Classical music is an art music that is produced or rooted in Western cultural traditions, including liturgical (religious) and secular music. While the more appropriate term is also used to refer to the period 1750-1820 (Classic period), this article is about a wide time span from before the 6th century to the present day, covering the Classical period and various other periods. The central norms of this tradition became codified between 1550 and 1900, known as the period of general practice. The main divisions of Western music arts are as follows:
- the period of ancient music, before 500 AD
- the earliest musical period, which includes
- The Middle Ages (500-1400) included
- ars antiqua (1170-1310)
- ars nova (1310-1377)
- ars subtilior (1360-1420)
- Renaissance (1400-1600).
- Baroque (1600-1750)
- galant music period (1720s-1770s)
- The Middle Ages (500-1400) included
- general practice period, which includes
- Baroque (1600-1750)
- galant music period (1720s-1770s)
- Classic (1750-1820)
- Romantic Era (c.1780-1910)
- the 20th and 21st centuries (1901-present) which include:
- modern (1890-1930) overlapping from the end of the 19th century,
- impressionism (1875 or 1890-1925) that also overlapped from the end of the 19th century
- neoclassicism (1920-1950), especially in the inter-war period
- modern high (1930-present)
- postmodern era (1930-present)
- experimental (1950-present)
- contemporary (1945 or 1975-present)
European art music is largely distinguished from many other non-European classical music and some forms of popular music with its staff notation system, used since about the 11th century. Western staff notation is used by composers to show players pitches (which make up melodies, basslines and chords), tempo, meter and rhythm for a piece of music. This can leave little room for practice such as improvisation and ornamentation of ad libitum, which is often heard in non-European art music and in popular musical styles such as jazz and blues. Another difference is that when the most popular styles adopt a strophic or derivative form of this form, classical music has been renowned for the development of its highly sophisticated instrumental music forms such as symphony, concerto, fugue, sonata, and a mixture of vocal and instrumental styles such as the opera , cantata, and mass.
The term "classical music" did not appear until the early nineteenth century, in an attempt to clearly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1829.
Video Classical music
Characteristics
Given the variety of styles in European classical music, from medieval music sung by the monks to the Classical and Romantic symphonies for orchestras from the 1700s and 1800s to the avant-garde atonal compositions to solo pianos from the 1900s, it was difficult to create a list of characteristics that can be associated with all works of that type. However, there are characteristics that contain classical music that little or no other musical genres, such as the use of musical notation and the performance of complex shapes of solo instrumental works (eg, fuga). Moreover, while the symphony did not exist before the end of the 18th century, the ensemble symphony - and the works written for it - has become the hallmark of classical music.
Literature
The main characteristic of European classical music that sets it apart from popular music and folk music is that the repertoire tends to be written in musical notation, creating musical parts or scores. This score usually determines the details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how various parts are coordinated. The written quality of music has enabled a high level of complexity in it: fugues, for example, attain marvelous marriages of distinctive melodic lines that weave in a rival but create coherent harmonic logic that will be difficult to achieve in the heat of life. improvisation. The use of written notation also keeps records of the works and allows Classical musicians to perform music from centuries ago. Music notation allows players of the 2000s to sing choirs from the 1300s Renaissance or Baroque Concert of the 1700s with many music features (melodies, lyrics, shapes and rhythms) reproduced.
That said, the score allows translators to make choices about how to do historical work. For example, if the tempo is written with Italian instruction (eg, Allegro), it is not known exactly how quickly that part should be played. Also, in the Baroque era, many works designed for basso continuo accompaniment did not specify which instrument should play the accompaniment or precisely how the chordal instruments (piano, lute, etc.) must play chords, not the annotated parts (only recognizable bass symbols in the bass section is used to guide the chord-playing player). Players and conductors have various options for musical expression and interpretation of printed parts, including melodic phrases, time taken during fermatas (pauses) or pauses, and use (or option of not using) effects such as vibrato or glissando (this effect made possible on a variety of stringed instruments, brass, and wood, and with a human voice).
Although classical music in the 2000s has lost most of its traditions for musical improvisation, from the Baroque era to the Romantic era, there are examples of players who can improvise in the style of their era. In the Baroque era, the performer's organs will improvise preludes, keyboard players playing harpsichords will improvise chords of recognizable bass symbols under the bass notes of continuo basso and both vocal and instrumental players will improvise musical ornaments. Johann Sebastian Bach is well known for his elaborate improvisation. During the Classical era, Mozart's composers were renowned for their ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists will improvise the cadenza part of the concert. During the Romantic era, Beethoven will improvise on the piano. For more information, see Improvisation.
