More and More

Well this class i was forced to navigate through wiki to find varies "clues". I embedded a file on a page and messed with format. Ididnt get as far with that as the scavanger hunt, which I did complete, but I did make purple text and big text. So little by little its becoming less of an enigma.

early 20th century Romantic style

At the end of the 19th century the Romantic style was starting to break apart, moving in various directions, such as Impressionism and Post-romanticism. In the 20th century, the different styles that emerged from the music of the previous century influenced composers to follow new trends, sometimes as a reaction to that music, sometimes as an extension of it, and both trends co-existed well into the 20th century. The former trends, such as Expressionism are discussed later. In the early part of the 20th century, many composers wrote music which was an extension of 19th-century Romantic music, and traditional instrumental groupings such as the orchestra and string quartet remained the most common. Traditional forms such as the symphony and concerto remained in use. Guatav Mahler and Jean Sibelius are examples of composers who took the traditional symphonic forms and reworked them. More generally, that "the composer who most directly and completely connects late Wagner and the 20th century is Arnold Schoenberg. The still present style of Romantic style music lasted in to the early 20th century had lasting influences in to the mid 20th century. The pattern of expressing emotion in feeling through music is still applied to diffrent genres of music today. The lasting effects of late romantic music is still follwing on in to the 21st century, but has transitioned in to a completely diffrent style and form of music

Nationalism in music

Nationalism in music, something that prospered in the late 1800's. Musical nationalism refers to the use of musical ideas that are identified with a specific countries, regions, or ethnicities, and such. Most nationalist music stems from folk tunes and melodies, rhythms, and harmonies inspired by their country or region. Musical nationalism can also include the use of folklore as a basis for works including opera.

            Although some evidence of the nationalist styles can be seen as early as the late 18th century, nationalism as music is generally understood to have emerged part way into the romantic period, beginning around the mid-19th century and continuing well into the twentieth. It initially began as a reaction against the dominance of "German" music. That and later developed alongside the growing movements for national liberation and self-determination that characterized much of the 19th century. Countries or regions most commonly linked to musical nationalism include Russia, Czechoslovakia, Poland, Romania, Scandinavia, Spain, UK, Latin America and the United States.
            Until the 19th century, Russian music had been dominated by foreign musicians. Peter the Great had begun this trend by bringing foreign musicians to his kingdom. As a result, very few Russian compositions in the western European art music tradition exist before Glinka. In Great Britain, nationalist music was more prominent in Scotland, Ireland and Wales than in England. These countries have always had a strong connection to their heritage, and Romantic composers incorporated elements of British folk music into their works.
            Nationalist music was also present Norway, Finland, Sweden, Spain, Mexico, People’s Republic of China, Italy, and Czechoslovakia. Czechoslovakia was a country formed in 1918 by the combination of the Bohemian, Moravian, and Slovakian territories. These territories had been under the control of the Habsburg Empire. As a result, the imperial language, German, and the imperial religion, Catholicism, had become a way of life for the Czech people. These factors all contributed to the Czech nationalist style of music.
            Nationalism was a movement that effected government and music from the late 1800;s to the early 1900’s, and its effects are still apparent in today’s world.

Wolfgang Versus Amadeus

We have just finished watching the movie Amadeus and I’d like to compare Wolfgang Amadeus Mozart to the movie Amadeus. I would also like to discuss the parts of the movie I believe are fiction and what is accurate. I believe most of what is told about Mozart is true in a sense. The movie follows most of the musical characteristics relatively well. The music and stage performances are accurate along with other composer’s operas and music related to Mozart’s music.

On the other hand specifics on Mozart’s life and career are somewhat altered in the movie. In his early years his father did tour with him. Inspiring him and pushing his musical talents. Though the movie portrays him performing on his own on a harpsichord but when the Mozart family grand tour began to travel around Europe, his father Leopold also performed along with his sister nannerl.  In late 1769 Mozart and his father set out for Italy leaving nanner and his mother at home. They returned in early 1771 and were employed by the Salzburg court on their return from there 2nd tour of Italy.

In 1781 began his career in Vienna, began employed for a short time then doing private music jobs. 1782 Mozart was engaged to Constanze and married the same year. One day before leopold letter of permission. Together they had 6 kids, 2 of which survived infancy. In Amadeus they have only one child. All of their children had been born by Mozart’s death and 2 were alive.

