高分音乐论文代写_靠谱音乐作业代写

发布时间：2020-12-11 热度：

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The Emergence of Musical Canon and The Subsequent Resistance
The decrease in the audience’s connoisseurship and the composers’ musically intelligent became the key to the booming of the musical canon which stereotyped the musicians including Ludwig van Beethoven, which aroused the competition of Johannes Brahms, Aaron Copland and John Cage via introducing their respective masterpieces in the nineteenth century.    
It was a common phenomenon in the nineteenth century that both the appreciation level of the audience and the creation ability of the composers decreased sharply. In the words of J. Peter Burkholder, “the new mass audience was more hostile to connoisseurship, and there was little in the music of virtuoso composer-performers to engage the attention of the musically intelligent. In reaction, more serious musicians turned back to Beethoven, Mozart, and Haydn” (117). Burkholder claimed two factors which led to the emergence of the musical canon in the nineteenth century in his article. One was the enlargement of audience who listened to the new mass-market music, including both connoisseurs and those who lack connoisseurship. Due to the participation of some uneducated concert audience and some polished pieces short on brains popularized among the audience in the nineteenth century, some works of old masters were considered to be the “Bible” in music. Those masterpieces can be understood and enjoyed effortlessly by those with the limit of connoisseurship. The other was the narrowing of scope of the virtuoso composer-performers who devoted themselves to the creation with their musical intelligent in the nineteenth century. At that time, the mainstream music market was filled with the excellent but not-difficult-to-understand music works. Those musicians who did well in style and polish turned back to several typical representatives of serious music and created the concept of “masters” and “masterpieces” to limit the boundary of the musical canon in the nineteenth century. 

The musical canon narrowed the scope of art music works and singularized the audience’s connoisseurship. According to Burkholder, “by the last quarter of the 19th century, the concert hall was primarily a museum for the display of works of art from previous generations, rather than a forum for the new" (117). In other words, the emergence of the musical canon was a revolutionary change relative to the concept and purpose of art music. Before ushering the nineteenth century, art music was a kind of music whose listeners could obtain extreme high connoisseurship. Later on, the musicians picked out three most outstanding composers, including Beethoven, Mozart, and Haydn, as geniuses whose masterpieces were performed mostly in the concert hall. They did so to cater for the audience with much lower connoisseurship. On that occasion, Ludwig van Beethoven was admired and advocated. His musical pieces, especially his “Symphony Nine,” that was frequently performed in the concert hall became a thing which was expected to be understood by every member of the audience. According to Walter Frisch, it was recorded that “the works of Beethoven comprised over 60 percent of the orchestra’s repertory from 1842 until 1850” (177). Thus, it could be seen that the audience held a fixed expectation of Beethoven’s permanent musical display. The conception of art music narrowed its scope by focusing on specific classical musicians and their compositions, and the purpose of art music changed from being enjoyed to being understood and lectured in the nineteenth century.
Since the musical canon was formed as an established tradition, the concert hall became the “musical museum” where the idea of writing music, especially symphonies immitated the works created by the immediate predecessors. In the words of Burkholder, “they admired their immediate predecessors, emulated their music, and competed with them for attention and performances” (118). Here “they” referred to those composers who wrote serious music in the nineteenth century. They created and wrote music, especially symphonies, on the basis of the admiration and imitation of the former composers. Some of them even "enthusiastically participated in the revival of old music as performers, editors, and sponsors" (Burkholder 118). The reason why they admired their immediate predecessors was just that the concert hall had become the musical museum where only the deceased musicians' works could be performed frequently. For composers at that time, such as Brahms, Copland and Cage, their works were under the huge shadow of Beethoven. 
In order to contend with the existence of a traditional canon of musical masterworks, Brahms, Copland, and Cage adopted different musical attitudes and ideas. Brahms, a late-nineteenth-century composer, "developed the uniquely esoteric tradition associated with modernist “classical” music” (Burkholder 120). By analyzing the fourth movement “Allegro Energio e Passionate” of his “Fourth Symphony,” Brahms indicated that the lasting value of his piece overweight communication with the audience. His employment of chaconne in his “Fourth Symphony” revealed his predominantly emulative music based on the traditions of the composition. He composed his neoclassical music in the tradition of art music in the past decades. Different from Brahms, Copland, an American composer, in his symphony, fused American elements into the European-dominated musical traditions. His Americana style with the element of ballet brought about new blood for the traditional musical canon in the early years of the twentieth century. His compositions were usually populist and vernacular. Another experimental composer, Cage, tried an even bolder form of music in the twentieth century. As an avant-garde musical composer, Cage was opposite to the traditional canon. According to Burkholder, “the more radical, like Cage, break not only with historicism but with the tradition of Western art music as a whole” (131). In Cage’s silent work “4’33’’”, Listeners could hear the sounds of the environment instead of the performance of instruments. The piece became the epitome of Cage's musical idea that any sound could constitute music, which was different from the canon of traditional art music.
The idea of the concert hall as the musical museum associated with the musical canon in the nineteenth century, which stereotyped the compositions of the musicians and limited the possibility of artistic innovation. Beethoven and several other composers were worshiped, while Brahms, Copland, and Cage fought firmly against the traditional canon in art music.