The Flow of Music or How Sounds Improve Our Quality of Life

Music is an artistic creation strongly rooted in the diverse cultures and human societies, which give it a multitude of purposes and functions. In his book Flow, Mihaly Csikszentmihalyi explores the qualities of music in our con-temporariness and the important effects that it causes his learning, whether in children or in people of all ages.

In all known cultures, sound ordering in ways that appeal to the ear has been used to improve the quality of life. One of the oldest and perhaps most popular functions of the music is to focus the attention of the listeners on models appropriate to the desired mood. Therefore, there is music for dancing, for weddings, for funerals, for religious ceremonies and for patriotic occasions, music that facilitates romance and music that helps soldiers to march in orderly ranks.

The Flow of Music

When the pygmies of the Ituri forest in Central Africa arrive at bad times, they believe that their misfortune is because the benevolent forest, which commonly provides them with all their needs, has accidentally fallen asleep. And, at this point, the tribal leaders extract the Sacred horns buried under the ground and blow for days and nights, trying to awaken the forest and restore the good times.

The way music is used in the Ituri forest is paradigmatic of its function everywhere. The horns may not have awakened to the trees, but their familiar sound must have convinced the pygmies that the help was on their way and they will be able to face the future with confidence. Most of the music that comes out of current Walkmans and stereos responds to a similar need. Teenagers, whose fragile evolving personality suffers threat after rapid succession during the day, rely especially on the soothing model of sound to restore order to their consciousness. But so do many adults. A policeman told us: “If after a day of making arrests and worrying about shooting me, I could not turn on the radio in the car when I go home, I would probably be crazy”.

Music, which is organized auditory information, helps organize the mind that hears it and therefore reduces psychic entropy or the disorder we experience when random information interferes with goals.
Listening to music moves us away from boredom and restlessness, and when we take it seriously, it can induce flow experiences.

Some people argue that technological advances have improved the quality of life by enabling music to be available so easily. The radio, the laser discs, the recordings in cassette, sound with the most recent music twenty-four hours of the day in clean recordings like the crystal. This continuous access to good music is supposed to make our lives much richer. But this kind of argument suffers from the usual confusion between behavior and experience. Listening for days pre-recorded music may or might not be more enjoyable than hearing an hour of the live concert that one had been looking forward to for weeks.

It is not to hear what improves our lives, is to listen. We hear music, but we seldom hear it, and few can get flow as a result of it all.

As with anything else, to enjoy the music you have to pay attention. As the recording technology provides us with music that is too accessible, we can stop valuing it and reduce our ability to get enjoyment from it. Before the arrival of sound recordings, live musical performance retained some of the excitement that music spawned when it was still entirely involved in religious rituals. Even the musical band of a village, not to mention a symphony orchestra, were a visible reminder of the mysterious skills necessary to produce harmonious sounds. One approached the event with expectation, with the awareness that it had to pay attention because the performance was unique and could not be repeated again.

Attendance at today’s live concerts, such as rock concerts, continues to participate in some degree of these ritual elements; There are few occasions when a large number of people are witnessing the same event together, thinking and feeling the same things and processing the same information. Such joint participation produces in an auditorium the condition that Émile Durkheim called “the collective effervescence”, or the feeling that one belongs to the group with a concrete and true existence.
Durkheim believed that this sentiment was in the roots of religious experience. The conditions of a live concert help the focus on music and therefore make the flow experience more likely to arise as a result of a concert rather than when you hear the sound played.

But arguing that live music is naturally more enjoyable than recorded music would be as invalid as arguing the opposite. Any sound can be a source of enjoyment if we listen properly. In fact, as the Yaqui sorcerer taught anthropologist Carlos Castaneda, even the intervals of silence between sounds, if we listen to them carefully, can make us enjoy.

Many people have impressive collections of musical recordings, with the most exquisite music ever written and yet fail to enjoy it. They listen to it a few times in their music team, marveling at the clarity of the sound it produces, and then they forget to listen to music until it’s time to buy a more advanced computer. On the other hand, those who make the most of the potential for the enjoyment that is inherent in the music, have strategies to obtain the flow experience. They start off by having specific hours to listen to music. When the time comes they ease the concentration by lowering the lights, sitting in your favorite chair or following some other ritual that will focus your attention. They carefully plan the music selection they will listen to and formulate specific goals for the audition that begins.
Listening to music usually starts out as an experience of the senses. At this stage, one responds to the sound qualities that induce the pleasant physical reactions that are genetically connected to our nervous system.

