“… 1945 represents a shift in music… the widespread hopes for a new social order, and therefore a new culture- demanded not just reconstruction but an alternative paradigm…” (Paul Griffiths)
The year 1945 marked the end of World War II historically, bringing along a widespread hope for new social order and thus, new culture. Together with this demand, it also represented a shift in music with musicians exploring new types of music and experiencing as well as undergoing an alternative paradigm. One such example of a composer who had undergone a change in paradigm, is Britten. In this essay I will be exploring the change of style that was impacted greatly by his trip to the Far East through his ballet work, “The Prince of Pagodas”, specifically the ‘Prelude’ of the piece.
Edward Benjamin Britten (22 November 1913 – 4 December 1976) was an English composer, conductor and pianist. An important central figure of the 20th century, he has written a range of works including orchestral, chamber and opera. In November 1955, Britten and his partner Peter Pears,
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Within traditional Balinese gamelan music, the use of the xylophone is common, and to replace the two-headed drums, Britten uses two native drums instead to simulate it in his work. He also uses cymbals, which are used in gamelan music as well in his music, in the ‘Prelude’, at bar 29 (example 3), the gong is struck once and marks the end of the prelude. This can be compared to traditional Balinese gamelan music where the ‘phrases’ end with the biggest gong being struck, and the striking of the gong similarly marks the end of the Prelude. With these examples at hand, it provides an example of how Britten’s music had undergone a change in paradigm upon his return from the Far
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Peter Sculthorpe is an Australian composer who is renowned for his experimentation and exploration of ideas and symbolism in his music. His music is a representation of his feelings in response to socio-cultural, political and historical viewpoints. For instance, his String Quartet No. 16 is a representation of the emotions of refugees trapped in detention centres. It consists of five movements entitled Loneliness, Anger, Yearning, Trauma and Freedom. Musical elements such as pitch, duration and other expressive devices show how effectively Sculthorpe evokes the feelings of refugees through each movements, especially the movements Trauma and Freedom.
A number of other genres, throughout the decade, maintained a significant following. One genre that was slow to start was Hip-Hop, while it emerged in the 1970’s it didn’t become significant until the late 1980’s. Although Classical music began to lose impetus, it gave way to a new generation of composers through invention and theoretical development. The decade was also distinguished for its assistance to electronic music, which rose in reco...
The name of this evening’s program, “Wanderlust,” refers directly to its definition: a strong desire for or impulse to travel and explore the world. The selected song cycles were written by composers of different backgrounds who were inspired by cultures outside of their own through travel or other means of exposure. In each piece, one can see these sources of inspiration manifest itself in various ways, whether it be through the composer’s choice of text, their style of composition, or other musical elements borrowed from other cultures.
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
In the text book America’s Musical Landscape by Jean Ferris, the book takes us through the history of the evolution of American music. The book delves into the different time periods of America’s music beginning with early North American music all the way to today’s modern music. Additionally, the book also explains how music, theater and film intertwine to provide some spectacular art. Jean Ferris finishes the book by exploring America’s concert music. Let us now take a closer look into the different time periods brought out in the book.
Beethoven is viewed as a transitional figure between the classical and romantic eras and from 1800 to 1809 he write some of the most revolutionary compositions in the history of western music. This essay therefore will aim to discuss the numerous ways in which Ludwig Van Beethoven expanded the formal and expressive content of the high classical style he inherited.
Born Gustavus Theodore von Holst in Cheltenham, England on September 21, 1874, Gustav Holst was a famous popular modern composer of the early 20th century. He is best known for the First and Second Suites for Military Band, and his most famous work of all, The Planets suite, which left him as one of the most influential contemporary composers of the 20th century.
In assessing the lives of Handel and Beethoven, both had a difficult childhood. Handel’s father didn’t support his passion for music and forbade him from learning it until his latter teen years. Beethoven had to provide for his family, and was under extreme pressure to compete with young Mozart’s talent. Handel and Beethoven both are notorious composers that had a substantial impact during their time, as well as today. Their works have a sense of everlastingness in which their spirits live
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
'It seems to me, my dear friend, that the music of this ballet will be one of my best creations. The subject is so poetic, so grateful for music, that 1 have worked on it with enthusiasm and written it with the warmth and enthusiasm upon which the worth of a composition always depends." - Tchaikovsky, to Nadia von Meck.
"A clear judgment concerning the relation of serious music to popular music can be arrived at only by strict attention to the fundamental characteristic of popular music: standardization." (Adorno 1941)
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.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
My composer is known as an influential minimalist and has written a variety of works such as opera, musical theater, symphonies, chamber music, and film scores and much more. This composer’s identity is none other than Philip Glass. The major focus in this paper are to give a moderately brief background on Philip Glass, examining his style of music along with how others view it and describe one of Philip Glass’s musical pieces. The background or bio about Philip Glass has information primary associated with events surrounding his career. When we reach examining Philip Glass’s style of music, people’s opinions on his music and who he sounds similar too is discussed. The final part of paper basically discuss one of Philip Glass’s works and how it serves as an example to his other music.