MUSIC 9 QTR 2 M1
MUSIC 9 QTR 2 M1
MUSIC 9 QTR 2 M1
MUSIC
Quarter 2 – Module 1
Music of the Classical Period
History
Classical Era, also called “Age of Reason”, is the period from 1750-1820. The
cultural life was dominated by the aristocracy, as patrons of musicians and artists
generally influenced the arts. Significant changes in musical forms and styles were
made. In general, classical era is used in opposition to the ideas of popular
music and folk music. Popular and folk music both tend to feature works that are
immediately appealing and "understandable", even to people who have little musical
training or knowledge. This immediate appeal usually comes from an underlying
simplicity; folk and popular music’s often feature short or repetitive forms, driving
rhythms that encourage movement and dance, melodies and harmonies that are
comfortably within their traditions.
In the middle of the 18 th century, European began to move a new style in
architecture, literature, and the arts, known as classicism. It was also pushed
forward by changes in the economic order and in social structure. Instrumental music
was patronized primarily by the nobility. Important historical events that occurred in
the West during this era were the French Revolution and the Napoleonic Wars, the
American declaration of Independence in 1776, and the American Revolution.
The term classical denotes conformity with the principles and characteristics of
ancient Greek and Roman literature art which were formal, elegant, simple, freed, and
dignified. The same characteristics may also describe the melodies of classical music.
Harmony and texture is homophonic in general. The dynamics of loud and soft was
clearly shown through the extensive use of crescendo and diminuendo. A style of
broken chord accompaniment called Alberti bass was practiced.
In the case of music, as in other arts, the term ‘classical’ indicates the presence
of an established or long-standing tradition. While the roots of classical music extend
back to Gregorian chant, three developments occurring in the 11 th century are often
regarded as marking the beginning of the classical tradition in western music. These
are the developments of polyphony, the principles of order, and the establishment of
musical pieces as compositions. The classical tradition is centrally defined by
European art music composed during the Common Practice period, which
encompasses Baroque, Classical, and Romantic music (roughly 1650-1900). It also
includes Medieval, Ars Nova, and Renaissance art music, as well as non-European,
20th century, and contemporary art music that incorporates compositional practices
that are recognized as being well-established in western art music. While the vast
majority of compositions in Western art music unambiguously fall under the category
of ‘classical music’, one can argue that, though there will be no decisive line, certain
highly experimental or innovative pieces cannot be a part of an established tradition of
composition and thus should not be considered ‘classical’.
In contrast to the aesthetics of popular music, the aesthetics of classical music has
traditionally focused on aesthetic content that is strictly musical in nature, excluding
any additional content conveyed through words, actions, visual displays, or any other
non-musical elements. It has typically limited itself to inquiry into the aesthetic
content in musical works that is available from music alone, considered apart from
any non-musical elements. Although there are clearly topics of significant interest in
the additional aesthetic qualities of classical works that include non-musical elements
(whether these be semantic, poetic, dramatic, or dance-related), most philosophers
writing about classical music have been unwilling to venture into this territory. The
focus on music as such in the aesthetics of classical music is due to the compelling
philosophical questions generated by pure or ‘absolute’ music, the complexity involved
in considering music in combination with non-musical elements, and a desire to
understand the art of music apart from any aesthetic content contributed from other
sources. In keeping with the historical focus of the aesthetics of classical music on
music as such, this article restricts itself to discussion of aesthetic content that is
purely musical in nature and it does not address topics involving the combination of
music with other aesthetic elements.
Several features of classical music as an art form play a central role in defining
the areas of aesthetic inquiry that pertain to it. Three features in particular deserve
attention. These are the unique impact classical music has on our inner experience,
its temporal nature, and the central role played by the tradition of tonal harmony,
even after its “collapse” at the beginning of the 20th century.
In the historical tradition, classical music gradually expands its artistic
resources, from the practices of medieval polyphony, through the incorporation of new
elements in the Renaissance, to the achievement of a conception of music and musical
composition that is shared across Europe by the middle of the Baroque. The
subsequent development of classical music during the Common Practice period is
unique in the way that it preserves a strong continuity in compositional techniques
while at the same time evolving continually as an art form. The late works from this
period make use of the same basic musical materials (scales and chords) as the early
ones: the diatonic scales, triadic functional harmony, primary organization around the
dominant-tonic relationship, integration of vertical and horizontal dimensions, and so
on. Early works differ from later ones in countless ways, but the fundamental musical
materials and relationships do not change until the extended chromaticism of late
romantic music begins to dissolve a sense of the tonic altogether. Later works differ
from earlier ones primarily through creative innovations that are compatible with
existing tonal system made by particular composers and through a gradual
exploration and expansion of resources already implied in the tonal system itself. This
gradual expansion within the context of a continuous tradition has significant
implications for the expressive possibilities classical music possesses as an art form,
allowing for the emergence of a repertoire of expressive compositional techniques that
grows in effectiveness and scope as it progressively develops the potential that is
inherent in tonal harmony.
