what is presentation in music

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Participatory music vs presentational music

In this post, I’ll be doing some public-facing note-taking on Music As Social Life: The Politics Of Participation by Thom as Turino . I’m especially interested in its second chapter, “Participatory and Presentational Performance”. We in the United States tend to place a high value on presentational music created by professionals, and a low value on participatory music made by amateurs. It’s useful to know that there are people in the world who take a different view.

Turino divides music into four big categories:

• Participatory music. Everyone present is actively doing something: playing an instrument, singing or chanting, and/or dancing. For example: a bluegrass jam, campfire singing, a hip-hop cypher .
• Presentational music. There’s a clear divide between the performers and the audience. Audience members might dance or sing along, but they are not the focus. For example: a classical, rock or jazz concert.
• High-fidelity recording. A document of a live performance (or a convincing illusion of such.) For example: a classical or jazz album.
• Studio sound art. A recording that was constructed in the studio using techniques other than (or in addition to) people performing in real time. For example: a late Beatles album, or any pop song since 1980.

Turino devotes a lot of his attention to three examples of participatory music cultures:

• Aymara musicians in Peru
• Shona music in Zimbabwe
• Contra dancers in the US

This last group might strike you as the odd one out. Turino sees more commonalities between the musical experience of American contra dancers and participants in Shona rituals than he does between the contra dancers and audiences at, say, a jazz concert.

Qualities of presentational music:

• It’s made by professionals (or would-be professionals) — “real” musicians, as Americans call them.
• The musical form tends to be “closed” — it’s known to the performers in advance. There are a few exceptions, like free jazz, but those are outliers.
• Closed forms make it possible for the music to have great formal complexity and less predictability. Though presentational music does not have to be complex or unpredictable, audiences tend to demand a certain amount of variety.
• Textures and timbres are transparent, meaning that you can hear the individual sounds clearly. Tuning and timing are usually precise, though there are exceptions, like punk and indie rock.
• Presentational music is usually scripted, rehearsed and tight. Even jazz improvisation mostly takes place within mutually understood constraints.

Qualities of participatory music:

• It’s made by musicians of widely varying skill. Most participants are “amateurs,” not “real” musicians by American standards. There’s a low floor for core participation, like shaking a shaker steadily, and a high ceiling for elaboration, like virtuoso lead percussion.
• The audience/artist distinction is blurry or nonexistent.
• The form of the music is open, cyclical and very repetitive .
• There might be a lot of improvisation and looseness, but it all takes place within predictable structures.
• Textures and timbres are dense, with loose (“wide”) tuning and timing.
• Beginnings and endings are “feathered” — unscripted, loose, and sometimes disorderly.
• The music is game-like, though usually without “winners” and “losers.”

In participatory music cultures like Zimbabwe and Peru, the ability to make  music is as basic a social skill as making small talk is in North America. Music is part of “real life,” not separate from it or above it somehow. One of my favorite documents of participatory music is this delightful recording of workers canceling stamps in the University of Ghana post office. Anyone in the room could jump in with a rhythm or a whistled tune.

Speaking of documentation: for Aymara people, recorded music has the same relationship to actual music as a photo of a person does to the person: the document is no substitute for the real thing.

The values of participatory music are profoundly different from those of presentational music. Turino quotes his Zimbabwean mbira teacher:

[T]he best mbira players could offer their best performance at a ceremony but if no one joined in singing, clapping and dancing, the performance would be considered a failure… Although the drummers or mbira players perform the most specialized core musical roles in ceremonies, they are not considered the stars of the event with other contributions being secondary. Rather, they, along with hosho (shaker) players, are more like workmen with the special responsibility to provide a firm musical foundation that allows and in fact inspires others to participate.

This is as far from the current western academic art music value system as it’s possible to get.

People in participatory cultures do prefer skillful musicians over inept ones. But the social aspect of the music is the most important one, and usually people keep critical judgment of the performance to themselves. It’s sort of like the way Americans judge their kids’ musical performances, with loving tolerance for its flaws.

America suffers from its lack of participatory music

I have a hypothesis that the lack of participatory music in daily American life is a major obstacle to our well-being. Most humans in world history regard social music as a basic emotional vitamin, and our lack of it shows in our collective unhappiness, as clearly as malnutrition shows in stunted bone growth. Children have participatory music opportunities, at home, on the playground, at school, in church and at camp. But as an adult, you really have to make an effort to seek out music-making opportunities. One of the biggest pleasures of having a young kid is all the participatory music-making you do with them.

Few people have the time or energy to make presentational music of professional quality, and it takes a dedicated hobbyist indeed to overcome the stigma we place on amateurism. It’s interesting to me, then, to look at all the ways that Americans and other westerners try to cope, mostly by trying to make presentational and recorded music more participatory. Entire subcultures have sprung up devoted to trying to bridge the gap, intentionally or not.

Blurring the lines between presentational and participatory

The secret of the Grateful Dead’s rabid following mostly lies in the way they made presentational music feel participatory. The sloppiness that Dead detractors find so irritating becomes a positive virtue if you imagine the band leading a very big singalong. It’s easy to sneer at the Deadheads, but there was something undeniably real going on at the concerts, a lot of very enthusiastic dancing and singing along.

In high school, I saw the Dead close a show with “ Not Fade Away ” by Buddy Holly, as they often did. The audience sang along to the chorus and clapped along in a son clave beat. The band gradually got quieter and quieter until all you could hear was the crowd’s clapping and singing. Then the band waved goodnight and walked offstage as the crowd continued. We kept the chant and clap going all the way down the ramps and across the parking lot. It was such a pleasurable participatory music experience that I’m still writing about it decades later. The best big rock bands do something similar — think of Paul McCartney’s audience singing along with the “ na na na na ” part of “Hey Jude.”

Electronic dance music is an interesting new wrinkle. Remember that dance counts as participation in music. Even though EDM is the very definition of studio sound art, its reason for being is much the same as Zimbabwean mbira music: to get people moving. Some people do listen to EDM at their desks or in their cars or wherever, but even there, the point is usually to create a virtual dance club of the mind, to turn the boredom of working or commuting into a party activity.