We respond to chords that seem to have universal acceptance, such as the plaintive sound of the flute, or the vibrating call of the trumpets. We are especially sensitive to the rhythm of drums or bass, the rhythm in which rock music rests and some say that reminds us of the first thing we hear, the beating heart of the mother heard in the womb.

The next level of challenge that music proposes is the analogue listening mode. At this stage, one develops the ability to evoke feelings and images based on sound models. The passage of a plaintive saxophone reminds us of the feeling of awe we have when we see the storm clouds accumulate on the prairie; The musical fragment of Tchaikovsky achieves that one is visualized driving a sled through the snowy forest, with its bells ringing thanks to the movement. Popular songs, of course, exploit the analogue mode fully through lyrics of songs that put words to the mood or history that music represents.

The most complex stage of musical listening is analytics. In this mode, attention changes towards the structural elements of music rather than fixate on the sensitive or narrative elements. Listening skills at this level have to do with the ability to recognize the underlying order of the work, and with the means that achieve harmony. They include the ability to critically evaluate interpretation and acoustics; To compare the work in question with previous and subsequent works of the same composer or with the work of other composers; Compare the orchestra, the Director or the ensemble with their own previous and later performances, or with the interpretations of others. Analytical listeners often compared the different versions of the same blues song, or they sit down to listen to music with a plan that could be typically this: «Let’s see how different the recording of the second movement of the seventh Symphony carried out by Von Karajan in 1975 of its recording of 1963 ‘, or «I wonder if the metal section of the symphony Orchestra of Chicago is really better than the section of Berlin». By setting these goals, listening becomes an active experience that offers constant feedback (for example, “Von Karajan has gone slower this time”, “Berlin metals are sharper but less sweet”). By developing analytical listening skills, opportunities to enjoy music increase in geometric proportion.

So far we have considered only the flow that comes from the listener, but the bonuses are even greater for those who learn to make music. Apollo’s civilising power depended on his ability to touch the lyre, Pan carried his auditoriums to the frenzy with his flutes, and Orpheus, with his music, was even able to stop death. These legends indicate the connection between the ability to create harmony with the sounds and the more general and abstract harmony underlying the kind of social order we call civilization. Knowing that connection, Plato believed that children should learn music before anything else; Learning to pay attention to beautiful harmonies and rhythms his whole consciousness would be able to be ordained. Our culture seems to put little emphasis on teaching musical skills to children and young people. When a school’s budget is to be cut, music courses (as well as art and physical education) are the first thing to be eliminated. It is discouraging that these three basic capacities, so important to improve the quality of life, are generally considered superfluous in the current educational climate. Without serious music education, children become teenagers who, because of this early deprivation, must invest enormous amounts of psychic energy in finding their own music. They will form rock groups, buy tapes and discs, and generally become prisoners of a subculture that does not offer many opportunities to make their consciousness more complex.

Even when children are taught music the usual problem arises: it puts too much emphasis on interpretation, and too little on what they experience. Parents who push their children to excel playing the violin are generally not interested in whether children really enjoy touching it; What they want is for the child to play well enough to attract attention, win prizes and finish on the Carnegie Hall stage. By doing this they pervert the purpose for which the music was devised: they make it the opposite, in a source of psychic disorder. Paternal expectations about musical behavior often create great tension, and sometimes a total crisis.

Lorin Hollander, who as a child was a prodigy to the piano and whose father perfectionist was first violin in the orchestra of Toscanini, tells how he used to get lost in ecstasy when he played the piano alone, but also how he used to tremble with terror when his Demanding adult mentors were present. When he was a teenager, the fingers of his hands froze during a concert and he could not open his hands until many years later. Some subconscious mechanism beyond the threshold of his consciousness had decided to save him the constant pain of paternal critique. Now Hollander, recovering from psychologically induced paralysis, takes time helping other talented young instrumentalists to enjoy music the way it should be enjoyed.

Although it is better to learn to play an instrument when you are young, it is never really too late to start. Some music teachers specialize in adult and senior students, and many successful entrepreneurs decide to learn to play the piano after the age of fifty. Singing in a chorus and playing in a set of amateur rope are two ways to enjoy experiencing the mixing of your own skills with those of others. Personal computers now have a very sophisticated software that facilitates the composition and allows one to immediately listen to the orchestration. Learning to produce harmonious sounds is not only pleasing, but, like the dominance of any complex skill, it also helps to strengthen personality.

A Night Of Unholy Death Metal

23 years ago today! This is a show that will never happen again, Sadistic Intent is proud to have been a part of it!

