The Development of Classical Music along the Period (III)
The Development of Classical Music along the Period (III)
Music in XIX century (1825-1900)
Music in this century belonged to the romantic era music. The cultivation of music in this period was marked by the expression, timbre, and melodies that departed from the works of Beethoven. Composers of this time worked on the composition based on personal experience and sense of nationalism. Poetry could also be one of “raw materials” of the composition making.
In this period, the composer were said to reach a level of virtuoso, meaning a level that indicated that a composer was very skilled in playing musical instruments. Composer has already considered the aspects of the sound and the effects that were generated by the techniques of playing instrument.
In this time, the revolutionary changes happened. The changes were made by Richard Wagner. He combined the elements of music, poetry, and scenarios by using leitmotif technique, namely the technique of using motif or musical theme on both character and part of opera story.
The instruments used in this period were much more diverse. Melody grew longer, more dramatic and emotional. Tempo was also more extreme in which mostly used tempo rubato (freedom).
The famous composers in this time were Franz Schubert, Fanny Mendelssohn Hensel, Felix Mendelssohn, Frederic Chopin, Robert Schumann, Franz Liszt, Giuseppe Verdi, Johannes Brahms, Peter Ilich Tchaikovsky, and Richard Strauss.
Music in XX century (1900s)
Around 1900, there was a reaction against romantic music. This reaction was expressed in the group of impressionism that was pioneered by Claude Debussy and Maurice Ravel. Debussy was “in rebellion” with the romantic music in German by using the melody and harmony which had a new quality system based on whole-tone scales (the interval scale was 1).
Music of this century was called impressionist era. There was atonal expressionism music, namely music without the basic tone but full of expression. The melody movement flew with strange and expressive rhythmic. Many people consider it like notes without meaning.
In this time, all forms and types of noise were allowed. Rhythmic could be very complex and sounded strange but expressive. In addition, composition could vary widely because it was the result of improvisation and change.
The composers of this era were Maurice Ravel, Claude Debussy, Arnold Schoenberg, Scott Joplin, and Charles Ives.
Contemporary Music
The birth of record and radio media created the new markets for classical music and romantic music. Music of this period was known as the music of contemporary era. The typical music of this era was similar to the impressionist era. Its composers were Bela Bartok, Zoltán Kodály, Olivier Messiaen, Luigi Dallapicolla, and Luciano Berio.
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www.nestlearning.com Ludwig van Beethoven (December 17, 1770-March 26, 1827) was a German composer, virtuoso pianist and conductor, and a violinist. Trained in the traditional music methods by his father, (Johann van Beethoven), Ludwig van Beethoven was an accomplished pianist by the age of 12. Studying under Christian Gottlob Neefe (a German opera composer and conductor) and the infamous Joseph Haydn (who compared him to the great Mozart), Beethoven is best known for producing music that expresses heroism and struggle, contains intense personal expression, and explores new directions. supported himself by working as a freelance composer Around age 26, Beethoven began to lose his hearing but threw himself even more deeply into his music, composing “Fur Elise,” “Sonata Pathetique” and the dramatic “Fifth Symphony.” He was also one of the first composers to work as a freelancer—arranging subscription concerts and selling his compositions to publishers.
Categories: Beethoven (composer) Tags: along, Classical, Development, mati, Music, Period, ugg
Beethoven’s life insights
Beethoven’s life insights
An overview of the intellectual history of the music (beginning of the Christian era to the year 1800) is presented by Rowell (82-115), who provides a variety of ideas about music, examining common assumptions, new proposals, the way ideas were articulated along the time, mentioning those ones who contributed to illuminate and elaborate the fundaments of music doctrine, organizing and presenting the facts in periods. An emphasis to Beethoven’s “Eighth Symphony” is given in this essay, because we want to illustrate the classical style, which reached the climax in Austria, the cradle of so many splendid musicians (113). Although, Romantic Period took place (after 1750), and this transition claims for clarifications, because the result was a real synthesis of music and thought (115). If one considers the referential periods, it should be classified in The Middle Ages (1400), The Renaissance (1400-1600), The Baroque (1600-1750), and The Classical (1750-1800).