This morning I was reading a blog post on OutKast’s recent reunion show at Coachella . Even though OutKast is one of the greatest hip-hop groups of all time, they failed to make much of an impression on the Coachella crowd. The blogger says that since the Coachella audience is mostly there for EDM, they’re expecting a participatory experience, with the focus on themselves. Daft Punk and Deadmau5 are very smart to  mask their faces, so you don’t focus too much on them as performers.

Like Deadheads, EDM enthusiasts are the object of much derision — the OutKast post above fairly drips with contempt — but really it’s just a matter of conflicting musical value systems. OutKast has some great hooks and singalong choruses, but their music is mostly verbally dense and intricate. It’s as good as presentational music gets, but it’s performer-focused, and it’s the wrong fit for the participation-focused Coachella crowd. It’s ironic that hip-hop has become such a presentational form; it started as a totally participatory one (as it still is in places, like the cyphers referenced above.)

Karaoke represents an uneasy truce between presentation and participation. Murino points out that most karaoke singers have to overcome considerable shame, and must brave the judgment of their friends. It’s no accident that people usually combine karaoke with heavy drinking.

College a capella groups represent another awkward compromise. The performances are presentational, but not usually up to professional standards. The audience needs to be “in on it” for the music to work, but there’s usually little singing along, and no dancing. Here’s a fascinating exception: I saw a college a capella group in Central Park singing “Like A Prayer” by Madonna. When they got to the groovy part at the end, a teenaged girl in the crowd jumped up next to them and started improvising gospel melismas. The group was startled but delighted. Presumably, this girl was from the highly participatory culture of black church, and her reaction was a perfectly logical one in that context. I’ve never seen such a thing happen on a college campus.

The Disquiet Junto is an unusual blend of studio sound art and participatory practice. Junto members get a weekly assignment by email, and create a piece of music or sound art in response. The Junto has the same inviting low floor and high ceiling that you see in participatory music, but the participants are creating polished recordings in isolation. The Junto SoundCloud group is a presentational environment on its face, but the lively discussion among community members makes it somewhat more participatory. There have been some Junto performances, which have been highly presentational. On the other hand, some Junto projects call for remixing of other participants’ work, and the line between artist and listener there is thoroughly confused. It’s a good confusion, though, one that feels rich with possibility for the future.

Constructivist music teachers strive to make participants out of their students — NYU’s IMPACT program is an example. In our presentational culture, constructivists have our work cut out for us, since would-be participants are always judging themselves against the impossible standards of top-flight professionals. Electronic music has some potential to bridge the gap. Well-designed music production software can give amateurs access to the kind of polished sounds previously only attainable by professionals. My NYU thesis project is designed to make it easy for beginners to make sound-art-quality rhythms. However, to make that possible, the software severely restricts the users. Is there an unavoidable tradeoff between expressive freedom and accessibility? That’s the big question.

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5 replies on “participatory music vs presentational music”.

• Pingback: Blog Post 2- Call/Response Music – Jacob Weinstein– History of Popular Music

In light of your post, I have to say that it’s no surprise then, that OutKast’s biggest hit “Hey Ya” calls for audience participation

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Most interesting, but i like that we can have both types. Presentational is good too. It would be a sad world without professional musicians. I love the stamping tune!

I’m all in favor of presentational music; it’s just a matter of balance. The problem now is that presentational music is crowding out participatory music, at least in America.

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How to make a slideshow with music using Prezi

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Anete Ezera March 29, 2024

Ever thought about why we remember movie scenes? It’s because music moves us, and sticks with us. That’s exactly why knowing how to make a slideshow with music is a must. And with Prezi, it’s easy to add slideshow music to presentations, showcasing your message loud and clear. 

Prezi is your go-to platform for creating presentations that truly resonate. Here, you’re not just stacking slides but crafting experiences. From embedding the perfect background music to compliment your narrative, to mixing visuals and text in the most effective way, Prezi transforms your story into an immersive journey. Let’s dive into all you need to know about how to make a slideshow with music. 

What are multimedia elements?

Multimedia elements transform a bland presentation into an unforgettable experience. A good presentation combines many different forms of multimedia to create the finished product. Let’s look at some key multimedia for presentations: 

• Images: Consider images as a medium that instantly pulls viewers towards them. They are strong agents in sending your ideas across, stimulating feelings, and also enhancing your plot.
• Music: Presentations are shaped by music. It can influence mood and provide an emotional experience that’s going to ensure people remember the message.
• Text: Often the focus of a presentation. The text delivers the critical details — clear, concise, and compelling. It’s your voice when you’re not speaking, so make every word count.
• Videos: Videos make your point more understandable. They are able to show how things happen, inform about case studies, or just make the audience feel in a different world and time. It is telling stories on the move.
• Animations: Enhance your presentation with animations that can increase interest and attract attention, especially when you have a lot of data to present or need to demonstrate complex processes. They are also ideal for bringing a little element of enjoyment into the display.

Every element has its own role to play in connecting with the senses of the audience. By using tools like Prezi, the integration of such elements into your presentations is actually easier than you might expect. Whether that’s incorporating an inspiring soundtrack, using breathtaking imagery, or captivating videos, Prezi allows you to realize your vision. Now, let’s delve deeper into how to make a slideshow with music. 

The advantages of knowing how to make a slideshow with music

For those wondering how to make a slideshow with music, understanding its importance is a good place to start. Adding music to your presentations is about more than just filling the silence. Here’s why music is your best ally in presentations: 

• Sets the tone: From the get-go, music can establish the mood. Whether you’re aiming for motivational, contemplative, or energetic, the right music cues up your audience’s emotions to match your message.
• Boosts engagement: Let’s face it, we all have a bit of a wandering mind. Music acts as a gentle tether, keeping your audience engaged and interested, making them more likely to absorb your message.
• Aids retention: Ever had a song stuck in your head? That’s the power of music. When associated with your key points, music can help those ideas stick, enhancing recall long after your presentation ends.
• Emotional connection: Music has a unique way of touching hearts. By pairing your content with the right tunes, you create a memorable experience that can resonate on a deeper level.