Also the relationship between salieri and Mozart is mostly false. The skeam that sallieri hatched was not an actual idea along with him conditioned Mozart to write the death mass. Another thing is the spanned of time that Mozart was bedridden with his final illness was about 2 weeks, when in the movie its only about 24 hours or less.

Many non fiction things were added to the plot of Amadeus though it is still over all a very good movie.

the LUTE-HARPSICHORD: a forgotten instruments

  

During the musical changes that began as the renaissance turned to the baroque period new forms of playing, styles, and instruments began to spring up. One of these instruments is an instrument of only its period. It vaguely resembles the Piano in appearance and in the manor it produces sound, though the sound it produces is far different. The LUTE-HARPSICHORD is an instrument only of its time.

Non of the original instruments have survived the test of time and few of the craftsmen with the skill to make them are known. Fewer then ten Harpsichord makers are known and each craftsmen made only two or three instruments . much of the information on the instruments is linked to Johann Christoph Fleischer of Hamburg, Johann Nicolaus Bach and the organ builder Zacharias Hildebrandt.   

 The lute-harpsichord was played in a similar what to a piano, but the major difference is that you could not control the sound of which a string made when it was plucked. there was only one volume that was produceda piano uses hammers that strike strings on the inside of the piano when a harpsichord uses a pick. so when a key is pushed a pick plucks a string which produces a sound.

One noticeable quality of the sound the harpsichord produced is that it is some what fancy, which fit in with the era. the fanciness of the era was reflected in the sound the harpsichord.  This sound and type of music was only of its time, it is now thought of old or classical.

 Its two gut-stringed stops together made up a double-tuned, 16-foot stop, with the pairs in the lower octave-and-a-half tuned an octave apart, and in the upper range in unison. In addition there was a 4-foot metal-stringed stop, and the combination of the 4-foot and the 16-foot stops produced a "delicate and bell-like" tone. This larger instrument was in the shape of a regular concert harpsichord.

The use of the harpsicord did not extend in to the classical period for the sound of the piano was prefered over the harpsicord. the volume of the harpsicord could not be controlled. cause the strings were plucked it produced volume, with the piano the volume could be controlled by the pressure applied to the keys.

The is why the instrument for the most part only existed in the baroque period. By the classical period the piano had taken the role were the harpsicord would have been used. And it has earned it self the title of one of the lost arts of music

no new realeases

      So, if i believed simple facts, i would say there was no music else where in the world in the medival period. There were thriving empires in south india, and culture rapidly expanding in the middle east. Though Europe was in the dark ages, the rest of the world wasn't. But was music something that didnt not concern people of this time?
      All the places ive tried to research they talk of empires and cultures, but music is not majorly present, there was music in india and palestine, and china. But it seems i didnt play a major role. Was it the fear of the ever expanding black death. Or maybe these generations of people did not have a appeal to music.
     The lust for power and unity might have driven a desire for music from the people. Though there are those musicians that pursued the passion, it didnt go beyond that. Also many musical discoveries, forms ext. originated from europe, and with out this flow, new ideas ceased for a period, and what was known was simply used. Nothing more complex or new.

Overview of Music History

   Over the past few weeks we have been working backwards through the era's of  music. We started in the late 90's and worked are way back first in the decades then in hole era's. At the end of the romantic era, which was were we started, the music made it ovbivious that there were few new classical ideas left to compose.

   The romantic eras music became more of emotion the natural growth of a piece. Also during this era music schools were established widely. Working backwards in the early romantic era the pieces remained widely similiar. Not knowing much of the era the came before and the compotion and instrumentals sounded much the same. similiar intensity, but the feeling of the music was less emotion and organic.

   Though apon moving back in to the classical era the romantic eras style and form became obvious and a chart of the progression of the eras formed. During the classical era instrumentals were widely used. The  modern concerto, symphony, sonata, trio and quartet were practiced and pieces were played and composed for groups. Seeds of the era were sown by names largely forgotten.
   Stepping even further back to what was one of my favorite periods, the baroque period. the works of the baroque peroid laid the foundation for the classical and the romantic eras. The baroque was almost a revolution intnot only the playing styles , composition and form, and the placing of this music. Musicians were hired to play at event, dinners, festivals, and for entertainment. The modern orcestra forms were put to use, operas along with overture's, prelude, aria, recitative and chorus were formed.
  Prier to the baroque period was the renaissance period of music.