Instrumentation and vocal practice
The instruments currently used in most classical music were mostly found before the mid-19th century (often earlier) and codified in the 18th and 19th centuries. They consist of instruments found in an orchestra or in a concert band, along with several other solo instruments (such as piano, piano, and organ). The symphony orchestra is the most widely known medium for classical music and includes string members, woodwind, brass, and instrument percussion instruments. The concert band consisted of family members of woodwind, brass, and percussion. It generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many band concerts use double bass. The vocal practices changed during the classical period, from the single monophonic Gregorian chant performed by monks in the Middle Ages to the complex, the work of the polyphonic choir of the Renaissance and the subsequent period, which used several independent vocal melodies at the same time.
Medieval music
Many of the instruments used to perform medieval music still exist, but in various forms. Medieval instruments include flutes, recorders and string instruments picked like lutes. Also, early versions of organ, violin (or vile), and trombone (called sackbut) exist. Medieval instruments in Europe are most often used alone, often accompanied by a hum, or sometimes in parts. At least from the beginning of the 13th century to the fifteenth century there was the division of instruments to haut (instruments of hard, loud, outdoors) and bass (quieter, more familiar instruments ). During the early medieval period, the vocal music of the liturgical genre, especially the Gregorian chant, was monophonic, using a single unimpeded single vocal melody line. The polyphonic vocal genus, which uses several independent vocal melodies, began to develop during the high medieval era, becoming prevalent in the late 13th and early 14th centuries.
Renaissance Music
Many instruments originated during the Renaissance; the other is a variation, or improvement over, an instrument that never existed before. Some survive to this day; others disappear, only to be recreated to perform period music on authentic instruments. As in modern times, instruments can be classified as brass, string, percussion, and woodwind. The brass instruments in the Renaissance are traditionally played by professionals who are members of the Guild and they include trumpets, wooden cornets, valveless trumpets and sackbut. Friction instruments include violin, harp like harp, hurdy-gurdy, cittern and harp. Keyboard instruments with strings include the harpsichord and the virgins. Percussion instruments include triangles, Jewish harps, tambourines, bells, roaring pans, and various types of drums. Woodwind instruments include double reed shawm, reed pipe, bagpipe, transversal flute, and recorder. Renaissance vocal music is renowned for the growing complexity of polyphonic styles. The major liturgical forms that persist throughout the Renaissance period are mass and motion, with several other developments toward the end, especially when sacred music composers begin to adopt secular forms (such as madrigal) for their own designs. Toward the end of the period, dramatic early precursors of operas such as monodies, insane comedy, and intermedio are seen. Around 1597, Italian composer Jacopo Peri wrote Dafne, the first work called opera today. He also composed Euridice, the first opera to survive to this day.
Baroque Music
Baroque instruments include several instruments from previous periods (eg, lir and tape) and a number of new instruments (eg oboe, bassoon, cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, such as wooden shawm and cornet. Baroque instrument keys for strings include violin, violole, viola, viola d'amore, cello, contrabass, harp, theorbo (which often plays part of basso continuo), mandolin, cittern, Baroque guitar, harp and hurdy-gurdy. Woodwinds include Baroque flute, Baroque oboe, racket, recorder and bassoon. Brass instruments include cornettes, natural horns, Baroque horns, snakes and trombones. Keyboard instruments include clavichord, harpsichord, pipe organ, and, later in that period, fortepiano (early versions of piano). Percussion instruments include tympanics, snare drums, tambourines and musical instruments.
One of the main differences between Baroque music and the classical era that followed it was that the types of instruments used in Baroque ensembles were less standardized. While classic quartets of the classical era comprise almost exclusively from two violins, viola and cello, the Baroque or Classical-era group that accompanies the soloist or opera may include one of several types of keyboard instruments (eg, pipe organ, piano, or clavichord), instruments additional chordal strings (eg, lutes) and an unspecified number of bass instruments perform continuo basso, including bent strings, woodwinds and brass instruments (eg, cello, contrabass, viol, bassoon, snake, etc.).
The development of vocals in the Baroque era includes the development of opera types such as opera seria and opÃÆ' Â © ra comique, and related forms such as oratorio and cantatas.
