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After reading the articles, I gained new concepts about chamber music. Previously, I was aware of the fact that chamber music was popular among middle class and aristocratic members of European and Russian societies. Surprisingly, it emerges that chamber music exerted substantial influence in social activities within these societies. For example, a woman’s ability to play chamber music instruments acted as an influential factor in catalyzing courtship and marriage. Therefore, chamber music occupied a crucial position in social aspects of European and Russian societies (Bashford, 01).
Aside from highlighting new concepts about chamber music, the article’s information also reinforced ideas I had already learned. I was previously acquainted with the fact that string quartet is the most common type of chamber music. String quartet comprise of four instrument players, with at least two of them playing violins (Bashford, 03). Unlike other ensembles of chamber music, string quartet was not only popular but also the most commercially successful type of chamber music.
Admittedly, certain concepts in the article were intriguing, and aroused questions. Apparently, iconic composers and performers of chamber music like Webern Anton, Wolfgang Mozart and Ludwig van Beethoven never attended music schools. All these artists developed their skills either at home with help from their parents, or by observing and learning from mentors. In this context, it is intriguing to imagine that all the original works of these artists resulted from homegrown skills rather than professional
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