muzic&madnez

Tuesday, May 30, 2006

Quotable Quotes





Love Quotes






“Love is when you shed a tear and still want him, it's when he ignores you and you still love him, it's when he loves another girl but you still smile and say I'm happy for you, when all you really do is cry.”




“Have you ever been in love? Horrible isn't it? It makes you so vulnerable. It opens your chest and it opens up your heart and it means that someone can get inside you and mess you up. You build up all these defenses, you build up a whole suit of armor, so that nothing can hurt you, then one stupid person, no different from any other stupid person, wanders into your stupid life...You give them a piece of you. They didn't ask for it. They did something dumb one day, like kiss you or smile at you, and then your life isn't your own anymore. Love takes hostages. It gets inside you. It eats you out and leaves you crying in the darkness, so simple a phrase like 'maybe we should be just friends' turns into a glass splinter working its way into your heart. It hurts. Not just in the imagination. Not just in the mind. It's a soul-hurt, a real gets-inside-you-and-rips-you-apart pain. I hate love.”




“Meeting you was fate, becoming your friend was a choice, but falling in love with you I had no control over.”




“If I never met you, I wouldn't like you. If I didn't like you, I wouldn't love you. If I didn't love you, I wouldn't miss you. But I did, I do, and I will.”




“I'm not supposed to love you, I'm not supposed to care, I'm not supposed to live my life wishing you were there. I'm not supposed to wonder where you are or what you do...I'm sorry I can't help myself, I'm in love with you.”




“We come to love not by finding a perfect person, but by learning to see an imperfect person perfectly”



“When I saw you, I was afraid to meet you... When I met you, I was afraid to kiss you... When I kissed you, I was afraid to love you... Now that I love you, I'm afraid to lose you.”




“Love comes when manipulation stops; when you think more about the other person than about his or her reactions to you. When you dare to reveal yourself fully. When you dare to be vulnerable.”




“There is a sacredness in tears. They are not the mark of weakness, but of power. They speak more eloquently than ten thousand tongues. They are messengers of overwhelming grief...and unspeakable love.”




“I don't wish to be everything to everyone, but I would like to be something to someone.”


Straight from the Heart #1



I'm here


you don't know i'm here...

how can two people be

on the same part of the universe,

on the same edge of the earth,

on the same share of the continent,

on the same side of the country,

on the same wing of the region,

on the same end of the city.

under the very same roof,

without even meeting each other's eyes?

it's sad, really sad,

when i ache so much to reach out

and have the feel of another's presence,

someone who's, in fact, very near

but is the same someone

who seems a million miles away.

how can we be together

yet be very much apart?

what if i die... the next minute,

the next hour, the next night,

the next day after this?

that makes it sadder because

you don't even know

i'm here

we've won over so many battles,

yet how easily we've been defeated

by our very own selves,

by these restrictions,

by these limitations

on who and how and why

we must care.

i see your shadow

and it's swiftly moving pass me...

oh, what a pain to admit

that though you see me not

my hand still reaches out

ever faithful in declaring

that for you

i'm here...



Monday, May 29, 2006

Juz keep on Jazzin' - Norah Jones



It is rare to see someone as down-to-earth and in touch with reality as Norah Jones storming onto the music scene. She represents the arrival of a new kind of singer... multi-talented, soulful, dedicated, and sincere when she says "I'm doing it for the music." Although she is stylistically much closer to Diana Krall than Alicia Keys... Jones has the young, fresh appeal and innate skills that Keys possesses, capable of awing audiences with her voice and piano playing.

Born in New York City and raised in Dallas, Texas, Norah Jones later returned to New York to start her career. This change in culture, subtle as it may be, can be seen in her music. She combines country, blues, folk, and jazz to create yet another niche in this day and age when crossover artists come by the barrelful. Still, she stands out without even trying...

Here are some of her songs that you can download... and if you want more of her songs, feel free to leave a comment and i'll be glad to upload them for you...