Classic music
The term "classical music" has two meanings: the broader meaning includes all Western art music from the Middle Ages to the 2000s, and its specific meaning refers to the music of art from the 1750s to the early 1820s - the period of Wolfgang Amadeus Mozart, Joseph Haydn, and Ludwig van Beethoven. This section is about a more specific meaning. Musicians of the classical era continue to use many instruments from the Baroque era, such as cello, contrabass, recorder, trombone, timpani, fortepiano (predecessor to modern pianos) and organs. While some Baroque instruments fall into disuse (for example, theorbo and rackett), many Baroque instruments are converted into current versions, such as Baroque violins (violins), obo Baroque (oboe) and Baroque trumpets, diverted to the regular valved trumpet. During the Classical era, stringed instruments used in orchestras and chamber music such as frictional quartets are standardized as the four instruments that make up the strings of orchestral strings: violin, violin, cello, and double bass. Baroque-era friction instruments such as fretted, bowed viols have been removed. Woodwinds include basset clarinet, basset horn, clarinette d'amour, Classical clarinet, chalumeau, flute, oboe and bassoon. Keyboard instruments include clavichords and fortepiano. While harpsichords are still used in basso continuo accompaniment in the 1750s and 1760s, it was not used by the end of this century. Brass instruments include buccin, ophicleide (bass snake replacement, which is a tubal precursor) and natural horns.
Romantic music
In the Romantic era, modern pianos, with a stronger, wider tone take over from the more refined fortepiano. In the orchestra, existing Classical instruments and parts are retained (parts of strings, woodwinds, brass and percussion), but these sections are usually extended to produce larger and larger sounds. For example, while a Baroque orchestra may have two bass players, the Romantic orchestra can have ten players. "As music grows more expressively, the standard orchestra palette is not rich enough for many Romantic composers." Newly added woodwind instruments, such as contrabassoon, bass and piccolo clarinets and newly added percussion instruments, include xylophones, snare drums, celestes, bellwether orchestra, and even wind engines for sound effects. Saxophones appear in several values ​​from the late 19th century onwards. Although only featured as a leading solo instrument in several works, such as the orchestration of Maurice Ravel from the Simple Picture of Mussorgsky at the Symphonic Exhibition and the Sergei Rachmaninoff Dance , the saxophone is included in other works, such as Ravel's BolÃÆ' Â © ro , Romeo and Juliet Suites 1 and 2 by Sergei Prokofiev and many other works as members of the orchestra ensemble. This euphonium is featured in some Romantic works and the 20th century, usually playing parts marked "tubal tenor", including Gustav Holst's
The Wagner tuba, a converted member of the horn family, appears in the Richard Wagner cycle of Der Ring des Nibelungen and several other works by Strauss, BÃÆ'Ã… © la BartÃÆ'³k, and others; he has an important role in Anton Bruckner's Symphony No. 7 in E Major. Cornet appeared in the ballot Pyotr Ilyich Tchaikovsky Swan Lake , Claude Debussy's La mer , and some of Hector Berlioz's orchestra. Unless this instrument is played by members who duplicate other instruments (eg, trombone players turning into euphonium for certain parts), the orchestra will use freelance musicians to add to their regular list of names.
Modernist music
Modernism in music is a philosophical and aesthetic attitude that underlies the period of change and development in the musical language that occurred from 1890 to 1930, the period of various reactions in challenging and reinterpreting older categories of music, innovations leading to new ways of organizing and approaching the harmonic, melodic, sonic, and rhythmic aspects of music, and a change in the aesthetic world view in close connection with the period of modernism in art at an identifiable time. The most related operative word is "innovation". Its main feature is the "plurality of languages", which says that no single musical genre has ever occupied a dominant position.
Contemporary classical music
Contemporary classical music is a period that became famous in the mid-1970s. It covers a wide variety of modernist, postmodern, neo-romantic, and pluralist music. However, this term can also be used in a broader sense to refer to all forms of post-1945 music.
Postmodern music
Postmodern music is a period of music that began around 1930. It shares characteristics with postmodernist art - the art that comes after and reacts against modernism.
Post-postmodern instrumentation
Many instruments were in 2010 associated with popular music that fills important roles in early music, such as bagpipes, theorbos, vihuelas, hurdy-gurdies, acordions, alphorns, hydraulics, calliopes, sistrums and some woodwind instruments such as tin whistles, panpipes, shawms and crumhorns. On the other hand, instruments such as acoustic guitars, once attributed primarily to popular music, became popular in classical music in the 19th and 20th centuries in the form of classical guitars and banjo. While the same temperament gradually became accepted as the dominant musical temperament during the 19th century, different historical temperaments were often used for music from earlier periods. For example, music from the British Renaissance is often done in a meaningful temperament. In addition, while professional orchestras and pop bands around the world have tuned to A fixed at 440 Hz since the end of the 19th century, historically there is a great variation in tuning tones, as evidenced in the historical pipe organs that still exist.