Normally, it makes considerable sense to recognize unity and coherence in philosophy, as Rowell explains (84). Then, contributions from ancient civilizations (Greek and Roman) together with (contemporary schools (Cartesian rationalism (1596-1650), British school of thought (1561-1626) dominated European philosophy together until eighteenth. (84) A new school of thought had arisen in German idealism, with the contribution of Emanuel Kant (1724-1804), straightening relations with philosophy and artistic speculation (85). The three main schools of thought in later antiquity are The Stoics, Epicureans, and Skeptics, and two special voices are listened: Philodemus (a first century B.C. author), and Sextus Empiricus (an aggressively Skeptic philosopher from the Second century A.D.) (85). But the difficulty to justify music’s existence was not only theirs. They both have the conception of music as a harmless diversion, pleasant but useless. They did not understand music to symbolize, express, or represent anything but itself. They understand music as an illusion, like sound and time. The attempt to separate the sublime from the merely beautiful was reinforced with Hellenistic treatises on the philosophy of art, like the documentation of Cassius Longinus of Palmyra - – On the Sublime (written in the third century A.D.) (86). “He specified five necessary conditions for the sublime: the first two are inborn – robust, “full-blooded” ideas and strong emotion. The other three may be acquired through training: the proper construction of figures (figures of speech and thought), nobility of diction, and the careful arrangement of words to produce the general effect of dignity and elevation”(86). Members united into a single system embraced to the bonds of rhythm gain a living voice (87).
Rowell provides nice concepts. He comments the concept of sublimity, during the seventeenth and eighteenth centuries. “Sublimity, in their view, was linked with the feelings of awe and terror inspired by the vastness and infinite power of nature: mountains, the sea, the sky and night were cited as typical sources of the sublime”(87). Another concept is the one concerning Plato’s view that beauty is a transcendental quality and that the response to beauty is the soul’s feeling of kinship with an eternal idea, absolute Being: “The material thing becomes beautiful – by communicating in the thought that flows from the Divine”(87). Plotinus vision of music was very respected and considered by the doctrines of Christian theology and became the standard medieval explanation from where many theories of music emerged as a link between humanity and divinity, the finite and the infinite (88).
The Middle Ages is marked by the proposals of St. Augustine, Bishop of Hippo (354-430) and St. Thomas Aquinas (1225-1274). The first registered his impressions about melodies and the pleasure of the senses. The second was celebrated by his book Confessions, which discusses many artistic questions (89). He also presented his masterpiece, the Summa theologica, distinguishing between the beautiful and the good (92). St. Thomas was also mentioned by James Joyce, in his work A Portrait of the Artist as a Young Man in which he is analyzed by the hero, Stephen Dedalus (93). The term claritas is discussed, but the meaning of it, came later. Claritas signifies a quality – an intangible property not subject to precise measure. It refers to the presentational quality of an artwork, a special luminous intensity that marks a work of real excellence. For the phenomenon of music: a becoming audible, the radiation of complex, harmonic vibration: the complex harmonic vibration from its source, and its definition as tonal structure and motion in the perceiving mind (94). A technique known as counterpoint was to bring about the great flowering of musical style in the Renaissance, which is the next period to be commented (99).
After the relatively static Middle Ages, the Renaissance years brought a burst of fresh artistic energy – specially in Italy. (99). New concepts came to enlighten the vast universe of music, concerning composition, expression, tonal motion and direction. Although, “Renaissance music was less a symbol and more a reality, intended to be perceived and enjoyed for its own sake, appealing directly to the senses and expressive of human feeling”(101). The musicians of this period became aware that they were living a new time concerning music, and the fifteenth and sixteenth centuries were years of an unprecedented outpouring of artistic activity, being literature dominated by practical men, not philosophers (101). Rowell suggests a list of new proposals, new insights, presenting contradictions and basic assumptions of ancient and medieval aesthetic theory, by incomplete, but helpful propositions to indicate trends in the philosophy of art. (102).