The diverse compositional approach developed in classical music in the early
part of the 20th century has questions for musical aesthetics. Many aesthetic theories
based on analysis of music of the Common Practice period do not apply to
compositions based on approaches divergent from those used by tonal harmony. This
difference in aesthetic content applies to theories of meaning, form, and
expressiveness. Most influential and contemporary philosophers of classical musical
aesthetics focus almost exclusively on tonal classical music (including music that
achieves a tonal center by means other than tonal harmony, as found in the music of
Stravinsky, Debussy, and Bartok). Given that many of these theoretical perspectives
do not apply to non-tonal music, the aesthetics of non-tonal classical music is an area
that is in need of further development by the discipline.
Main characteristics
Classical music has a lighter, clearer texture than Baroque music and is less
complex. It is mainly homophonic—melody above chordal accompaniment
(but counterpoint is by no means forgotten, especially later in the period). It also
makes use of Style gallant in the classical period which was drawn in opposition to the
structures of the Baroque style, emphasizing light elegance in place of the Baroque’s
dignified seriousness and impressive grandeur.
Variety and contrast within a piece became more pronounced than before.
Variety of keys, melodies, rhythms and dynamics
(using crescendo, diminuendo and sforzando), along with frequent changes of mood
and timbre were more common place in the Classical period than they had been in the
Baroque. Melodies tended to be shorter than those of Baroque music, with clear-cut
phrases and clearly marked cadences. The orchestra increased in size and range;
the harpsichord continuo fell out of use, and the woodwind became a self-contained
section. As a solo instrument, the harpsichord was replaced by the
piano (or fortepiano). Early piano music was light in texture, often with Alberti
bass accompaniment, but it later became richer, more sonorous and more powerful.
Importance was given to instrumental music—the main kinds were sonata, trio, string
quartet, symphony, concerto, serenade and divertimento. Sonata form developed and
became the most important form. It was used to build up the first movement of most
large-scale works, but also other movements and single pieces (such as overtures).
Classical (1750 - 1830) Music from the Classical period shifted away from the
Baroque period's emphasis on polyphonic texture and more towards a single melody
with accompaniment. This created music with less texture but with a more clearly
defined melody. Characteristics of Classical music include: single melody with
accompaniment, one voice carries the primary melody while another voice plays a
simpler line that supports the melody, larger variety of keys, melodies, rhythms, and
dynamics, more contrast in a piece, shorter, clearer melodies than in Baroque music,
more emphasis on instrumental music. The primary forms of compositions are:
sonata, trio, string quartet, symphony, and concerto.
Contemporary (1920- present): The most conspicuous differentiation between
classical music in the contemporary period and in previous periods is the shift in tone.
Whereas music from the common practice period was largely tonal, much
contemporary music is atonal. Contemporary classical music can be divided into:
20th-century Contemporary Classical Music: Varies greatly, no dominant style,
increased use of dissonance. And 21st-century Contemporary Classical Music: huge
variety in style, which include minimalism, experimentalism, contains a variety of
influences from world music to technology, and many classical composers have
written for film scores.
Lesson
Life and works of Classical
2 Composers
Most present day music fans would most likely find it odd to learn that the
music of the Classical Era developed from a search for a simpler, cleaner, more
humanistic musical expression with universal qualities and appeal.
While most well-known music styles are generally written in melody structure,
old-style music is noted for its advancement of sophisticated instrumental musical
forms, similar to the concerto, ensemble, and sonata. Old style music is likewise noted
for its utilization of refined vocal/instrumental structures, such as opera.
Classical music still matters since it holds within it the core elements of the
natural characteristic of a person, and raw emotions unaffected by human
interference and silly ideas of society in any time of history.
Three major figures of the Classical Era are Haydn, Mozart, and Beethoven. As
essential as they are to appreciating Classical Era music, there were other talented
composers and works worth noting from the time. They differed in style, skill,
innovation, and popularity.
Music of Haydn, Mozart and Beethoven are still popular today. Their musical
compositions are often used as music in animated movies, cartoons, and large group
of movie companies.
The Austrian composer Franz Joseph
Haydn (1732 – 1809) was one of the most
important figures in the development of the
Classical style of music during the 18th century.
He helped establish the forms and styles for the
string quartet and symphony. Haydn was a
prolific composer, and some of his most well-
known works are Symphony No. 92 in G Major,
Emperor Quartet, and Cello Concerto No. 2 in D
Major. His compositions are often characterized
as light, witty, and elegant. The movie hit “Bird
Box” features his composition Piano Sonata No.
47 in B Minor.
Haydn had a hard childhood: at six years old he had to work as a boy singer in
a choir and after his voice broke he had to earn his money by playing dance music
and serving as a butler. Becoming famous for his compositions Haydn was employed
as "Kapellmeister" by Fuerst Esterhazy in Eisenstadt in 1761. For thirty years he
served him and composed his pieces for the pleasure of the aristocrats; his musicians
used to call him "Papa Haydn" as he was caring for them and was socially engaged.
After the death of Esterhazy, Haydn moved to Vienna leaving it only twice for London
where he composed his "London symphonies".
The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written
between 1804 and 1808. It is one of the best-known compositions in classical music
and one of the most frequently played symphonies, and it is widely considered one of
the cornerstones of western music. It is being played in cartoon movies like Tom and
Jerry.
Listen to each musical accompaniment and match the title of a show/movie that the
composition was used. Match column A with column B. Choose the letter of your
answer.
A B
Procedure: