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音乐教育专业Music education; 音乐学musicology; 音乐表演Music performance; 作曲与作曲技术理论Composition and ...

Museum Pieces and Living Composers
Concert hall displayed artworks of long-dead composers, and these artworks showed significant influences on the music notion of living composers. When dead composers' artworks lost their original social function, their artworks were valued exclusively as autonomy museum(Burkholder 119). Then, the musical museum showed the established music tradition and interacted with the art creation of living composers. Through analyzing the rise of the music canon in the nineteenth century and discussing the interaction between music canon and contemporary composers, this paper finds that composers continue the art music by combining their musical personality with the classic craftsmanship.

The Rise of the Music Canon in the Nineteenth Century
According to Peter Burkholder, up to the mid-nineteenth century, the music market was filled with mass music which is "brilliant but not difficult" (117). However, this kind of music failed to meet the taste and the appreciation level of the new mass audiences (Burkholder 117). Also, it could not catch the attention of the musically intellectual (Burkholder 117). This background drove serious musicians to turn back to the musical canon and value music masters like Mozart, Haydn, and Beethoven.

The rise of the musical canon led to a revolutionary change in the conception and purpose of art music by changing artworks performed in the music hall. According to Burkholder, by the late nineteenth century, the concert hall became a museum whose purpose was to display artworks created by previous generations rather than showing the artworks created by new musicians (117). It means that the performance and appreciation music canon became a tradition of art music.

Ludwig van Beethoven was honored as one of the three great music masters. According to Burkholder, Beethoven and other two masters' music was outstanding because of "the strength of their musical personality," "the level of craftsmanship," and "the ineffable quality of inspiration, beauty, and truth (120). This statement illustrated both the high artist standard and the human value of Beethoven's music. Then, the high artist standard and the human value made Beethoven's artwork domain music halls for a relatively long period of time. From 1842 to 1850, more than 60 percent of the orchestra's repertory was Beethoven's works (Frisch 177). The popularity of Beethoven's music reflected the superior position of Beethoven in the art music field. Also, Beethoven as a liberated composer inspired many composers in later generations. Although Beethoven let more people know the discontent of the liberated composer, he set the example to take artistic advantage of the autonomous art of music (Goehr 207). Both the artwork and the art career of Beethoven influenced many audiences and composers in later generations. Symphony No. 9 told a story from darkness to light (Beethoven 1822-1824). Then, many composers in later generations were influenced by Beethoven to end their works with positive information.

The Established Tradition and the Living Composers
Music canon became an established tradition, and this tradition influenced the creating purpose and creating style of living composers significantly. As a result of the musical museum, the idea of writing music became "creating works which show classical craftsmanship and a distinct musical personality" (Burkholder 133). It means that writing music, especially symphonies, was a combination of both the established music tradition and the distinctive personality. Dating back to the late nineteenth century, composers wrote distinctive works to their music personalities, but their work met the basic institutional and musical norms (Frisch 177). It means that the creation of art music relied on both music norms and music personalities.
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Composers in later generations continued this tradition. In the past one hundred years, the mainstream music art creation paid homage to the tradition of European art music, target audiences were people familiar with the music canon in the eighteenth century and the nineteenth century, and the aesthetic assumptions focused on the relationship between artists and audiences who were informed members of music canon (Burkholder 116). It means that the creating style of living composers was based on the music canon in the eighteenth century and the nineteenth century.

Music artworks of Johannes Brahms born in 1833, Aaron Copland born in 1900, and John Cage born in 1912 showed their respect to the musical canon. Symphony No. 4 written by Brahms expressed the expectation for a bright future, and the music is full of humanity (1884). The exploration of humanity and the strong emotion in this symphony were influenced by the Beethoven style. Symphony No. 3 created by Copland had a basic tone of dignity and heroism (1944). Since heroism and dignity were also the basic tones in many works written by Beethoven, Copland expressed his artwork in a Beethoven way. 4’33’’ created by Cage was full of creation and showed a new form to interact with audiences (1947). However, the idea of using music to communicate with audiences was a canon tradition.
Conclusion
In conclusion, the rise of the musical canon in the nineteenth century made the music hall a museum to display artworks created by previous generations. Then, the established museum tradition influenced composers in later generations. The creating purpose of living composers became to show the aesthetic consistent with music canon and please audiences who were familiar with music canon. Then, the new challenge for living composers was to create excellent works which can be displayed beside music canon.

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