In The Year 2525 is a song that reached the first place of the Billboard top 100 in 1969 and stayed there for six weeks since the 12th July. The author of the song was Rick Evans, which released it at a local record label company in 1967. A couple of years later the, an Odessa, Texas radio station played the song and In The Year 2525 became a nation wide hit. RCA records signed a contract with Rick Evans and it was picked up for national distribution.

In The Year 2525 offers disturbing prediction at intervals of approximately 1010 years from the 2525. As such, subsequent verses begin with the years 3535, 4545, 5555, 6565, and 7510. There is also a change of pattern in the music with each year the song talks about.

There is no chorus in the song called In The Year 2525, just an ominous orchestral background music that draws the attention of the listener particularly in the 7510 to the 9595 part. Here you can also recognize the profoundly environmental message of the song in lyrics that discuss the survival of human kind that has taken everything from the earth, but never bothered to put anything in return.

The main idea of the In The Year 2525 song is a terrifying vision of a society where the constant development of technology dehumanizes mankind. That is a reference to the zeitgeist of the Jesus Movement, which criticizes the invention of machinery such as robots and test tubes or the genetic assortment of parents, that even though were not completely developed at that time, were still concepts of the science fiction novels and unavoidable in the near future.

The guitar is also a very sociable instrument partly for this reason, and that means you can sit around and sing songs with it together. The fact that it's small and that it's held in front of you allowing you to maintain eye contact, means that you can play while sitting in a circle and chatting with friends. The relaxing but uplifting tones of the acoustic guitar also means it makes great background music, while the fact that guitars are used in so many popular and current songs will mean that you can choose from a range of pieces of music that are bound to please your audience and get them singing along with you. Bon Jovi anyone? Beatles? There are countless songs that you can rock out to, or chill around a campfire to when you teach yourself guitar.

At the same time another benefit of the guitar is that it's a highly  versatile instrument capable of playing a lot of different styles. Regardless of the music tastes of your listeners then you should be able to learn something that they will appreciate, and this will mean you have multiple strings to your bow. At Christmas or other family gatherings you can play something for Gran, something for Dad and something for the kids.

Perhaps the real reason so many people choose to learn guitar however is how easily accessible it is. A guitar is not an easy instrument to play in that there is an awful lot to learn and it'll be a while before you playing guitar solos as the lead guitar in a rock band; but at the same time being able to string just a few chords together will be sufficient for people to start singing along with songs they recognise.

Unless disabled by physical defects, every child displays some sense of

musical sound and rhythmic motion. It is a constant occurrence for

children, without a word of direction, to mark the time of a stirring

tune with hands, feet and swaying motions of the body. A lullaby will

almost invariably soothe a restless infant, and most children old enough

to distinguish and articulate groups of tones will make some attempt at

singing the melodies they have often heard. The average child begins

music lessons with evident pleasure.

Many a mother when advised to direct her child's practicing, or at least

to encourage it by her presence, has excused herself on the plea that it

would bore her to listen. If the work bores the mother it is not

surprising that the child attacks it with mind fixed on metal more

attractive and eyes seeking the clock. Occupations which are repellent

in early life leave behind them a memory calculated to render them

forever distasteful. It is therefore a grave mistake not to make music

study from the outset throb with vital interest. An appeal to the

intellect will quicken the aesthetic instincts, be they never so slender,

and almost any one will love work that engages all the faculties.

It should be no more difficult to strengthen the musical instincts than

any other faculties. On the contrary, it too often chances that a child

whose early song efforts have been in excellent time and tune, and not

without expression, who has marched in time and beat time accurately,

will, after a period of instruction, utterly disregard sense of rhythm,

sing out of tune, play wrong notes, or fail to notice when the musical

instrument used is ever so cruelly out of tune. Uneducated people,

trusting to intuitive perceptions, promptly decide that such or such a

child, or person, has been spoiled by cultivation. This is merely a

failure to trace a result to its rightful cause, which lies not in

cultivation, but in certain blunders in music study.

These blunders begin with the preliminary course on the piano or violin,

for instance, when a child, having no previous training in the rudiments

of music, starts with one weekly lesson, and is required to practice a

prescribed period daily without supervision. To the difficulties of an

introduction to a musical instrument are added those of learning to read

notes, to locate them, to appreciate time values and much else. The

teacher, it may be, knows little of the inner life of music, still less

of child nature. Manifold perplexities arise, and faltering through

these the pupil acquires a halting use of the musical vocabulary, with

other bad habits equally hard to correct. A constant repetition of false

notes, wrong phrasing, irregular accents, faulty rhythms and a

meaningless jumble of notes dulls the outer ear and deadens the inner

tone-sense. Where there is genius, or decided talent, no obstacle can

wholly bar the way to music. Otherwise, it retreats before the

blundering approach.

Those pupils are fortunate who come under the influence of a teacher

with strong, well-balanced personality and ripe knowledge, and are

treated as rational beings, capable of feeling, thinking and acting. Too

many music teachers learn their business by experimenting on beginners.

It has been suggested as a safeguard against their blunders, and all

ignorance, carelessness and imposture, that music might be placed under

the same legal protection accorded other important factors in social

life, and that no one be permitted to teach it without a license granted

by a competent board of judges after the applicant had passed a

successful examination, theoretical and practical. This would be well if

there was any certainty of choosing suitable persons to select the judges.

Many times a child who can readily explain the relative value of every

note and dot will stumble in the time movement when confronted with a

mixture of the same notes and dots. This is because no mental

connection has been established between the mechanical time sign and its

sound, which is the outgrowth of instinctive impulses. Time confusion

may also be caused by confiding too implicitly in loud and persistent

counting, instead of trusting to the intelligently guided rhythmic pulse.

