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Life and work of Beethoven
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Life and work of Beethoven
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Introduction The Classical Era was a time of great change in both culture and music. Previously, the Baroque Era had been influenced mostly by the Catholic Church and the conservation of aristocracy. Their architecture was very ornate and was meant to impress visitors. Baroque palaces would usually have courts, grand staircases and reception rooms to show how wealthy they were. The Classical Era, on the other hand, was focused on a philosophy called “enlightenment”. The main idea of enlightenment is that by reason, balance, and logic, man could accomplish anything. It focuses on individuality and making your own decisions, whereas the Baroque Era depended on the church to make choices and decide the people’s beliefs. In keeping with the ideals of balance and logic, composers tried to keep the music simple and unemotional. The middle class were gaining more privileges; now they could afford to go to concerts and operas, things that used to be exclusively for the rich. The Classical Era’s architecture was inspired by Ancient Greek and Roman buildings, which were symmetrical and simple. In contrast, the Baroque period buildings were ornate and asymmetrical. Musical Form The word “sonata” comes from the Italian word “sonare” which means simply to sound. From the Classical Era onwards, composers have used the sonata form to provide basic framework for their symphonies. The sonata usually consists of three or four independent pieces called movements, each of which follows certain conventions of character and structure. The first movement is the exposition which introduces the main themes of the song. The second movement is called the development, which is where the story heats up; themes appear in fragmentary form, the composer will ... ... middle of paper ... ...Sonata Form Simplified." Key-notes Virtual Piano Studio by Albert Frantz. Web. 16 Oct. 2011 King, Don. "The History of the Classical Guitar." Academy of Guitar. Web. 10 Oct. 2011. "Ludwig Van Beethoven's Biography." Ludwig Van Beethoven's Website. Dec. 2001. Web. 12 Oct. 2011. "Wolfgang Mozart Biography." The Biography Channel website. Web. 16 Oct. 2011. “Music.” Baroque Life. No publisher, 2008. Web. 11 Oct. 2011. "Neo-classicism" World Encyclopedia . Philip's, 2008. Oxford Reference Online. Oxford University Press. 11 October 2011. Rosenfeld, Paul. New Republic: Neo Classicism and Paul Hindemith. New York. 2004. Print. Sadie, Stanley. "Classical Era, the." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 11 Oct. 2011 Wilson, Rick. "Classical Flutes; the ‘Additional Keys’." Old Flutes. Web. 10 Oct. 2011.
The overture grew out of 17th century baroque dramatic works which began with either a French ouverture, the word from which the term is derived, or an Italian overture (Sadie, 1980). Composers such as Lully, Purcell and Handel used the French overture which is in two sections, each marked with a repeat. The French overture begins with a slow homophonic section frequently using dotted rhythms often ending on a half cadence and then moves to a faster fugal or "quasi-fugal" section which usually makes a return to the slow tempo and rhythms of the first section (Stolba, 1998). The Italian overture, or sinfonia as it was sometimes called, was written in three movements which are fast-slow-fast in order, the finale often written in a dance like character (Peyser, 1986). By the eighteenth century, this type of overture prevailed for operas even in France with the first movement becoming longer and more elaborate. Sonata form was generally used and a slow introduction would often begin the work (Sadie, 1980). Due to the loose terminology of the eighteenth century, symphonies and suites were sometimes called overtures (Peyser, 1986). The slow-fast-slow alternation of tempos foreshadowed the order of movements in the Classical symphony, lacking only the menue...
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
- Boardman, Griffin and Murray, the Oxford History of the Classical World (Oxford University Press, 1986)
As the late Baroque period morphed into the new period known as the classical period, technological advances and new compositional techniques and ideas created new opportunities for the musicians of the period. The changes allowed for new performance techniques, forms, performance venues, and newly available compositional orchestrations to be improved and evolved into something new and improved for the new period.
