Beethoven's Symphony and Popular Music Essay Example | Topics and Well Written Essays - 1500 words

Beethoven's Symphony and Popular Music - Essay Example Beethoven’s Symphony and Popular music are ancient art that remain popular to date. On the one hand, Symphony is classical music in Europe. Since his period, when the music assumed substantial popularity as generally polished and the best living artist, the Beethoven's composition has continued to be the most listened to, talked about and reviewed genres. Beethoven is largely classified among the highly significant Western composers, with his music being the most commonly recorded across the society. His stylistic discoveries include two accomplishments. First, they elevated the Classical style to its top most expressive degree, deepening in official, configuration and harmonic notes to the musical expression created by forerunners such as Haydn and Mozart. Moreover, they proved enormously powerful over the melodic language and philosophy of the Romantic period, whether they served to enhance direct encouragement, or in regard to establishing a musical presentation of the arti st’s language. On the other hand, popular music encompasses any of several of musical genres having profound popularity and is essentially distributed to the mainstream audiences of all segments via the melodic industry. Notably, what popular genre stands for and represents is different from Beethoven’s music; the latter being essentially differentiated scholarly or verbally to less significant, domestic audiences (Scruton 42). Even though popular music infrequently is recognized as ‘pop music,’ both expressions are different. For instance, popular music entails a generic expression for melodies of all generations that is preferred by large proportions of people, while pop music is normally confined to a particular musical genre (Scruton 42-45). Beethoven’s Symphony Beethoven championed two significant cultures through his target of the larger bands. That continued until the early twentieth century, and championed the focus of the tunes downwards during performance, to t he lower keys, cellos, and violas enabling his music to involve a heavy and dark sensation (Goehr 66-68). In general, Beethoven’s Symphony is different from those of the ancient music in term of the establishment of large, longer architectonic designs typified by the remarkable improvement of musical resource, agendas, and motifs, normally by modulation initiatives; that is, an alteration in the sensation of the home key, via several harmonic tunes or notes. Beethoven's work championed his capacity to swiftly set up firmness in juxtaposing various keys and startling notes to accompany them. Notably, this stretched harmonic realm establishes a feeling of a tremendous musical and empirical touch, which dictates the rhythm of the music and the growth of musical resource, a clear establishment of some kind of unfolding art in this pause. Goehr (67) indicates Beethoven made immense contributions which further set up some kind of a blend of the various philosophies and cultural iss ues in several attempts to move with the discovery of the messages carried in his the music. The ‘germ motive,’ which involves an inspiration, was summoned to establish motives and agendas throughout the whole art, albeit in a benign manner. Therefore, all the themes of the ancient age were associated with several motives in the music. An ancient and popular illustration of this is Beethoven’s sonata 'Pathetique', in which all of the themes employed in the initial movement arose from a simple notion borrowed from its introductory bar. Correspondingly, the introductory notes of his Eighth Symphony played a significant role, as it forms the basis of motives employed throughout the entire symphony (Stanley 1). It is notable that this art contributes to the unification of an effort or an array of works; as a number of motives employed by Beethoven uniquely characterized works. He managed to execute this devoid of repeating material precisely or employing canonic touc h. In view of this, Beethoven’