Programmatic Music, Piano Lesson

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Programmatic music, piano lesson

Introduction

Programmatic music is a composition that gives freedom to the listener of representing emotions, sensations, landscapes, etc. Programmatic or descriptive music is a way of expression of ideas, evokes listeners imagine or can simply describe.

The romantic composer seeks originality in order to create a enduring work for their enjoyment in the future. Indisty, his link with the other arts, especially with literature, generates greater interest in programmatic music, using musical forms such as the symphonic poem or concert overture.

As stated, the romanticism bequeathed in the musical style a new vision of the artist, who writes his works as a personal expression of his feelings, away from the formal and social crowding of preceding times. This creative freedom implies the very core of romantic thought, and the artist uses it as a vehicle of independence to write the musical works that in every moment of his life believes appropriate.

Developing

During this period of virtuous great along with the appearance of new small musical forms is what contributes to the show of virtuous abilities in terms of the technical-interpretative of musicians. This is reflected in a large number of pianistic compositions as well as bagatellas, sonatinas, fantasies, imprintus, nightlife, studies, waltzes, mazurcas, pollaries, etc., presented by great composers such as Chopin, Liszt and Schumann, making the piano the most coveted romantic instrument as composition par excellence. Although the famous Paganini violinist took the violin at the same height as virtuosity as the piano.

Beyond musicality. According to Hegel’s historical-philosophical scheme, the historical development of the arts represents the realization of a system in which music appears as a degree prior to poetry. For Hegel, in the essence of music, in defined historical-philosophical terms, the need to go beyond itself is already implicit. Music, so to speak, cannot be contained in itself, in the ‘abstract interiority’ in which it is trapped as ‘pure sound’, and tends to rise to the ‘unity of the poetic musical’. 

The supporters of programmatic music, in the nineteenth century enthusiasts of progress, who in the awareness of guessing and executing the intentions of the spirit of the world felt safe and calm, argued mainly in historical-philosophical terms. His adversaries did it rather in psychological terms. Some also seemed "necessary" programmatic music, that is, possible, while others seemed empirically "impossible" and therefore superfluous or harmful. 

The ranting of high -aesthetic speculation that extended in compositional praxis as a fatality. The first thing that the supporter of programmatic music could object is that the impartiality of the listener, what an experimental psychologist seeking the natural laws of perception and the association would seem an advantage, is a lack. For one of the objectives that Liszt had in mind consisted of mediation between music and a cultural tradition, mainly literary-philosophical. 

Impartiality, naive listening, thoughtless, is what had to be taken from the musical audience. The fact that a program remains hidden, whether by aesthetic conviction or fear of criticism, is documented in the case of Haydn, Weber, Mahler and even in Bruckner. Programmatic music, whether radically, is the music of an era in which experience through reading and literature on one thing is of a importance just lower than the thing itself. And the zeal with which in the nineteenth century tried to justify it, sometimes even as a objective, it would be conceivable if aesthetic and social motifs had not been intertwined. 

If in the twentieth century use texts or images as support to obtain a meaning in music, it is considered, with a doubtful right, as a sign of diletantism or even awkwardness, during the 19th century the "pure sound", as Hegel called it, perceived, was perceivedAlmost generally as a language of which it was certainly felt that it was eloquent, but in which the understanding and safety of the content of music was again and again. 

Music, especially instruments, looked like linked people, among those who were their detractors, such as an art without tradition and low rank, which did not reach poetry. Liszt looks like a usurper that in the name of music steals what was possession of poetry. Its hybrid proclamation contradicts the spirit of the time, marked by the supremacy of literature, and is both unthinkable at another time (as a historical-philosophical aesthetic formula whose uploaded tone is based less on an individual presumption than in languageof a decade indicated by the fame and immediate effect of Hegel). 

The program, which Schumann had failed as something unworthy and typical of a charlatan, meant for Liszt, Schumann’s musical antipodNot mere "enjoy", as Kant had affirmed with some contempt). The emphatic claim of the symphonic poem (a claim by which it differs from the old programmatic music, which was content with being a fun) was prepared thanks to the poetizing criticism and hermeneutics of the early nineteenth century, whose influence on musical listening, and even in compositional praxis, it should not be undervalued. It is not exaggerated. 

conclusion

That the history of symphony constitutes a prehistory of the symphonic poem or, according to Wagner’s theory, of the musical drama, was the motto of the new Germans who declared themselves within the Progress Party. But the modernity represented by Berlioz and Liszt was opposed rather restricted to the general course of the history of the last century and a half: not from the technical-compositional point of view, it is true, but aesthetically. It cannot be ignored that in the development of musical listening, the tendency to conceive vocal music as instrumental has been imposed. 

The role of the symphonic poem in the history of the emancipation of instrumental music shows two faces: progressive was the aspiration to artistic character in the emphatic sense that Liszt claimed for the instrumental works of Beethoven and the own. Regressive is the method with which he tried to impose it, resorting to the "masterpieces of literature", whose transfiguration into sounds must ensure that music was not a despicable art.   

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