Come Away With Me

Come away with me in the night

Come away with me

And I will write you a song

Come away with me on a bus

Come away with me where they can't tempt us

With their lies

I want to walk with you

On a cloudy day

In fields where the yellow grass grows

knee kigh

So won't you try to come

Come away with me and we'll kiss

On a mountain top

Come away with me

And I'll never stop loving you

And I want to wake up with the rain

Falling on a tin roof

While I'm safe there in your arms

So all I ask is for you

To come away with me in the night

Come away with me

Don't Know Why

I waited 'til I saw the sun

I don't know why I didn't come

I left you by the house of fun

I don't know why I didn't come

I don't know why I didn't come

When I saw the break of day

I wished that I could fly away

Instead of kneeling in the sand

Catching teardrops in my hand

My heart is drenched in wine

But you'll be on my mind

Forever

Out across the endless sea

I would die in ecstacy

But I'll be a bag of bones

Driving down the road alone

My heart is drenched in wine

But you'll be on my mind

Forever

Something has to make you run

I don't know why I didn't come

I feel as empty as a drum

I don't know why I didn't come

I don't know why I didn't come

I don't know why I didn't come


Cold cold heart

I've tried so hard my dear to show

That you're my every dream

Yet you're afraid each thing I do

Is just some evil scheme

A memory from your lonesome past

Keeps us so far apart

Why can't I free your doubtful mind

And melt your cold cold heart

Another love before my time

Made your heart sad an' blue

And so my heart is paying now

For things I didn't do

In anger unkind words are said

That make the teardrops start

Why can't I free your doubtful mind

And melt your cold cold heart

There was a time when I believed

That you belonged to me

But now I know your heart is shackled

To a memory

The more I learn to care for you

The more we drift apart

Why can't I free your doubtful mind

And melt your cold cold heart


Turn Me on

Like a flower

Waiting to bloom

Like a lightbulb

In a dark room

I'm just sitting here waiting for you

To come on home and turn me on

Like the desert waiting for the rain

Like a school kid waiting for the spring

Im just sitting here waiting for you

To come on home and turn me on

My poor heart

It's been so dark

Since you've been gone

After all you're the one who turns me off

You're the only one who can turn me back on

My hi-fi is waiting for a new tune

My glass is waiting for some fresh ice cubes

I'm just sitting here waiting for you

To come on home and turn me on


I've Got to See you Again

Lines on your face don't bother me

Down in my chair when you dance over me

I can't help myself

I've got to see you again

Late in the night when I'm all alone

And I look at the clock and I know you're not home

I can't help myself

I've got to see you again

I could almost go there

Just to watch you be seen

I could almost go there

Just to live in a dream

But no I won't go for any of those things

To not touch your skin is not why I sing

I can't help myself

I've got to see you again

I could almost go there

Just to watch you be seen

I could almost go there

Just to live in a dream

No I won't go to share you with them

But oh even though I know where

you've been

I can't help myself

I've got to see you again


The Nearness of You

It's not the pale moon that excites me

That thrills and delights me, oh no

It's just the nearness of you

It isn't your sweet conversation

That brings this sensation, oh no

It's just the nearness of you

When you're in my arms and I feel you so close to me

All my wildest dreams come true

I need no soft lights to enchant me

If you'll only grant me the right

To hold you ever so tight

And to feel in the night the nearness of you


To know more about these extremely talented artist... pls visit http://www.norahjones.com


My Friend


I have met a very nice guy over the Internet who has become a very dear and sweet friend to me. He worries about me when no one else ever even thinks about me. He's truly one of the best guys I have ever known. He's such a very dear friend and I just want to let him know how blessed I am to have him...



You are always around to keeps my feet on the ground... and when my head is up in the clouds, you always seem to know what I'm thinking about

You are someone who always shows the way to be happy, especially when I'm having a bad day

... someone who listens when I'm making no sense at all

... someone I usually drive crazy but still there to understand me

... someone whom I can trust... someone who in possible way, tries to chase all my fears away

Whether its your smile or your laugh that caught my eye... it was definitely your concerned attitude that captured my heart...

And no matter where I am or what I am doing, when you come to my mind... a smile comes to my face and a warmth settles in my heart

I often struggle to say how i feel, but I hope we never let go of what we share, coz whether its accross the miles or just a short distance... you will always be a part of my life.

Our friendship is forever... a relationship so true



Sunday, May 28, 2006

Timeless Music #1


seat back and relax… enjoy the music…






The Entertainer (theme from The Sting) … Scott Joplin

Fur Elise … Beethoven

Moonlight Sonata, 1st Movement … Beethoven

Canon in D (arranged for piano) ... Pachelbel

Autumn from “The Four Season” … Vivaldi

Minuet (K2) … Mozart

Gymnopedie No.1 … Satie

Sugar Plum Fairy … Tchaikovsky

Concerto for Two Violins ... Vivaldi

O Sole Mio … Italian Folk Song

Music Genre


I view music as a sound organized and arranged for the means of expression and for sensual and intellectual pleasure. Of the major arts... music maybe the most ancient, because the urge to sing and response to feelings of anger, joy, or sorrow springs from the body itself. I can also describe music as sound shaped by time... where the two most important element are the rhythm and the melody... these maybe considered as a universal characteristics of music... but, musical expressions and traditions are quite distinct and diverse. Let's take a glimpse at some of the basic musical language...





Classical Music

Is popular term for the Western tradition of art music that began in Europe in the Middle Ages and continues today. It includes symphonies, chamber music, opera, and other serious, artistic music. More narrowly, the “classical” style refers to the work of the Viennese classical school, a group of 18th-century composers that include Joseph Haydn, Wolfgang Amadeus, Mozart, and Ludwig van Beethoven which is the epitome of what is called classical music.






Gospel Music

Gospel Music, genre of popular American hymnody that emerged about 1870. At first a predominantly white style, it became prominent in the urban religious revivals led by the evangelist Dwight Moody with the musician Ira Sankey. Its roots were in Sunday school hymns, camp meeting spirituals, and the melodies and harmonies of popular music; the bass voice often echoes the other parts. An early example is “I Love to Tell the Story” (1869) by William Fischer. The texts, notably those of the poet Fanny Crosby, often deal with salvation and conversion. Black gospel music, which became distinctive by 1930, is especially associated with Pentecostal churches. It developed out of the combination of the earlier hymns, black performance styles, and elements from black spirituals. Singing, which may merge into ecstatic dance, is usually accompanied by piano or organ, often with handclapping, tambourines, and electric guitars. Texts such as “Precious Lord” (1932) by Thomas Dorsey stress themes of consolation. Noted singers include Sister Rosetta Tharpe and Mahalia Jackson. Although the black and white varieties of gospel music have remained distinctive, repertoire has been shared, and they have freely influenced each other stylistically.




Folk Music

Is the music with which the people of a nation or an ethnic group most specifically identify themselves. It consists of song or pieces taught through performance rather than notation (written musical notes), and learned by hearing. The original composers of folk music are anonymous or forgotten. A folk song does not have a standardized form. Instead, its words as well as its music exist in more than one and sometimes a great many variants, or in slightly different versions. Folk music is most commonly the music of the socially and economically lower classes and of rural populations. Although many folk musicians are accomplished artists who have fine technique and mastery of many pieces, folk music is generally simpler and more compact in style than classical, or art, music. Folk music exists in many different forms and under a variety of social and cultural conditions. Folk music—or some music that conforms to the definition just given—is found in most of the world’s societies. The characterization given in this article applies best to the musical cultures of Western nations. Even so, the variety of folk music is so great that the statements made here can only outline characteristics rather than define the features of folk music.





Jazz

Jazz is a musical form that grew out of a cross-fertilization of folkblues, ragtime and European music, particularly band music. It has been called the first native art form to develop in the United States of America. The music has gone through a series of developments since its inception. In roughly chronological order they are Dixieland, bebop, hard bop, cool jazz, free jazz, jazz fusion and smooth jazz.

Jazz is primarily an instrumental form of music. The instrument most closely associated with jazz may be the saxophone, followed closely by the trumpet. The trombone, piano, double bass, guitar and drums are also primary jazz instruments. The clarinet and banjo were often used, especially in the earlier styles of jazz. Although there have been many renowned jazz vocalists, and many of the most well-known jazz tunes have lyrics, the majority of well-known and influential jazz musicians and composers have been instrumentalists. During the time of its widest popularity, roughly 1920 to 1950, jazz and popular music had a very intimate connection. Popular songs drew upon jazz influences, and many jazz hits were reworkings of popular songs, or lyrics were written for jazz tunes in an attempt to create popular hits.

Jazz was a direct influence on Thythm and Blues, and therefore a secondary influence on most later genres of popular music. Modern American art music composers have often used elements of jazz in their compositions.




Blues

Blues, type of music developed during the late 19th century by African American performers. Blues embraces a variety of styles, including downhome or country blues, boogie-woogie, classic blues, jump blues, and Chicago (urban) blues. Blues directly or indirectly influenced the vast majority of popular music during the 20th century, including jazz, rock, rhythm and blues (R&B), and gospel.

As a form and style blues most likely first appeared in the 1890s, a quarter century after the Civil War (1861-1865) officially ended slavery in the United States. Jazz and ragtime also first appeared around this time. Although freedom did not substantially change the material conditions of the majority of African Americans, it did have a tremendous effect on the mindset of those born into freedom. It is therefore probably no accident that the first generation born outside of slavery would develop a new music that more accurately reflected their worldview and the social situations in which they lived.






Rhythm and blues

Rhythm-and-Blues Music or R&B, variety of different, but related, types of popular musicproduced and supported primarily by black Americans beginning in the early 1940s. Rhythm-and-blues music, also known simply as R&B, embraces such genres as jump blues, club blues, black rock and roll, doo wop, soul, Motown, funk, disco, and rap. First coined in 1949 by Jerry Wexler, who would become prominent with Atlantic Records, the term rhythm and blues was used as a synonym for black rock and roll (rock-and-roll music done by black musicians) in the early and mid-1950s. Until white rock-and-roll performers such as Bill Halley and Elvis Presleyachieved mass popularity in the mid-1950s, what was commonly referred to as rock and roll by white disc jockeys and fans was referred to as the latest style of R&B by black disc jockeys and fans.

As a tradition, R&B provided the single greatest influence on popular music worldwide for much of the second half of the 20th century. This influence can be traced in forms ofrock music, country and western, gospel, and jazz as well as in a variety of non-Western forms of music, including Nigerian juju, a style of popular dance music, and Algerian rai, another popular style distinguished by its rebellious lyrics. As the influence of various styles of R&B has grown, black urban values have also permeated a wide variety of other cultures, most notably that of contemporary Euro-American youth.




Rock

Rock Music, group of related music styles that have dominated popular music in the West since about 1955. Rock music began in the United States, but it has influenced and in turn been shaped by a broad field of cultures and musical traditions. In addition to its use as a broad designation, the term rock music commonly refers to music styles after 1959 predominantly influenced by white musicians. Other major rock-music styles include rock and roll (also known as rock 'n' roll). Each of these major genres encompasses a variety of substyles, such as heavy metal punk, alternative, and grunge. While innovations in rock music have often occurred in regional centers—such as New York City; Kingston, Jamaica; and Liverpool, England—the influence of rock music is now felt worldwide.





Country music

Country Music or Country-and-Western Music, major genre of American popular music, primarily produced by white Southerners beginning in the early 1920s. Born out of the folk music of Southern Appalachia, country music encompasses the styles known as Western swing, honky-tonk, bluegrass, rockabilly, and new country. Over the years country music has been influenced by folk, gospel, rhythm-and-blues (R&B), and rock music and in turn has had an impact on these popular genres. Although originally known by the derisive label “hillbilly music,” country has since moved into the popular music mainstream and gained wide international acceptance.

Musically speaking, country music is one of the simplest styles to create and one of the least intimidating to listen to, features that contribute to its popularity. This basic aspect of country music stems from the fact that it is based predominantly on lyric content rather than musical content. In country, the primary purpose of the musical elements of harmony, melody, and rhythm is to showcase the lyrics without distracting from them. Exceptions to this general rule include the purely instrumental music from country music’s early history and the technical virtuosity often found in bluegrass music.

