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Concert Program
A concert program (in American English) or concert programme (in British English) is a selection and ordering, or programming, of pieces to be performed at an occasion, or concert. Concert programs can be organized into a booklet. In some occasions the programs might be simpler, and will be put on a piece of paper. Programs may be influenced by the available ensemble of instruments, by performer ability or skill, by theme (historical, programmatic, or technical), by musical concerns (such as form), or by allowable time. For example, a brass ensemble may perform an "all brass" program, the pieces of which may be chosen by a theme, such as "all Bach", and the chosen pieces may be ordered so that they build in intensity as the concert progresses. Concert programs may be put together by ensembles, conductors, or ensemble directors, and are often explained in program notes. The structure of modern concert programs can be traced back to the contributions of Felix Mendelssohn while ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
American English
American English, sometimes called United States English or U.S. English, is the set of variety (linguistics), varieties of the English language native to the United States. English is the Languages of the United States, most widely spoken language in the United States and, since 2025, the official language of the United States. It is also an official language in 32 of the 50 U.S. states and the ''de facto'' common language used in government, education, and commerce in all 50 states, the District of Columbia, and in all territories except Puerto Rico. Since the late 20th century, American English has become the most influential form of English worldwide. Varieties of American English include many patterns of pronunciation, vocabulary, grammar, and particularly spelling that are unified nationwide but distinct from other forms of English around the world. Any North American English, American or Canadian accent perceived as lacking noticeably local, ethnic, or cultural markedness ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony
A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movement (music), movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), Brass instrument, brass, Woodwind instrument, woodwind, and Percussion instrument, percussion Musical instrument, instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a Full score, musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Ludwig van Beethoven, Beethoven's Symphony No. 9 (B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Section (music)
In music, a section is a complete, but not independent, musical idea. Types of sections include the Introduction (music), introduction or intro, Exposition (music), exposition, Musical development, development, recapitulation (music), recapitulation, Verse-chorus form, verse, Verse-chorus form, chorus or refrain, Conclusion (music), conclusion, coda (music), coda or outro, fade (audio engineering)#Origins and early examples, fadeout, bridge (music), bridge or wikt:interlude, interlude. In sectional forms such as binary form, binary, the larger unit (form (music), form) is built from various smaller clear-cut units (sections) in combination, analogous to stanzas in poetry or somewhat like stacking Lego. Some well known songs consist of only one or two sections, for example "Jingle Bells" commonly contains verses ("Dashing through the snow...") and choruses ("Oh, jingle bells..."). It may contain "auxiliary members" such as an introduction and/or outro, especially when accompanied ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Motif
In music, a motif () or motive is a short musical idea, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition. The motif is the smallest structural unit possessing thematic identity. History The defines a motif as a "melodic, rhythmic, or harmonic cell", whereas the 1958 maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'figure'." A harmonic motif is a series of chords defined in the abstract, that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Theme
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called monothematic, while music based on several themes is cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Analysis
Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards." The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of nalysisis to decompose, to mutilate the spirit of a work". Analyses Some analysts, such as Donald Tovey (whose '' Essays in Musical Analysis'' are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dates Of Classical Music Eras
Music historians divide the Western classical music repertory into various eras based on what style was most popular as taste changed. These eras and styles include Medieval, Renaissance, Baroque, Classical, Romantic, Modernist, and Postmodernist. The 20th and 21st centuries are not musical eras in themselves, but are calendar periods that do not relate individually to musical history. However, these two calendar centuries can be combined into a longer musical period that includes the Modernist and Postmodernist eras. Some of the terms, such as "Renaissance" and "Baroque", are borrowed from Western art history. Approximate dates can be assigned to the beginning and ending of each of these eras, which can be useful in describing changes in taste and to estimate the style of a work composed in a particular year. However, these dates are approximate and even good approximations are hard to make. Problems inherent in assigning date ranges Picking particular years for the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Grove
Sir George Grove (13 August 182028 May 1900) was an English engineer and writer on music, known as the founding editor of ''Grove's Dictionary of Music and Musicians''. Grove was trained as a civil engineer, and successful in that profession, but his love of music drew him into musical administration. When responsible for the regular orchestral concerts at the Crystal Palace, he wrote a series of programme notes from which eventually grew his musical dictionary. His interest in the music of Franz Schubert, which was neglected in England at that point in the nineteenth century, led him and his friend Arthur Sullivan to go to Vienna in search of undiscovered Schubert manuscripts. Their researches led to their discovery of the lost score of Schubert's ''Rosamunde'' music, several of his Symphony, symphonies and other music in 1867, leading to a revival of interest in Schubert's work. Grove was the first director of the Royal College of Music, from its foundation in 1883 until hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eduard Hanslick
Eduard Hanslick (11 September 18256 August 1904) was an Austrian music critic, aesthetician and historian. Among the leading critics of his time, he was the chief music critic of the '' Neue Freie Presse'' from 1864 until the end of his life. His best known work, the 1854 treatise ''Vom Musikalisch-Schönen'' (''On the Musically Beautiful''), was a landmark in the aesthetics of music and outlines much of his artistic and philosophical beliefs on music. Hanslick was a conservative critic and championed absolute music over programmatic music for much of his career. As such, he sided with and promoted the faction of Robert Schumann and Johannes Brahms in the so-called " War of the Romantics", often deriding the works of composers such as Franz Liszt and Richard Wagner. Life and career Eduard Hanslick was born in Prague (then in the Austrian Empire), the son of Joseph Adolph Hanslik, a bibliographer and music teacher from a German-speaking family, and one of Hanslik's piano pupi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Union
John Ella (1802–1888) was an English violinist and director of concerts. Early life Ella was born Leicester 19 December 1802, baptism at St. Martins, now Leicester Cathedral, his parents buried there. He was intended by his father, Richard Ella, for the law; but in 1819 he was taught the violin by M. Fémy. On 18 January 1821 he made his first appearance as a professional musician in the orchestra of Drury Lane Theatre. In the following year he was promoted to the band of the King's Theatre. In 1826, on the completion of his musical education under Thomas Attwood, and subsequently under François-Joseph Fétis in Paris, that he took his place as a member of major orchestras of London, such as the Philharmonic and the Ancient Concerts. The Saltoun Club of Instrumentalists and the Società Lirica were perhaps founded by him as early as this period of his life. They were intended for the practice and performance of unfamiliar operatic music. He played in the orchestra on the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chamber Music
Chamber music is a form of classical music that is composed for a small group of Musical instrument, instruments—traditionally a group that could fit in a Great chamber, palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances. Because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music was played primarily by amateur musicians in their homes, and even today, when chamber music performance has migrated from the home to the concert hall, many musicians, amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
