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Journal articles on the topic 'Creative composition'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Folkestad, Göran, David J. Hargreaves, and Berner Lindström. "Compositional Strategies in Computer-Based Music-Making." British Journal of Music Education 15, no. 1 (1998): 83–97. http://dx.doi.org/10.1017/s0265051700003788.

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Recent technological developments and the increasing impact of the media mean that listening to music and creative music making constitutes a major and integrated part of many young people's lives.The aim of the present article is to describe the process of computer-based composition, and how this is perceived by young composers. This paper describes a three-year empirical study of 129 computer-based compositions by 15 to 16-year-olds. Computer MIDI-fti.es were system- atically collected covering the sequence of the creation processes step by step; interviews were carried out with each of the

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2

Rohmatullah, Mohamad. "Musical Composition of Introverts dan Ekstroverts’ Extramusical Idea." Journal of Music Science, Technology, and Industry 3, no. 2 (2020): 125–33. http://dx.doi.org/10.31091/jomsti.v3i2.1152.

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Purpose: Humans have different personalities, namely introverts and extroverts. Program music is one of the compositional techniques whose purpose is to describe something in the creation of music through the analogy of meaning. Research methods: This creation research uses the Practice-Led Research method. Data obtained through a literature study approach, then the data is associated with music through an analogy process. Results and discussion: The creative process in creating music is very diverse, one of which is through extra-musical ideas. In the realm of music creation other disciplines

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3

Borisenko, T. S. "Compositional and production competence of the head of the choreographic team." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 117–24. http://dx.doi.org/10.30725/2619-0303-2020-3-117-117-124.

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The professional competence of the head of the choreographic collective is a single complex of interdependent and inextricably linked individual types of competencies, each of which requires a meaningful approach to the process of their formation, formation and development. The presented results of the analysis of modern research in the fi eld of improving the professional training of future leaders of the choreographic collective for professional pedagogical activity prove that the implementation of the ideas of a competencybased approach in modern choreographic education is the standard of h

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4

Applebaum, Mark. "Existential Crises in Composition Mentorship and the Creation of Creative Agency." Contemporary Music Review 31, no. 4 (2012): 257–68. http://dx.doi.org/10.1080/07494467.2012.725809.

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5

Rhoades, Michael. "Exploring the Nexus of Holography and Holophony in Visual Music Composition." Leonardo Music Journal 30 (December 2020): 61–67. http://dx.doi.org/10.1162/lmj_a_01093.

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In this article the author explores the idea that, owing to their shared three-dimensional nature, holophons and virtual holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is within reach. Here, one methodological pipeline is delineated that employs the convergence of holophony, virtual holography and supercomputing toward the creation of vi

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6

Smith, Sophy. "The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines." Organised Sound 12, no. 1 (2007): 79–87. http://dx.doi.org/10.1017/s1355771807001677.

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AbstractThis article looks at the compositional processes of hip-hop teams based in the UK, focusing on those that have emerged from the practice of creating team ‘routines’. Turntable teams, such as the Scratch Perverts, the Mixologists and the DMU Crew, do not create their original compositions from within the Western art tradition of an independent artist creating work in isolation, which is then communicated to performers through staff notation. Instead, turntable teams compose and perform as a collective to create original compositions from existing records, and in doing so have developed

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7

Bishop, Wendy. "Suddenly Sexy: Creative Nonfiction Rear-Ends Composition." College English 65, no. 3 (2003): 257. http://dx.doi.org/10.2307/3594257.

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Snider, Zachary. "Creative Social Commentary in the Composition Classroom." Changing English 20, no. 1 (2013): 87–97. http://dx.doi.org/10.1080/1358684x.2012.757053.

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9

TAGGAR, SIMON. "Group Composition, Creative Synergy, and Group Performance." Journal of Creative Behavior 35, no. 4 (2001): 261–86. http://dx.doi.org/10.1002/j.2162-6057.2001.tb01050.x.