It was our first time meeting the Dissection and At The Gates guys in person. We had been in contact through pen and paper via the oldschool underground and we had asked them if they would be interested in doing an autograph session at Dark Realm Records, they said yes! I had been in contact with Jon Nödtveidt since 1994 so before meeting, we already liked and supported each others bands. That same day we also met Martin Larsson of At The Gates and he told us that he had bought a copy of Sadistic Intent’s Impending Doom MLP back in 1990! Previously we didn’t know that, therefore it was really cool to hear him tell us…

Looking back that was a great day, we got Morbid Angel, At The Gates & Dissection at Dark Realm Records and later on that night, it culminated with a killer gig…

LP’S FROM VENOM!

LP’S FROM VENOM!

VENOM – Welcome To Hell (2 x LP)
VENOM – Welcome To Hell (Picture LP)
VENOM – Black Metal (2 x LP)
VENOM – Black Metal (Picture LP)
VENOM – At War With Satan (2 x LP)
VENOM – Possessed (2 x LP)
VENOM – Canadian Assault (Featuring 3 Exclusive Live Tracks)
VENOM – American Assault
VENOM – German Assault
VENOM – In League With Satan (Volume 1) 2 x LP
VENOM – In League With Satan (Volume 2) 2 x LP
VENOM – The Seven Gates Of Hell (Singles 1980-1985) 2 x LP
VENOM – Live From Hammersmith Odeon Theatre 1985 (2 x LP)

Check here:

#venom #venomband
#blackmetal #deathmetal #thrashmetal #blackthrash #metallps #vinylrecords #lps #vinyllps #metalmerchandise #metalstore

Dark Realm Records February 13 at 11:12 AM

Unfortunately another one of our good old friends Nathan Nataanas Rivera has passed on. Still hard to believe, but unfortunately it is true. He was a part of Dark Realm Records as well as Sadistic Intent (drum tech). We certainly had many great times over the last 30 years. This photo was took here at the shop when he came over to visit us on one of the recent occasions. Gone too soon, he shall be missed… R.I.P.

CANNIBAL CORPSE On February 22, 2019

TICKETS GOING FAST! DON’T WAIT TO THE LAST MINUTE IF YOU PLAN ON GOING.

TICKETS AVAILABLE AT
DARK REALM RECORDS
($32 / Cash Only)

Friday – Februrary 22, 2019 – CANNIBAL CORPSE
– MORBID ANGEL
– NECROT
– BLOOD INCANTATION

ALL AGES!

Observatory
Santa Ana, California

#cannibalcorpse #morbidangel #necrot #bloodincantation #deathmetal #metalshow #ticketsonsale #metalshop
metalxcandy2.0
There’s this op