In short, music is a tool that can elevate your presentations from good to great. With Prezi, incorporating music becomes an effortless part of your storytelling, ensuring your presentations not only convey information but also emotion and inspiration. 

The psychology behind music-infused presentations

Have you ever noticed how a certain melody can evoke strong emotions or transport you back to a particular moment in time? Music goes beyond what words can achieve, by playing a key role in influencing emotions and memories. Recognizing the way that music affects our minds can really influence the quality of your presentations.

Since music has a dramatic impact on many parts of the brain, especially those linked to emotion, focus, and memory, choosing music for slideshows that matches the theme makes a more profound impression. 

Additionally, music can foster a sense of unity and belonging among listeners. When your audience shares a musical experience, it can turn your presentation into a collective journey, rather than just a lecture.

So, the next time you’re wondering how to make a slideshow with music, consider the psychological impact that music can have on your audience. By harnessing the power of music to create emotional resonance and connection, you can elevate your presentations from informative to unforgettable.

Choosing the right music

Selecting the right music for your presentation is crucial. It’s about finding a melody that amplifies your message rather than just picking a popular track. Here are some tips to ensure your music hits the right note:

• Align with your theme: The music should mirror the essence of your presentation. A motivational speech? Go for something uplifting. A solemn topic? Choose a more subdued soundtrack. Connecting with the overall theme is an important aspect for those who are questioning how to make a slideshow with music.
• Know your audience: Consider who’s listening. What might resonate with them? The right music for slideshows can build a bridge between your message and their perceptions. 
• Purpose over preference: Always choose music that serves the purpose of your presentation. It should enhance, not distract. Whether it’s to energize, soothe, or inspire, make sure the music plays its role effectively. 
• Consider the pace and energy: The tempo of your music should match the pace of your presentation. Faster music can add excitement to dynamic, fast-paced sections, while slower tempos might be better for moments requiring reflection or emphasis.
• Mind the rights: Last but not least, legality. Ensure you have the right to use the music. There are plenty of royalty-free options that can suit your presentation perfectly without causing legal headaches. 

With these guidelines in mind, choosing the right music becomes a strategic decision that enhances the impact of your presentation, creating a more engaging and memorable experience for your audience. But, for those still wondering how to create a slideshow with music, the simple answer is Prezi . 

Prezi: the perfect place for adding music to slideshows 

Navigating the creation of presentations has never been easier, thanks to Prezi. Gone are the days of static slides and monotone monologues. Prezi revolutionizes how we share ideas, transforming every presentation into an engaging, memorable journey. Let’s explore why Prezi is your ultimate tool for those who need to know how to make a slideshow with music. 

The canvas is yours 

Prezi breaks free from the traditional slide-by-slide format, offering you an open canvas. This freedom allows for a more natural flow of information, where you can zoom in on details or pull back to show the big picture. It’s storytelling without boundaries, where each zoom can highlight a new chapter in your narrative. 

A symphony of visuals and music 

Imagine your presentation as a symphony, where each element plays a part in creating a captivating performance. Prezi makes it easy to conduct this symphony, blending visuals with music to set the tone and rhythm of your story. Whether it’s a stirring background track or an upbeat tune to energize your audience, Prezi helps you synchronize your content with the perfect soundtrack.

Engage with every zoom 

Prezi’s signature zoom feature isn’t just about moving closer or farther away. It’s about engagement. By zooming into specific details, you draw your audience’s attention right where you want it. Then, zoom out to provide context, showing how each piece fits into the larger puzzle. It’s a dynamic way to keep your audience hooked from start to finish. 

Explore this presentation and see how engaging the experience is for yourself:

Visuals at your fingertips 

With Prezi, you’re never short on creativity. A vast library of visuals is at your disposal, ready to enhance your message. From high-quality images to engaging animations, these elements can be seamlessly integrated into your presentation, ensuring that your ideas are felt by everyone. So, if you’ve been worrying about how to make a picture slideshow with music and animations blend seamlessly, Prezi has you covered. 

The power of Prezi Video 

These days, personal connection is more important than ever. Prezi Video brings that connection to the forefront, allowing you to share your screen and yourself simultaneously. Not only that, but Prezi Video allows users to import and play videos whilst presenting, so you can communicate your points with ease. Whether you’re presenting life or recording a message, this feature adds a personal touch that can significantly boost engagement and comprehension. 

Making an impact 

Ultimately, the goal of any presentation is to make an impact, and to leave your audience with something they’ll remember. Prezi empowers you to do just that. By harmonizing music with visuals and narrative, you create a multisensory experience that engages, informs, and inspires. It’s not just about sharing information; it’s about making an impression that lasts. 

Tailoring music to your theme: how to add music to a slideshow with Prezi

Whether you need a soft melody to underscore a serious point or a lively tune to celebrate a milestone, Prezi makes it easy to integrate the perfect music that complements your theme. To answer the question of how to make a slideshow with music, Prezi provides an option to import MP3 or M4A files from your computer.

You can also select a file from your Google Drive, One Drive, or Dropbox account by clicking the arrow next to the upload button. In our support article , you can find a step by step instruction.

Put your creative ideas into action after discovering how to make a slideshow with music

In conclusion, never underestimate the power of music in your presentations. It’s not just background noise; it can elevate your message, engage your audience, and make your presentation unforgettable. And there’s no better partner when making a slideshow with music than Prezi . With its intuitive platform, integrating music into your presentations is an effortless process. Whether you need to inspire action, convey emotion, or simply make your points stick, knowing how to make a slideshow with music is invaluable for crafting presentations that truly stand out. 

As you look forward to your next presentation, consider the role music can play in bringing your message to life. With Prezi’s innovative features at your fingertips, you’re equipped to create presentations that capture attention as well as capture the hearts of your audience. Embrace the power of music and let Prezi be your guide to presentations that truly make an impression and are remembered long after the final slide.

