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History of Western Music

2010-10-13T03:46:00.000-07:00

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The bible tell us that Joshua’s trumpet blasts toppled the walls of Jericho; the David cured Saul’s madness by playing the harp; that in the temple at Jerusalem he musician played. Cymbals and psalteries and harps. And with them and an hundred and twenty priests soundings with trumpets.

Such stories attest to the ancient belief that music had magical power: it could work natural miracles, cure the sick, and, in the service of god, purify the souls of the worshipers. We have already seen that from earliest times music was an inseparable part of ritual and ceremony- a function that would continue for centuries to come.

History of art- The Synthesizer "Keyboard"

2010-10-12T05:32:00.000-07:00

Parallel to the developments of the tape recorder was the invention and evolution of various electronic devices: oscillators, Filters, modulators, and other, each device produced or controlled sound in some way.

Finally these components were consolidated into a single instrument. This compact, all is one unit was called a synthesizer; The Composer now had a instruments capable of unprecedented control over the creation of synthesis of sounds.

In 1955 the first and most elaborate synthesizer was unveiled: the room size RCA electronic Music Synthesizer, an instrument that today would cost several hundred thousand dollars to duplicate. But with the modern benefits of micro miniaturization, some of the best and most sophisticated synthesizers are table size instruments, available today at a tiny fraction of that cost.

The evolution of the synthesizer has been paralleled by an artistic evolution I its use: it is now regarded not as a gadget but as a function part of a composer’s complete storehouse of instruments. Milton Babbitt moved from his purely electronic composition for synthesizer (1961) to Philomel (1964), a work for soprano and taped synthesizer accompaniment. Mario Davidovsky (a director of the Colombia- Princeton Electronic center) wrote his Synchronism. No.1 for flute and electronic sound; Leon Kirchner, a chamber work for string quarter and electronic tape; and Luciano Berio, a work called Visage for an electronically modified human voice.

The tiny lists barely suggest the variety and scope of the new music made possible by the synthesizer. Yet, seen as a part of the historical Development of musical instruments, it is but one point on the long line of a musical history. In time as even more advanced instruments are invented and perfected, the synthesizer will be regarded as no more extraordinary then any of its predecessors.

History of art- The Electronic age

2010-10-12T04:54:00.000-07:00

The wonder of electricity - which could supply power of the production, transmission, and recording of sound- opened of new world for the 21^st century musician. Instruments were developed to produce sound electrically: the vacuum tube to intensify sounds, and oscillator to generate sound electrically.

As new inventions appeared on the panorama, composer like Verse called for new instruments, “the composer and electrician,” he said, “Will have to labor together.”

To the general public, newly invented tape recorder was marvelous machine. But to composers- man like Verses, and Otto Luening and Valdmir Ussachevsky at Colombia University- the tape recorder was a totally new pleasant-sounding instrument. It could be used to collect and transform sounds in ways never before possible. Tape could be used to alter the shape and speed of a sound, to play a sound backward, or to layer it with other sound in complex combinations.

In Paris, Composer Pierre Schaffer created a piece made from the record sound of railroad trains. He called this type of composition “Musique concrete”, to differentiate it from traditional composition, which begins as a written score ends in sound. Schaffer’s music began with concentrate sounds that could be transformed through tape into a composition.

History of art- The Search for new timbres system

2010-10-12T01:55:00.000-07:00

              By the early years of 20th century, composers had begun to explore a new possibility: that conventional instruments were capable of producing unconventional sounds.
   On the spring evening in 1913, Lgor Stravinsky's music for the ballet The Rite of Spring provoked the most famous riot in musical history. The sedate Parisian audience was scandalized not only by a bombardment of massive orchestral discords, by strange new instruments timbres. A solo bassoon (traditionally a bass instruments) played at very top of its range, producing eerie, unheard of sounds. vast array of deep drums pounded out jagged rhythms , a sound associated with with tribal ritual not the concert hall stringed instruments swept through glassy, odd colored waves of high pitched harmonics.
            In his string quartets, Bels Bartok laced his mouth with slides, snapped strings and rhythms played with the wooden part of the bow.
Henry Cowells's piano pieces, written in the 1920's, defined new key board which called sonorities (a group of notes which known "tone" "clusters" and chord which played by the pianist's arm's). Henry try to find out new sound which tune directly by piano strings.
             Jhon Cage probed deeper into innards of the piano by the by interesting metal, wooden and rubber objects between the strings, the sonorities is akin to the soft, muted gong-and -drum gamelan ensembles of Indonesia.

Edgard Vareses Ionisation (1933) dealt with timbers alone ( pitch and rhythm were secondary; harmony, in the conventional sense, was non existent). he use the bells and sirens, chains and anvils, together which piano and percussion, the the unconventional musical resources of sound making, tradition was overturned, and any sound was legitimate source of music.

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