Classical Music|Lets Talk About Classical Music
Jun
30
Filed Under (Classical Music) by Elizabeth
Malcolm Blake
After Bach and Handel, trumpet playing declined. Haydn, the great successor of these two masters, did not do well with trumpets. When Haydn entered the service of Prince Esterhazy, music-loving prince of Austria, his orchestra at first did not include trumpets at all.
As late as 1766, the regular personnel of this orchestra, one of the foremost in Europe, consisted of six violins and violas, one cello, one string bass, one flute, two oboes, two bassoons and four horns but no trumpets or cornets. Several years later the resources of the orchestra were enlarged so that trumpets and tympani could be added when needed.
Even when Haydn did use trumpets, he scored for them so they played an octave or a sixth above the horns. To this thin arrangement he added drums for accompaniment. He probably felt the need of filling in with something, and the drums seemed the most appropriate.
Mozart, who was at first Haydn’s pupil but whose genius lifted him to a place above his master, seemed to share Haydn’s dislike for trumpets. This antipathy for trumpets was due to an extremely sensitive nature. Until Mozart was ten years old, the sound of the trumpet was excruciatingly painful to him, and he could not endure it.
As an adult he found little pleasure in trumpets, and he used them sparingly. In 1788 he wrote his three greatest symphonies, but in only two of them did he use the trumpet. He could not endure the high clarion parts written by Bach and HandeL He even rearranged some of this music, giving the high clarion parts to the clarinets.
Beethoven generally wrote for two trumpets and often used them as solo instruments. This can hardly be interpreted to mean that Beethoven was particularly fond of the trumpet, for it was a known custom of his to score as much as possible for all players in the orchestra and to pass around the solo parts in order to keep them all interested.
In general he followed the custom of Mozart and Haydn in handling the trumpets, writing for them parts which were an octave, a sixth or sometimes a third above the horns, all to the accompaniment of the pounding of the tympani.
Although it probably was just as well that the trend was away from the high clarion writing of Bach and Handel, the composers who followed failed to invent any writing for the trumpet which was as interesting. Bach and Handel and their predecessors made the trumpet one of the most interesting instruments in the orchestra.
They no doubt went to extreme lengths and exhausted the possibilities along this line, but they have to be given credit for resourcefulness and inventiveness. When composers after Bach and Handel abandoned this style of writing, they failed to bring forth anything to take its place.
They used the trumpets much as bugles are used today in drum corps. The trumpet parts were thin chords whose poverty of design was covered up in the noise of the tympani. They apparently did not think well of the long trumpets on which it was possible to play chromatically in the upper registers.
This kind of playing was a man killer for the trumpeters, but it did have possibilities which some feel were not fully exploited. These old masters also knew about adding crooks to the simple trumpet, in order to obtain, by jumping from one trumpet to the other, something approximating chromatic playing. Wagner’s success with this type of instrument shows well enough that Mozart, Haydn and Beethoven overlooked possibilities in the trumpet of their time.
Instead of taking advantage of the long trumpet with its diatonic and chromatic upper registers, and instead of using the trumpet with crooks as did Wagner, they contented themselves with writing thin tonic and dominant chords for these instruments.
Possibly it is expecting too much, even from such geniuses as Haydn, Mozart and Beethoven, to look for trumpet writing beyond the thin chords based on the tonic and dominant. After all, although Wagner did great things on the simple trumpet without valves, he had set before him the example of piston-trumpet performance.
He chose the simple trumpet because he preferred the tone to that of the valve trumpet, but the example of the valve trumpet must have suggested the superior trumpet writing for the simple trumpet. To appreciate what Haydn, Mozart and Beethoven were up against, we need only examine what sort of music is written for the regular military bugle today.
Bugle calls are limited to five or six notes. Other notes are possible, but these five or six are the best in quality and the easiest to blow.