Performance
Performers who have studied classical music extensively are said to be "classically trained". This training may come from personal lessons from the instrument or sound teacher or from the completion of formal programs offered by Conservatories, colleges or universities, such as a Bachelor of Music or Master of Music (which includes individual lessons from professors). In classical music, "... an extensive formal music education and training, often up to graduate level [Master's degree]" is required.
The performance of classical music repertoire requires the ability to read-sight and play ensembles, harmonic principles, strong ear training (for correcting and adjusting tone with ears), knowledge of performance practices (eg Baroque ornaments), and familiarity with styles/idioms music expected for a particular composer or musical piece (for example, Brahms symphony or Mozart concert).
Some "popular" genre musicians have significant classic training, such as Billy Joel, Elton John, Van Halen's brother, Randy Rhoads, Ritchie Blackmore, and Dream Theater members. In addition, formal training is not unique to the classic genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by Berklee College of Music and many jazz musicians have completed university music degrees with jazz programs, such as Manhattan School of Music and McGill University.
Player gender
Historically, major professional orchestras are mostly or wholly composed of male musicians. Some early cases of women employed in professional orchestras are in a harpist position. The Vienna Philharmonic, for example, did not accept women for permanent membership until 1997, much slower than any other orchestra that entered the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position is the Berlin Philharmonic. By the end of February 1996, the Vienna Philharmonic main flute Dieter Flury told Westdeutscher Rundfunk that accepting women would "gamble with emotional unity" ( emotionelle Geschlossenheit ) that this organism currently has". In April 1996, the orchestra press secretary wrote that "compensation for the expected leave" of maternity leave would be a problem.
In 1997, the Vienna Philharmonic "faced protests during the [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being detained to boost mockery even in socially conservative Austria, the orchestra members gathered [on February 28, 1997] at an extraordinary meeting on the night of their departure and agreed to accept a woman, Anna Lelkes, as a harpist." On 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the concertmaster orchestra in 2008, the first woman to hold that position. In 2012, women still make up only 6% of the orchestra membership. VPO President Clemens Hellsberg said the VPO now uses a fully filtered blind audition.
In 2013, an article in Mother Jones states that while "[m] every prestigious orchestra has significant female membership - women outnumber males in the New York Philharmonic violin - and several well-known ensembles, including the National Symphony Orchestra, Detroit Symphony, and Minnesota Symphony, led by female violinist ", double bass, brass and main orchestral percussion section"... still male-dominated. "A BBC 2014 article states that"... the introduction of auditions' blind ', in which a prospective instrumentalist appears behind the scenes so the jury panel can not do gender or racial prejudice, has seen the gender balance of the male-dominated traditional symphony orchestra gradually shifting. "
Complexity
Classical repertoire works often show complexity in the use of orchestration, counterpoint, harmony, musical development, rhythm, expression, texture, and form. While the most popular style is usually written in the form of songs, classical music is famous for the development of a very sophisticated instrumental form of music, such as concerto, symphony and sonata. Classical music is also famous for the use of sophisticated vocal/instrumental forms, such as opera. In opera, vocal and choir singers perform dramatic works with orchestras that provide accompaniment. Longer instrumental works are often divided into stand-alone pieces, called movements, often with different characters or circumstances. For example, the symphonies written during the Classical period are usually divided into four movements: (1) opening of Allegro in the form of sonata, (2) slow motion, (3) minuet or scherzo (in three meters, like 3/4), and (4) Allegro last. These movements can then be broken down into smaller unit hierarchies: the first part, then the period, and finally the phrase.
Maps Classical music
History
The main time division of classical music until 1900 is the early musical period, which includes the Middle Ages (500-1400) and Renaissance (1400-1600) eras, and the general practice period, which includes Baroque (1600-1750), Classical (1750-1820 ) and Romantic (1810-1910) era. Since 1900, the classical period has been more calculated by the calendar century than certain stylistic movements that have become fragmented and difficult to determine. The period of the 20th century calendar (1901-2000) covers most of the early modern music era (1890-1930), the entire modern high (mid-20th century), and the first 25 contemporary years (1945 or 1975-today) postmodern music (1930-present). The 21st century has so far been characterized by a continuation of the era of contemporary/postmodern music.
The dates are generalizations, because periods and eras overlap and categories are somewhat arbitrary, to the extent that some authorities reverse terminology and refer to the general "era" of practices consisting of baroque, classical, and "periods" romantic. For example, the use of counter and fugue, considered characteristic of the Baroque era (or period), was continued by Haydn, classified as typical of the Classical era. Beethoven, often described as the founder of the Romantic era, and Brahms, who are classified as Romantic, also use counterpoint and fugue, but other characteristics of their music dictate their era.
