Applied Question 2 Essay

As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.

The aristocratic patronage was reduced. A lot of music was written without benefit of patronage and it let the composers express their personal feelings. The public concerts became dominant and the composers were striving to gain the recognition of the audience, making the composers sensitive to the public reactions. The Industrial Revolution had big influences on the economics and social life of the middle class. Many composers lost their aristocratic patronage because of the increasing decline in power and the influence of the court and the wealthy middle class became the potential patron for the composers. The development of the music business caused a change in composers work. In order to make a living with music, composers, together with his publisher and concert manager, had to sell music to the public. In the effort to capture audience, a dynamic and colorful personality became an important trait in music. The concert managers and the music critics played the important roles in business of music. The concert manager gave composers and performers motivations by telling what the public would accept and be enthusiastic about. The music critics served as a sort of liaison between the public and the composers and set standards of music taste. They had significant influences on the

These different mindsets concerning the music caused a division to occur in the church. This example ties in with another point addressed in the Declaration and Address. And that is the point concerning what to do with doctrinal differences that are not based on clear and exact teachings in the New Testament and how that leads to division. There are a lot of things that come about in life that we can clearly read in the Bible is right or is wrong. With that being said it is simple to make definite rules and it is also simple to clear up arguments and disagreements when the answer is clearly seen in the Bible, because it is really hard to argue with a clear answer in the Bible when you are trying to use the Bible to back you up. However, what happens when there is not a clear teaching in the Bible? That is what happened with the

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From the beginning of times, music has played an important role in everyone’s life. At first, it started with drum-based and percussion instruments made out of what was available as rocks and sticks. Our ancestors proved that human beings have an innate need of music. Nowadays, no one teaches a baby to follow the beat of a song, he just naturally lets his body get involved with the rhythm. Since the prehistoric era to Christian times, several forms of music have developed leaving a trail to new genres of music. For Christianity, hymns and plainchants were the first forms of music considered as a worship to God. As time passed by, Christian music has evolved giving way to new and fresh sounds.

Only a few composers in the history of time have ever successfully left their mark throughout our musical world we live in today. It’s been over two hundred years since the birth of Beethoven and his music still speaks to us today as he originally expressed and composed it. Ludwig Van Beethoven was born in the city of Bonn Germany on December 16th 1770 and has since been one of the most influential composers known to man. A common theme of early age learning and mastering seems to emerge in Beethoven’s life because while living in a musical family as a child, his father taught him how to play the piano, violin and in addition how to compose musical pieces since he was four years of age. A few short years later, he gave his first public piano performance at the age of seven. While Beethoven certainly gained a lot of knowledge from his peers, he also supported his family by giving music lessons and also by playing in the court orchestra. In the year 1792, Beethoven worked under an Austrian composer Franz Joseph Haydn and by the year 1800, his compositions established him as a strong Mozart successor.

Problem Set 2 is to be completed by 11:59 p.m. (ET) on Monday of Module/Week 4.

In the first chapter so many new terms are discussed. This chapter dives right into talking about how the Catholic Church banned music that contained polyphony, fearing that it would cause people to doubt the unity of God. I guess this explains why people used to say rock n' roll is the devil's music back in the 60's. Polyphony means more than one musical part playing at a time. A few more terms I learned: tempo, countour, timbre, loudness, reveberation, meter, key, harmony, and melody. A few of them I knew since I was active in choir during middle and high school. I also played a flute in middle school band. I have forgotten a lot of the terms though since it has been quite a few years since I was in middle school. I found the sentence on

Beethoven was known for his masterful composition of classical music, but his life was not as one would expect of such a brilliant composer. When 50 personnel were asked what they knew about Beethoven each person responded that he a composer that was deaf. What was not generally known was that Beethoven had a troubled childhood and led a chronically stressful and harsh adulthood. These two things are often not associated with Beethoven. What did Beethoven compose that made him a musical genius of all time? While reading this paper the following things will be discussed: Beethoven’s childhood, introduction to music, his adulthood, and becoming the brilliant composer he is known for to the classical music world.

In details, visitors knew music well enough to share their passion for music. In addition, they are willing to share their identity through music by musical notations rather than texts. This provide more details about the social circumstances in the nineteenth century that visitors had some of musical trainings and some of them might be musicians. Fine closely investigated on a cultural force and social events in the nineteenth century where evidence shows that educated pilgrims would like to make great connections with Beethoven’s relics and Beethoven’s museums.

There is no doubt that medieval church music has progressed throughout times. Not only has the music gotten a lot different in terms of sound, the instruments have also changed, as well as genres, theory, notation, rhythm, and polyphony. If you do not know, polyphony is the existence of different sounds and vocals all to form one harmonizing melody. All of these factors in generalized church music have changed from year 64 to 2016.

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

“Ancient” music, or the majority of music composed before 1750, is audibly distinct from the music that followed it. The reasons for this are not immediately clear. An uninitiated listener would almost certainly be able to identify music as being either ancient or not, but would probably be incapable of articulating exactly why this is the case. Analysis of the concrete changes in musical notation that took place during this transition, however, reveals illuminating details about the metamorphosis of music during this period. These developments cannot be divorced from the social and religious undercurrents of the day. As the authority of the Catholic church diminished, humanism and religious reformation began to flourish among the more secular

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

The plainchants of the Middle Ages, the Gregorian chants, in particular, are the historical progenitors of our westernized musical traditions: common language, form/notation, and cultural transmission. Pepin the Short, and his son Charlemagne, understood that the proliferation of this new musical cannon would be bolstered through the application of universal components such as language. Originally, liturgies were spoken in regional dialects and languages, but in the late eighth century, the first Carolingian monarch, Pepin the Short, had been credited by his son Charlemagne for initiating the streamline of music’s ecclesiastical language. According to music scholar, Kenneth Levy, “the purpose was to have a single, nominally Roman, repertory sung throughout Europe” (“Carolingians” 7). The church soon appreciated the