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Fitness Music Biography

Source:- Google.com.pk
The interplay of exercise and music have been long-discussed, crossing the disciplines of biomechanics, neurology, physiology and sport psychology. People "automatically feel the beat" of the music they listen to and instinctively adjust their walking pace and heart rate to the tempo of the music[citation needed] . Listening to music while exercising has been found in multiple studies to create an increased sense of motivation, distracting the mind while increasing heart rate. Faster tempo music has been found by researchers to motivate exercisers to work harder when performing at a moderate pace, but peak performance has been found to be unaffected by listening to music.
In a study published in 2009, researchers at the Research Institute for Sport and Exercise Sciences at Liverpool John Moores University had 12 subjects ride a stationary bicycle at a pace that they could sustain for 30 minutes while listening to a song of the subject's choice. In successive trials, they rode the bikes again, with the tempo of the music variously increased or decreased by 10%, without the subject's knowledge. The researchers found that the riders heart rate and mileage decreased when the tempo was slowed, while they rode a greater distance, increased their heart rate and enjoyed the music more at the faster tempo. Though the participants thought their workout was harder at the more upbeat tempo, the researchers found that when the faster-paced music was heard while exercising "the participants chose to accept, and even prefer, a greater degree of effort".
Scientists at the University of Wisconsin–La Crosse found in a 2003 study that participants who chose to listen to faster-paced music generated a higher heart rate, pedaled harder and generated more power, increasing their level of work by as much as 15% by diverting their focus to the music. The study tested 20 volunteers who listened to an MP3 player loaded with a mix of 13 songs that they selected and then rode an exercise bike for an hour at a pace and gear of their choice. The study found that heart rates rose from 133 to 146 beats per minute and power output increased accordingly, when listening to the tempo-less sound of crashing waves versus music with a medium to fast tempo.
A 2004 study by a research team from Australia, Israel and the United States found that runners performing at a pace where they were at 90% of their peak oxygen uptake enjoyed listening to music, but that the music had no effect on their heart rate or running pace, regardless of the music's tempo.
There are also types workout music using brainwave entrainment that claims to boost performance.
One common definition of music is "organized sound". There are many different ways of denoting the fundamental aspects of music which extend beyond tones: popular aspects include melody, harmony, rhythm, and timbre. However, Musique concrète often consists only of sound samples of non-musical nature, sometimes in random juxtaposition. Ambient music may often consist merely of recordings of wildlife or nature. The arrival of these avant-garde forms of music in the 20th century have been a major challenge to traditional views on music, leading to broader characterizations.
There was intense debate over the matter during the late Romantic Era, with the majority of opposition to absolute instrumental-based music coming from Richard Wagner, Friedrich Nietzsche and Georg Wilhelm Friedrich Hegel. Wagner's works were chiefly programmatic and often used vocalization, and he said that "Where music can go no further, there comes the word… the word stands higher than the tone." Nietzsche wrote many commentaries applauding the music of Wagner and was in fact an amateur composer himself.
Other Romantic philosophers and proponents of absolute music, such as Johann von Goethe saw music not only as a subjective human "language" but as an absolute transcendent means of peering into a higher realm of order and beauty. Some expressed a spiritual connection with music. In Part IV of his chief work, The World as Will and Representation (1819), Arthur Schopenhauer said that "music is the answer to the mystery of life. The most profound of all the arts, it expresses the deepest thoughts of life." In "The Immediate Stages of the Erotic, or Musical Erotic", a chapter of Either/Or (1843), Søren Kierkegaard examines the profundity of music of Wolfgang Amadeus Mozart and the sensual nature of Don Giovanni.
In his 1997 book How the Mind Works, Steven Pinker dubbed music "auditory cheesecake", need a phrase that in the years since has served as a challenge to the musicologists and psychologists who believe otherwise.Among those to note this stir was Philip Ball in his book The Music Instinct where he noted that music seems to reach to the very core of what it means to be human: "There are cultures in the world where to say 'I'm not musical' would be meaningless," Ball writes, "akin to saying 'I'm not alive'." In a filmed debate, Ball suggests that music might get its emotive power through its ability to mimic people and perhaps its ability to entice us lies in music's ability to set up an expectation and then violate it.

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