How Music Changed In The 20th Century Music Essay

How Music Changed In The 20th Century Music Essay The Romantic Period (1800-1910) saw music evolve from the formats, genres and musical ideas established in preceding periods such and went further in expressing different forms of art with music. However, the 20th century saw the rise of great composers such as Arnold Schoenberg, Charles Ives and Igor Stravinsky whose contributions to the world of music brought dynamic changes. In the twentieth century music was no longer constrained to opera-houses, clubs, and concerts and this freedom brought experimentation with new styles of music that went against the conventional music practices. Discussed below are the contributions of the aforementioned composers and their influence on 20th century music. Arnold Schoenberg Schoenberg, an Austrian born composer is widely celebrated for the developments that he brought into the musical arena. His music from his early years was filled with rich harmonies that evolved from the innovative style of Richard Wagners operas. He is also credited with extending the works of Brahms. By 1913, Schoenberg was exploring a new musical language. This had started in 1908, with his string quartet whose first two movements were written in a complex tonal style -the central organizing principle of western music in that period. However, with the third and fourth movements Schoenberg bid goodbye the world of tonality. As such, he pioneered an innovation in atonality which became the most polemical characteristic of twentieth century art music. In the 1920s, he developed the twelve tone technique (dodecaphony) which is a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing varia tion and was the first composer to discover new ways of developing motifs without resorting to tonality. With this discovery, he worked at enabling the texture of his music become simpler and much clearer. The twelve-tone technique in effect provided control over the melodic and harmonic aspects of a composition. Schoenbergs dodecaphony eventually became one of the integral and polemical issues among European and American musicians until late twentieth century. To date, composers have been extending his legacy in increasingly radical directions. Charles Ives Ives, one of the first American composers of international renown combined the American church music with European art music and was among the first composers to engage in a systematic program of experimental music with musical techniques like polytonality, polyrhythm, and tone clusters among others. He was an accomplished pianist and many of his publications had piano parts that were similar to modern movements in Europe, including bitonality and pantonality. He is best known for his orchestral music and he composed two string quartets and other works of chamber music. Ives music possessed a number of unique features. He applied unconventional approaches to rhythm and harmony away from the salon styles of the nineteenth century that were dependent on European models. He wanted a music that reflected his view of America: rugged, individualistic, and unafraid to experiment. His music contains a mixture of hard-hedged dissonance and quotations from his favorite hymn tunes. Ives composi tional career came to an end in 1918 when he succumbed to health complications. Over the duration of time that he had been actively composing, he managed to create a body of work that was unique and ahead of his time. His works were not celebrated as much during his early days but later on in his life his music began to be taken seriously. In 1947, he received the Pulitzer Prize for his Third Symphony and since then, his works became an integral part of the classical repertoire and he has been recognized for being a fine composer. Igor Stravinsky This Russian-born composer, pianist and conductor is widely acclaimed as one of the most important and influential composers of 20th century music. Stravinskys compositional career was notable for its stylistic diversity. Unlike Arnold Schoenberg who abandoned the world of tonality, he sought to retain tonality by advancing it to its very limits. Stravinsky first achieved international renown with three ballets: The Firebird, Petrushka and The Rite of Spring. The Rite was based upon harsh dissonance, motor rhythms and ambiguous harmonies that drove tonality to its brink. It transformed the way in which subsequent composers thought about rhythmic structure, and was responsible for his enduring reputation as a musical revolutionary, extending the boundaries of musical design. After this Russian phase, Stravinsky joined the Orthodox Church in 1926 and turned to neoclassicism. During this period, his works made use of traditional music forms (concerto grosso, fugue, and symphony) and wer e all striking in their austerity and experimental tonality. For this neoclassical style, he abandoned the large orchestras required by the ballets and only used wind instruments, the piano and choral and chamber works. In 1952, Stravinsky began using serial compositional styles, including dodecaphony, the twelve-tone technique originally designed by Schoenberg. Stravinsky earned the title of one of musics truly epochal innovators because of his technical innovations and the changing face of his compositional style while still maintaining identity. He drew his inspiration from different cultures, languages and literatures therefore his influence on composers to date is considerable. Apart from his distinctive use of rhythm, he continued to compose pieces which elaborated on individual pieces by earlier composers. He was also a wonderful conductor of his own and other peoples music and led hundreds of concerts worldwide. In different ways, Igor Stravinsky rewrote music history. His brilliant, demanding orchestral scores carved the path for the superstar conductor. Years later, his works continue to play a dominant role in the programming of symphony orchestras, ballet companies and increasingly, major opera houses. Conclusion Each of the composers discussed above have in their own way greatly influenced the musical circles. Their works and innovation continue to inspire new talent and form the basis of research and expansion of the breath of knowledge as pertains to composition