Sounding notes, even sounding them smoothly, clearly, and rapidly, is

not necessarily making music, and a succession of them without warmth

and coloring is truly as inartistic as painting without shading. If it

were more commonly realized that it is an essential part of the music

teacher's vocation to train the mind and the emotions and through them

the will and the character, there would be a higher standard for the

music pupils' recital. No one would be permitted to play, or sing in

public who could not give an artistic, as well as a technically correct

performance.

Listening to classical music is an art. It requires close and accurate attention, sympathy, imagination and genuine culture. Listening to classical music is an art of high degree. Many derive exquisite enjoyment from it, for classical music is potent and universal in its appeal. To listen intelligently to classical music is an accomplishment few have acquired. Those who are fortunate enough to have been surrounded from childhood up by the choicest gems of the tonal language, and whose minds are of the deceptive order, will insensibly attain a refinement of taste and delicacy of perception no learned dissertation on classical music could afford. An acquaintance with form as the manifestation of law is essential to an intelligent hearing of classical music. The listener should have at least a rudimentary knowledge of classical musical construction from the simplest ballad to the most complex symphony. Having this knowledge it will be possible to receive undisturbed the impressions music has to give, and to distinguish the trivial and commonplace from the noble and beautiful. Classical music is far beyond words, and in attempting to translate it into these we miss its musical meaning, the best that is in it.

Even a well-cultivated ear and taste may often be baffled by the intricacies of a fugue, symphony or other great work of musical art heard for the first time.

The best listener beyond the pale of genius will at times feel as one astray in a labyrinth of beauty to which for the moment no clue appears.

A single representation will rarely suffice to reveal the

full worth of a masterpiece of classical music. By hearing it often, by admitting it, or some reproduction of it, to our own fireside, we will become familiar with its contents and learn truly to know it.

The oftener good classical music is heard the more completely it will be appreciated. Therefore, they listen best to music who hear the best continually. The assertion is often heard that a person must be educated up to an enjoyment of high class music. Certainly, one who has heard nothing else must be educated down to an enjoyment of ragtime, with its crude rhythms.

Beyond knowledge comes the intuitive feeling which is enriched by knowledge. Through it we may feel the breath of life, the spiritual appeal, which belongs to every great work of art and which must forever remain inexplicable.

Many are content to listen to classical music for the mere sensuous impression it creates as it wraps itself about the inner being, lulling a perturbed spirit to rest, or awakening longing and aspiration, joy and sadness, according to the nature of the music and the hearer's mood. Some even take pleasure in formulating into words the sensations evoked by the ebb and flow of the tonal waves, and fancy they are thus deriving

intellectual profit from music.

The idea so largely accepted that classical music is an unfathomable mystery, like all half truths has wrought much mischief, and has greatly retarded musical progress in social life. Behind the Divine Art, as behind

Religion, lies the inscrutable mystery of Life, and in both there is a

Holy of Holies only the consecrated may enter. Before the portals of

this are reached there is a broad, fertile field for intellectual

activity that all may work to advantage, preparing the way to the inner

sanctuary.

The piano bard, the piano rhapsodist, the piano mind, the piano soul is

Chopin," said Rubinstein. "Tragic, romantic, lyric, heroic, dramatic,

fantastic, soulful, sweet, dreamy, brilliant, grand, simple, all

possible expressions are found in his compositions and all are sung by

him on his instrument."

Born and bred on Poland's soil, son of a French father and a Polish

mother, Frédéric Chopin (1809-1849) combined within himself two natures,

each complementing the other, both uniting to form a personality not

understood by every casual observer. He is described as kind, courteous,

possessed of the most captivating grace and ease of manner, now inclined

to languorous melancholy, now scintillating with a joyous vivacity that

was contagious. His sensitive nature, like the most exquisitely

constructed sounding-board, vibrated with the despairing sadness, the

suppressed wrath, and the sublime fortitude of the brave, haughty,

unhappy people he loved, and with his own homesickness when afar from

his cherished native land.

Patriot and tone-poet in every fibre of his being, his genius inevitably

claimed as its own the soul's divinest language, pure music, unfettered

by words. He evolved from its more intimate domain effects in sympathy with those of the orchestra, yet purely individual.

He enriched it with new melodic, harmonic and rhythmic devices adapted to itself alone, and endowed it with a warmth of tone-coloring that spiritualized it for all time.

So in the most melancholy strains of his music one who heeds well may detect the presence of a lofty ideal that uplifts and strengthens the travailing soul. It has been said of him that he had a sad heart but a joyful mind.

His musical heroes were Bach and Mozart, for they represented to him

nature, strong individuality and poetry in music.

Whoever plays Chopin with sledge-hammer fingers will deaden all sense of

his poetry, charm and grace. Whoever approaches him with weak

sentimentalism will miss altogether his dignity and strength. It has

been said of him that he was Woman in his tenderness and realization of

the beautiful; and Man in his energy and force of mind. The highest type

of artist and human being is thus represented. To interpret him requires

simplicity, purity of style, refined technique, poetic imagination and

genuine sentiment,not fitful, fictitious sentimentality.

In playing he emphasized the saying of Mozart: "Let your left hand be the orchestra conductor," while his right hand balanced and swayed the melody and its arabesques according to the natural pulsation of the emotions.

Chopin was at his best when interpreting music in private, for a choice circle of friends or pupils, or when absorbed in composition.

He is the boldest, proudest poetic spirit of the

time." "His greatness is his aristocracy," says Oscar Bie. "He stands

among musicians in his faultless vesture, a noble from head to foot."