Country harmony relies for the most part on a simple selection of repeated chords—usually three, although additional chords or as few as two may be used. Vocals appear mainly as single, unharmonized lines, although at times they are harmonized with high, closely spaced voices, especially in the chorus of a song. Rhythmically, there is little syncopation. Most country music is written in ¹ time (four beats to a measure), with the first and third beats receiving emphasis. Melodies are typically just as basic as the rhythm. Many country tunes sound very similar and are distinguishable by their lyrics.

The lyrics of country songs commonly parallel the lives of ordinary, working-class Americans and cover such subjects as love and relationships, loneliness, religion, poverty, and work. A song’s lyric theme is frequently repeated as a hook (a catchy musical phrase) in the chorus section. Most country lyrics are extraordinarily economical, using 150 or fewer words, and the compact result is often poetic and evocative




Pop music

Popular Music, music produced for and sold to a broad audience. Types of popular music include jazz, music from motion pictures and musical comedies, country-and-western music, rhythm-and-blues music (R&B), rock music, and rap (or hip-hop). Shaped by social, economic, and technological forces, popular music is closely linked to the social identity of its performers and audiences. Early musical styles were also very influential in shaping popular music.

The most popular songs in America during the late 18th century, as judged by reported sales of printed music, were written by professional English composers for performance in London parks (known as pleasure gardens) or for performance in English ballad and comic opera. The songs often had pastoral themes, were amorous in content, contained ethnic stereotypes, and included Irish and Scottish lyrics and melodies. By the early 19th century, Italian opera had also become popular in the United States. In addition, the Italian bel canto style of singing—light, clear, and intimate—was to have an influence on the development of the soft, sentimental type of singing known as crooning that became popular in the United States during the 1920s and 1930s.

Distinctive American styles of popular music emerged in the mid-19th century. Minstrel shows —performances in which white entertainers dressed in blackface and acted out crude parodies of African American behavior—were the dominant form of popular entertainment in the 19th century. The minstrel theater had a strong impact on the development of popular music in the United States. American performer Thomas Dartmouth Rice demonstrated the profitability of minstrel music with his song “Jim Crow” (1829), which was the first American song to become an international hit. Many minstrel songs were successful in sheet music form, and they became a dominant force in the development of 19th-century American popular song.





Melodic music

Is a term that covers various genres of non-classical music which are primarily characterised by the dominance of a single strong melody line. Rhythm, tempo and beat are subordinate to the melody line or tune, which is generally easily memorable, and followed without great difficulty. Melodic music is found in all parts of the world, overlapping many genres, and may be performed by a singer or orchestra, or a combination of the two.

In the west, melodic music has developed largely from folk song sources, and been heavily influenced by classical music in its development and orchestration. In many areas the border line between classical and melodic popular music is imprecise. Opera is generally considered to be a classical form. The lighter operatta is considered borderline, whilst stage and film musicals and musical comedies are firmly placed in the popular melodic category. The reasons for much of this are largely historical.





Punk rock

Punk rock is a subgenre of rock music. The term "punk rock" can only rarely be applied without any controversy. Perhaps the only bands always considered "punk" are the first wave of punk bands, such as The Clash, The Sex Pistoles and the Ramones, and even then they may be labeled "sellouts" by more hardcore fans. Before this, however, a series of underground musicians helped define the music throughout the 1970s.

Punk is often considered especially important for its "Do-it-yourself" philosophy. Many punk musicians encouraged their fans and audience members to learn to play instruments and form their own bands, and doing so was implicitly encouraged by the apparent simplicity of the music. Since punk bands were often ignored by major lables, the definitions of the many sub-genres, and the question of which groups belong in which sub-genres, is often a subject of heated debate.





Hip hop / Rap / Rapcore

Hip hop music genre of rhythm-0and-blues (R&B) that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording “Rapper’s Delight” (1979) by the Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including break dancing and graffiti art as well as a unique slang vocabulary and fashion sense.