Are we born with knowledge? Essay

Are we born with knowledge? Of course we are. In this speech, I am going to argue about how ability is knowledge and what knowledge we have when we were younger. As a child, we have been brought up by our environment and culture. Without this, what knowledge would we have? Let’s say, the minute a child is born, and you throw this new born baby into a â€Å"swimming pool† or â€Å"water† it will immediately be able to swim or float. Now the question is, where did this baby get the knowledge of being able to swim from? They were born with it. Many people would disagree with the fact that babies are born with knowledge. For example, David Hume suggests that we are born with a ‘Tabula Rasa’ a blank slate. That we have no knowledge at all, and that we need to experience things and have ideas of these things to gain knowledge. However, the reason we ARE born with knowledge is so that we can have a starting point in life. Our baby knowledge is a foundation for us to build and gain knowledge on. An example of this would be, when we are young we have the privilege of being able to eat and sleep or anything else related. As Hume said, if we were born with ‘blank slate’, then we would not even be able to do these simple things. Also, we are born with many abilities to do many things. Such as â€Å"swimming† when we are younger, it is an ability we have. However, when the time comes and we start to learn how to ‘swim’ we lose this natural ability of being able to swim. Many people would argue that ability ISN’T knowledge. Yet, if ability means we are able to do something, then we must be able to KNOW how to do it. This means that ability is KNOWledge. Furthermore, it is clear that we ARE born with knowledge, and that even if our knowledge has changed over the years, it has been growing since then. This proves that when we were born, we all started off with a basic foundation of knowledge, and are able to develop that knowledge as we grow older. ï » ¿Are we born with knowledge? Essay Are we born with knowledge? Of course we are. In this speech, I am going to argue about how ability is knowledge and what knowledge we have when we were younger. As a child, we have been brought up by our environment and culture. Without this, what knowledge would we have? Let’s say, the minute a child is born, and you throw this new born baby into a â€Å"swimming pool† or â€Å"water† it will immediately be able to swim or float. Now the question is, where did this baby get the knowledge of being able to swim from? They were born with it. Many people would disagree with the fact that babies are born with knowledge. For example, David Hume suggests that we are born with a ‘Tabula Rasa’ a blank slate. That we have no knowledge at all, and that we need to experience things and have ideas of these things to gain knowledge. However, the reason we ARE born with knowledge is so that we can have a starting point in life. Our baby knowledge is a foundation for us to build and gain knowledge on. An example of this would be, when we are young we have the privilege of being able to eat and sleep or anything else related. As Hume said, if we were born with ‘blank slate’, then we would not even be able to do these simple things. Also, we are born with many abilities to do many things. Such as â€Å"swimming† when we are younger, it is an ability we have. However, when the time comes and we start to learn how to ‘swim’ we lose this natural ability of being able to swim. Many people would argue that ability ISN’T knowledge. Yet, if ability means we are able to do something, then we must be able to KNOW how to do it. This means that ability is KNOWledge. Furthermore, it is clear that we ARE born with knowledge, and that even if our knowledge has changed over the years, it has been growing since then. This proves that when we were born, we all started off with a basic foundation of knowledge, and are able to develop that knowledge as we grow older.

The Impact Of Military Engagements On The Peace, Economy...

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Northern Ireland s Funeral Traditions - 1669 Words

Northern Ireland’s Funeral Traditions in Literature One of the most telling parts of a society is how they handle the traditions that surround one of the hardest things that humans experience: death. Northern Ireland is a prime example of how a group of people can build up a set of traditions that help the morning process and how those traditions can be a healing experience that helps a family and community celebrate the life of the deceased. Washing and preparing the body is an important part of the process that has been mentioned in several works of poetry. The traditional Irish Wake is also extremely important in celebrating the life of the dead and all they accomplished, complete with drinking and laughter and being with family and†¦show more content†¦He describes it as, â€Å"They had been laid out/ in tainted rooms,/ their eyelids glistening,/ their dough-white hands/ shackled in rosary beads.† Through this depiction of the dead we can see the preparatio n that went into the body, it had been washed and laid out in a very traditional way, the way hat it had been done for centuries. This sense of tradition can, in a lot of ways, help ease some of the pain from the loss, the sense of belonging to a community of people with a set of traditions that even the dead have a right to. We also see how important the rosary is to the Catholics that this is describing, so important that Heaney mentioned it in his description, symbolizing that the rosary beads and the religion that they belong to still trap the body that they are attached to, even in death. Daniel Hoffheins from UC Davis says in his literary analysis says â€Å"Heaney slyly adds at the end of the second and third stanzas that the corpses’ rosaries act as shackles, fettering their â€Å"obediently sloped† wrists. Such intentional observations echo Heaney’s initial qualifying statement and lace his â€Å"courteous admiration† with a hint of sarcasm, len ding the tableau of the hovering women around the open coffins a bathetic quality, like moths hovering around an open flame.†. Hoffheins makes the same point that their religion and their sympathies make them slaves to the idea of a united Catholic Ireland. Heaney