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Art of Composing

Let's learn to compose together.

What is a Phrase in Music?

October 3, 2011 By Jon Brantingham 17 Comments

Categorizing music by form, is hierarchical in nature.

At the smallest usable scale is the motive or motif. The motive is usually a few beats, and gives you small characteristic atoms of music to play with.

At the next size up, is a two measure segment called an idea . This is a technical term. That brings us to phrases.

A phrase in music, is a four measure segment, made up two ideas.

There are different ways of writing your phrases, and they combine into different kinds of larger 8 and 16 measure themes.

Keep in mind, the term phrase in music can mean several different things, depending on what theoretical lens you are looking through. Any definition of a phrase is just a metaphor, and often definitions fall flat of the great amount of ways you can create phrases in music.

So why care about musical phrases? Because they are the vehicle that we will use to unlock our latent creativity . Understanding their use will allow you to write your music with a new sense of clarity and fluency that may have been lacking before.

Theme Types and Musical Phrases

A small musical phrase on its own, doesn’t mean much. It has to be combined with other musical phrases. No one ever said, “I did it! I finally composed Phrase No. 1!” The phrase is just a part of the big picture. The next step in the big picture is the Theme . Let’s examine the most important theme types: Sentence, Period, Small Binary and Small Ternary . They all share commonalities, but they also have some striking differences. For an in-depth discussion of this, check out Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven , by William Caplin. In this post, we’ll take a look at the Sentence, and then few posts, we’ll follow up with the Period, Small Binary and Small Ternary.

The Sentence

What is a musical sentence? In its most simplest sense, the musical sentence is an 8 measure theme , that consists of two different phrases . Each phrase accomplishes different formal functions . The overall purpose of a sentence is to help establish a tonality and to present the basic material that a composition is made of. The music sentence is a vehicle for presenting your ideas. It accomplishes the “ formal functions ” of presentation, continuation and cadential .

The archetypal sentence, consists of two, 4 bar phrases. These are the presentation phrase, and continuation phrase. Contained within the continuation phrase, is the cadence.

The Presentation Phrase

This musical phrase normally establishes the tonic, or the home key . It states a basic idea . This basic idea can have any number of motives, but you don’t want to overwhelm your listeners with confusion, so normally you will have one or two motives at most. After the basic idea is stated, it is normally repeated . In order for this repetition to establish the home key better, it will have to fall into one of three categories: exact, statement-response, or model-sequence .

Exact Repetition

This is just as it sounds. You have an exact copy of the basic idea.

Model-Sequence

This type of repetition is usually transposition of the melody up or down in diatonic sequence. It is called model sequence because the first statement is considered the model, the second – the sequence.

Statement-Response

This is probably the most common type of repetition in a sentence, especially an opening sentence. The basic idea is stated, and although is a fully contained unit, it has a force that wants to continue. Stating the basic idea in tonic, the best way to move it along and establish the home key even more, is to restate the basic idea in  dominant . Normally, the melody only changes enough to fit the new harmony, and is not drastically changed in terms of where it sits on the staff or range. This also gives the sense of a response to the first statement. Let’s also continue on with the rest of the sentence.

 Continuation Phrase

After the presentation phrase, we follow up the music sentence with a continuation phrase. The continuation phrase can have the same types of repetition as the presentation phrase, but it also has some other unique characteristics. These are: Harmonic Acceleration, Fragmentation, Liquidation and a Cadential Idea .

• Harmonic Acceleration

This is speeding up the time change of the underlying harmony. In the presentation phrase, the harmonic speed is one chord for two bars. In the continuation it starts as one chord per bar, and then speeds up in bar 7 to two chords per bar.

• Fragmentation

This is basically what it sounds like. You break up the basic idea into smaller fragments, usually one of the unique motives. You can use this for the repetition.

• Liquidation

If you take a look at bar 7, you’ll notice that the melody starts to get very simple, leading into two half-notes. This is called liquidation, and it is “stripping away” the uniqueness of the melody and simplifying it.

• Cadential Idea

This is basically ending your theme with a cadence. In this case, I chose to leave it open with a half-cadence. Normally you would not end your first sentence on an authentic cadence, unless you had a half-cadence within the presentation phrase.

Put It All Together, and You Got Yourself a Musical Stew

That pretty much covers the sentence. Listen to the complete sentence one more time, but this time, close your eyes, and see if you can hear the different parts. Its a good test. If you have trouble, check out the review of terms below.

In this post, we introduced the idea of musical phrases being the basis of the basic  theme types :

• Small Binary
• Small Ternary
• Presentation Phrase
• Continuation Phrase
• Repetition: Exact, Model-Sequence, Statement-Response

In the next post, we’ll look at the period, and how it differs from a sentence. If you missed the first post on phrases, check out Warning: The Composing Secret Mozart Didn’t Want You To Know .

Don’t forget to catch up on the entire Symphony of Enlightenment Series .

I’d love to hear your thoughts. Make sure you leave a comment below the post.

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About Jon Brantingham

I am a film composer, and lover of music theory. I have spent many years figuring out the tools and techniques that actually work for composers, and now I want to teach them to you.

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Reader Interactions

September 23, 2019 at 3:56 am

hello, which piece is this theme from, or did you compose it yourself ?

September 23, 2019 at 12:50 pm

I wrote it.

February 22, 2018 at 8:51 pm

Can you explain to me the exact, statement-response, or model-sequenc of the Presentation phrase?

Thank you!!!

November 14, 2018 at 7:13 pm

I understand, A single note is just a boring motif.

March 29, 2017 at 6:43 am

Firstly, thank you so much for your insight to composing. May I suggest an edit for this article? In the graphs above, the top of the first graph is 40, while the top of the second is 100; which at first glace makes TV look the same as Form when moving from graph 1 to graph 2. I believe the contrast and your point would be better served if both graphs had 100 as the top.

March 30, 2017 at 7:52 am

Thanks, but the graphs are meant to be more of a tongue-in-cheek images, not really representing any specific data. Just to get the point across that restrictions help you compose.