William Henry Hadow and Charles Rosen are two historians who talk primarily about musical context. Hadow sets his discussion in the framework of classical composers' movement away from Baroque forms. He says that when Beethoven and his contemporaries chose ternary form over Baroque binary, typified in the dance suite, they chose a structure that was then used successfully into the twentieth century. This was only poss...
The composers and their works gave definition to their time eras from the free-form ways of the Modern era to the concrete more formal structure of the Baroque period. Each composer brings a new aspect to their time and brings further value to the music, creativity and knowledge of their time periods.
Classicism of the Renaissance has been replenished during the Baroque period. During the Baroque artistic period, the exploration of the fundamental components of human nature and the realm of senses and emotions were very crucial. The Baroque era was a very dynamic time that showed an abundance of radiance and color. Artists of this time are passionate and sensual. Their works were many times considered to have an overpowering emotional effect.
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
“To say the word romanticism is to say modern art - that is, intimacy, spirituality, color, aspiration towards the infinite, expressed by every means available to the arts.” Charles Baudelaire. The Romantic era in classical music symbolized an epochal time that circumnavigated the whole of Western culture. Feelings of deep emotion were beginning to be expressed in ways that would have seemed once inappropriate. Individualism began to grip you people by its reins and celebrate their unique personalities and minds. Some youth began to wear their hair long, their beards scraggly and unkept, and their clothing was inspired by the outlandish and the flamboyant. Music morphed from a once tangible aural stimulant into music marked by its decent into the depths of human emotions most of which were not rational. Classical music became a stream of consciousness, a vehicle to convey their countless emotions. In the Romantic Period, music now voiced what, for centuries, people had been too afraid to express. The culture, the composers, and the music of the Romantic era changed classical music profoundly. The Romantic era classical music manifested itself as a time of the irrational and peculiar, a time that allowed many people the opportunity to express their inmost convictions through the music.
Classical music in France started in the medieval times (10th century) and continues to develop now. The types of classical music in France can be broken into six different eras: Middle Ages, Renaissance, baroque, opera, romantic era, and the 20th century. Classical music is associated with secular music, meaning non-religious music. It covers a broad range dating from the 10th century to the present. The major genres are all part of the classical music, whether it be sacred, secular, vocal, or instrumental. As you look into the classical music of France you see that there are different styles within each era. This type of music would start out as one thing, then progress throughout the centuries. Many composers would experiment with different styles to create a separate and unique sound that would be recognized as French music.
As discussed by Greenberg (2009), the Renaissance saw many changes and advancements over a two hundred year span of evolution in music. The intellectual and social trends strayed from the absolute power of the church and secular music became admired and composed for the beauty of its art. Renaissance composers developed a more expressive style by clearly articulating lyrics “musica reservata” and a process called word painting or tone painting which reflected
Arnold, Denis. ed. The New Oxford Companion to Music. Vol. 1. Oxford: Oxford UP, 1983.
Dunkle, Roger. "The Classical Origins of Western Culture" Brooklyn College, The City University of New York. 1986 . Web. 29 July 2015.
The Baroque period of music lasted from approximately 1600 – 1750 AD. It falls into the Common Practice period and was the most predominant style of writing after the Renaissance period and before the Classical period (the Classical period uses many elements from the Baroque period). The word Baroque means highly decorated and essentially gives us an insight into what the music of the time was like. Many pieces in the Baroque style have three or four different parts which work together to produce a melodic melody which modulates to relative keys. The Baroque period developed from the Renaissance period. These two periods shared the same idea of counterpoint, yet Baroque music differed from that of the Renaissance period by having stronger rhythms and longer melodies. The era was the beginning of a number of dance suites which all have different characteristics. For example the Minuet in simple triple time does not have an anacrusis and is graceful whilst the gigue is in compound duple time, has a short anacrusis and is often very contrapuntal (where the melody is shared between two o...
The Classical Era saw the convergence of two opposing schools of thought in society. The first was the leftover from the Baroque Era, which said that the nobility had absolute power of society. The second was from the middle class, who said that the nobility had gone too far with their power and should give some of their power over to the middle class.