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10

Lardner, Ted. "Locating the Boundaries of Composition and Creative Writing." College Composition and Communication 51, no. 1 (1999): 72. http://dx.doi.org/10.2307/358962.

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11

Albornoz, Alejandro. "Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories." Organised Sound 25, no. 3 (2020): 333–43. http://dx.doi.org/10.1017/s1355771820000291.

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This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outc

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12

Martozet and Nurwani. "The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (2020): 765–75. http://dx.doi.org/10.33258/biolae.v2i3.330.

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This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern chor

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13

Porębski, Adam. "Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław." Konteksty Kształcenia Muzycznego 7, no. 1(11) (2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.

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It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositi

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Dubrovin, V. M., and P. A. Chekantsev. "Landscape Painting: Features of Educational Creative Work." Prepodavatel XXI vek, no. 1, 2020 (2020): 200–205. http://dx.doi.org/10.31862/2073-9613-2020-1-200-205.

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Landscape is a traditional genre of easel painting and graphics. In the educational process, this genre is present in theoretical and practical courses in the disciplines of “Drawing”, “Painting” and “Composition”, its elements hold an important place in the Plein air programs. The landscape cannot be simply “copied” from nature, striving to make the image extremely similar to what you see. The authors recommend that students persistently master the methods of practical work on a realistic landscape, complementing them with the study of the theoretical foundations for solving the spatial, comp

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15

Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.

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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Sal

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16

Mayall, Jeremy. "Cross-genre Hybridity in Composition: A systematic method." Organised Sound 21, no. 1 (2016): 30–39. http://dx.doi.org/10.1017/s1355771815000357.

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This article serves as an introduction to the ‘hybridity table’, which is a systematic compositional tool designed to aid in the creation of balanced cross-genre hybrid music. The hybridity table was developed as part of my doctoral research, and has been utilised in my ongoing creative practice-based research. The article will, in a broad sense, discuss the terms ‘genre’ and ‘hybridity’, drawing from the current literature, and will attempt to clarify how an understanding of these terms was utilised in the development of the hybridity table. Also included is a brief example of the table used

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17

O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for

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18

Collins, David. "Real-time tracking of the creative music composition process." Digital Creativity 18, no. 4 (2007): 239–56. http://dx.doi.org/10.1080/14626260701743234.

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19

Grigorjeva, V. B. "COMPOSITION STUDIES AT CREATIVE FACULTIES OF HIGHTER EDUCATION INSTITUTIONS." Regional problems of architecture and urban planning, no. 13 (December 20, 2019): 195–200. http://dx.doi.org/10.31650/2707-403x-2019-13-195-200.

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20

Blaski, Andrew. "The Philocalia of Origen: A Crude or Creative Composition?" Vigiliae Christianae 73, no. 2 (2019): 174–89. http://dx.doi.org/10.1163/15700720-12341384.

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Abstract This article seeks to demonstrate the underlying theological and structural sophistication of the fourth-century Philocalia of Origen, despite its apparent lack of thematic and editorial coherence. In the past, chapter fifteen has been singled out as a particular example of disorder, as it consists of two seemingly unrelated topics: the language of scripture and the flesh of Christ. In response, this article carefully examines chapter fifteen, arguing that the editors of the Philocalia intentionally and carefully placed these topics beside one another in order to reveal that they are

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21

Sato, Hiromu, Yuya Chiba, Kenji Moriya, and Masahiro Nakagawa. "The Relationship between Creative Inspiration, Self-Evaluated Satisfaction, and Brain Activity During Simplified Music Composition." Journal of the Institute of Industrial Applications Engineers 9, no. 3 (2021): 85–90. http://dx.doi.org/10.12792/jiiae.9.85.

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22

Sijbom, Roy B. L., Onne Janssen, and Nico W. Van Yperen. "Leaders’ receptivity to subordinates’ creative input: The role of achievement goals and composition of creative input." European Journal of Work and Organizational Psychology 24, no. 3 (2014): 462–78. http://dx.doi.org/10.1080/1359432x.2014.964215.