The obstacles in making music with these notes are obvious. They have wide gaps between them, and their range limits the music to a monotonous span. In the upper part of the scale the notes are closer together and have greater musical possibilities, but these notes are hard to play and can be blown only by a few powerful individuals.
Even with the accurately built instruments today, many players cannot hit the ninth and tenth partials; on the crude bugles two hundred years or more ago it is doubtful if many players could go beyond the sixth. It is little wonder that early composers did not think seriously about the musical possibilities of such instruments.
After Bach and Handel, trumpet playing declined. Haydn, the great successor of these two masters, did not do well with trumpets. When Haydn entered the service of Prince Esterhazy, music-loving prince of Austria, his orchestra at first did not include trumpets at all.
As late as 1766, the regular personnel of this orchestra, one of the foremost in Europe, consisted of six violins and violas, one cello, one string bass, one flute, two oboes, two bassoons and four horns but no trumpets or cornets. Several years later the resources of the orchestra were enlarged so that trumpets and tympani could be added when needed.
Even when Haydn did use trumpets, he scored for them so they played an octave or a sixth above the horns. To this thin arrangement he added drums for accompaniment. He probably felt the need of filling in with something, and the drums seemed the most appropriate.
Mozart, who was at first Haydn’s pupil but whose genius lifted him to a place above his master, seemed to share Haydn’s dislike for trumpets. This antipathy for trumpets was due to an extremely sensitive nature. Until Mozart was ten years old, the sound of the trumpet was excruciatingly painful to him, and he could not endure it.
As an adult he found little pleasure in trumpets, and he used them sparingly. In 1788 he wrote his three greatest symphonies, but in only two of them did he use the trumpet. He could not endure the high clarion parts written by Bach and HandeL He even rearranged some of this music, giving the high clarion parts to the clarinets.
Beethoven generally wrote for two trumpets and often used them as solo instruments. This can hardly be interpreted to mean that Beethoven was particularly fond of the trumpet, for it was a known custom of his to score as much as possible for all players in the orchestra and to pass around the solo parts in order to keep them all interested.
In general he followed the custom of Mozart and Haydn in handling the trumpets, writing for them parts which were an octave, a sixth or sometimes a third above the horns, all to the accompaniment of the pounding of the tympani.
Although it probably was just as well that the trend was away from the high clarion writing of Bach and Handel, the composers who followed failed to invent any writing for the trumpet which was as interesting. Bach and Handel and their predecessors made the trumpet one of the most interesting instruments in the orchestra.
They no doubt went to extreme lengths and exhausted the possibilities along this line, but they have to be given credit for resourcefulness and inventiveness. When composers after Bach and Handel abandoned this style of writing, they failed to bring forth anything to take its place.
They used the trumpets much as bugles are used today in drum corps. The trumpet parts were thin chords whose poverty of design was covered up in the noise of the tympani. They apparently did not think well of the long trumpets on which it was possible to play chromatically in the upper registers.
This kind of playing was a man killer for the trumpeters, but it did have possibilities which some feel were not fully exploited. These old masters also knew about adding crooks to the simple trumpet, in order to obtain, by jumping from one trumpet to the other, something approximating chromatic playing. Wagner’s success with this type of instrument shows well enough that Mozart, Haydn and Beethoven overlooked possibilities in the trumpet of their time.
Instead of taking advantage of the long trumpet with its diatonic and chromatic upper registers, and instead of using the trumpet with crooks as did Wagner, they contented themselves with writing thin tonic and dominant chords for these instruments.
Possibly it is expecting too much, even from such geniuses as Haydn, Mozart and Beethoven, to look for trumpet writing beyond the thin chords based on the tonic and dominant. After all, although Wagner did great things on the simple trumpet without valves, he had set before him the example of piston-trumpet performance.
He chose the simple trumpet because he preferred the tone to that of the valve trumpet, but the example of the valve trumpet must have suggested the superior trumpet writing for the simple trumpet. To appreciate what Haydn, Mozart and Beethoven were up against, we need only examine what sort of music is written for the regular military bugle today.