February 1, 2017 at 10:28 pm

I’m glad you made this. My textbook didn’t make this clear enough. But between this lesson and my book, I understand clearly.

February 3, 2017 at 11:43 am

June 4, 2015 at 11:27 pm

Just came across this lesson and found it to be very inspiring. Thank you!

June 5, 2015 at 8:41 am

November 12, 2014 at 11:24 am

Ahh if we put two quater notes and two 16 notes in 4/4 then whats the correct notes to put in??

November 17, 2014 at 11:07 am

Manish, I am a little confused about what you are asking here.

May 18, 2014 at 6:33 pm

The phrase I composed is very similar, but a few differences. I find the phrase works very well even with out a continuation phrase, but then it might fit better into a musical period.

March 18, 2014 at 7:29 am

My pleasure.

March 22, 2013 at 6:21 pm

Well I’m not much of a musician, but I keep dedicating time to learn more about all of the music which I spend listening to, days in, days out. The repetition phrase in the strictest kind of “classical form” seldom includes any kind of change in musical material OTHER THAN those which are responses to effects of transposition and/or other harmonical “stuff”, while Beethoven already likes to give a life of its own to at least one of these dimensions (pitch, rhythm, color, dynamic) during the repetition phrase, (the opening phrases of Symphony 8, no?). All later composers have done is just gone further down this path, taking it all the way to the point where all of the dimensions are completely independent of any other of the dimensions, even where they have appeared to have regressed (e. g. Charles Wuorinen) to a more steady beat compared to their predecessors (e. g. Stravinsky, Elliott Carter).

I think Schubert, by the way, may be more conservative than Beethoven… well at least concerning my favorite Schubert sonatatas. People just think Schubert is more romantic than Beethoven because he likes to fool around with the harmony, e. g. D. 960??

November 21, 2012 at 11:16 pm

So what about more drastic changes in the repetition? Those, which are heard increasingly more often as we get to modern music. We now only have a description of statement-response, where the different elements of music – pitch, rhythm, register, timbre and dynamics – are being repeated with a high degree of synchronicity, as opposed to asynchrous repetition of each element.

November 22, 2012 at 6:44 am

That is a good point. What I am describing here is classical form . This means that it is basically a description of what Mozart, Haydn and Beethoven were doing… roughly. But it is a framework, and really, a way of thinking about composing that could be transplanted onto many different styles. My goal is not to be exhaustive, but to be clear. I would be interested in hearing how you would take this, and push it into other genres. I personally have seen this framework in jazz quite a bit.

Thanks for the input.

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How to use music to make better presentations

It’s a tricky thing. There are some huge advantages to using music, but some pretty significant pitfalls, too. So here’s your guide to using music well, and avoiding the things can can go wrong.

Why use music? An overview

Music is intended and designed to be an emotional phenomena. That means you can use it to shift and enhance moods in your audience before your presentation… and during it or after it if you like!

Not sure it works? Never been to the movies then! This simple example messes around with a horror scene.

Want to shift the atmosphere towards more positive? Add upbeat music! Want your audience to be a bit more contemplative, use slower, gentle background music. It really is as simple as that.

In other words, you can use music to work on your audience’s emotions in the same way as good slides can do, visually. The disadvantage of music is that you can’t really use it on its own, unlike good slides, but the advantage of that is that you can use it in the background, alongside other things.

Pro-tip. Don’t use it for things like “trying to get people to learn more”. As far as I can tell from the research papers I’ve read, that not really a thing so much as something people made up to sell to pregnant women who were desperate to give their baby a head start in life.

Given the pro-tip above, the best things to do with music are emotional manipulation of your audience – I can’t claim the following ideas are written in tablets of stone, but I’ve found them very useful over 12 years as a professional presenter.

Atmosphere before your presentation

As your audience arrive in dribs and drabs, it’s easy for them to feel exposed and out of place. Many audiences can feel as nervous about being in the audience as presenters feel about being at the front of the room! With that in mind, appropriate music can do wonders for making people feel welcome and give the room a buzz or an atmosphere before you start your presentation.

It’s probably too much of a dirty trick for lots of people, but I even know one presenter who mixes in backgrounds of groups of people chatting to give an atmosphere! Machiavellian, I know, but I have to admit it’s very effective.

Wind up to the start of your presentation

This is something of a clever variation of the first idea and it works like this. Start your background music with just enough to have the right effect but nothing too overt, but as the start of your presentation gets closer, shift the style (or even the volume) of the music so that it “builds up”.

It’s a technique beloved of theatre directors, and with good reason – because it works. You can carefully build anticipation of what you’re going to say with clever use of the music.

A confidence booster for you

I don’t use work on music, ‘cos I’m not that pretentious but I do have pieces of music I like to hear played. Obviously your mileage will vary but hearing “ I am the Doctor ” always puts my head in a good place, ready to present. It’s a great piece of music for me for a lot of personal reasons and I’m lucky that it works technically, too, as it’s the right tempo for when I want to use it, and sufficiently obscure for it not to distract people (see below).

I tend to include it in some pre-presentation play-lists, close to when the presentation is due to start.

Filler during your presentation

I’m not a huge fan of this kind of thing, because it smacks of lazy presenting, but there are times when it’s entirely appropriate to ask your audience to think or converse amongst themselves. A slide with background music is a god-send for moments like this.

It covers any embarrassment your audience members might feel at first, it makes it look like you’re doing this deliberately and not as padding or in panic (trust me, I’ve seen presentations that do both of these!).

What’s more, it works as a timer!

You can tell your audience that you’re only going to give them three minutes but getting them to stop at the end is something of a shocker for them. But if you’ve got a three minute piece of music that clearly signals the end of the three minutes as it approaches, it’s very helpful. (A countdown timer on your screen works, but it’s a bit officious/crude but also less effective – anyone looking at the countdown timer isn’t looking at their partner in the audience!)