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23

Sudirga, I. Komang. "Innovation and Change in Approaches to Balinese Gamelan Composition." Malaysian Journal Of Music 9 (September 10, 2020): 42–54. http://dx.doi.org/10.37134/mjm.vol9.4.2020.

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This article addresses newly developed approaches to gamelan composition among Balinese composers by focusing on changes and innovations within tradition. Balinese composers today represent a cross-section of arts communities who collectively have produced some of the most innovative gamelan compositions in nearly half a century. Subjected to increasingly cosmopolitan reviews from both conservative and progressive audiences, these composers encapsulate the shifting ideals of a generation who value new aesthetic paradigms that increasingly diverge from the history, tradition and legacy of their

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24

Van Seters, John. "Creative imitation in the Hebrew Bible." Studies in Religion/Sciences Religieuses 29, no. 4 (2000): 395–409. http://dx.doi.org/10.1177/000842980002900401.

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The source of creative composition for many forms of literature was well recognized by literary critics in antiquity to be in the imitation of older literary works and this has been a major concern of literary criticism in modern classical studies as well. It is remarkable, therefore, that so little attention has been given to this subject in biblical studies. Even in the current discussion of intertextuality, the possibility of literary imitation is rarely made the focus of attention. In this article I will lay out what, in antiquity, was regarded as the appropriate use of imitation of the cl

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25

Hurh, Paul. "“The Creative and the Resolvent”." Nineteenth-Century Literature 66, no. 4 (2012): 466–93. http://dx.doi.org/10.1525/ncl.2012.66.4.466.

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Beginning with the influential readings by Jacques Lacan and Jacques Derrida, poststructuralist fascination with Edgar Allan Poe's detective tales has treated them as fables of analytical method and exposed them as posing an insoluble challenge to totalizing frameworks of interpretive analysis. These studies overlook an excised paragraph from Poe's first detective tale in which Poe displays the debt his model of analysis owes to historical sources. This essay discovers the origins of Poe's model of analysis by recovering its discursive context and argues that the poststructuralist conclusions

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26

Millà, Arnau. "Soundpainting Sign Language: Possibilities and Connections with Tactileology." Philosophies 6, no. 3 (2021): 69. http://dx.doi.org/10.3390/philosophies6030069.

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This article introduce and expose the language of Soundpainting (SP), its background, and how this artistic tool is being used as a language of communication and creation. It also presents the real-time composition and its peculiarities and the power of collective creation as a creative tool and interaction between artistic disciplines. As there are several cases of sensitive and creative languages, such as Soundpainting, that are used to communicate with artificial intelligence, finally, it expose two of them, which are both still in their embryonic state. Both are collaborations and research

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27

Bloom, Lynn Z. "Composition Studies as a Creative Art: Teaching, Writing, Scholarship, Administration." College Composition and Communication 51, no. 1 (1999): 132. http://dx.doi.org/10.2307/358969.

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28

Stefan, Julia, and Andrew R. Brown. "Generative music video composition: using automation to extend creative practice." Digital Creativity 26, no. 2 (2014): 110–20. http://dx.doi.org/10.1080/14626268.2014.932289.

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29

Eve, Martin Paul. "ADAM KOEHLER. Composition, Creative Writing Studies and the Digital Humanities." Review of English Studies 68, no. 287 (2017): 1032–34. http://dx.doi.org/10.1093/res/hgx033.

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30

Kanngieser, Anja. "Creative labour in Shanghai: Questions on politics, composition and ambivalence." Subjectivity 5, no. 1 (2012): 54–74. http://dx.doi.org/10.1057/sub.2011.25.

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31

Liu, Cheng-Liang, and Shou-Chien Lee. "Methodology for Creative Machine Design Based on Decomposition-Composition Technique." JSME international journal. Ser. C, Dynamics, control, robotics, design and manufacturing 37, no. 2 (1994): 376–83. http://dx.doi.org/10.1299/jsmec1993.37.376.

