| json_metadata | "{"app":"Musing","appTags":["music"],"appCategory":"music","appTitle":"Why is classical classical music often inaccessible?","appBody":"<p> </p>\n<p>I do not think there is anything that can or should be called \"modern classical music\". Probably the question is about \"academic\" music (understood as the term composed by composers of wide training and who do not aspire simply to comfort the public)</p>\n<p>Music as art needs a knowledge of style. It is true that the current \"academic\" composer in general is somewhat disconnected from the public to the point of almost compose against the public. This has been motivated by an attitude of the misunderstood artist especially encouraged since the mid-twentieth century. In a way, the myth has been fueled that the more misunderstood the work is to the public, the better it will be as a work of art.</p>\n<p>In my opinion, not all modern music is inaccessible, nor hard for the public. It is true that it may be unknown and that it does not appear in the proper way. As for quality, I suppose that the percentages of other periods are maintained. As much as we know Mozart, on the same street lived a handful of composers that no one has ever heard of. Today it is normal that the same thing happens and that not all composers offer works with transcendence capacity.</p>\n<p>In general, the current music is a great unknown to the public because advertising channels and internet algorithms bet on the popular and easy. There is no algorithm responsible for making the search engine reach the quality. Everything is based on advertising and business possibilities.</p>\n<p>For example. This work by Arvo Part I think it can be quite accessible for almost any audience and has been chosen to be part of film soundtracks for its sweetness and ease of listening.</p>\n<p>Vladimir Martynov is also a current composer who produces music with certain academic content but accessible to the public. (The repetition is always effective)</p>\n<p>In some cases, the question is to overcome the strangeness and expectation of listening to \"the usual\". Authors such as Messiaen are quite comfortable listeners if the fear of dissonance is overcome and the metric irregularity is admitted. Listening a few times to works like his Quartet for the end of time it is easy to feel comfortable with his rhythmic motives, his repetitions, his chords full of color ... As everything must be given a time. The modern world is going too fast to be able to waste time with new things and reflect. That's why more hamburgers are consumed in the world than tasty ribbons from Ávila.</p>\n<p><br></p>\n<p>Mmmh ... that is music performed with an orchestra does not automatically convert it into \"classical\" and with inaccessible I understand, difficult to digest (not to get, I imagine, since everything is just a click away on the internet)</p>\n<p>The classic period is approximately between 1750 and 1820, with precise characteristics and as a general rule, tried to get rid of the \"horror to the emptiness\" of the baroque, overloaded with ornaments and melodies one after (and on) another. He wanted to be lighter. I also understand that popularly they call \"classical music\" all the periods of music, but it is not like that.</p>\n<p>Johann Sebastian Bach, representative of the high baroque (what preceded the gallant and the classic), here is a piece as an example for two choirs and two orchestras, very complicated in their orchestration, their turns: the bass is making a melody, the violins , high wood, another at the same time:</p>\n<p>Now Mozart, representative of the classic, much lighter music in his orchestration, less adornments:</p>\n<p>Music for orchestra today tends to be atonal, seeks to be transgressive, conceptual, away from aesthetics (and yes, there is a whole debate around ... I tend to be rational for everything, but for me music should give me pleasant sensations and when not it does, according to my peculiar point of view, I do not like it):</p>\n<p>But, that would be to generalize, because at present there are living composers that compose according to the old technical and aesthetic canons of other eras, such as the baroque. Listen to a concert for violin, by Federico Maria Sardelli (Italian, born in Livorno in 1963), in neo-baroque style:</p>\n<p><br></p>\n<p>It is not inaccessible, YouTube has a lot of content of modern composers. The \"modern\" stage in the particular use of the word encompasses music from about 1900 to 1950. If you refer to current composers who are alive and composing in the present, then the presentations of their works may not have been published as web content yet or you must search in detail by name, but there is great content of current classical music on the internet; If, on the other hand, you were referring to music from the 20th century onwards (modern from its technical meaning), you may find on YouTube only the complete works of many of the great exponents of that era. Before the internet, if it was an odyssey and it cost a fortune to form a collection of modern classical music through analogue or digital discs, fortunately we have to live this time, where all these things are easier and more accessible.</p>","appDepth":2,"appParentPermlink":"pkgc7zed5","appParentAuthor":"ajayiwaldorf","musingAppId":"aU2p3C3a8N","musingAppVersion":"1.1","musingPostType":"answer"}" |
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