Rap originated in the mid-1970s in the South Bronx area of New York City. The rise of rap in many ways parallels the birth of rock and roll in the 1950s. Both originated within the African American community and both were initially recorded by small, independent record labels and marketed almost exclusively to a black audience. In both cases, the new style gradually attracted white musicians, a few of whom began performing it. For rock and roll it was a white singer from Mississippi, Elvis Presley, who broke into the Billboard magazine popular music charts. For rap it was a white group from New York, the Beastie Boys, and the hit song “Walk This Way” (1986), a collaboration of the black rap group Run DMC and the white hard-rock band Aerosmith. Soon after 1986, the use of samples and declaimed vocal styles became widespread in the popular music of both black and white performers, significantly altering previous notions of what constitutes a legitimate song, composition, or musical instrument.


Saturday, May 27, 2006

Reminiscin' the Past


As we all know, Music has an extensive and multifaceted history that may go before language… and certainly predates the written word. It is originated in every known culture… past and present… varying wildly between times and places. The society's music is influenced by all other phases of that culture, together with social and economic organization, climate, and access to technology. The passions and inspirations that music expresses, the places that music is played and listened to in, and the mind-sets toward music players and composers… all vary between regions and periods. Let’s take a closer look at the history of our music…




The Middle Ages

Around 500 A.D., western civilization began to emerge from the period known as "The Dark Ages," the time when invading hordes of Vandals, Huns, and Visigoths overran Europe and brought an end to the Roman Empire. For the next ten centuries, the newly emerging Christian Church would dominate Europe, administering justice, instigating "Holy" Crusades against the East, establishing Universities, and generally dictating the destiny of music, art and literature. During this time, Pope Gregory I is generally believed to have collected and codified the music known as Gregorian Chant, which was the approved music of the Church. Much later, the University at Notre Dame in Paris saw the creation of a new kind of music called organum. Secular music was sung all over Europe by the troubadours and trouvères of France. And it was during the Middle Ages that western culture saw the arrival of the first great name in music, Guillaume de Machaut.

click here for more info...



The Renaiissance

Generally considered to be from ca.1420 to 1600, the Renaissance (which literally means "rebirth") was a time of great cultural awakening and a flowering of the arts, letters, and sciences throughout Europe. With the rise of humanism, sacred music began for the first time to break free of the confines of the Church, and a school of composers trained in the Netherlands mastered the art of polyphony in their settings of sacred music. One of the early masters of the Flemish style was Josquin des Prez. These polyphonic traditions reached their culmination in the unsurpassed works of Giovanni da Palestrina.
Of course, secular music thrived during this period, and instrumental and dance music was performed in abundance, if not always written down. It was left for others to collect and notate the wide variety of irrepressible instrumental music of the period. The late Renaissance also saw in England the flourishing of the English madrigal, the best known of which were composed by such masters as John Dowland, William Byrd, Thomas Morley and others.

click here for more info...


The Baroque Age

Named after the popular ornate architectural style of the time, the Baroque period (ca.1600 to 1750) saw composers beginning to rebel against the styles that were prevalent during the High Renaissance. This was a time when the many monarchies of Europe vied in outdoing each other in pride, pomp and pageantry. Many monarchs employed composers at their courts, where they were little more than servants expected to churn out music for any desired occasions. The greatest composer of the period, Johann Sebastian Bach, was such a servant. Yet the best composers of the time were able to break new musical ground, and in so doing succeeded in creating an entirely new style of music.
It was during the early part of the seventeenth century that the genre of opera was first created by a group of composers in Florence, Italy, and the earliest operatic masterpieces were composed by Claudio Monteverdi. The instrumental concerto became a staple of the Baroque era, and found its strongest exponent in the works of the Venetian composer Antonio Vivaldi. Harpsichord music achieved new heights, due to the works of such masters as Domenico Scarlatti and others. Dances became formalized into instrumental suites and were composed by virtually all composers of the era. But vocal and choral music still reigned supreme during this age, and culminated in the operas and oratorios of German-born composer George Frideric Handel.

click here for more info...



The Classical Period

From roughly 1750 to 1820, artists, architechts, and musicians moved away from the heavily ornamented styles of the Baroque and the Rococo, and instead embraced a clean, uncluttered style they thought reminiscent of Classical Greece. The newly established aristocracies were replacing monarchs and the church as patrons of the arts, and were demanding an impersonal, but tuneful and elegant music. Dances such as the minuet and the gavotte were provided in the forms of entertaining serenades and divertimenti.

