What makes classical music timeless
Is classical music "timeless" or has it "survived"?
Published on: http://www.walcker-stiftung.de/Blog.html
Istheclassicmusic "Timeless" orHasyouyourself "survived"
by Roland Eberlein
In the previous blog post "The new organ music spread in popular styles yourself"I wrote the following sentences:
"The youngsters feel that theclassicmusic is not the expression of their time, their attitude to life, their feelings,
but the expression of an earlier time and yourself therefore survived Has. Of course, it can be nice to be in the World of sensation
from an earlier time to slip into a carnival costume. But on the You don't want to be in a dressing-up for a long time
dung live. And so seeks and develops the Youth the musical expression that suits them. "
An earlier version theThese sentences sparked a long discussion in the German-speaking organ forums. Against
the Sentences were objected to that theclassicmusic "timelessly valid" is and yourself therefore basically not "survive"
could. I therefore want to the sentences above and theTake a closer look at this objection here.
What does "musicHasyourself survived "one musicHasyourself survived if you is still being played, but not
is perceived more as current, but as part of an earlier, bygone time, i.e. as "old-fashioned" or even "ancient"
appears. Everyone is known to be music, every art time arrested, there the Fashions of their time in you flowed in
are - why themusicscience the Creation time of a music usually accurate to at least one generation
can estimate, even if the Origin and composer are unknown. If in earlier centuries
a music, an art was perceived as old-fashioned and no longer up-to-date, so it became you usually just ad
actas laid and forgotten. For example, were the Works by Johann Sebastian just a few decades after hers
Origin as admirable in its craftsmanship, but felt old-fashioned and out of date in style and expression.
Were accordingly you Hardly heard by the audience: Bachs musicHaste yourself "survived".
But where does it come from? the Conception, "high" music and art is timeless The idea of the "timelessness" of music
and art is a product of the late 18th and early 19th centuries. In thethis time was the idea
developed, "high" art and music be some kind of divine revelation, the has been given to a genius - and divine
Revelations are just timeless.
The consequences theThis idea was profound. On the one hand, a distinction began to be made between those who were arrested
Works by "minor masters" and the immortal works of geniuses - for example, Salieri's works were
forgotten as the temporary works of a minor master, the Mozart's works, on the other hand, are immortal musical revelations
continuethert, although their contemporaries valued both equally as composers.
A second consequence was that one yourself in the 19th century gradually for themusic of the geniuses from earlier centuries
too interestingyouren began - including in particular themusic by J. S. Bach. Mendelssohn's performance of the St. Matthew Passion
1829 would have without the Idea of the timeless validity of what is revealed to a genius musicyourselfit did not take place.
Today is theThis idea is still in some feature articles and in musicto find lovers unreflective.
The musicbut science understands yourself not today as a theology specializing in "musical revelations",
but as a rational science. Hence, consider no musicscientists more seriously certain
Compositions as divine, timelessly valid revelation; therefore is for themusicevery scientist today music time arrested.
For the earlier, on the cult of genius bayoumaking value judgments about musicHasthemusicscience today only
still a tired smile left - you to have yourselfyourself proved to be just as time-arrested and scientifically not justifiable.
However, from today's perspective, a music and art may gain new topicality after a long time.
This was the case in the 20th century, for example, than after the First World War the collapsed pre-war society
and their romantic, "subjective" music appeared to be hollow, mendacious, pompous, feisty and sentimental
and yourselfthemusiche based on models for a new, "objective" music looked around. Appeared as a suitable role model
thethis generation the Bach and Vorbach polyphony. These music was now felt to be extremely topical again
- why these music experienced an unprecedented renaissance. For many people of the 20th century
- 2 -
became derts these old one music quasi for music their own era, there you the new contemporary music because of the
Not wanting to disclose the tonality.
But meanwhile have yourselfthe Conditions changed again. The popular music Hastheclassicmusic so strongly repressed
that you has become a mere marginal phenomenon in society. Whereas in popular music life
pulyourt and almost daily new songs and new ones musicpush groups into the market, the are associated with certain
youthful lifestyles or "Subcultures" exist in the field of classicn music no yourselftable development
and their listeners mostly belong to the older and oldest generation. Recognize it exactly the today
Adolescents, "that theclassicmusic is not the expression of their time, their attitude to life, their feelings, but
the expression of an earlier time and yourself therefore survived Has." Different to the young generation in the decades after 1920
youht the today's youth the old music also not as a model for a future new one music. The youth connects with
the classical music no longer hopes, but you appears to them simply as ancient. This generation will therefore
in their overwhelming majority never have any appreciable interest in the classicn music develop, even if individual
theclassicmusic possibly appreciate it, precisely because you So remote from contemporary music, so strange
and is ancient. Some might also sound like the classicn music find very pretty. For a
Survival of the classicn music that won't be enough: concert series, the take place permanently in front of almost empty halls,
have to be stopped, orchestras without engagements have to be dissolved. To avoid both, will
you are forced to develop new concert programs, the better serve the interests of the younger generation.
The end of the program change will have the effect that theclassicmusic little by little by others
music is displaced.
Also theclassicmusic is not "timeless", but time-bound, and can yourself survive: Not only themusic
by countless "minor masters" has been forgotten, but also themusic of grandmasters of musichistory
like Claudio Monteverdi and Heinrich Schütz fell into oblivion, even themusic by Johann Sebastian Bach Has
yourself survived after 1750. What pasyourt can also pas a second timeyouRen. Much suggests today
indicate that theThis could happen a second time in the coming decades. Nothing is open thethis world
Timeless. As the preacher Solomon wrote: "Every one Has its time and all purpose under heaven Has
his hour ".
