Western Music History Western Music History can be traced back to Medieval times, with the Introduction of Chanting (later termed Gregorian Chanting) into the Catholic church services. Western Music then started becoming more of an art form with the advances in music notation and more focus on secular themes that occurred in the Renaissance period. We then have expansions of range and complexity as we move into the Baroque era. The Classical era gives us the emotional power associated with such composers as Wolfgang Amadeus Mozart. Romanticism then transforms the rigid styles and forms of the Classical era into more individualistic stylizations. Table of contents[edit] Medieval Music (476 A.D. to 1400 A.D.)Renaissance Music (1400 A.D. to 1600 A.D.)Baroque Music (1600 A.D. to 1750 A.D.)Classical Music (1750 A.D. to 1820 A.D.)Romantic Music (1820 A.D. to 1900 A.D.)Modern Music (1900 A.D. to 1960 A.D.)Contemporary Music (1945 A.D. to present) A Note Time Periods[edit] About this book[edit] Authors
'Chilly' Gonzales: 'I like to be married to lots of people' | Music | The Observer It is sweltering in the north-west Parisian suburb of La Frette-sur-Seine on the afternoon I arrive to meet the performer known once again as "Chilly" Gonzales. Behind an unmarked iron gate lies a rambling, 19th-century manor house, converted into a residential recording studio in the late 60s by French producer Eddie Barclay. It is currently home to Gonzales and the singer Leslie Feist, who are working on the follow-up to her million-selling album The Reminder. "Welcome to paradise," says the newly clean-shaven Gonzales as he shows me inside. "We did one big grocery shop when we arrived and we're not going to leave all week." The studio seems more suited to Feist's ethereal beauty than it is to him. "Chilly" Gonzales, aka "Gonzo", aka Gonzales, aka 38-year-old Canadian Jason Charles Beck, is a producer, a classically trained pianist, a comedian-cum-cabaret artist, a film-maker and a left-field pop star in his own right who runs a gamut of styles.
About us | Tonic. A Creative Music Agency.. about Tonic is an independent creative agency specialising in music. Here, music IS the big idea. We create music content for clients including brands, agencies and production companies. We work across all media – commercials, film, games, integrated entertainment, events, retail identity & strategy, or preferably an intelligent mix of them all. We like to blur the lines, shake shit up, and introduce great music to the world. Simply put, we’re here to make you sound good. Clare Donald Head of Operations, Google Creative Lab “I have worked with Susan in my current role (Google Creative Lab) and in my past role (Head of Operations at Havas London). Olly Chapman Head of Broadcast, BETC London “I’ve known and worked with Susan on pretty much every production I have produced over the past 8 years. Davud Karbassioun Head of Film, BBH London “Angels was the first ever truly global LYNX/AXE film. She was an integral part of our team from start to finish.” Kayt Hall Managing Director, Absolute Post
Current issue Get exclusive deals for new music events in your inbox. Sign up here. Hear from the voices of new music with guest posts from composers, curators, producers and the Sound and Music team here. Metier Ensemble | Metier Ensemble As Slow as Possible The performance of the organ version at St. Burchardi church in Halberstadt, Germany, began in 2001 and is scheduled to have a duration of 639 years, ending in 2640. History[edit] The piece was commissioned for a piano competition by The Friends of the Maryland Summer Institute for the Creative and Performing Arts as a contemporary requirement. Cage employed an open format mainly to ensure that no two performances would be the same, providing the judges a break from the monotony of most compositions.[citation needed] The score consists of eight pages. Performances[edit] On February 5, 2009, Diane Luchese performed "Organ²/ASLSP" from 8:45 AM to 11:41 PM in the Harold J. On September 5, 2012, as part of John Cage Day at the University of Adelaide, Australia, Stephen Whittington performed an 8-hour version of ASLSP on the Elder Hall organ. Halberstadt performance[edit] The Bellows The Organ Background[edit] The instrument[edit] Performance[edit] The performance commenced in the St. See also[edit]
Art music Art music (also known as serious music,[1] erudite music,[2] or legitimate music[3][4] (often shortened to legit music)),[5] is an umbrella term used to refer to musical traditions implying advanced structural and theoretical considerations[6] and a written musical tradition.[7] The notion of art music is a frequent and well defined musicological distinction, e.g., referred to by musicologist Philip Tagg as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics."[8] He explains that each of these three is distinguishable from the others according to certain criteria.[8] The main tradition in the Western world is usually called classical music. In this regard, it is frequently used as a contrasting term to popular music and traditional or folk music.[7][9][10] The term also covers non-Western classical traditions such as Chinese classical music and Traditional Japanese music.[citation needed] Definition[edit] Characteristics[edit] See also[edit] References[edit]
Opinion: If the classical concert scene ain't broke, don't fix it | Classical music reviews Most of us don't object to experiments in concert presentation - the occasional one-off showcase to lure the young and suspicious into the arcane world of attentive concert-going, the odd multimedia event as icing on the cake. It's only those pundits obsessed with the key word "accessibility" who tell us that the basic concept of sitting (or standing, as they have at the Proms for well over a century) and listening with respect for those around us needs overhauling. It's a typical journalistic conception of "either/or" instead of "all approaches welcome" - a case of what an American academic I know calls "bad binaries". So you sit (or stand), you listen, you don't unwrap sweets, text, tweet, talk on your mobile phone or to your neighbour, cough in the quiet bits if you can help it, jangle your hundred and one bangles. So how do you lure people to the concert-hall church in the first place? And that is surely a matter of the conductor's charisma or authority.
Charles Hazlewood On Music In Bristol | Classical music reviews Next Friday, my amazing period-instrument orchestra, Army of Generals, begins a new residency at St George’s Bristol. The aim of this unconventional and high-octane series of concerts - which will be performed by what I refer to as my crack squad of period instrumentalists - is to raise the bar for people’s engagement with music and to bring some musical protein to a city which I think is so desperately in need of it. As someone who was born and raised in Somerset, I have for a long time been frustrated by the low provision of music in the West Country. If you drive south and west from London, in the general direction of Cornwall, the last full-time professional orchestra before Lands End is in Bournemouth; Bristol, the capital of the West, is unique compared to any other city of equivalent size, for not having a full-time orchestra. Or opera company. Play the Field was an enormous success. It won’t be a conventional concert.