At this time the Austrian capital of Vienna became the musical center of Europe, and works of the period are often referred to as being in the Viennese style. Composers came from all over Europe to train in and around Vienna, and gradually they developed and formalized the standard musical forms that were to predominate European musical culture for the next several decades. A reform of the extravagance of Baroque opera was undertaken by Christoph von Gluck. Johann Stamitz contributed greatly to the growth of the orchestra and developed the idea of the orchestral symphony. The Classical period reached its majestic culmination with the masterful symphonies, sonatas, and string quartets by the three great composers of the Viennese school: Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. During the same period, the first voice of the burgeoning Romantic musical ethic can be found in the music of Viennese composer Franz Schubert.

click here for more info...


The Romantic Era

As the many socio-political revolutions of the late eighteenth-century established new social orders and new ways of life and thought, so composers of the period broke new musical ground by adding a new emotional depth to the prevailing classical forms. Throughout the remainder of the nineteenth-century (from ca. 1820 to 1900), artists of all kinds became intent in expressing their subjective, personal emotions. "Romanticism" derives its name from the romances of medieval times -- long poems telling stories of heroes and chivalry, of distant lands and far away places, and often of unattainable love. The romantic artists are the first in history to give to themselves the name by which they are identified.

The earliest Romantic composers were all born within a few years of each other in the early years of the nineteenth century. These include the great German masters Felix Mendelssohn and Robert Schumann ; the Polish poet of the piano Frédéric Chopin; the French genius Hector Berlioz ; and the greatest pianistic showman in history, the Hungarian composer Franz Liszt.

During the early nineteenth century, opera composers such as Carl Maria von Weber turned to German folk stories for the stories of their operas, while the Italians looked to the literature of the time and created what is known as Bel canto opera (literally "beautiful singing"). Later in the century, the field of Italian opera was dominated by Giuseppe Verdi, while German opera was virtually monopolized by Richard Wagner.

During the nineteenth century, composers from non-Germanic countries began looking for ways in which they might express the musical soul of their homelands. Many of these Nationalist composers turned to indigenous history and legends as plots for their operas, and to the popular folk melodies and dance rhythms of their homelands as inspiration for their symphonies and instrumental music. Others developed a highly personal harmonic language and melodic style which distinguishes their music from that of the Austro-Germanic traditions.

The continued modification and enhancement of existing instruments, plus the invention of new ones, led to the further expansion of the symphony orchestra throughout the century. Taking advantage of these new sounds and new instrumental combinations, the late Romantic composers of the second half of the nineteenth-century created richer and ever larger symphonies, ballets, and concertos. Two of the giants of this period are the German-born Johannes Brahms and the great Russian melodist Peter Ilyich Tchaikovsky.

click here for more info



The Twentieth-Century

By the turn of the century and for the next few decades, artists of all nationalities were searching for exciting and different modes of expression. Composers such as Arnold Schoenberg explored unusual and unorthodox harmonies and tonal schemes. French composer Claude Debussy was fascinated by Eastern music and the whole-tone scale, and created a style of music named after the movement in French painting called Impressionism. Hungarian composer Béla Bartók continued in the traditions of the still strong Nationalist movement and fused the music of Hungarian peasants with twentieth century forms. Avant-garde composers such as Edgard Varèse explored the manipulation of rhythms rather than the usual melodic/harmonic schemes. The tried-and-true genre of the symphony, albeit somewhat modified by this time, attracted such masters as Gustav Mahler and Dmitri Shostakovich, while Igor Stravinsky gave full rein to his manipulation of kaleidoscopic rhythms and instrumental colors throughout his extremely long and varied career.

While many composers throughout the twentieth-century experimented in new ways with traditional instruments (such as the "prepared piano" used by American composer John Cage), many of the twentieth-century's greatest composers, such as Italian opera composer Giacomo Puccini and the Russian pianist/composer Sergei Rachmaninoff, remained true to the traditional forms of music history. In addition to new and eclectic styles of musical trends, the twentieth century boasts numerous composers whose harmonic and melodic styles an average listener can still easily appreciate and enjoy.

click here for more info...