The prefix neo - is used to describe the compositions of the 19th, 20th or 21st centuries written in the style of the previous era, such as Classical or Romantic. Stravinsky's Pulcinella , for example, is a neoclassical composition because it is similar in style to the works of the Baroque era.
Roots
Burgh (2006), shows that the roots of Western classical music ultimately lie in the music of ancient Egyptian art through the chromaticity and orchestra of ancient Egypt, dating from 2695 BC. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped codify music notation. Ancient Greek instruments such as aulos (reed instruments) and harps (string instruments similar to small lutes) eventually led to modern instruments of classical orchestras. Which preceded it into the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this moment, mostly from ancient Greece.
Initial period
The period of the Middle Ages included music from after the fall of Rome to about 1400. The monophonic poem, also called the plainsong or Gregorian chant, was the dominant form until about 1100. Polyphonic (multi-voice) music evolved from monophonic songs throughout the late Middle Ages and to the Renaissance , including the more complex sounds of motet. The Renaissance era is from 1400 to 1600. It is characterized by the use of larger instrumentation, multi-melodic melody lines, and the use of the first bass instrument. The social dance becomes more widespread, so the appropriate musical forms to accompany the dance begin to be standardized. At this point the musical notation on staff and other musical notation elements began to take shape. The invention allows the separation of a musical composition from its transmission ; without written music, the transmission is verbal, and may change every time it is transmitted. With a musical score, musical work can be done without the presence of the composer. The invention of a moving type printing machine in the fifteenth century had far-reaching consequences on the preservation and transmission of music.
Common string instruments in the early period included harps, lutes, vile, and gambus, while wind instruments included flute families (including recorders), shawm (early members of the oboe family), trumpets, and bagpipes. Simple tubular organs exist, but are mostly confined to churches, although there are varieties of portables. Later in that period, early versions of keyboard instruments such as clavichords and harpsichords began to appear. Stringed instruments like viol had appeared in the sixteenth century, as did a wider variety of brass instruments and reeds. Printing allows standardization of instrument descriptions and specifications, as well as instructions on their use.
Famous medieval composers include Hildegard of Bingen, William of Machaut, Lenin, Perein, Philippe de Vitry, Francesco Landini, and Johannes Ciconia.
Komponis Renaissance terkenal termasuk Josquin des Prez, Giovanni Pierluigi da Palestrina, John Dunstaple, Johannes Ockeghem, Orlande de Lassus, Guillaume Du Fay, Gilles Binchois, Thomas Tallis, William Byrd, Giovanni Gabrieli, Carlo Gesualdo, John Dowland, Jacob Obrecht, Adrian Willaert , Jacques Arcadelt, dan Cipriano de Rore.
Periode praktik-umum
The period of general practice is usually defined as the era between formation and the dissolution of hegemony from common practice notes. The term usually covers about two and a half centuries, covering the Baroque, Classical, and Romantic periods.
Baroque Music
Baroque music is characterized by the use of complex counterpoint tonal and the use of basso continuo, a continuous bass line. Music becomes more complex compared to previous period songs. The beginnings of the form of a sonata are formed in kanzona, as are the ideas of more formal themes and variations. Major and minor tone as a means to manage dissonance and chromaticism in music takes full form.
During the Baroque era, keyboard music played in the harpsichord and pipe organ became increasingly popular, and the string violin family took shape that is generally seen today. Opera as a staged musical play begins to distinguish itself from previous musical and dramatic forms, and vocal forms such as cantata and oratorio become more common. The vocalist began adding decorations for the melody. The instrumental ensembles begin to differentiate and standardize by size, giving rise to an early orchestra for larger ensembles, with room music written for smaller instrument groups in which parts are played by individual instruments (not of mass). Concerto as a vehicle for solo performances accompanied by an orchestra became widespread.
Theories surrounding the same temperament begin to be incorporated into wider practice, primarily because it allows for the possibility of a wider range of unruly keyboard instruments. Although Bach did not use the same temperament, as modern pianos are generally tuned, changes in the temperament of the meanone system, common at the time, to temperaments that make modulation between all musically accepted keys, allow Bach's Well-Tempered Clavier .
Important composers of this era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Henry Purcell, Claudio Monteverdi, Domenico Scarlatti, Georg Philipp Telemann, Arcangelo Corelli, Alessandro Scarlatti, Jean-Philippe Rameau, Jean-Baptiste Lully, and Heinrich SchÃÆ'¼tz.