Reasonably should yourselfthe Prepare the organ world in good time for the possible or even probable disappearances
an audience for theclassicmusic total and theclassic Organ music in particular. Not at all
may these development, so you because should come, lead to the instrument organ falling out of use
and the existing organs are no longer maintained, deteriorate and eventually perish. Only as long as there are organists
there and the Organs exist and are cared for is a survival of the classicn organ music in modest,
museum dimensions and later perhaps a revival of the classicn organ music possible! It is
therefore indispensable that the Organ world musical alternatives to classicn developed organ music, the interests
to meet today's young generation, so that such young people the no interest in the classicn
Organ music for the instrument as a listener or even players can be excited. The new organ music
in popular styles is a good place to start.
Published on: http://www.walcker-stiftung.de/Blog.html
Published on: http://www.walcker-stiftung.de/Blog.html Is the classical music "timeless" or has she herself "survived" by Roland Eberlein in the previous blog post "The new organ music spreads in popular styles spreads "I wrote the following sentences:" The youngsters feel that the classical music is not Is an expression of their time, their attitude towards life, their feelings, but rather the expression of an earlier time and themselves therefore has . Of course it can be nice in die To slip into a world of sensations from an earlier time like in a carnival costume. But for the long time you don't want to live in disguise. And so the seeks and develops youth the music that suits you alic expression. " An earlier version of the of these movements sparked a long discussion in the German-speaking organ forums. Against die sentences it was objected that the classical music is "timelessly valid" and is strong> therefore basically cannot "survive". I would therefore like to take a closer look at the sentences above and the sen objection here. What does " music has survived " a music has survives if it is still being played, but is no longer perceived as current, but as part of an earlier, bygone time, i.e. as "old-fashioned" or strong > even appears "old-fashioned". It is well known that every music , every art is arrested in time, since the fashions of their time have flowed into they - which is why die < strong> music science the time when music was created can usually accurately estimate at least one generation, even if the origin and the Composer are unknown. If in earlier centuries music , an art was perceived as old-fashioned and no longer up-to-date, it was usually simply shelved and forgotten. For example, just a few decades after their creation, the works of Johann Sebastian were perceived as admirable in their craftsmanship, but old-fashioned and outdated in style and expression. Accordingly, they were hardly ever heard by the audience: Bach's music has te itself "outlived". But where does the idea that "high" music and art are timeless come from? The idea of the "timelessness" of music and art is a product of late 18th and early 19th centuries. In the this time, the idea was developed that "high" art and music were a kind of divine revelation, die has been granted to a genius, - and divine revelations are just timelessly valid. The consequences of the this idea were profound. On the one hand, a distinction began to be made between the time-arrested works of "minor masters" and the immortal works of geniuses - for example, Salieri's works were forgotten as time-arrested works by a minor master, whereas the works of Mozart were passed on as immortal musical revelations > die rt, although their contemporaries valued both composers equally. A second consequence was that in the 19th century people were gradually becoming interested in the music of the geniuses from earlier centuries them strong> ren began - especially the music by JS Bach. Mendelssohn's performance of the St. Matthew Passion in 1829 would not have taken place without the idea of the timeless validity of the music himself revealed to a genius. Today the se idea can still be found without reflection in some features articles and among music lovers. The music science, however, sees itself today not as a theology specializing in "musical revelations", but as a rational science. Consequently, no music scholar seriously regards certain compositions as divine, timelessly valid revelations; therefore, for the music scientists today, every music is time-arrested. For the earlier, on the genius cult ba they render value judgments about music has the Music science today only has a tired smile left - they have proven themselves to be just as time-arrested and scientifically unfounded . However, from today's perspective, music and art can under certain circumstances gain new relevance after a long time. This was the case in the 20th century, for example, when after the First World War the collapsed pre-war society and its romantic, "subjective" music appeared to be hollow, mendacious, pompous, sentimental and sentimental and himself the music he looked around for models for a new, "objective" music . the this generation the Bach and Vorbach polyphony appeared as a suitable model. This music was once again perceived as very topical - which is why the se music experienced an unprecedented renaissance. For many people of the 20th century
- How to use a sunroof
- How does Google track users without cookies
- CBD increases serotonin levels
- Holi powder is washed off
- What is an escape tunnel
- Why should you use the Salesforce client list
- Why do you get a certificate
- Forward is an English word
- How does the presidential race 2020 work
- How detailed can 3D printers get
- Can Cure Almonds Stroke
- What is corporate governance and risk management
- Should investors short-circuit the listing of Twitters
- Should I buy computers on eBay?
- What is the modulus of elasticity
- What do accountant reports show in QuickBooks
- What is the first rock and roll group
- Which band did Cherry Pie sing
- Can a Ford Focus transmission be repaired?
- When will TES 38 forms be published?
- What is sanity testing with example
- Is existence anecdotal
- What is the stock curve from a portfolio
- Has wood nourishment
- How can I shadow a physiotherapist
- Are online courses technically protected by copyright?
- Which companies sell or rent wedding signs
- What is the definition of technical wetlands
- May ocean gold have turned green
- How Can Ecommerce Sellers Improve ROI?
- How can I shadow a physiotherapist
- Why are AAP supporters so delusional
- Sends Gmail emails text or HTML
- Why should I join MVIT