What can go wrong with music in your presentations – let’s talk logistics

Let’s start with the obvious. If you can’t make the music play well you’re worse than wasting your time. Bad-sounding music will undo all the good things about music in your presentation. In fact it’s worse, because it actively annoys people and makes them think you’re not technically competent. (And unfortunately the Oppenheimer effect can kill your presentation if that happens.)

Most projectors and laptops will take music and play it. You need to have the right cables and figure out to how to use the damned things (they’re all different!) to be able to control the volume and so on, but… … but the sound quality they have isn’t necessarily helpful to your presentation. Something tiny and without any bass will stress people.

My advice is two-fold:

• get there well in advance of your audience (not just before your presentation time, but ahead of your audience!) with enough time to test thing
• take your own speakers

Let’s talk about that second idea for a moment – small, portable, bluetooth speakers can give a really good sound these days and it’s something you can test and set up in the comfort of your own office before you go to the venue. You’re not reliant on the venue’s kit.

Pro- tip – don’t automatically have the speaker right at the front, next to your computer. That might be the right place to put it, but for lots of venues a better place is on a chair or a desk a few rows into the audience. That way the sound carries better to the people at the back. (It also looks slicker – so you at least look like you know what you’re doing! 🙂 )

The less obvious presentation problem – psychology

The whole point of music is that it hits you in your emotions. You know that – you’ve got a favourite song, just like everyone else (though it’s probably different to everyone else’s). Music is supposed to be like that.

That’s it’s strength in presentations but also a significant ‘gotcha’. Imagine you’re using some background music for a audience exercise, or to give atmosphere before you start (or even as walk-on music if you’re in the big leagues)… and the music you use is someone’s favourite song… or the song they played at their father’s funeral, or … you get the idea.

Music with that kind of emotional impact is a pain, as it pretty much stops that person concentrating on what you’re saying while they process their emotions.

Here’s my solution – use obscure music . If no one has heard of the music before, no one can have it as their favourite song.

In an ideal world, of course, you’d have it composed (or compose it yourself) especially for you, so that no one could know about it, but that’s either going to cost you time or cost you money!

Pro-tip – make it instrumental. That way two good things happen. The first is that it’s less intrusive for your audience; and secondly, you’ll never risk the embarrassment of inappropriate lyrics. It might not be something rude, but it could just be something someone objects to in some very personal way… and before you ask, yes, that’s the voice of experience.

Finally, there’s the problem that your audience might just not like it. Use your common sense here but don’t use the idea as an excuse. My experience is that the reason no one uses music in their presentation in most organisations is because no one else is… and when they try it (and get it right!) it’s a real enhancement to their presentation’s impact!

Wrapping up

So what do you think? How do you use music in your presentations? If you don’t, could you? Should you?

The answer is ‘probably’ – the real question is ‘how’…

Where do we get our music from?

Here’s a fantastic – but very short! – bonus signup. I’ve put together the list of where we go to get our music. Some of it way pay for but lots of it is totally free. Most of it is in the middle – you pay a little to buy it but you don’t have to pay to re-use it every time you play it. Just sign up below!

We’ll be adding to it shortly, too, talking about how we actually pick the music we use and you’ll get that update automagically 🙂

Free music cheatsheet

Grab the free music cheatsheet – it’s where I get the music I use for my presentations (when I use any that is).

I’ll also add you to the tipsheet list – it comes out every couple of weeks to a month. Yes, it might also try and sell you something but I promise you a good ratio of useful and free stuff! 😉

You have successfully joined our subscriber list.

One quick additional PS about music in online presentations

Because of the Corona Virus, lots of meetings are now moving online and in particular moving to Zoom. There’s a cute way to play music in your online meetings now there too… though don’t forget that you still need to sort out the legal stuff, like licences.

https://support.movegb.com/how-to-play-music-over-your-live-stream-on-zoom

Such a lot of fab advice! I love the emphasis you’ve put on the music. In the past I’d have played any old thing, but you’ve convinced me to pick something instrumental that would set the scene for the day/ presentation.

Hi Janine – the downside of “any old thing” is that it tends to be what you you like, not what the audience needs. Trust me, I’ve played a lot of tosh in my time! 🙂

Great advice, I can spend ages trying to find the ‘right’ music and these tips really help to appreciate the importance it plays.

Funny you should say that, Allison! I’ve just added a bonus (sign up for) at the bottom of this blog and one of the tips I’ve included in it is “when you go to the free music sites in this document, set a time limit! Otherwise you’ll be there for three days looking for the perfect track and end up coming back to the one you started of with anyway” 🙂

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Incorporating Music into Your Professional Presentation

Imagine spending an entire day without hearing any music. How would that feel?

While music greatly influences our way of living, is it also capable of helping presenters connect with their clients?

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Music is everywhere. For some people, hearing instrumental or lyrical songs that  appeal to their emotions  lightens their mood.

When a musician performs onstage, they express both the melody (vocal tone) and lyrics (words) to come up with a beautiful and memorable song. Through playing instruments and singing, they openly express their inner longings to convey what they want the crowd to feel. It’s an effective way of establishing a good impression and building good rapport.

This works the same way in a professional presentation. To make your pitch sound catchier, deliver with a conversational tone when engaging your audience. Your content should also be beneficial and powerful to make it worth remembering.

Through its natural appeal, public speaking can learn a thing or two from music’s ability to build connections and establish relationships with its listeners.

Let’s review the other benefits of music before incorporating it to your pitch.

How Music Works

Music not only affects the way presenters deliver their speeches, they also work in our normal routines and daily interaction with others. It influences our emotions, depending on what type of music (upbeat, slow, classical) we usually listen to.

Nothing beats the power of music. The following are some of the benefits of listening to music:

• Music releases tension.
• Music jogs the memory.
• Music links people together.

According to The Accidental Communicator, music and public speaking are deeply connected. Learning how  music impacts your speech  gets your audience’s attention and keeps them interested, giving you power that convinces them to listen.

Before reaching your goal, however, it’s important to know how getting physically and mentally prepared contributes to your success. Just as athletes, singers, and actors practice before starting their tasks, speakers should also rehearse to enhance the delivery of their speech.