Classic-era music (or-period)
The Classical Era, from about 1750 to 1820, set many norms of composition, presentation, and style, and also when the piano became the dominant keyboard instrument. The basic base needed for an orchestra becomes standardized (though they will grow because of the wider potential of instruments developed in the following centuries). The music chamber grew to include an ensemble with as many as 8 to 10 players for serenades. Opera continues to grow, with regional styles in Italy, France, and German-speaking land. The opera buffa , a form of comic opera, is growing in popularity. The symphony itself became a musical form, and the concerto was developed as a vehicle for displaying virtuoso playing skills. Orchestras no longer requires the harpsichord (which has become part of the traditional continuo in Baroque style), and is often led by a major violinist (now called a concertmaster).
Wind instruments became more refined in the Classical era. While double-reeded instruments such as oboe and bassoon became standard in the Baroque, single claweted clarinet families were not widely used until Mozart expanded his role in orchestra, space, and concerto settings.
The main composers of this period included Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn, Christoph Willibald Gluck, Johann Christian Bach, Luigi Boccherini, Carl Philipp Emanuel Bach, Muzio Clementi, Antonio Salieri, and Johann Nepomuk Hummel.
Romantic era music
Romantic era music, from about the first decade of the nineteenth century to the beginning of the 20th century, is characterized by an increased interest in expanded melodies, as well as expressive and emotional elements, romantic parallelism in other art forms. The musical forms begin to break out of the shapes of the Classical era (even when they are being codified), with free-form pieces such as nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes are ignored or minimized. Music becomes more colorful, dissonant, and colorful, with tension (with respect to the norms received from older forms) of increasingly key signatures. The art song (or Lied ) reached maturity in this era, as did the grand opera grand scale, eventually replaced by the circle of the Richard Wagner Ring.
In the 19th century, music institutions emerged from the control of wealthy customers, as composers and musicians could build an independent life from the nobility. The growing interest in music by the growing middle class throughout Western Europe encourages the creation of organizations for the teaching, performing, and preserving of music. Piano, which reached its modern construction in this era (partly due to industrial progress in metallurgy) became very popular among the middle class, whose demands on instruments spurred a large number of piano makers. Many symphonic orchestras date their establishment into this era. Some musicians and composers are the stars of the day; some, such as Franz Liszt and NiccolÃÆ'² Paganini, fulfill both roles.
The family of instruments used, especially in the orchestra, is growing. Various percussion instruments began to appear. The brass instruments take on a larger role, since the introduction of the rotary valve allows them to play a wider range of notes. The size of the orchestra (usually about 40 in the Classical era) grew to over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has performed with over 150 instrumentalists and a choir of over 400.
The ideas and institutions of European culture began to follow colonial expansion to other parts of the world. There was also an increase, especially towards the end of the era, nationalism in music (echoing, in some cases, political sentiments of that time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and AntonÃÆ'n Dvo? ÃÆ'¡ k echoed the traditional music of their homeland in their compositions.
Composed terkemuka era ini termasuk Pyotr Ilyich Tchaikovsky, Fredrik Chopin, Hector Berlioz, Franz Schubert, Robert Schumann, Felix Mendelssohn, Franz Liszt, Giuseppe Verdi, Richard Wagner, Johannes Brahms, dan Johann Strauss II
The leading composers of the early 20th century included Igor Stravinsky, Claude Debussy, Dmitri Shostakovich, Sergei Rachmaninoff, Sergei Prokofiev, Arnold Schoenberg, Anton Webern, Alban Berg, Aram Khachaturian, George Gershwin, Edvard Grieg, and BÃÆ'Ã… © la BartÃÆ'³k. Although the composers this time can be considered Romantic, usually their work does not match the style of the period.
the 20th and 21st centuries
Modern, high modern, post-modern, post-postmodern, or contemporary music
Including various post-Romantic styles composed throughout the year 2000, 20th century classical music comprises romantic, impressionist, neoclassical, neo-romantic, neomedieval, and postmodern compositions. Modernism (1890-1930) marks an era when many composers rejected certain values ​​from the period of common practice, such as traditional tones, melodies, instrumentation, and structures. The modern-high era sees the rise of neo-classical and serial music. Some authorities claim high modernism as the beginning of postmodern music from around 1930. Others have postmodern music that is equated with "contemporary music" composed from the late 20th century to the beginning of the 21st century.
