in the late 1950s and early 1960s.

Ska was fast-paced and joyful. Horn sections drove the melody, while the rhythm guitar emphasized off-beats that made the music easy to dance to. At the same time, Jamaica was approaching independence, and ska became the sound of celebration, hope, and cultural pride.

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A Change in Feel: The Rocksteady Era

However, as time went on, musicians began to slow things down. By the mid-1960s, ska gradually transitioned into rocksteady. The tempo became more relaxed, and more musical focus was placed on bass lines and vocal harmonies rather than on horn sections.

Because of this shift, lyrics took on a more emotional and reflective tone. Songs explored love, struggle, and real-life experiences with greater depth. This slower, heavier groove created the perfect bridge between ska and the next major evolution of Jamaican music.

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The Birth of Reggae

By the late 1960s, reggae had fully emerged as its own genre. While it grew directly from rocksteady, reggae introduced a deeper rhythmic emphasis on the bass and drums. The off-beat guitar and keyboard patterns became more pronounced, and the overall feel became rooted, steady, and intentional.

At the same time, reggae began to reflect broader cultural and spiritual ideas. Many songs expressed themes of unity, injustice, faith, and resilience. Because reggae grew out of working-class communities, it became a powerful way for people to express both hardship and hope.

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Bob Marley and the Global Breakthrough

As reggae developed in Jamaica, one artist played a major role in bringing it to the world: Bob Marley. As the frontman of The Wailers, Marley helped introduce international audiences to reggae in the 1970s. Through touring and recording, his music carried the sound of Jamaica far beyond the island.

More importantly, Bob Marley’s songs shared messages of peace, resistance, faith, and human connection. His music introduced many listeners to the spiritual and cultural ideas tied to reggae, including themes connected to the Rastafari movement. Even after his passing in 1981, his influence continued to grow, and today he remains one of the most recognized and respected figures in music history.

Because of artists like Marley, reggae became far more than a regional style — it became a worldwide voice.

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Reggae’s Ongoing Influence

As reggae spread across the globe, it continued to evolve. Over time, it influenced new styles such as dub and dancehall while also merging with pop, rock, and hip-hop. Meanwhile, reggae rhythms began appearing in music from Africa, Europe, and the Americas.

In addition, reggae’s cultural impact extended beyond sound alone. The genre became closely associated with expressions of identity, social awareness, and spiritual reflection. Its influence can now be heard not only in Jamaican music but throughout global popular culture.

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Listening Through the History

The playlist connected to this post offers a guided listening experience through these important stages of reggae’s development. As students and families explore the tracks, they can hear how the rhythm, tempo, vocals, and emotional depth of the music change from one era to the next. In this way, the history of reggae becomes something you don’t just read about — you experience it through sound.

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A Living Musical Legacy

In the end, reggae’s journey is one of steady growth, powerful expression, and worldwide connection. From folk beginnings to global stages, reggae continues to remind listeners that music can be both deeply personal and universally shared. Its story is still unfolding — carried forward by new generations of musicians and listeners around the world.

Student Voices: What We Learned About A Cappella Music

Last month in the Music Lab, students explored A Cappella—music made only with the human voice. They listened to different performances, watched videos, and learned pieces of history. Their observations were thoughtful, honest, and often very detailed. Below is what they noticed in their own words.

What Students Heard in A Cappella Music

Only Voices — No Instruments

Many students quickly noticed that A Cappella has no traditional instruments at all.
“No traditional instruments used—just body and human voice.” — Aleksander S.
“No instruments are used.” — Kristofer S.
“They only used voices.” — Wynn F.
“It was all mouth singing like beat boxing.” — Olly C.
“Non-instrumental.” — Haley N.
“No instruments.” — Aaron RT.

Some students also pointed out that voices can copy the sound of instruments:
“Vocals can mimic different instruments.” — Sebastian A.
“They made instrument sounds with noises.” — Lukas S.

Layers of Voices Working Together

Students heard how each part of the group adds something different.
“Each part has a different pitch (bass, tenor, soprano).” — Nubung R.
“Need multiple voices.” — Penelope H.
“You need different types of people to hit different vocal ranges.” — Sebastian A.
“They all sang together but at different times.” — Beatrice V.

