When You Believe - Leon Jackson

Many nights weve prayed
With no proof anyone could hear
In our hearts a hopeful song
We barely understood

Now we are not afraid
Although we know theres much to fear
We were moving mountains long
Before we knew we could

There can be miracles
When you believe
Though hope is frail
Its hard to kill
Who knows what miracles
You can achieve
When you believe
Some how you will
You will when you believe

Easy to despair
When all you hear is fear and lies.
Easy just to run and hide,
To frightened to begin

But if we dare to dare
Dont wait for answers from the sky
Each of us can look inside
And hear this song within


They dont always happen when, you ask
And its easy to give in, to your fear
But when you blinded by your faith
Cant see your way clear through the rain
A small but still resilient voice
Says hope is very near
Ohhhhh...

There can be miracles
When you believe
Though hope is frail
It's hard to kill
Who knows what miracles
You can achieve
When you believe
Some how you will

Now you will
(Now You Will...)
You will when you believe
You will when you believe.

What Makes Music Sound Good Or Bad

Ever since ancient times, scholars have puzzled over the reasons that some musical note combinations sound so sweet while others are just downright dreadful. The Greeks believed that simple ratios in the string lengths of musical instruments were the key, maintaining that the precise mathematical relationships endowed certain chords with a special, even divine, quality. Twentieth-century composers, on the other hand, have leaned toward the notion that musical tastes are really all in what you are used to hearing.
Now, researchers reporting online on May 20th in Current Biology, a Cell Press publication, think they may have gotten closer to the truth by studying the preferences of more than 250 college students from Minnesota to a variety of musical and nonmusical sounds. "The question is, what makes certain combinations of musical notes pleasant or unpleasant?" asks Josh McDermott, who conducted the studies at the University of Minnesota before moving to New York University. "There have been a lot of claims. It might be one of the oldest questions in perception."
The University of Minnesota team, including collaborators Andriana Lehr and Andrew Oxenham, was able to independently manipulate both the harmonic frequency relations of the sounds and another quality known as beating. (Harmonic frequencies are all multiples of the same fundamental frequency, McDermott explains. For example, notes at frequencies of 200, 300, and 400 hertz are all multiples of 100. Beating occurs when two sounds are close but not identical in frequency. Over time, the frequencies shift in and out of phase with each other, causing the sound to wax and wane in amplitude and producing an audible "wobbling" quality.)
The researchers' results show that musical chords sound good or bad mostly depending on whether the notes being played produce frequencies that are harmonically related or not. Beating didn't turn out to be as important. Surprisingly, the preference for harmonic frequencies was stronger in people with experience playing musical instruments. In other words, learning plays a role—perhaps even a primary one, McDermott argues.
Whether you would get the same result in people from other parts of the world remains to be seen, McDermott says, but the effect of musical experience on the results suggests otherwise. "It suggests that Westerners learn to like the sound of harmonic frequencies because of their importance in Western music. Listeners with different experience might well have different preferences." The diversity of music from other cultures is consistent with this. "Intervals and chords that are dissonant by Western standards are fairly common in some cultures," he says. "Diversity is the rule, not the exception."
That's something that is increasingly easy to lose sight of as Western music has come to dominate radio waves all across the globe. "When all the kids in Indonesia are listening to Eminem," McDermott says, "it becomes hard to get a true sense."
The researchers include Josh H. McDermott, New York University, New York, NY; Andriana J. Lehr, University of Minnesota, Minneapolis, MN. and Andrew J. Oxenham, University of Minnesota, Minneapolis, MN.

Understanding what makes pop music popular

Back in the day, hits were tracked by record sales and predicted by how they sounded to music industry veterans. If you really wanted to test the waters, you could let Dick Clark play a soon-to-be-released single on American Bandstand and see if people moved to it. ("It's got a good beat and you can dance to it. I'll give it a 93, Dick.") Even today, the tastes of the record-buying public are something of a mystery to the labels. A couple of PhDs at MIT may change that with a program that mimics the musical tastes of the public.
The application, written by Brian Whitman and Tristan Jehan of MIT's Media Laboratory, "listens" to music, analyzes elements of a song (e.g., pitch, beat, tempo, melody) and gives it a thumbs-up or thumbs-down. When compared to the Billboard charts, the software is "surprisingly accurate."
Predicting which music will get listeners on the dance floor, and more importantly, to buy CDs or individual tracks from online music stores has become big business. One company, HitPredictor, scored big in 2002 when it hit gold with its advice on how to stagger releases from a Christina Aguilera album to maximize sales. Unlike Whitman's and Jehan's application, HitPredictor uses a combination of focus groups and other market data to determine how the public will respond to new music.
Music retailers of all stripes would love to have reliable data on consumers' musical tastes. All of us have had recommendations thrust at us on Amazon or one of the online music stories. Those are hit and miss, and in my case, more often miss. Having an application that is able to analyze the songs or CDs in your shopping carts and then use a reliable algorithm to come up with suggestions that you would actually like would thrill retailers.
Will software that can nail the musical tastes of the public lead to even more homogenized-sounding airwaves? If Whitman and Jehan have their way, it won't. Their goal is to actually broaden the musical tastes of the public by using data gleaned from the application to get a wider variety of music on the radio. Anything that results in less bubblegum pop and whiny rock is fine by me.