1.those blue and underline means need to be edited and also change other part if you think it is neesasary. 2. those sentence are too professonal and help me to wite them with a esier way. and make the whole article looks reasonable thanks.
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Reflection: Music and Writing
The accessibility of music – it is, perhaps, the art form that has the biggest reach within the public
– has made it gain a rather superficial reputation. Unless it is a classical piece, music will often be
disregarded when speaking about art, as if the only possible way to pay rendition to the abstract was with
the aid of an orchestra. Music, though, can be just as profound as other manifestations of art. In fact, it
could be argued that the lyrics of certain songs are equivalent to poetry. The ways in which they are
constructed, in the end, are rather similar: there will be a focus on metric, sometimes rhyme, imagery will
be used and a message, through the accumulation of the literary devices employed in crafting, will be
presented to the audience. Though not all songs could be said to reach this level of depth – just as there
are poems that fail to do so, as well – treating them as a text, a poem, can allow the listener to better
understand its meaning. When the music is removed, the words are forced to stand on their own, with all
other distractions removed. Once they have been isolated from the music, the text can be dissected as
any other piece of literature. It can be analyzed for its content, for its complexity, for its use of literary
devices and tropes, for its voice, for its structure and its form. It gives the listener another channel through
which songs can be analyzed. That being said, the musical aspect of these texts cannot be disregarded
entirely, as the combination of these elements can provide even more depth to their creation. As any
other art form, music can also be analyzed through the lived experience of the examiner. Doing so, allows
the listener to form a more personal bond to the music and it allows the piece to be seen through a social
context. As our experiences are also forged by the world around us, seeing music through this lens means
that we are going to add this context to the piece. I should note, though, that though this appears to be
an intuitive process, one needs to learn how to think in this manner in order to apply these standards to
music appreciation. Personally, it was through this class that I would come to see music in a much more
layered manner. Though I had always been a fan – like most individuals on this planet – my approach to
music was extremely superficial. As such, I had to train myself to see it with enough complexity to run an
analysis on it. At the same time, I had to learn to stop thinking as just as fan, and begin thinking as an
analyst. It was necessary, too, for me to unlearn my biases and approach all music with the same open
perspective I would approach a song that I enjoy. Over all, I had to learn to stop thinking as I had been
used to, just like I had to unlearn many other things I thought I knew about writing.
For most of my high school years, I saw quotes and paraphrases as an opportunity to extend the
length of my paper without investing any more individual effort. The results of this approach to using
sources, though, was obviously flawed. For one, the inclusion of this information cannot be done
haphazardly; quotes need to be properly introduced and contextualized in the paper and paraphrases
need to be included only when they are relevant and necessary. Otherwise, the paper will not be at all
cohesive. Fortunately, it is not difficult to learn how to wield these tools properly. Throughout this course,
the inclusion of information from external sources was a constant requirement. It forced me to rethink
entirely how I approached this process. Though I initially stumbled – my first draft, analyzing various of
Rihanna’s songs, for example, would see multiple corrections because quotations were used without the
proper in-text citations to accompany them – the process does feel easier at this point. In part, this is due
to all of the important things I have learned about them. For example, I would no longer consider using
direct quotes as often as I used to. Though they might provide information that is relevant to my topic,
relying on the words of others to explain a concept would be a good way of demonstrating that I do not.
That is not to say that quotes are useless, or that they should be disregarded from a paper. On the
contrary, I think that they can serve a very powerful purpose, but I would limit their use to the two
instances that are commonly held in Academia: the quote contains data that cannot be paraphrased or
the quote is so impossibly powerful, due to the word choice of the author, that altering it would represent
a significant loss. For instance, when I was reading through the critique to Lana del Rey by Jia Tolentino, I
could not help but admire her prose. Her word choice was impeccable, driving her meaning to the exact
point she needed it to go. In her descriptions, aspects of the artist and her work that I had never
considered were presented in such a convincing matter that my mind could not help but agree. Her voice,
though significantly different from my own, would embellish the text to the point that changing anything,
even the most minuscule detail, would mean a noticeable loss. Including it without any alterations, on the
other hand, would increase the power of my paper. And that, perhaps, is the most important notion to
consider when using the direct voice of others: if it is going to add strength to the work we are doing, then
it would be a disservice to the work not to include this external voice.
Art, in all of its forms, is shaped by the context in which it is created. For centuries, artists have
used their craft to respond to the world around them. Sometimes, art will be used as a method of dissent,
through which the standards of the world are called into question. Sometimes, though, art will be used to
validate or perpetuate these norms. Whether this is intentional or not, it is impossible not to see art
through a context – whether it is the context in which it was created or through a modern lens – and
respond to it through another. Even when a piece of work might appear inane or superficial, it is still going
to be molded by the society in which it develops. For instance, though Rihanna’s “S&M” might feel like
just another song about sexuality, it can be studied through a feminist lens – either as a song that seeks
to center female sexuality in a world where it is still restricted by patriarchal norms or as a song that caves
to the patriarchy through the promotion of violent sexual practices. Lana del Rey’s music, too, can be seen
through layers of sociocultural norms. As Tolentino argues in her critique, del Rey manages to “mold
herself into well-worn stories, to pay tribute to retrograde ideas of power” (Tolentino, ). In other words,
though many may see these songs as the typical party-girl music, there is much more depth to the music,
as the artist is not just presenting a catchy tune, but an image and a message, through the use of various
tropes about womanhood. Her songs play into various patriarchal narratives about women, even if, at
surface, it might only seem like a call to embrace the wild life. Then, there are the musicians who
specifically seek to make this commentary. For example, I have come to enjoy the songs of Leonard Cohen
a lot, as a result of this class. Though I had initially dismissed his music, for lack of a modern feel, I can now
see the depth of the message that is included in their lyrics – from religious references to political
commentary.
The style in which texts are written can have a significant impact on the message that is presented.
It can add gravitas to a text, if it is required, or it could turn a dense subject matter into an approachable
idea. Though I like to think that I have already settled on a particular writing style, I am sure that there is
still room for my voice to shift as I continue my education. I would certainly like to get better at composing
formal, academic texts. I know that it will be necessary for me to master this skill to be successful in my
academic career. I do think that, through the different experiences that I will gain in college – including
the many different kind of essays I foresee in my future – I will be able to improve in this particular style
of writing. Outside of college, though, I cannot imagine myself needing to take on this specific voice. As a
result, I would likely use the opportunities I have for self-development to improve my own style. I have
always enjoyed creative writing, so I would use those exercises to develop a more artistic voice; though, I
must admit, I am not quite sure what I want for my personal style to become. I did thoroughly enjoy the
style that was used by Mike Burn, in “How to Read like a Writer”. Though the author is writing an essay,
it is presented in a manner that is easy to understand, embellished sufficiently so as to engage the reader
but not as to distract. The inclusion of his student’s thoughts, through direct quotes, made the text easier
to relate to, as well. I also really enjoyed the fact that, at times, he will address the reader directly. For
example, when giving tips about style, Bunn writes:” Think about what effect presenting this personal
information might have on readers. Does it make it feel like a real person, some “ordinary guy,” is talking
to you? Does it draw you into the essay and make you want to keep reading?” (Bunn, 2010). It feels as if
the author is addressing me directly, adding a certain layer of closeness to the entirety of the text. Though
I do not think that my style will seek to make the second-person a dominant feature, I do want it to be as
smooth at getting points across so as to ensure that all the data is included without the reader feeling
overwhelmed.

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