Bugle calls are limited to five or six notes. Other notes are possible, but these five or six are the best in quality and the easiest to blow.
The obstacles in making music with these notes are obvious. They have wide gaps between them, and their range limits the music to a monotonous span. In the upper part of the scale the notes are closer together and have greater musical possibilities, but these notes are hard to play and can be blown only by a few powerful individuals.
Even with the accurately built instruments today, many players cannot hit the ninth and tenth partials; on the crude bugles two hundred years or more ago it is doubtful if many players could go beyond the sixth. It is little wonder that early composers did not think seriously about the musical possibilities of such instruments.
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Jun
30
Filed Under (Classical Music) by Elizabeth
Urban music
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musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. Later, in Rome, ars musica embraced poetry as well as instrument-oriented music. In the European Middle Ages, musica was part of the mathematical quadrivium: arithmetics, geometry, astronomy and musica. The concept of musica was split into three major kinds by the fifth century philosopher, Boethius: musica universalis, musica humana, and musica instrumentalis. Of those, only the last? />Musica universalis or musica mundana referred to the order of the universe, as God had $Dollar$ Counts” title=”Thank For The Support” />
Etymology
The word music comes from the Greek mousikê (tekhnê) by way of the Latin created it in “measure, number and weight”. The proportions of the spheres of the planets and stars (which at the time were still thought to revolve around the earth) were perceived as a form of music, without necessarily implying that any sound would be heard—music refers strictly to the mathematical proportions. From this concept later resulted the romantic idea of a music of the spheres. Musica humana, designated the proportions of the human body. These were thought to reflect the proportions of the Heavens and as such, to be an expression of God’s greatness. To Medieval thinking, all things were connected with each other—a mode of thought that finds its traces today in the occult sciences or esoteric thought—ranging from astrology to believing certain minerals have certain beneficiary effects.
Musica instrumentalis, finally, was the lowliest of the three disciplines and referred to the manifestation of those same mathematical proportions in sound—be it sung or played on instruments. The polyphonic organization of different melodies to sound at the same time was still a relatively new invention then, and it is understandable that the mathematical or physical relationships in frequency that give rise to the musical intervals as we hear them, should be foremost among the preoccupations of Medieval musicians.
[edit] Translations
The languages of many cultures do not include a word for or that would be translated as music. Inuit and most North American Indian languages do not have a general term for music. Among the Aztecs, the ancient Mexican theory of rhetorics, poetry, dance, and instrumental music, used the Nahuatl term In xochitl-in kwikatl to refer a complex mix of music and other poetic verbal and non-verbal elements, and reserve the word Kwikakayotl (or cuicacayotl) only for the sung expressions (Leon-Portilla 2007, 11). In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, Eggon or Jarawa. Many other languages have terms which only partly cover what Europeans mean by the term music (Schafer). The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms (kantun), European and non-Mapuche music (kantun winka), ceremonial songs (öl), and tayil (Robertson 1976, 39).
Some languages in West Africa have no term for music but the speakers do have the concept (Nettl 1989,[citation needed]). Musiqi is the Persian word for the science and art of music, muzik being the sound and performance of music (Sakata 1983,[citation needed]), though some things European influenced listeners would include, such as Quran chanting, are excluded. Actually, there are varying degrees of “musicness”; Quran chanting and Adhan is not considered music, but classical improvised song, classical instrumental metric composition, and popular dance music are.