Welcome To Dark Realm Records

Updates & Restocks 8/02/19

1. AGALLOCH – ASHES AGAINST THE GRAIN CD

2. AGALLOCH – PALE FOLKLORE CD

3. AGHAST – HEXEREI IM ZWIELICHT DER FINSTERNIS CD

4. ANCESTORS BLOOD – A DARK PASSAGE FROM THE PAST CD

5. ARCKANUM – PPPPPPPPPPPP CD

6. ATOMTRAKT- SPERRSTELLE NORDOST CD

7. AZAGHAL – OMEGA CD

8. AZAGHAL – THE NINE CIRCLES OF HELL CD

9. AZAGHAL / BEHEADED LAMB – SUICIDE ANTHEMS CD

10. BANNERWAR – CENTURIES OF HEATHEN MIGHT CD

11. BANNERWAR – TO HONOUR FATHERLAND CD

12. BATTLE DAGORATH – ANCEINT WRAITH CD

13. BEASTCRAFT – INTO THE BURNING PIT OF HELL CD

14. BEASTCRAFT – DAWN OF THE SERPENT CD

15. BEATRIK – REQUIEM OF DECEMBER CD

16. BEHEZEN – MY SOUL FOR HIS GLORY CD

17. BLACKDEATH – BOTTOMLESS ARMAGEDDON CD

18. BLACKDEATH – SATURN SECTOR CD

19. BILSKIRNIR – DEM FEIND ENTGEGEN CD

20. BLACK FUNERAL – EMPIRE OF BLOOD CD

21. BLACK FUNERAL – ORDOG CD

22. BLODULV – DIATRIBE CD

23. BLOODLINE – WEREWOLF TRAINING CD

24. CAMPO DE MAYO / PERMAFROST – SPLIT CD

25. CELESTIA – DEAD INSEKTA SEQUESTRATION CD

26. CELESTIA – APPARITIA – SUMPTOUS SPECTRE CD

27. CLANDESTINE BLAZE – FIRE BURNS IN OUR HEARTS CD

28. CLANDESTINE BLAZE – DELIVERS OF FAITH CD

29. CLANDESTINE BLAZE – FIST OF THE NORTHERN DESTROYER CD

30. COLDNESS / IRAE – OUR PUTRIFIED ESSENCE CD

31. CORPUS CHRISTII – RISING CD

32. CORPUS CHRISTII – THE FIRE GOD CD

33. CRAFT – TERROR PROPAGANDA CD

34. CRAFT – TOTAL SOUL RAPE CD

35. DARKENED NOCTURN SLAUGHTERCULT – NOCTURNAL MARCH CD

36. DARK FUNERAL / INFERNAL – UNDER WINGS OF HELL CD

37. DARK FUNERAL – THE SECRETS OF THE BLACK ARTS CD

38. DARKTHRONE – PANZERFAUST CD

39. DARKTHRONE – PLAGUEWIELDER CD

40. DARKTHRONE – SARDONIC WRATH CD

41. DISSESCTION – THE PAST OF ALIVE CD

42. DISSECTION – STORM OF THE LIGHT’S BANE CD

43. DISSECTION – STORM OF THE LIGHT’S BANE CD

44. DISSECTION – REINKAOS CD

45. DROWNING THE LIGHT – A WORLD LONG DEAD CD

46. DROWNING THE LIGHT – THE FADING RAYS OF THE SUN CD

47. DROWNING THE LIGHT /EVIL – A REFLECTION OF THE PAST CD

48. DRUDKH – SONGS OF GRIEF & SOLITUDE CD

49. ELFFOR – FROM THE THRONE OF HATE CD

50. EMPALIGON – BLACK DOMINATED ANNIHILATION CD

51. EMPEROR – WRATH OF THE TYRANT CD

52. ENOID – DODSSYKLUS CD

53. ENTHRONED – ARMOURED BESTIAL HELL CD

54. ESCHATON – CAUSA FORTIOR CD

55. ETERNAL MAJESTY – FROM WAR TO DARKNESS CD

56. EVOKEN – EMBRACE THE EMPTINESS CD

57. EWIGES REICH – BLUTSTORM CD

58. FEAR OF ETERNITY – LIGHT OF THE NIGHT CD

59. FLUISTERWOUD – LANGS GALG EN RAD CD

60. FOREST – AS A SONG IN THE HARVEST OF GRIEF CD

61. FOREST – IN THE FLAME OF GLORY CD

62. FULLMOON – UNITED ARYAN EVIL CD

63. FUNERAL PROCESSION – S/T CD

64. FUNERAL WINDS – NEXION XUL CD

65. GOATLORD CORP. – EARLY BEGINNINGS OF WAR CD

66. GORGOROTH – QUANTOS POSSUNT AS SATANITATEM… CD

67. GRAVELAND – IN THE GLARE OF BURNING CHURCHES CD

68. GRAVELAND – DRUNEMETON CD

69. GRAVELAND / NOKTURNAL MORTUM /NORTH / TEMNOZOR CD

70. GROM / SUNWHEEL – BEASTIAL ONSLAUGHT CD

71. HATE FOREST – NIETZSCHEISM CD

72. HATE FOREST – SCYTHIA CD

73. HATE FOREST – BATTLEFIELDS CD

74. HATE FOREST – PURITY CD

75. HAYRAS – SOMBRE DESTIN CD

76. HEIDEN – OBSIDIAN CD

77. HEKEL – DE DODENVAART CD