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32

Collins, David. "A synthesis process model of creative thinking in music composition." Psychology of Music 33, no. 2 (2005): 193–216. http://dx.doi.org/10.1177/0305735605050651.

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33

Dahlstedt, Palle. "Thoughts on Creative Evolution: A Meta-generative Approach to Composition." Contemporary Music Review 28, no. 1 (2009): 43–55. http://dx.doi.org/10.1080/07494460802664023.

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34

Wu, Si. "FORMING UNDERGRADUATE STUDENTS’ CREATIVE ABILITIES IN COMPOSITION IN ART EDUCATION." Научное мнение, no. 9 (2020): 69–77. http://dx.doi.org/10.25807/pbh.22224378.2020.9.69.77.

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35

Pavlov, Denis N. "Methods for development of creative expression of college students in music composition." Bulletin of Nizhnevartovsk State University, no. 1 (53) (March 20, 2021): 66–73. http://dx.doi.org/10.36906/2311-4444/21-1/09.

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The development of a person's creative self-realization is one of the main guidelines for the modernization of the modern Russian education system. However, an analysis of the content of curricula, programs, the state of the modern practice of teaching students of colleges of culture and arts enrolled in specialties related to musical art, indicates a lack of attention of teachers to the problem of creative self-realization of students. Mastering by students of musical and compositional activity can contribute to their successful mastery of the means of musical expression, finding their own me

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36

Psheminska, Larysa. "BOLESLAV YAVORSKYI’S MUSICAL AND PEDAGOGICAL IDEAS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 186–91. http://dx.doi.org/10.36550/2415-7988-2021-1-195-186-191.

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The article is devoted to the research and generalization of Boleslav Yavorskyi's musical-pedagogical ideas, a famous pedagogue with encyclopedic knowledge, an organizer of musical education, a pianist, a composer, a musicologist, a conductor, a scientist, an author of the fricative rhythm, a developer of the unique methodological conception of the creative development of a personality. The analysis of B. Yavorskyi's pedagogical activity allows us to understand the significance of his contribution into the theoretical and practical development of mass musical education, allows to broaden the u

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37

Smith, Rob. "What can the Welsh school music sector learn from the community music movement?" Journal of Popular Music Education 5, no. 1 (2021): 55–70. http://dx.doi.org/10.1386/jpme_00043_1.

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This article draws on theories of creative development articulated by Sawyer and Green as well as reflecting upon data from case studies of projects run in Wales with community ensembles Wonderbrass, South Wales Intercultural Community Arts and London-based Kinetica Bloco. It proposes a model of learning for music education in Wales that promotes active creative participation and fosters the speaking of a musical language rather than simply the reading of it. In the context of Welsh Government’s recent education review, the article advocates a music policy of creative engagement, with musical

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38

Vasileva, Anna V. "Transformation of approaches to the composition of residential house facades in Moscow in the 1930s." Vestnik MGSU, no. 11 (November 2019): 1418–27. http://dx.doi.org/10.22227/1997-0935.2019.11.1418-1427.

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Introduction. The example of not implemented projects reveals the features of the stages of the formation of the architecture of residential building facades during the 1930s. Despite the considerable attention paid by researchers to various aspects of Soviet residential housing construction, studies on the formation of the architecture of the facades of residential buildings are not presented. Materials and methods. The study applied comparative analysis to the projects, which were not carried out but published in professional journals of the considered period. Results. It is poss

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39

Gioti, Artemi-Maria. "From Artificial to Extended Intelligence in Music Composition." Organised Sound 25, no. 1 (2020): 25–32. http://dx.doi.org/10.1017/s1355771819000438.

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This article explores the relationship and disparities between human and computational creativity by addressing the following questions: How well are computational creativity systems currently performing at creative tasks? Could computers outperform human composers? And, if not, is computational creativity a utopia? Automatic composition systems are examined with respect to Boden’s three criteria of creativity (novelty, surprise and value), as well as their assumptions about the nature of creativity. As an alternative to a competitive relationship between human and computational creativity, th

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40

Zavadska, Galina, and Asta Rauduvaite. "FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 817. http://dx.doi.org/10.17770/sie2020vol5.5015.