Another common idea was how well the voices blended:
“I liked how different voices blended together.” — Hayden C.
“They sing very on-key.” — Aaron RT.

Sebastian V. described group roles clearly:
“There were 2 or 3 main singers, 1 person doing sound effects, and 1 person singing deep notes.”

Beatboxing, Sound Effects, and Vocal Creativity

Another big discovery was beatboxing and mouth-made percussion.
“They used beat boxing.” — Kristofer S.
“Beat boxing instead of music.” — Penelope H.
“At least one person needed to beatbox for percussion.” — Nubung R.

Covers, Lyrics, and Song Choices

Students enjoyed hearing songs they already knew.
One song was from the Coco movie. — Owen C.
Another was a holiday song, Carol of the Bells. — Owen C.
“Each song was a cover of an existing song.” — Nubung R.
“I liked the lyrics about friendship.” — Wynn F.

Students also noticed how expressive the singers were:
“They act with their voices.” — Ellie M.

They paid attention to performance details as well:
“One song had background colors changing rapidly.” — Owen C.
“I liked the moves. Some of them were spins.” — Wynn F.
“They wear fancy clothes.” — Beatrice V.

Observations About Group Size and Roles

Some students saw larger groups, while others saw small ones.
“In each song, there were 4 or more people singing.” — Aeson H.
“You don’t need a large group for A Cappella.” — Sebastian A.

Students also pointed out how roles can differ:
“There’s usually one person who sang more and the others were doing the background.” — Ellie M.
“At least one person needed to beatbox for percussion.” — Nubung R.

A few students even noticed performance challenges:
“The audience can sometimes make it hard to harmonize.” — Aeson H.
“Strangers were singing with them.” — Aeson H.

History Moments the Students Discovered

Students learned that A Cappella has a very long history.
“A Cappella started in the church and monks would chant it.” — Ellie M.
“A Capella originated from stuff they did in religious churches.” — Haley N.
“A Capella has been around since the 13th century.” — Olly C.
“A capella has been around a long time.” — Kristofer S.

They also learned how barbershop fits into the story.
“It started in barbershops.” — Sebastian V.
“Barbershop is part of A Capella.” — Haley N.
“There used to be barbershop music. Barbershop is sung by a quartet.” — Owen S.
“Barbershop was a common classic in the 1950s and 1960s.” — Wynn F.

Students shared what the word itself means:
“A cappella means chapel in Italian.” — Sebastian V.
“A Capella in Italian means cathedral.” — Ellie M.
“Definition of A Capella is just singing.” — Ellie M.

They also noticed how wide the style can stretch.
“A cappella can be many different genres.” — Wynn F.
“A cappella has been done in all genres.” — Kristofer S.
“Any song can be acapella.” — Noah G.
“Some music almost sounds like yodeling.” — Owen C.

One student connected it to personal growth:
“A Capella singing helps ear training and confidence.” — Owen S.

A Final Note: Students Really Paid Attention

Even smaller details stood out during the lessons.
“It’s not all words.” — Haley N.
“Some were very high-pitched.” — Noelle
“A lot of them were in 4-piece harmony.” — Noelle
“The drum section sounds interesting in certain parts.” — Nora W., comparing her video
“They weren’t going up and down at the same time.” — Ellie M.

All together, the comments show how closely students listened. Their reflections highlight the creativity of A Cappella and the many ways voices can join together to make something big, colorful, and exciting—without using a single instrument.

Student Voices: What We Learned About A Cappella Music

Last month in the Music Lab, our students spent time exploring A Cappella—music created entirely with the human voice. They listened to performances, watched videos, and learned a bit of history. Their observations were thoughtful, funny, and surprisingly detailed. Here’s what they noticed, in their own words.

What Students Heard in A Cappella Music

Only Voices — No Instruments

Many students immediately recognized that A Cappella uses no traditional instruments at all.
“No traditional instruments used—just body and human voice.” — Aleksander S.
“No instruments are used.” — Kristofer S.
“They only used voices.” — Wynn F.
“It was all mouth singing like beat boxing.” — Olly C.
“Non-instrumental.” — Haley N.
“No instruments.” — Aaron RT.