Women in classical music
Almost all the composers described in music textbooks on classical music and whose work is widely performed as part of a standard concert repertoire are male composers, although there have been a large number of female composers throughout the period of classical music. Music Expert Marcia Citron has asked "[w] hy is music composed by women who are so marginalized with a standard 'classic' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of female composers from 'canons' received from the work of the music performed." He argues that in the 1800s, female composers usually wrote art songs for performances in small recitals rather than symphonies intended for performances by orchestras in the great hall, with recent works considered the most important genres for composers; because the female composers do not write much symphonies, they are considered not well known as composers. In "... Concise Oxford History of Music , Clara S [c] humann is the only composer of the mentioned sic [/i]." Abbey Philips stated that "[d] During the 20th century women who wrote/played received far less attention than their male counterparts."
Composer timeline
Significance of written notation
A literalist view of scoring significance
Although there is a distinction between certain performances of classical works, a piece of classical music is generally held to go beyond any interpretation of it. The use of music notation is an effective method for transmitting classical music, because written music contains technical instructions for doing the work.
A written score, however, does not usually contain explicit instructions on how to interpret a work in terms of production or performance, regardless of direction for dynamics, tempo and expression (to some extent). It is left to the wisdom of the players, guided by their personal experience and their musical education, their knowledge of work idioms, their personal artistic tastes, and the accumulation of historic performances.
Criticism of literalist views
All critics have argued that it was only from the middle of the nineteenth century, and especially in the 20th century, that scores began to hold a very high meaning. Previously, improvisation (in preludes, cadenza and ornaments), rhythmic versatility (eg, rubato tempo), improvisational deviations from scores and oral traditions play an integral part of style. The classical musicians tend to use scores and parts taken from them to play music. However, even with the notation of providing the key elements of music, there is an outline in the performance of the works. Some of these latitude results from the limitations inherent in musical notation, although attempts to complement traditional notation with signs and annotations show subtler nuances tend to overwhelm and paralyze players.
Some quotes that highlight the criticism of overvaluing scores:
- "... one of the most stubborn modern misconceptions about baroque music is that metronomic regularity is intended" (Baroque Interpretation in Grove 5th edition by Robert Donington)
- "Too many teachers, conditioned to twentieth-century ideas, taught Bach and other Baroque music the wrong way.This leads to what Sol Campberg's musicians call 'Bach sewing machine'."
- "... the tendency to look the same, sound the same and think the same.Conservatori guilty and they have been guilty for years now.Every sensitive musicians who have traveled the world have recorded the same.Conservatori, from Moscow and Leningrad to Juilliard , Curtis and Indiana, producing standard products [...] Clarity, unpleasant rhythm, easy technique, 'music'. I put the word musicianship in quotation marks, because as often as not, it's the wrong kind of music - a music that sees trees and not jungle, which takes care of detail but ignores the big picture; a music tied to a printed note rather than the emotional significance of a work.
The fact remains that there is a frightening uniformity today and also a lack of knowledge about the culture and traditions of the show in the past. "(" School of Music Playing Robot? "By Harold C. Schonberg)
Improvisation
Improvisation has played an important role in classical music. The rest of the improvisational tradition in classical music can be heard in cadenza, a section mostly found in concerts and solo works, designed to allow skilled performers to demonstrate their virtuoso skills on the instrument. Traditionally this is improvised by players; However, it is often written for (or sometimes by) previous players. Improvisation is also an important aspect in the authentic performances of Baroque opera and bel canto (especially opera Vincenzo Bellini), and best exemplified by da capo aria , a form in which famous singers typically make variations of thematic problems from aria in the recapitulation section (part 'B part'/'da capo'). An example is the Beverly Sills' complex, though pre-written, a variation of "Da tempeste il legno infranto" from HÃÆ'¤ndel Giulio Cesare .
His written transmission, along with the worship conferred on certain classical works, has led to the hope that the performers will play a work in a way that realizes in the original intentions of the composer. During the 19th century, the detail given by composers in their scores generally increased. But the reverse trend - the admiration of the players for the new "interpretation" of the composer's work - can be seen, and it is unknown to a composer to praise a player for achieving a better realization of the original intention than the composer to imagine. Thus, classical players often achieve a high reputation for their music, even if they do not compose themselves. But in general, the composer is remembered more than the players.
The virtue of the composer's written score has also brought, to this day, to the relatively small role played by improvisations in classical music, quite unlike the practice of musicians who lived during the middle ages, renaissance, baroque and early romance. Improvisation in classical musical performances was common during the Baroque era and early romance, but was strongly reduced during the second half of the 20th century. During the classical era, Mozart and Beethoven often improvised the cadenza to their piano concerts (and therefore encouraged others to do so), but for violin concerts they provided written cadenza for use by other soloists. In opera, the practice of singing strictly with scores, namely coming scritto , is famously spread by soprano Maria Callas, who calls this practice 'strict attack' and implies that it allows the intention of the composer to become more understanding, while learning music for the first time.