The next step should be the presentation of all those personalities who contributed to the new period, described as the Age of Reason and Enlightenment and clarification concerning music. It is possible to start with the rationalism, represented by René Descartes (1596-1650). And Samuel Johnson (1759), Jean Philippe Rameau (1683-1764), Francis Bacon (1607), John Locke (1632-1704), Thomas Hobbes (1588-1679), David Hume (1711-1776), Lord Shaftesbury (1671-1713), Joseph Addison (1672-1719), George Berkeley (1685-1753), Edmund Burke (1729-1797) (103-110). The last one, inspired distinctions between the sublime and the merely beautiful, which was a very popular theme in the eighteenth-century. Burke explains that “the sublime and the beautiful produce the same physiological effects as love and terror…”(109). So, two strands of philosophy are followed: rationalism and empiricism. By the same way, two distinct style periods ran their course during these two hundred years — the Baroque (e.g. Bach, Handel, Vivaldi, Telemann, and Couperin.) and the Classic (e.g. Haydn, Mozart, Shubert, and Beethoven.) (110- 113).
Progress was observed after 1750 and the composers in the nineteenth century made few substantive changes (113). These changes (more in manner and degree, than in substance), had led many scholars to assert that Classicism and Romanticism are two phases of the same period. Philosophers like Kant, Scholar (1759-1805), and Hegel (1770-1831). The result was a synthesis of music and thought perhaps the first since Middle Ages.
A good example of this transition between classic and romanticism is Beethoven’s music.[Downs 600] “He wrote his symphonies and amazing differences of language between them, specially the Fifth and Sixth could be observed to the attentive listener.” After a period of three years, from those symphonies, the seventh was completed 13 May 1812, and the Eight, in October of the same year. But the “Seventh Symphony rapidly became one of Beethoven’s most popular compositions in Vienna, and was arranged for a variety of instrumental combinations. And the Eight, a twin of the Seventh in many ways, did not receive as warm a reception.” “Because of critics, the Eight Symphony is considered a lightweight work, and gave Beethoven very little trouble in conception and birthing, far less than its older twin.””
Works Cited
Bent, Ian. Music Analysis in the Nineteenth Century, Vol. One, Cambridge University Press,
1994.
Downs, Philip. Classical Music. The Era of Haydn, Mozart and Beethoven, University of
Western, Ontario, NY-NY. 1992.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers, New York. Modern Language
Association, USA, 1988.
Orga, Ates. Beethoven. Ediouro, Brasil, 1992.
Plantinga, Leon. Romantic Music. Yale University, NY-NY, USA, 1984.
Rosen, Charles. El estilo clásico Haydn, Mozart, Beethoven. Alianza Editorial, Madrid,Spain,
1991.
Rowell, Lewis. Thinking about Music, The University of Massachusetts Press, USA, 1983.
Salomon, Maynard. Beethoven. Jorge Zahar editor, RJ, Brasil, 1997.
Última atualização do currículo em 30/07/2009
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This is one of the best sountracks in all Resident Evil series: the Moonlight Sonata, played by Jill and Rebecca both in RE1 and REmake. This song was Lisa Trevor’s favourite music, and she usually played it for her parents. The original composer for this music was the world-wide famous musician Ludwig Van Beethoven. By the way, this is the full version of this music. Sad, relaxing and atmospheric ^_^ Resident Evil/Biohazard OST (c) Capcom original composer: Ludwig van Beethoven
Video Rating: 4 / 5
Categories: Beethoven (composer) Tags: Beethoven's, insights, Life, ugg
Olympic Games For Classical Music Composers
Olympic Games For Classical Music Composers
Despite a seeming incompatibility of such concepts as “music” and “sports”, they’ve been going hand in hand for a number of centuries. In sports, music was often used to accentuate the importance of an event. It stimulated both the public and the athletes. Today music in sports is used quite often. However, the question is, how can sports be used in music?