78. HELLVETIC FROST – MISANTHROPIC DEVOTION CD

79. HORNA / BEHEXEN – SPLIT CD

80. HORNA – ENVAATNAGS EFLOS SOLF ESGANTAAVNE CD

81. HORNA – AAINA YOSSA CD

82. HORNA – HAUDANKYLMYYDEN MAILIA CD

83. HORNA – PIMEYDEN HENKU CD

84. HORNA – SOTAHUUTO CD

85. HYPOTHERMIA – RAKBLADSVALSEN CD

86. INFERNAL WAR – INFERNAL WAR CD

87. INFERNAL WAR / WARHEAD – EXPLOSION CD

88. INFERNAL WAR – TERRORFRONT CD

89. INFERNAL WAR – FUCKING FUNERAL ATTACK 1997-2004 CD

90. INFINITY – ENTER THE LABYRINTH OF HELL CD

91. INFUNERAL – A SCENT OF DEATH MCD

92. INFUNERAL – TORN FROM THE ABYSS CD

93. INMITTEN DES WALDES /MORTUALIA – SPLIT CD

94. INQUISITION – INVOKING THE MAJESTIC THRONE OF SATAN CD

95. JUDAS ISCARIOT – DISTANT IN SOLITARY NIGHT CD

96. JUDAS ISCARIOT – DETHRONED, CONQUERED & FORGOTTEN CD

97. KADOTUS – SEVEN GLORIFICATIONS OF EVIL CD

98. KRATER – NOCEBO CD

99. KROHM – A WORLD THROUGH DEAD EYES CD

100. KULT – WINDS OF WAR CD

101. LEVIATHAN – A SILHOUETTER IN SPLINTERS CD

102. LIMBONIC ART – THE ULTIMATE DEATH WORSHIP CD

103. LUCIFUGUM – ACME ADEPTUM CD

104. LUTOMYSL – THE CHALLENGE CD

105. MANIAC BUTCHER – MASAKR CD

106. MORTE INCANDESCENTE – ULTIMATUM CD

107. NAGELFAR – HUNENGRAB IM HERBST CD

108. NAGELFAR – SRONTGORRTH CD

109. NATTEFROST – TERRORIST – NEKRONAUT PT. 1 CD

110. NAV – HALLS OF DEATH CD

111. NEHEMAH – REQUIEM TENEBRAE CD

112. NIGHTBRINGER / TEMPLE OF NOT – REX EX ORDINE THRONI CD

113. NOKTURNAL MORTUM – NECHRIST CD

114. ODAL – ZORNES HEIMAT CD

115. OHTAR / DARK FURY – SHALL I NEVER DRINK THE FULL?.. CD

116. OLD WAINDS – DEATH NORD KULT CD

117. OSKAL – SATHLKRIEG / BLAZES OF SUNSET CD

118. PROFANATICA – PROFANATITAS DE DOMONATIA CD

119. PUTRIFIED – SPAWN OF THE DEAD CD

120. SACRIFICIA MORTUORUM – LES VENTS DE L’OUBLI CD

121. SARGEIST – LET THE DEVIL IN CD

122. SARGEIST – LET THE DEVIL IN CD

123. SARGEIST – DISCIPLES OF THE HEINOUS PATH CD

124. SARGEIST – DISCIPLES OF THE HEINOUS PATH CD

125. SEAR BLISS – GRAND DESTINY CD

126. SIEGHETNAR – BEWUKTSEINSERWEITERUNG CD

127. SIEGHETNAR – KALTETOD CD

128. SOMBRE CHEMIN – DOCTRINE CD

129. SOMBRES FORETS – QUINTESSENCE CD

130. SOMBRES FORETS – ROYAUME DE GLACE CD

131. SOMNOLENCE – AS MIDGARD WEEPS CD

132. STUTTHOF – AND COSMOS FROM ASHES TO DUST CD

133. SUMMONING – DOL GULDUR CD

134. SUMMONING – MINAS MORGUL CD

135. SVARTNAR – FAILURE OF MANKIND CD

136. SVARTSYN – DESTRUCTION OF MAN CD

137. SVARTSYN – BLOODLINE CD

138. TORTURIUM – MISANTHROPIC ANGELS BURNING WINDS CD

139. TOTENBURG – WELTMACHT ODER NIEDERGANG WINTER.. CD

140. THUNDERBOLT – APOCALYPTIC DOOM CD

141. THUNDERBOLT – THE BURNING DEED OF DECEIT CD

142. THUNDERBOLT – THE SONS OF THE DARKNESS CD

143. THY LIGHT – SUICIDE DEPRESSION CD

144. TRIST – SEBEVRAZEDNI ANDELE CD

145. TSJUDER – KILL FOR SATAN CD

146. TYR VASUUL – TYR VASUUL CD

147. ULVER – SHADOWS OF THE SUN CD

148. VEIL – DOLOR CD

149. VLAD TEPES – AN ODE TO OUR RUIN CD

150. VLAD TEPES – BLACK LEGIONS CD

151. VLAD TEPES – MARCH TO THE BLACK HOLOCAUST CD

152. WALKNUT – GRAVEFORESTS AND THEIR SHADOWS CD

153. WATAIN – CASUS LUCIFERI CD

154. WOLFTHRON – TOWARDS IPSISSIMUS CD

155. WYRD – KAMMEN CD

156. WYRD – KALIVAGI CD

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