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A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the proc

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41

Proctor, Tony. "Creative problem-solving techniques, paradigm shift and team performance." Team Performance Management: An International Journal 26, no. 7/8 (2020): 451–66. http://dx.doi.org/10.1108/tpm-06-2020-0049.

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Purpose This paper aims to consider why creative problem-solving techniques may not always produce useful results and sets out to explain why this might be and what steps should be taken to avoid it happening. The paper provides an understanding of how different creative problem-solving techniques are best suited to gaining insights into problems requiring different degrees of paradigm shift. It argues that team members’ personalities and thinking styles and team composition should be taken into account when using the techniques. It examines the role the facilitator plays in planning and condu

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42

Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.

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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active crea

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Cameron, Laura, and Matt Rogalsky. "A Day in Algonquin Park: William W. H. Gunn and the circadian audio portrait." Organised Sound 22, no. 2 (2017): 206–16. http://dx.doi.org/10.1017/s1355771817000115.

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This article considers the place of William W. H. ‘Bill’ Gunn in the history of electroacoustic music with a focus on one of his earliest creative forays, the 1955 production ofA Day in Algonquin Park, a composition in the genre of what the authors have dubbed thecircadian audio portrait. In exploring Gunn’s compositional decisions and the political and creative contexts which surrounded them, we detail his sonic practice and make the argument that Gunn was a soundscape composer before the term was coined, a forerunner of the genre indebted to composers connected with the World Soundscape Proj

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Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom." General Music Today 33, no. 1 (2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.

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Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a liste

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45

Tanzi, Dante. "The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories." Leonardo Music Journal 9 (December 1999): 103–6. http://dx.doi.org/10.1162/096112199750316884.

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The role of science in the processes of musical creation is justifiable as a method of formalizing knowledge used for expressive purposes. The understanding of musical phenomena, however, should not be reduced to cognitive aspects or entrusted to a purely descriptive iteration; certain creative functions of musical composition go beyond the many degrees of control offered by the technologies of knowledge. The necessity of comparison with the cultural orientation of an audience, sometimes considered secondary by some, must remain integral. Our interest in qualitatively new creative and intellec

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46

Wu, Hao, Yueli Li, Zhenjiang Miao, et al. "Creative and high-quality image composition based on a new criterion." Journal of Visual Communication and Image Representation 38 (July 2016): 100–114. http://dx.doi.org/10.1016/j.jvcir.2016.02.011.

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47

SUZUKI, Shintaro, Takeshi TAKENAKA, and Kanji UEDA. "1403 Co-creative Composition Using Serial Cord Generation with Reinforced Learning." Proceedings of Design & Systems Conference 2005.15 (2005): 162–65. http://dx.doi.org/10.1299/jsmedsd.2005.15.162.

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48

Bown, Oliver. "Experiments in Modular Design for the Creative Composition of Live Algorithms." Computer Music Journal 35, no. 3 (2011): 73–85. http://dx.doi.org/10.1162/comj_a_00070.

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49

Hohmaier, Simone. "Analysis-play-composition: Remarks on the creative process of György Kurtág." Contemporary Music Review 20, no. 2-3 (2001): 39–50. http://dx.doi.org/10.1080/07494460100640161.

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50

Ghosh, Reeta. "FORECASTING OF COLOURS IN CREATIVE COMPOSITION OF TEXTILE FABRIC AND FASHION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3520.

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Colour is the most enriched and endless form of human life. It reflects our mood and more importantly, it has more influence and effect on our lives than we realize. How can we define colour, a reality, a feeling that creates energy, enthusiasm, potential, anger, affection, passion andmany other feelings in us. If we are in pleasant feeling, colour fills us with the feel of joy and happiness and in contrary to this if we are unhappy and sad the colours are there, who fill with the feel of unhealthy, unhappiness and sadness. Now it is a matter to think upon that why we correlate our feelings wi

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