Click the picture to download your favorites Mp3 songs into your computer
Lets Keep the page up and Running, Any lil Donations Counts
musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. Later, in Rome, ars musica embraced poetry as well as instrument-oriented music. In the European Middle Ages, musica was part of the mathematical quadrivium: arithmetics, geometry, astronomy and musica. The concept of musica was split into three major kinds by the fifth century philosopher, Boethius: musica universalis, musica humana, and musica instrumentalis. Of those, only the last? />Musica universalis or musica mundana referred to the order of the universe, as God had $Dollar$ Counts” title=”Thank For The Support” />
Etymology
The word music comes from the Greek mousikê (tekhnê) by way of the Latin created it in “measure, number and weight”. The proportions of the spheres of the planets and stars (which at the time were still thought to revolve around the earth) were perceived as a form of music, without necessarily implying that any sound would be heard—music refers strictly to the mathematical proportions. From this concept later resulted the romantic idea of a music of the spheres. Musica humana, designated the proportions of the human body. These were thought to reflect the proportions of the Heavens and as such, to be an expression of God’s greatness. To Medieval thinking, all things were connected with each other—a mode of thought that finds its traces today in the occult sciences or esoteric thought—ranging from astrology to believing certain minerals have certain beneficiary effects.
Musica instrumentalis, finally, was the lowliest of the three disciplines and referred to the manifestation of those same mathematical proportions in sound—be it sung or played on instruments. The polyphonic organization of different melodies to sound at the same time was still a relatively new invention then, and it is understandable that the mathematical or physical relationships in frequency that give rise to the musical intervals as we hear them, should be foremost among the preoccupations of Medieval musicians.
[edit] Translations
The languages of many cultures do not include a word for or that would be translated as music. Inuit and most North American Indian languages do not have a general term for music. Among the Aztecs, the ancient Mexican theory of rhetorics, poetry, dance, and instrumental music, used the Nahuatl term In xochitl-in kwikatl to refer a complex mix of music and other poetic verbal and non-verbal elements, and reserve the word Kwikakayotl (or cuicacayotl) only for the sung expressions (Leon-Portilla 2007, 11). In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, Eggon or Jarawa. Many other languages have terms which only partly cover what Europeans mean by the term music (Schafer). The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms (kantun), European and non-Mapuche music (kantun winka), ceremonial songs (öl), and tayil (Robertson 1976, 39).
Some languages in West Africa have no term for music but the speakers do have the concept (Nettl 1989,[citation needed]). Musiqi is the Persian word for the science and art of music, muzik being the sound and performance of music (Sakata 1983,[citation needed]), though some things European influenced listeners would include, such as Quran chanting, are excluded. Actually, there are varying degrees of “musicness”; Quran chanting and Adhan is not considered music, but classical improvised song, classical instrumental metric composition, and popular dance music are.
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Jun
23
Filed Under (Classical Music) by Elizabeth
Serenula L
like our society, music, careers, and family life. Things like that.
i don’t really understand it that much.
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like our society, music, careers, and family life. Things like that.
i don’t really understand it that much.
Powered by Yahoo Answers
Jun
14
Filed Under (Film) by Elizabeth
Bacholoji
Bwv1048, Freiburg Baroque Orchestra … bach brandenburg concerto bwv 1048 freiburg
Jun
03
Filed Under (Classical Music) by Elizabeth
Zack Fair
For the most part it can be distinguished by the type of instruments in the musical piece. Most modern forms of music only have a couple of instrumentations used in its creation, whereas classical music uses several types of instrumentation. Musicians of this type of music are extremely skilled in their chosen instrument because of the detailed compositions.
The instruments used in classical music generally come from five or so different groups of instruments, including string instruments, woodwinds, brass instruments and percussion instruments. The use of these types of instruments generally makes up a symphonic orchestra. When the human voice is added to this ensemble of instrument, and opera is formed.
The forms of classical music are numerous as and tend to be very well defined. The concerto is a musical work in which one solo instrument is accompanied by an orchestra. This form of music was established in the Baroque period and has continued to be a strong musical force today. The symphony is a musical composition and is usually for an orchestra. The opera is an art form in which singer and musicians work together to produce a work that combines text and musical. Another form is known as dance music and its specific use is to facilitate or accompany dancing. This form can either be a whole musical piece or part of a larger musical arrangement. The suite form of music is an ordered set of instrumental or orchestral pieces of music that are performed in a concert setting rather than as accompaniments. An etude is a short musical composition designed to provide practice in a particular technical skill in the performance of a solo instrument. A symphonic poem, also known as a tone poem, is a piece of orchestral music in one movement in which some extra-musical program provides a narrative or illustrative event.
