The beauty with this tune lies in its ... ... middle of paper ... ...of a race, and reflects feelings and tastes that are common rather than personal…while at every moment of history, it exists not in one form but in many”30. The emotions carried with “Danny Boy” are much more typical of a folk song, but it differs from this definition as well because it is known that Frederick Weatherly composed the lyrics. However, because “Londonderry Air” has had multiple artists work on it before being written down, the definition still holds true31. Despite the different descriptions used to try and classify this song, one part of the definition of folk music rings especially true: throughout its history this song’s meaning changed with each major change the Irish experienced, leaving the song just a little different with each passing generation. These differences in view can also be contributed to the form and structure of Weatherly’s lyrics.
During the middle ages, music was not very unique. A single melody, or plainchant, would be sung to words from the Bible or other religious texts. Songs were also performed at castles and marketplaces by composer-poets known as minstrels, troubadours, and trouveres. Composers included the German nun Hildegard von Bingen and the popular French trouvere Blondel de Nesle (Novak). Music either associated with the king and nobles, or it was composed for religious reasons.
Claude Debussy is known as one of the greatest Impressionist composers till date. Many musical critics believe that the Impressionist movement was a liberating intrusion in the otherwise fixated notions of Western classical music. However, Impressionism too came with a set of restrictions, incapacities and difficulties, those of which will be discussed further in the essay in relation to their influence on Debussy's composition. Born on August 27th, 1862, Claude Debussy came from an ancestral background comprising of shopkeepers, suburban employees and peasants, none of which had any musical talent or affiliation. Much unlike a majority of composers known during the Classical and Romantic eras such as Mozart or Rachmaninoff, not only did he possess no musical family background, he also had had no extensive musical training... ... middle of paper ... ...s and syncopation.
Scops: A Living History A scop is defined by the Oxford English Dictionary as "an Old English poet or minstrel." However, scops were simply so much more than that to the medieval world. They were the only means of entertainment for the people of the time. There was no television or Internet to escape to, and books were not readily available. Most medieval people in the eighth through twelfth centuries could not read or write,so the scops would tell amusing stories or tales of heroic deeds to the music of their harps.
Though these secular musicians did not engage in choral activity they did create a vocal tradition that was soon to "borrow" musical ideas from the church as the sacred motet transmogrified into the secular madrigal. The madrigal appeared as the secular equivalent of the sacred motet in the late thirteenth century. The madrigal writers immediately adopted the style of having each part as an original composition rather than use an existing melody around which other parts could be structured. The secular words were taken from the works of esteemed poets as well as original verse written specifically for madrigal purposes. The quality of the words was deemed so important that they were able to stand as poetry of merit in their own right and were sometimes published as thus.
Franz Liszt (1811-1886) was a cosmopolitan European composer and piano virtuoso of the Romantic era. Although it was his place of birth, Liszt spent most of his formative years away from Hungary, though he returned to his homeland many times over the course of his life. Liszt’s allegiance to Hungary can be found in many of his compositions through the Hungarian-Gypsy folk idiom verbunkos; however, most analyses of his “Hungarian” music are oversimplified and exoticist because of a nationalist perspective. Shay Loya, a contemporary Lisztian scholar, asserts that focusing on Liszt’s “Hungarian” works from a purely nationalistic perspective “obscures the real extent of the verbunkos idiom in Liszt’s compositions as well as the complex interaction of that idiom with other topics and styles, and ultimately with other expressions of identity.” With this in consideration, I intend to use a transcultural approach to analyze the influence of verbunkos idiom in the music of Franz Liszt. Liszt incorporated the verbunkos idiom into “Hungarian” works, along with works that were not nationally allied, to further both Romantic and Modernist ideals in his music.
The operas composed by Haydn to entertain the guests at Esterházy have vanished into history, and Beethoven wrote only one opera, Fidelio. However, the age did have some significant and lasting achievements in the area of vocal music. Specifically, some of the large choral works of Mozart, Haydn, and Beethoven, including many of Mozart's operas made lasting contributions to the body of vocal literature. Vocal music example Opera Opera had been filling theaters in Europe during most of the 17th century and the early years of the 18th century. However, for all of its popularity, it still wasn't an art form that appealed to the masses.
The seasonal songs popular in western music, especially in conjunction with the Christmas season, known as carols, have a rich and complex history full of tradition and controversy in the realms of both sacred and secular music. The concept of singing carols to celebrate holidays developed during the 13th century in France, although what was to be known as carol music had been around from centuries earlier. It is believed that when troubadour Saint Francis of Assisi had made the first Greccio crib, he began to sing songs honoring the Nativity and the joy of celebration in religion, for this was a strict Puritanical era wherein communal singing, drama, and any type of festivity was looked down upon in the first place, and absolutely abhorred in religion. The concept of singing these carols gained popularity throughout Europe towards the end of Puritan reign and the growth of the Mystery Play throughout the 14th and 15th centuries. The Mystery Plays were dramatic pieces celebrating the birth of Christ.
The Belfast Festival of 1792 was held to try an stimulate the rebirth of traditional harping, but only ended up preserving the last of its remains. A 19 year old church organist, Edward Bunting, was hired to write down the festivals tunes, and did do diligently. He found them so wonderful, that he continued to collect traditional Irish music throughout his life. We owe much of the knowledge we have today to Bunting's work. Though the harp was one of the most prominent instruments in traditional Irish music, there were several that were used.
One thing that sets Ancient Greece apart from all the other ancient cities is its true reveal of music. Back in the day, they did not think of a song being like the current songs. “Music was essential to the pattern and texture of Greek life, as it was an important feature of religious festivals, marriage and funeral rites, and banquet gatherings” (Hemingway, 2000—). They typically just had instrumentals that consisted of a kithara (a plucked string instrument), the lyre (also a string instrument), and the aulos (a double-reed instrument). These instruments are very similar to a harp and a piccolo.