The classical composers are considered to be the founders of “musical” sports. And rightly so; possessing remarkable talent, these people were the first ones to introduce complex passages and techniques into music pieces, hitherto unknown to anyone. First it looked like the modest attempts based on the desire of a composer to insert something new and unusual into the symphony to surprise the public. But with each subsequent opus the majority of composers mastered the possibilities of the instrument or, instruments, for which music was written.
Mainly they were keyboard instruments, and soon there was a lot of “novelty” in symphonies. Eventually, these novelties were replaced by the new ones and so on. The composers continued to create new masterpieces and neither deafness, as in case with Beethoven, nor blindness, as with I.S. Bach, was capable of preventing these people from writing new compositions.
We are not going to go too deep into the past and we shall concentrate our attention only on those composers and performers who influenced modern music the most.
The first person to consider in this discussion is the Italian violinist Niccolo Paganini. Having extraordinary long hands and fingers by birth, Paganini quickly mastered violin and guitar. He developed his talent and has broken all known records of tempo. The apex of creativity of the great Italian violinist was 24 caprices and 5 concerts for violin with an orchestra, where the great maestro demonstrated his genius brilliantly. There is perhaps no one who can possibly surpass him in performance technique.
However, if Paganini was the first among violinists and guitarists of his time, then the classical music knew a number of keyboard instrument players with great technique. However, there were leaders among them as well. The first ones to mention are Frederick Chopin and Franz Liszt. And if the Chopin has left only his own “sports fantasies, then Liszt, trying to show the infinite opportunities of a grand piano, in addition to writing his own compositions, liked to set the opuses of other composers written for a symphonic orchestra to the piano. Can you imagine the speed at which the hands and fingers of a musician have to move in order to simultaneously play all parts of an orchestra on one black and white keyboard?
Besides the instrumentalists, classical composers liked to get singers, who performed their vocal pieces. The biggest ordeal was endured by the tenors. Quite often they had to sing such high notes that would cause a regular person to lose their voice. But even the professional singers sometimes managed to strain their voices after the first two or three lines. For example, singing a part of the Astrologer in the opera “The Golden Cockerel” by Rimsky-Korsakov.
As for the percussion instruments, the musical sport arrived at utilizing them mainly due to black jazz musicians at the end of XIX century. Every year, jazz music became more and more complicated. Because of its complexity of performance, it soon became the elite music.
Parallel to the development and popularity of jazz in America, the Spanish flamenco guitarists were emerging in Europe, competing among each other. They perfected the performance tempo to such a level that many of the compositions sounded like one frantic trill. It was absolutely impossible to remember a single note from it.
Fresh breath in musical sport was rock music and its first bands; The Beatles, Rolling Stones and Cream.
But the first one to really develop a sport approach to rock music was the legendary Jimmy Hendrix. It was he who showed what was possible to do with a guitar. It was aerobatics of musical acrobatics!
And this is only a small part of the long list of the well-known names of those who participated in the Musical Olympic Games.
Tatiana Bandurina – an educator, an inventor and award-winning author. She develops new trend in education, the website is http://www.quintecco.com Come up by and read more about Music Education for Parents.
A slideshow of random anime girls.. The end is of Elfin Lied basically. First song: Symphony No. 9 By: Ludwig van Beethoven, composer. Seattle Symphony. Gerard Schwarz, director. Album by artist: 2 & 6 Sinfonia Disc 1 Second Song: New Stories (Highway Blues) Artist: Marc Seales, composer. New Stories, Ernie Watts, saxaphone. Album: Speakin’ Out I hope you liked it. 