Classical music requires a strong knowledge of music and as well as skill in playing an instrument. Knowledge of music must include the familiarity of development, modulation, variation, musical phrases that are of differing lengths, counterpoint, polyphony as well as sophisticated harmony. The skill involved in playing an instrument requires the musician to be adept at sight reading, have the ability to coordinate with other players in the ensemble as well as experience in playing a composer’s music.
The popularity of classical music has been debated for years. It has been said that it is strictly for upper-class citizens, and at the same time others have said that it is popular with the working class. All in all, the popularity depends on what one considers to be classical music. Certain staples of classical music are often used commercially. Movies and television often use standard clichéd pieces of classical music to convey certain emotions to their audiences. In order for the commercial use of classical music to be effective, it has to rely on the fact that anyone who listens to the music will recognize it and be emotionally drawn to it.
Classical music has many forms that make up the genre, even though no specific form is implied in its description. The knowledge and skill of classical musicians makes these musicians sought after for orchestras or symphonies. The commercial use of certain classical pieces helps to keep the classical music alive and available to all classes of people.
For the most part it can be distinguished by the type of instruments in the musical piece. Most modern forms of music only have a couple of instrumentations used in its creation, whereas classical music uses several types of instrumentation. Musicians of this type of music are extremely skilled in their chosen instrument because of the detailed compositions.
The instruments used in classical music generally come from five or so different groups of instruments, including string instruments, woodwinds, brass instruments and percussion instruments. The use of these types of instruments generally makes up a symphonic orchestra. When the human voice is added to this ensemble of instrument, and opera is formed.
The forms of classical music are numerous as and tend to be very well defined. The concerto is a musical work in which one solo instrument is accompanied by an orchestra. This form of music was established in the Baroque period and has continued to be a strong musical force today. The symphony is a musical composition and is usually for an orchestra. The opera is an art form in which singer and musicians work together to produce a work that combines text and musical. Another form is known as dance music and its specific use is to facilitate or accompany dancing. This form can either be a whole musical piece or part of a larger musical arrangement. The suite form of music is an ordered set of instrumental or orchestral pieces of music that are performed in a concert setting rather than as accompaniments. An etude is a short musical composition designed to provide practice in a particular technical skill in the performance of a solo instrument. A symphonic poem, also known as a tone poem, is a piece of orchestral music in one movement in which some extra-musical program provides a narrative or illustrative event.
Classical music requires a strong knowledge of music and as well as skill in playing an instrument. Knowledge of music must include the familiarity of development, modulation, variation, musical phrases that are of differing lengths, counterpoint, polyphony as well as sophisticated harmony. The skill involved in playing an instrument requires the musician to be adept at sight reading, have the ability to coordinate with other players in the ensemble as well as experience in playing a composer’s music.
The popularity of classical music has been debated for years. It has been said that it is strictly for upper-class citizens, and at the same time others have said that it is popular with the working class. All in all, the popularity depends on what one considers to be classical music. Certain staples of classical music are often used commercially. Movies and television often use standard clichéd pieces of classical music to convey certain emotions to their audiences. In order for the commercial use of classical music to be effective, it has to rely on the fact that anyone who listens to the music will recognize it and be emotionally drawn to it.
Classical music has many forms that make up the genre, even though no specific form is implied in its description. The knowledge and skill of classical musicians makes these musicians sought after for orchestras or symphonies. The commercial use of certain classical pieces helps to keep the classical music alive and available to all classes of people.
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Jun
01
Filed Under (Classical Music) by Elizabeth
