Beethoven's Symphony and Popular Music - Essay Example

?Sur Introduction Beethoven’s Symphony and Popular music are ancient art that remain popular to On the one hand, Symphonyis classical music in Europe. Since his period, when the music assumed substantial popularity as generally polished and the best living artist, the Beethoven's composition has continued to be the most listened to, talked about and reviewed genres. Beethoven is largely classified among the highly significant Western composers, with his music being the most commonly recorded across the society. His stylistic discoveries include two accomplishments. First, they elevated the Classical style to its top most expressive degree, deepening in official, configuration and harmonic notes to the musical expression created by forerunners such as Haydn and Mozart. Moreover, they proved enormously powerful over the melodic language and philosophy of the Romantic period, whether they served to enhance direct encouragement, or in regard to establishing a musical presentation of the artist’s language. On the other hand, popular music encompasses any of several of musical genres having profound popularity and is essentially distributed to the mainstream audiences of all segments via the melodic industry. Notably, what popular genre stands for and represents is different from Beethoven’s music; the latter being essentially differentiated scholarly or verbally to less significant, domestic audiences (Scruton 42). Even though popular music infrequently is recognized as ‘pop music,’ both expressions are different. For instance, popular music entails a generic expression for melodies of all generations that is preferred by large proportions of people, while pop music is normally confined to a particular musical genre (Scruton 42-45). Beethoven’s Symphony Beethoven championed two significant cultures through his target of the larger bands. That continued until the early twentieth century, and championed the focus of the tunes downwards during performance, to the lower keys, cellos, and violas enabling his music to involve a heavy and dark sensation (Goehr 66-68). In general, Beethoven’s Symphony is different from those of the ancient music in term of the establishment of large, longer architectonic designs typified by the remarkable improvement of musical resource, agendas, and motifs, normally by modulation initiatives; that is, an alteration in the sensation of the home key, via several harmonic tunes or notes. Beethoven's work championed his capacity to swiftly set up firmness in juxtaposing various keys and startling notes to accompany them. Notably, this stretched harmonic realm establishes a feeling of a tremendous musical and empirical touch, which dictates the rhythm of the music and the growth of musical resource, a clear establishment of some kind of unfolding art in this pause. Goehr (67) indicates Beethoven made immense contributions which further set up some kind of a blend of the various philosophies and cultural issues in several attempts to move with the discovery of the messages carried in his the music. The ‘germ motive,’ which involves an inspiration, was summoned to establish motives and agendas throughout the whole art, albeit in a benign manner. Therefore, all the themes of the ancient age were associated with several motives in the music. An ancient and popular illustration of this is Beethoven’s sonata 'Pathetique', in which all of the themes employed in the initial movement arose from a simple notion borrowed from its introductory bar. Correspondingly, the introductory notes of his Eighth Symphony played a significant role, as it forms the basis of motives employed throughout the entire symphony (Stanley 1). It is notable that this art contributes to the unification of an effort or an array of works; as a number of motives employed by Beethoven uniquely characterized works. He managed to execute this devoid of repeating material precisely or employing canonic touch. In view of this, Beethoven’s Fifth Symphony is characterized by motif composed of four notes throughout the entire movement in various juxtapositions, symbolizing the first significant development of cyclic figure and injecting a feeling of entirely internal center of focus to the music. Reception According to Scruton (42-45), though Beethoven is an undisputed music icon courtesy of his composition, the artist’s orchestration of music was infrequently perceived to be dotted with some defects, with some largely ‘trivial’ orchestral content being highlighted. (Scruton 42-44). These weaknesses were associated with Beethoven's largely common unresponsiveness, which seemingly rendered the artist unable to decide how much more effective in terms of pitch, than any other given musical accoutrements played at particular occasions. Some of the weaknesses of Beethoven’s style were highlighted in late twentieth century in Bernstein Vs Beethoven of 1982. This encompasses a critical evaluation of Beethoven’s presentations of the entire artist’s symphonies work (Tanner 1). Nevertheless, at almost the same period Bernstein presented what elevates Beethoven to tremendous heights is his ideal beliefs related to form; his capacity to achieve what the subsequent note is likely to look like was beyond reproach. The reception of Internet-based video chain contradicts critics’ allegations that the artist provided poor melodic capability; that is, the popular and almost single-note tune of the subsequent movement presented in the Seventh Symphony, harmonic touches, orchestration touches, and counterpoint touches continue to go down well with the public (Stanley 1). In view of these, Beethoven became a remarkable artist due to his almost phenomenal sense of form. Notably, the series reaffirms that Beethoven was significant in all aspects. Popular music Form in the popular music genre is normally based on sectional underpinnings. This is the most widespread sections falling under the verse, refrain, and bridge as well as verse categories. It is