African American involvement in the nation's music making has influenced every genre of American music, helping to create a sound now recognized as distinctly American.
As is the case with all historical movements musical history includeddifferent aspects of an historical time can be seen as creating the conditions for a period to occur or a style to crystallize.
Kirby names several historical developments he thinks gave rise to the period in music history we call the Classical Period: Each of these, Kirby contends, contributed to the classic style music produced by the three quintessential Viennese masters of it: Haydn, Mozart, and Beethoven.
Some musicologists see the period extending from around to ; others see it as somewhat shorter, to Good reasons exist for both, and only rarely are beginnings and endings of historical periods and movements clear cut.
Few, if any, would disagree that Mozart and his music are rightly termed classical, both in content and intent. The change in music was a natural part of the change that took place in Western civilization generally, a change that may briefly be characterized as involving the rise of the middle class, the bourgeoisie, to political power and the concomitant decline of the aristocracy — in short, the formation of political and social life as we know it today.
This change in the political, economic, and social order had a profound effect on all musical life. At bottom, it affected the economic support for the musician.
Heretofore he had been under the patronage system, in the employment of and subservient to the wishes of a church or court, of a bishop, an archbishop, a rector, a prince, a duke, and so forth. But once the change had taken place, his support derived rather from the large and generally anonymous mass audience before which he performed his works in public concerts, and which purchased the compositions he published.
FOREWORD. The text of this little book is the joint work of Mr Leadbeater and myself; some of it has already appeared as an article in Lucifer (now the Theosophical Review), but the greater part of it is caninariojana.com drawing and painting of the Thought-Forms observed by Mr Leadbeater or by myself, or by both of us together, has been done by three friends—Mr John Varley, Mr Prince, and Miss. Religion in the World - Religion is intertwined with culture, economics, politics, and modern social relationships on every level, whether you attend church habitually, or whether you are a casual bystander, you simply cannot escape religion. Sample Personal Experience Essays. Tell why you think this book had such a profound effect on you. Sample Essay Score: Six. Comment: A very competent paper, nearly free of mechanical errors but lacking the coherent development of the superior essay. It is also occasionally repetitious and a bit unfocused at times.
The wishes and tastes of this large audience had to be satisfied, and although the great composers' refusal to compromise brought about an improvement in its taste, the vast majority of composers — most of them long forgotten — contented themselves with providing works that would gratify the mass taste and little more.
This new instrumental kind of music may generically be termed galant.
Its main features were basically a homophonic texture, simple harmonies, and regularly organized, well-balanced, easily grasped melodic phrases, the whole being unassuming, simple, pleasing, ingratiating, and sweet. The style as a whole was derived from the popular and unpretentious comic operas of the early and middle eighteenth century, especially those of the so-called Neapolitan School.
The earliest of these were simple works, the two acts of which were sandwiched in between the three acts of an opera seria. Unlike the opera seria, the characters in an opera buffa were drawn from the contemporary middle class not from classical antiquity, early history, or the Bible and frequently represented stock character-types from the popular theater, or commedia dell'arte, of the time: The opera buffa grew into an independent genre of opera, and indeed soon usurped the position in the repertory formerly occupied by the opera seria.
Yet it was instrumental music that ultimately gained the greatest importance, in contrast to the Baroque and preceding epochs.
The bulk of this instrumental music corresponded to the unassuming norms of the galant. Characteristic is the name given to many of these instrumental works — divertimento.
Other names meaning the same thing are cassation, nocturne, and serenade. Works of this type are intended as social compositions, background music, as we would say, to social gatherings of the time.
Descartes' demand for "clear and distinct" thought became an aesthetic element for the creative artist, a demand echoed by many musical theorists of the eighteenth century.
At the same time, however, there ran an important countercurrent, which opposed the dominance of reason by asserting the value of imagination in an artwork. This movement came especially from England, from the writings of Anthony Ashley Cooper, third earl of Shaftesburyand Edward Young which became known on the Continent and there exerted considerable influence, particularly in Germany.
Once the works of Shakespeare in their original versions became known, they provided a strong argument against the rationalistic conception of the artwork; and again this influence was pronounced in Germany.
Finally, the poems of the alleged Celtic bard Ossian—even after the deception of James Macpherson became known—had a powerful impact. This came about by virtue of the idealistic philosophy of the eighteenth century, the revival of conceptions that go back to Plato.
Ultimate reality was seen to lie not in the physical world, which one perceives through the senses, but in a supersensible or metaphysical realm of ideas that lies above and beyond.
The objects in the physical world were regarded as poor copies of their archetypes in the supersensible real world of ideas. In this scheme the work of art had traditionally enjoyed a peculiar position: Although it necessarily belonged to the physical world, it was also held to represent or symbolize the eternal realm of ideas.
The artist thus became a sort of mediator between the supersensible realm and that of ordinary physical reality, and hence, as someone in contact somehow with this higher realm, became very special indeed. Although this idea was not new in the eighteenth century, it there took on particular importance, for in connection with the new emphasis given the role of imagination in the artwork it had a profound effect on the idea of the artist as a creator.
In Shaftesbury's phrase, the artist is a "second maker, a just Prometheus, under Jove," whose creative power is seen as analogous to that of God himself. This idea represents the beginning of the "genius theory" that became so popular in the following century; and in the understanding of the eighteenth century the only genius was the artistic genius.
As exponents of this idea in one way or another in the eighteenth century, we can refer to the dramatists connected with the Sturm und Drang movement in Germany, as well as the Weimar classical writers Goethe, Schiller, and Herder, or, in France, Rousseau.
Toward the end of the century the German philosopher Immanuel Kant set the limits to what reason can hope to accomplish, establishing the basis for the aesthetics of the nineteenth century. The musical artwork, just as in the other arts, became a vehicle for expression, no longer being seen as the concrete and generalized affections of the Baroque, but rather as personal and subjective, the feelings of the artist himself.All in One Place!
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The Pilgrims were Puritan settlers and many of the early settlers in New England were Puritans. Essay about Religion’s Profound Effect on Musical Development Words | 15 Pages. Religion’s Profound Effect on Musical Development Religion has been an important part of man’s life. Man has allowed religion to control and influence his life in many different ways, affecting both .
FOREWORD. The text of this little book is the joint work of Mr Leadbeater and myself; some of it has already appeared as an article in Lucifer (now the Theosophical Review), but the greater part of it is caninariojana.com drawing and painting of the Thought-Forms observed by Mr Leadbeater or by myself, or by both of us together, has been done by three friends—Mr John Varley, Mr Prince, and Miss.