Relationships with other musical traditions
Popular music
Classical music often incorporates elements or material from popular music from the time of the composer. Examples include occasional music such as the use of Brahms from student drink songs in his Academic Festival Overture , genres exemplified by Kurt Weill's The Threepenny Opera , and the influence of jazz on the beginning and compost mid-20th century including Maurice Ravel, who was epitomized by the movement entitled "Blues" in sonata for violin and piano. A certain postmodern, minimalist, and postmimalist classical composer recognizes debt to popular music.
Many examples show influence in opposite directions, including popular songs based on classical music, Pachelbel's Canon has been put in place since the 1970s, and the crossover music phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) model their style of play on Baroque or Classical instrumental music, including Ritchie Blackmore and Randy Rhoads.
Folk music
Classical music composers often make use of folk music (music created by musicians who are generally not trained classically, often from pure oral traditions). Some composers, like Dvo? ÃÆ'kk and Smetana, have used folk themes to instill a nationalist taste in their work, while others like BartÃÆ'³k have used certain themes that are completely lifted from the origin of their music.
Commercialization
Staples of certain classical music are often used commercially (either in advertisements or on movie soundtracks). In television commercials, some parts have become clichés, especially the opening of Richard Strauss' Also sprach Zarathustra (made famous in the 2001 film: A Space Odyssey) and the opening section of "O Fortuna" from Carl Orff's Carmina Burana ; Other examples include "Dies irae" from Verdi Requiem, Edvard Grieg "In the Hall of the Mountain King" from Peer Gynt , the opening bell of Beethoven's Symphony No. 5, Wagner's "Ride of the Valkyrie" from Rimsky-Korsakov's "Flight of the Bumblebee", and a quote from Aaron Copland Rodeo . Several works from the Golden Age of Animation match the action with classical music. Notable examples are Walt Disney, Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.. Seville Bunny and What is Opera, Dock?
Similarly, film and television often return to standard, classic music citation cliches to convey refinement or luxury: some of the most commonly heard pieces in this category include Bach's Cello Suite No. 1, Mozart Eine Kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as directed by Rimsky-Korsakov), and Rossini "< i> William Tell Bids ". The same section is often used by phone call centers to induce a sense of calm in the waiting customers in the queue. Shawn Vancour argues that the commercialization of classical music in the early 20th century may have harmed the music industry through inadequate representation.
Public domain
Since the range of classical music production dates from the 14th century to the 21st century, most of this music (14th century to early 20th century) is included in the public domain, especially sheet music and tablatures. Some projects like Musopen and Open Goldberg Variations were created to produce high quality audio music files and release them into the public domain, mostly available on the Archive Internet site.
The Open Goldberg Variations project released a braille format into the public domain that can be used to produce paper or electronic scores, Braille e-books, for the blind.
Education
During the 1990s, several research papers and popular books wrote about what came to be called the "Mozart effect": temporary observations, small increases in scores on specific tests as a result of listening to Mozart's work. This approach has been popularized in a book by Don Campbell, and is based on experiments published in Nature which show that listening to Mozart raises the student's IQ momentarily by 8 to 9 points. The popularized version of this theory is summarized by music columnist New York Times Alex Ross: "researchers... have decided that listening to Mozart really makes you smarter." Promoters market CDs that claim to induce their effects. Florida passed legislation requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the Georgian governor budgeted $ 105,000 a year to provide every child born in Georgia with classical music cassettes or CDs. One of the original study co-authors of the Mozart effect commented "I do not think it can hurt me all to expose children to a wonderful cultural experience, but I think the money could be better spent on music education programs."
In 1996/97, a study was conducted on a large population of middle school students at Cherry Creek School District in Denver, Colorado, USA. Studies show that students who are actively listening to classical music before learning have a higher academic value. Further research shows that students who listened to the music before the exam also had achievement scores that increased positively. Students who listen to rock-and-roll or Country music have a fairly low score. Further studies show that students who use classical music during the course of study have a significant leap in their academic performance; whereas, those who listen to other types of music have significantly lowered academic scores. The research was conducted at several schools in the Cherry Creek School District and conducted through the University of Colorado. This study reflects some recent research (ie Mike Manthei and Steve N. Kelly of the University of Nebraska in Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who have significant results through their work discourse.
See also
- List of classical music and art traditions
- List of classical music in literature
Source of the article : Wikipedia
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