notable that other common forms encompass those that run to thirty-two bar, the dozen bar blues and verse-chorus form. Moreover, popular music melodies are infrequently composed using various music forms for every lyrics verse (Tanner 1). Songs created in this genre are believed to be largely through-composed to achieve popular fascination with them. The popular music stanza and refrain are believed to be the major factors attributed to this genre. Each verse normally has comparable tune. This probably comes with some insignificant modifications, though the melodies are meant to alter for the majority of the verses. In view of this, the refrain normally has a harmonious expression and an important lyrical stanza which is sang over and over again. Unlike Beethoven’s Symphonies, pop songs such as “We Are Young” by Glee Cast incorporates an introductory section and coda or some kind of a tag, though these aspects are not imperative to the uniqueness of most popular tunes as compared to Beethoven’s melodies. Popular songs in which verses and refrains are incorporated usually incorporate a bridge; this element of the music literally links the stanza and chorus at certain sections in the tune (Till 73-80). According to Till (69-80), the stanza and refrain are normally repetitive throughout a melody via the ‘link’ or bridge, introductory segment, and conclusion part or coda is generally just infrequently invoked. A number of pop tunes may sometimes be sung by solo artists, particularly in popular tunes that are derived from rock or blues styles. In view of this, the solo part may be accompanied by some instrument(s). This result in a melodic stanza which may encompass the tune employed by the soloist, or, in pop shaped by blues or Jazz, shrewd composers may improvise the tunes founded on the chord succession. In general, a solo is characterized by aspects of a single influential performer such as a harmonica actor or a guitarist though in limited circumstances in most cases, and two or more players of instruments such as a trumpeter (Scruton 42-45). Moreover, thirty-two-bar form encompasses four parts, running through eight measures in length, “A” sections or two sections, a complementary bridge section or “B” section and an eventual repeat of the stanza, albeit in one concluding A section (AABA). Although a composer may blend verse-chorus form with AABA style, in large AABA forms, differentiations may also be invoked such as the use of a1 or a2. Therefore, the replication of single chord quality may symbolize the segment in an easy verse form composed of say the dozen bar blues. On the one hand, Beethoven's contribution as a transitional music icon whose work bridged the neo-classical era in the music genre and the Romantic period music in music industry was a cognizant perception of many nineteenth century analysts and artists, who read a swift evolution in his work from the ancient styles. On the other hand, the main intermediate issue of popular melody is the tune, usually running between two and four minutes in duration, and dotted by a steady and perceptible rhythmic style and a typical style as well as a plain traditional structure. Owing to his central significance of Beethoven’s Symphonies, the techniques of performance and harmony theory, the genres were based on his most imperative works (Stanley 1). Starting off from his protege Carl Czerny and advancing ahead, basic expressions such as Allegro, tonality as well as sonata form were clearly stated or restructured in regard to his musical performance. Nevertheless, both music genres were composed in such a way that the rhythm and the tunes appear to be plain, with partial though significant harmonic accompaniment. Though the music of current pop, essentially focus on straightforward themes such as romantic relationships, the Symphonies portrayed nature of stylistic changes and activities that were significant occurrences in the artist’s individual life. Unlike harmony in popular music which is usually based on the ancient European tonality, and highly simple-minded focus, Beethoven’ tonality symbolized immense development and a touch of evolving world. Other tendencies such as the incorporation of a guitar as an instrument of composing melodies; pedal-point tunes, diatonic step based on root tempo, modal choral and melodic composition were largely used in popular songs, and benignly present in Beethoven’s music art. These music accompaniments illustrate a divergent touch from practical tonality to a tonal feeling that is not highly directional, but largely free-floating in most popular music. Conclusion Generally, Beethoven’s Symphony written in the artist’s formative years can be attributed to the composer's capacities to summon the predominant ancient cultures of the era. Beethoven’s Symphony from this era can be separated into two, depending on the artist’s dwelling place and individual life. On the other hand, the most imperative aspect of the upcoming popular music industry which prevailed in the sunset years of the eighteenth, through twenty first century is based on the wide appeal that the music commands to the different demographics in the society. Geriatrics has had their popular music based on significant development in their life and career, with andante being the central theme. Higher tempo, appeals to younger audience. Works Cited Goehr, Lydia. Music as Philosophy: Adorno and Beethoven's Late Style. Notes, 64.1 (2010): 66- 68. Scruton, Roger. Music and Morality. American Spectator, 43.1 (2010): 42-45. Stanley, Glenn. Genre Aesthetics and Function: Beethoven's Piano Sonatas in Their Cultural Context. Beethoven Forum (University of Nebraska Press), 6.1 (1998): 1. Tanner, Julian. Pop music and peer groups: a study of Canadian high school students' responses to pop music. Canadian Review of Sociology & Anthropology, 18.1(1981): 1. Till, Rupert. Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince. Journal of Beliefs & Values: Studies in Religion & Education, 31.1 (2010): 69-80. Read More