Skipping this phase may result in ineffective delivery and performance. This is why you need to accomplish this stage to successfully present to the crowd.

Deep breathing, muscle stretches, and vocal warm-ups are only a few of exercises that you can do during the preparation stage. These can help boost your energy and make you fit to accomplish your tasks and activities.

Only then can you begin applying these three musical techniques to your pitch to successfully connect with your audience.

Here’s our spin on the musical power of public speaking, inspired by The Accidental Communicator ’s Dr. Jim Anderson:

This musical term is an Italian phrase meaning “stolen time” and refers to a certain speed or tempo required by a song. It determines how slowly or quickly instruments should play the music.

Rubato can be classified as speech rate , which refers to a person’s speed in speaking and delivering his words per minute.

Vary your speech rate from time to time, depending on what points you’re trying to emphasize. You can start doing this by preparing and conducting regular rehearsals before the big day. This will enable you to keep track of and manage your time wisely.

Speaking slowly also generates attention and interest while discussing your main points. But it doesn’t mean that speaking quickly isn’t that effective. However you choose to speak, it’s more important to practice how to speak clearly to prevent your audience from misunderstanding your concepts and ideas.

In terms of music, vibrato is a pulsating effect which regularly changes the singer or an instrument’s pitch. It’s often used to express and highlight emotions through sound variation and amplification.

Vibrato can be referred to as tone of voice . Observe someone who doesn’t vary his tone and maintains his monotone voice throughout the presentation. How does it sound? Monotonous speeches can bore your audience, losing their interest to pay attention. To avoid this, study your pitch by heart to help you pinpoint some parts that require a change of tone.

If you want to influence your audience to act, you can use a powerful tone to make it more convincing. If you’re discussing tragedies or serious events, you can vary your tone by speaking gently. As a presenter, utilizing this technique helps you convey your message when telling emotionally-charged stories.

This allows you to control how you sound, letting your audience internalize your message and feel the right emotions.

Appoggiatura

This Italian phrase means “to lean upon,” making a certain note to sound more exaggerated, resulting in more powerful music.

Appoggiatura is similar to the attractive words used in poetry and speeches . Since presentations look more appealing with images that strengthen the subject being discussed, this technique allows the presenters to choose their words that let their audience use their imagination.

Research shows that whenever creative stimuli like these appeal to an individual’s right brain, they’re more easily convinced. Add descriptive words by incorporating vibrant colors and images in your message to win the audience over.

Musical techniques have the power to let you connect with your audience more effectively. Just like live concert performances, the audience has their own preferences and expectations. Your job is to determine how you can meet them in a way that touches their deeper level of emotions.

Start applying and practicing the three techniques of  rubato ,  vibrato,  and  appoggiatura  the next time you present, and you’ll definitely have audiences remembering your pitch even long after you’re done giving your presentation.

To help you with your presentation needs, let our SlideGenius experts  assist you !

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Anderson, Jim. “What Music Can Teach Public Speakers About Connecting With Audiences.” The Accidental Communicator. August 12, 2014. Accessed May 8, 2015. www.theaccidentalcommunicator.com/organize/what-music-can-teach-public-speakers-about-connecting-with-audiences

Paul, Annie Murphy. “Your Brain on Fiction.” The New York Times . March 17, 2012. Accessed May 8, 2015. www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html?adxnnl=1&pagewanted=all&adxnnlx=1354716276-vBCJNxgtIuIFGnU+PmkBpA&_r=1

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5 Tips for Choosing the Best Music for your Next Presentation

Take your next presentation to the next level

We’re getting into advanced territory here for presentations, but if you have the time and the inclination, a great soundtrack will lift your presentation and show your audience that you really want to impress them. They may not even notice what is different about your presentation, but it will make an impact. Here are five tips for ensuring that impact is a positive one:

• Think about how you want your audience to feel when they watch your presentation. Music can be highly emotive, so ensure the soundtrack you choose is in line with your presentation goals.
• Choose music that doesn’t compete with your voiceover. Classical music or mild acoustic numbers should be fine, but you can get more adventurous if you like, depending on your presentation and your audience.
• Avoid cheesy digital sounds. Find good quality files that sound like real music. Some great resources include iStock audio , Marmoset and Tunefruit .
• Ensure you have a licence to use the soundtrack you’ve chosen. Selecting files from libraries such as those above means you won’t have to worry about this, but if you want to use a great song by your favourite band, beware. Unless you are only sharing the presentation with your closest family and friends, you could get yourself into all sorts of trouble.
• I’m going to sound like a nanna and say keep the volume down. Just remember the soundtrack is there as a support, and shouldn’t distract from what you’re trying to say.

Try adding music to your next presentation, and have everyone talking for all the right reasons.

Written by Raeleen  |  3 April 2020

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How is exposition used in music?

Exposition in music refers to the initial presentation of the thematic material in a musical composition, movement, or section. It is a term commonly used in the analysis of musical form and signifies that the presented material will be developed or varied throughout the piece.

Just like in a good movie, the exposition sets the stage for a musical piece. It’s the “Once upon a time” of music where we meet our characters – the melodies, rhythms, or chords that will be developed throughout the performance. Let’s break this down a little.

The exposition is the first major section of a movement. It typically starts in the tonic key and incorporates at least one important modulation to the dominant or another secondary key. The exposition’s primary purpose is to present the main thematic material of the movement.

Sonata form, which incorporates the exposition as one of its sections, is a widely used musical structure consisting of three main sections: the exposition, the development, and the recapitulation. It is commonly employed in the first movement of multi-movement pieces but can also be found in subsequent movements, particularly the final movement.

In a fugue, the exposition refers to the statement of the subject in imitation by the different voices, particularly the first such statement that initiates the fugue. The exposition serves as a foundational section in various musical forms, including sonata form, fugues , and other classical tonal structures.

It establishes the tonic key, introduces thematic material, and often includes key modulations and the development of identifiable musical themes. The sense of “arrival” at the dominant key is commonly used to identify the exposition.