Some students noticed that voices can even stand in for instruments:
“Vocals can mimic different instruments.” — Sebastian A.
“They made instrument sounds with noises.” — Lukas S.

Layers of Voices Working Together

Students picked up on how A Cappella groups blend different parts and ranges:
“Each part has a different pitch (bass, tenor, soprano).” — Nubung R.
“Need multiple voices.” — Penelope H.
“You need different types of people to hit different vocal ranges.” — Sebastian A.
“They all sang together but at different times.” — Beatrice V.
“There were 2 or 3 main singers, 1 person doing sound effects, and 1 person singing deep notes.” — Sebastian V.

Several students noticed how well the voices came together:
“I liked how different voices blended together.” — Hayden C.
“They sing very on-key.” — Aaron RT.

Beatboxing, Sound Effects, and Vocal Creativity

A favorite discovery was that A Cappella groups use beatboxing and sounds made with the mouth to replace drums and instruments:
“They used beat boxing.” — Kristofer S.
“Beat boxing instead of music.” — Penelope H.
“At least one person needed to beatbox for percussion.” — Nubung R.

Covers, Lyrics, and Song Choices

Students enjoyed recognizing familiar songs:
One song was the Coco movie theme. — Owen C.
One was a holiday song, Carol of the Bells. — Owen C.
“Each song was a cover of an existing song.” — Nubung R.
“I liked the lyrics about friendship.” — Wynn F.

They also noticed how expressive the singers were:
“They act with their voices.” — Ellie M.

And some paid attention to details like visuals and performance style:
“One song had background colors changing rapidly.” — Owen C.
“I liked the moves. Some of them were spins.” — Wynn F.
“They wear fancy clothes.” — Beatrice V.

Observations About Group Size and Roles

Students disagreed a bit—some saw large groups, others saw small ones:
“In each song, there were 4 or more people singing.” — Aeson H.
“You don’t need a large group for A Cappella.” — Sebastian A.

They also noticed that different people take different roles:
“There’s usually one person who sang more and the others were doing the background.” — Ellie M.
“At least one person needed to beatbox for percussion.” — Nubung R.

Some even pointed out challenges performers face:
“The audience can sometimes make it hard to harmonize.” — Aeson H.
“Strangers were singing with them.” — Aeson H.

History Moments the Students Discovered

Students learned that A Cappella has a long history, stretching back to early vocal music:
“A Cappella started in the church and monks would chant it.” — Ellie M.
“A Capella originated from stuff they did in religious churches.” — Haley N.
“A Capella has been around since the 13th century.” — Olly C.
“A capella has been around a long time.” — Kristofer S.

They also connected it to barbershop singing:
“It started in barbershops.” — Sebastian V.
“Barbershop is part of A Capella.” — Haley N.
“There used to be barbershop music. Barbershop is sung by a quartet.” — Owen S.
“Barbershop was a common classic in the 1950s and 1960s.” — Wynn F.

And some learned what the word means:
“A cappella means chapel in Italian.” — Sebastian V.
“A Capella in Italian means cathedral.” — Ellie M.
“Definition of A Capella is just singing.” — Ellie M.

Others absorbed how broad the style can be:
“A cappella can be many different genres.” — Wynn F.
“A cappella has been done in all genres.” — Kristofer S.
“Any song can be acapella.” — Noah G.
“Some music almost sounds like yodeling.” — Owen C.

One student even noticed personal growth benefits:
“A Capella singing helps ear training and confidence.” — Owen S.

A Final Note: Students Really Paid Attention

Even small observations stood out:
“It’s not all words.” — Haley N.
“Some were very high-pitched.” — Noelle
“A lot of them were in 4-piece harmony.” — Noelle
“The drum section sounds interesting in certain parts.” — Nora W., when comparing her video to A Cappella
“They weren’t going up and down at the same time.” — Ellie M.

Together, these comments show how observant students can be when engaging with a new style of music. Their reflections highlight the creativity of A Cappella. They show the many ways voices can come together to create something big, bold, and memorable. This is all achieved without a single instrument in sight.