Art Music Definition

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Gordon Epperson Professor of Music, University of Arizona, Tucson. Author of The Musical Symbol: A Study of the Philosophic Theory of Music.

Art Music Definition

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Music, the art of combining vocal or instrumental sounds for aesthetic or emotional expression, usually according to cultural norms of rhythm, melody and, in most Western music, harmony. Both a simple folk song and a complex electronic composition belong to the same activity, music. Both are humanly designed; concept and hearing are the same, and these elements are present in music of all styles and in all periods of history, all over the world.

Music is an art that penetrates every society in one way or another. Contemporary music can be heard in a bewildering variety of styles, many of which are contemporary, others developed in past eras. Music is a protean art; it readily lends itself to association in words, such as song, and in physical movement, such as dance. Throughout history, music has been an important adjunct to ritual and drama, recognized for its ability to express and influence human emotion. Popular culture continues to exploit these opportunities, especially today through radio, film, television, musical theater and the Internet. The effects of using music in psychotherapy, geriatrics and advertising reinforce the belief in the power of music to influence people’s behavior. Publications and recordings have effectively internationalized music in its most precious and trivial manifestations. In addition to all this, music education in primary and secondary schools has achieved almost universal acceptance.

But the spread of music is not new, and its importance to man is often acknowledged. The strange thing is that, despite the universality of art, no one has claimed its necessity until recently. The ancient Greek philosopher Democritus vehemently denied any fundamental need for music: “It is not necessary to distinguish it, but arises out of an existing superfluity.” The view that music and the other arts are mere grace is still widespread, although growing psychological understanding of play and other symbolic activities has begun to undermine this strong belief.

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African music; Music and dancing at sea; Western music; Art in Central Asia: Music; Chinese music; Japanese music; Korean music; Islamic art; American folk music; Arts of South Asia: Music; and Art in Southeast Asia: Music.

Folk music. Aspects of music are covered in counterpoint, harmony, instrumentation, mode, music criticism, composition, music performance, music recording, music, notation, rhythm, scale, and tuning and temperament.

Articles such as blues, chamber music, choral music, concerto, electronic music, fugue, jazz, opera, rhythm and blues, rock, symphony, sonata, theater music, and vocal music. Musical instruments are covered with electronic instruments, keyboards, percussion, strings, and wind instruments, with separate articles on individual instruments such as clarinet, drums, guitar, kayagŭm, piano, tabla, and theremin.

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Music is heard everywhere. But what is music? Commentators have noted the “relation of music to human senses and intelligence”, establishing human discourse as a necessary setting for world art. The meaning of the music itself remains. As Aristotle said, “It is not easy to determine the nature of music, or why anyone should know about it.”

At the beginning of the 20th century, it was generally considered that the tone of music is characterized by the regularity of its vibrations; this uniformity gave it a fixed pitch and separated its voices from “noise”. Although traditional music may have supported this view, it was recognized in the second half of the 20th century as an invalid metric. In fact, “noise” and silence have become elements in composition, and composers such as the American John Cage and others have used random sounds (without prior knowledge of what they are) in works with aleatory (chance) or improvised qualities. . In addition, tone is only one component in music, the others are rhythm, timbre (tone color) and texture. Electronic machinery has allowed some composers to create works where the traditional role of the interpreter has been eliminated, and to record directly onto tape or digital file sounds that were once beyond human ability to make, let alone think.

It is clear from historical accounts that music has always been considered to have the power to move people; its ecstatic potential is recognized in all cultures and generally accepted in practice under certain, sometimes strict, conditions. In India, music has been placed at the service of religion since time immemorial; Vedic chants are at the beginning of the album. As the art evolved over the centuries into music of deep melodic and rhythmic complexity, the discipline of the religious text or the direction of the story determined the structure. In the 21st century, the narrator is still a central part of traditional Indian music, and the virtuosity of a good singer rivals that of instrumentalists. In the Western sense, there is very little concept of vocal or instrumental language. The vertical dimension of the chord structure—that is, the effects created by simultaneous notes—is not a feature of South Asian classical music; octave divisions (intervals) are more frequent than in Western music, and the music has a greater melodic complexity than its Western counterpart. In addition, the element of improvisation is preserved, which is essential for the success of the performance. The spontaneous mimicry between the instrumentalist and the narrator against the insistent rhythmic subtleties of the drums can be the source of the greatest confusion, largely due to the faithful adherence to the strict rules that govern the singing of ragas. an ancient melodic pattern of Indian music.

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Chinese music, like Indian music, has traditionally been an adjunct to ceremony or narrative. Confucius (551–479 BC) gave music an important place in the service of a harmonious moral universe. He saw music and government as a reflection of each other and believed that only a superior man who understood music was equipped to rule. He thought that music reveals character through the six emotions it can express: sadness, pleasure, joy, anger, piety, love. According to Confucius, great music is in harmony with the universe and restores order to the physical world through harmony. Music, a true reflection of personality, makes pretense or deception impossible.

Although music was important to life in ancient Greece, it is not known today what music actually sounded like. Only a few saved fragments have survived, and there is not even a key to restore them. The Greeks got theoretical speculation about music; they had a notation system and they “practiced music” as Socrates himself told them to do in the vision. But the Greek word where the word

Is derived is a generic name referring to any art or science practiced under the patronage of the Muses. So music, unlike gymnastics, covers everything. (However, much speculation is clearly directed at the stricter meaning we are familiar with.) Music was almost a branch of mathematics for the philosopher Pythagoras (

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550 BCE), who was the first musical numerologist and laid the foundation for acoustics. In acoustics, the Greeks found a correspondence between the pitch and the length of the string. But they did not progress to pitch calculation based on vibrations, despite attempts to associate the sounds with the underlying movements.

Plato (428–348/347 BC), like Confucius, considered music to be part of ethics. And like Confucius, he wanted to regulate the use of certain modes (i.e. arrangements of notes such as scales) because they were supposed to have an effect on people. Plato was a strict disciplinarian of music; he saw a correspondence between a person’s character and the music that represented him. Straightforwardness is best. These

, Plato declared that rhythmic and melodic complexity should be avoided because they lead to depression and disorder. Music reflects divine unity; Rhythm and melody imitate the movements of the heavenly bodies and thus describe the music of the spheres and reflect the moral order of the universe. However, secular music is suspect; Plato did not trust its emotional power. The music must therefore be of the right kind; the sensual nature of some forms of transport is dangerous and censorship should be applied vigorously. Music and gymnastics in a suitable balance form the desired curriculum. Plato valued music in its ethically accepted forms; his concern is chiefly with the effects of music, and therefore he

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