Related Posts:

• What Is a Basso Continuo? Unveiling the Musical Foundation
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Classical symphonies

In classical symphonies, the exposition is typically repeated, although there are exceptions where the composer does not specify such a repeat. However, in concertos, the exposition is never repeated. In the recapitulation section, the material from the exposition is either repeated or paraphrased, usually in the home key or the parallel major of the home key if it is in a minor key.

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How important is the exposition in a symphony?

Let’s turn our attention now to classical symphonies. Here, the exposition plays a crucial role, typically repeated for emphasis. You’ll recognize this in your favorite symphonies – it’s like the catchy chorus of a pop song that’s played over and over again. But, just like any good artist, composers aren’t afraid to mix it up a bit. Below are some of the reasons why exposition is crucial in a symphony.

• Sonata form is a widely used musical structure that consists of three main sections: exposition, development, and recapitulation. The exposition is the first major section of a symphony and serves as the initial presentation of the thematic material.
• The composer establishes the tonic key of the symphony and introduces the main thematic material. It typically incorporates at least one important modulation to the dominant or another secondary key. The exposition sets the stage for the development and recapitulation sections that follow.
• It introduces the musical themes and key relationships that will be further developed, varied, and explored in the subsequent sections. It establishes the tonal framework and creates a sense of tension and anticipation for the listener.
• The exposition sets the stage for the development section, where the musical material from the exposition undergoes transformation, modulation, and elaboration. The development section explores new possibilities and introduces new themes, creating dramatic tension and building musical complexity.

The exposition is an essential component of the symphony, providing the foundation for the subsequent sections and contributing to the overall narrative and structure of the composition. It establishes the tonal and thematic framework, introduces the main musical ideas, and sets the stage for the development and recapitulation sections that follow.

Does the exposition always start the movement?

The exposition in music typically marks the beginning of a movement, particularly in the context of sonata form. It serves as the initial presentation of the thematic material and establishes the tonic key of the composition, often incorporating modulations to different keys. In sonata form, the exposition is the first major section that introduces the main thematic material and may include important modulations to the dominant or other secondary keys.

However, it’s important to note that there can be variations and exceptions to this general rule.

• In some cases, the movement may start with an introductory section that is not considered part of the exposition.
• The exposition may not always start the movement, especially in the late Classical and Romantic eras. There are examples where the exposition begins in a different key or modulates to various tonal centers, such as the mediant, flat mediant, dominant (in a minor key), minor dominant, submediant, relative minor, or parallel major.
• The concept of exposition extends beyond the sonata form.
• In fugues, the exposition is the statement of the subject in imitation by the different voices, often beginning the fugue itself. The exposition in a fugue usually ends on either an I or V chord.

Therefore, while the exposition generally starts the movement in sonata form and fugues, there can be variations and exceptions depending on the specific composition and musical style.

Here’s a table with some dos and don’ts to help you out:

What are the advantages and disadvantages of using classical exposition techniques in modern music?

So, you’ve learned all about the role of exposition in different music forms. Now, the big question is, should you apply these techniques in your home studio recordings or music production?

• Teaches discipline : Following these techniques can help you understand structure and discipline in music.
• Enhances creativity : It might seem counterintuitive, but constraints often foster creativity. You’ll have to find innovative ways to work within the set rules.
• Offers familiarity : Using these classical forms can provide a sense of familiarity for the listener, making your music more accessible.

Disadvantages

• Might feel restrictive : Some artists feel that these techniques limit their creative freedom.
• Can become predictable : If you follow the classical techniques too closely, your music might become predictable.
• Requires study : To use these techniques effectively, you’ll need to invest time in studying classical music theory.

Now, it’s up to you to decide how and when you’d like to use exposition in your music creation. Remember, the best musicians know the rules – and know when to break them!

If you want even more great tips and information, check out the video. There’s a world of knowledge out there waiting for you to discover. So tune in, and let’s keep making music!

Frequently Asked Questions (FAQ)

Below are some of the most commonly asked questions about exposition in music.

How can I apply exposition techniques in my home recordings?

Even if you’re not composing a symphony or a sonata, understanding exposition can help you structure your own music. You could establish a theme or motif at the start of your song and then develop or vary this theme as the song progresses, much like the exposition in a classical composition.

Can I use exposition techniques in different music genres?

Absolutely! While exposition is traditionally associated with classical music, the principles of theme establishment and development can be applied across a wide range of genres, from rock to electronic music.

Are there any tools to help understand and apply exposition in music?

There are plenty of music theory tools and software that can help you analyze classical compositions and understand how exposition is applied. Software like MuseScore or Sibelius allows you to notate and visualize musical ideas, helping you see how themes and motifs are presented and developed.

We’ve hit more notes on exposition than a Mozart symphony! You’ve now learned what exposition means in music, how it’s used in different music forms, and even got a taste of the pros and cons of using these techniques in your own music. Let me know your questions in the comments section below ( I read and reply to every comment) . If you found this article helpful, share it with a friend, and check out my full blog for more tips and tricks on understanding musical structures like exposition. Thanks for reading, and keep hitting those right notes!

Key Takeaways

This article covered the meaning of exposition in music and its application. Here are some key takeaways:

• Exposition is the initial presentation of the thematic material in a musical composition.
• In sonata form, the exposition establishes the music’s tonic key and modulates to and ends in the dominant.
• In a fugue, the exposition is the subject’s statement in imitation by several voices.
• Exposition techniques can be applied in a wide range of music genres and can enhance structure and creativity.
• Understanding and applying exposition in music may require some study of music theory and analysis.

Helpful Resources

• Sonata Form
• The Three-Key Trimodular Block and Its Classical Precedents
• Learning Sonata Form Structure on Mozart’s String Quartets

Hey there! My name is Andrew, and I'm relatively new to music production, but I've been learning a ton, and documenting my journey along the way. That's why I started this blog. If you want to improve your home studio setup and learn more along with me, this is the place for you!

Nick is our staff editor and co-founder. He has a passion for writing, editing, and website development. His expertise lies in shaping content with precision and managing digital spaces with a keen eye for detail.

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