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Howard Goodalls Twentieth Century Greats Makegreatmusic net

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Name:Howard Goodalls Twentieth Century Greats Makegreatmusic net

Infohash: 6CB188DBEFA2406D3F73DAA091DCCF85D7BDF9C4

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Last Updated: 2022-11-21 02:47:06 (Update Now)

Torrent added: 2010-03-03 08:21:34






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1 / 4 - The Beatles
Lennon & McCartney - The Beatles

When people look back in 200 years' time at Western culture, whose music will have survived from the 20th century? Who will be our equivalent of Bach and Beethoven, Verdi and Wagner? There are big classical names from the last 100 years, including Schoenberg, Stravinsky, Shostakovich and Stockhausen, but, believes composer Howard Goodall, in dismantling the traditional keys and harmony, the building blocks of Western music, classical music lost touch with its audiences. 'The big story of 20th century music,' he says, 'is the way that classical and popular music collided with each other to create a new musical mainstream … In the 1960s, with classical music at its lowest ebb, the most important composers in the world were without doubt The Beatles.'
Goodall argues that classical composition lost its way by breaking with the traditional 'language' of Western music that listeners understood. The Beatles, he says, threw music a lifeline by building on foundations abandoned by the modernists – keys, harmony and different scales.

Keys
Western music is constructed from families of notes, called keys, each one starting on a different note. Like a palate of colours, tunes written in different keys, and combinations of keys, create different moods. All keys are based on a limited number of notes which arrange themselves into familiar patterns that sound pleasing.
Keys can be major or minor. Melodies in major keys sound happier and more upbeat; those in minor keys sound sad and wistful. Each major key has a minor key that is related to it – known as the relative minor.
Music that is at all complex or sophisticated moves from key to key in ways that may be familiar or surprising to the audience. A common key shift is from the major to the relative minor and back again – a device that Cole Porter used to great effect, most famously in 'Every Time We Say Goodbye' – but there are other key changes that are satisfying to listen to.
Cole Porter broke new ground by composing so many songs in minor keys. Many of these melodies, which drew on an East European Jewish tradition, sounded melancholy and poignant. In Porter's hands they often sounded mysterious and sensuous, too.

Harmony
Harmony means playing or singing a combination of notes simultaneously, to make chords. Adding harmony to a melody, gives music depth and an emotional dimension. Western harmony is rich, complex and versatile, containing a kind of inner movement that propels the music along.
Chords, by their very nature, group themselves together in familiar and affective patterns, and some chords are magnetically drawn towards others, giving a sense of progression and development. These progressions and patterns have been exploited by composers down the centuries.
Changes from one chord to another at the end of a piece or section of music are called cadences, from the Italian word cadare, to fall. One recognisable cadence is the 'amen' sung by church choirs.

Pentatonic scale
This is a scale formed of five notes (from the Greek word pente meaning five). There are many types of pentatonic scale but the one that is most familiar could be played on just the black notes on a piano.
Pentatonic music is prevalent in the Indian subcontinent and the Far East but these scales are also the foundations of folk music from many countries in other parts of the world. The Scottish song, 'Auld Lang Syne', is one well-known pentatonic melody.


2 / 4 - Bernard Herrmann

How Bernard Herrmann introduced avant-garde music to the masses
Film is the 20th century's own art form and many of the most emotive musical moments in cinema history came from the pen of Bernard Herrmann. According to Howard Goodall, Herrmann put film music on the map, and his compositions will be remembered by generations of filmgoers, long after other composers have been forgotten. Born in 1911, his life spanned the period when film was breaking new ground and gaining huge audiences.
Though Herrmann is not as well-known as other avant-garde composers like John Cage and Karlheinz Stockhausen, his electrifyingly mood-changing music is recognised by millions of filmgoers. Who can forget the terrifying orchestral shrieks that accompany the shower scene in Alfred Hitchcock's Psycho? Or the eerie sounds that form the backdrop to the arrival of an alien in The Day the Earth Stood Still?

Though in his time Herrmann was sidelined and ignored by the classical elite, he was developing the kind of ideas explored by the most avant-garde classical composers. Working with the film giants of the era – Orson Welles, Alfred Hitchcock, François Truffaut, Martin Scorsese – he built on a technique called musical collage, first used by Charles Ives, the father of modern American music. Ives laid different styles and sounds on top of one another. So, for example, he might have two military bands playing different pieces simultaneously. In the 1941 film The Devil and Daniel Webster, Herrmann created a similar effect by recording four violin solos then placing them on top of each other – a dubbing trick he had learnt working for CBS Radio in his twenties.

Herrmann also revolutionised the shape and sound of the orchestra. Earlier Hollywood composers had inherited the orchestral sound of 19th century Europe. Herrmann changed the layout of the orchestra, and transformed the relationship of the instruments to each other by using electronic techniques. These included close micing (a technique that involves placing a microphone close to the sound source in order to pick up direct sound and avoid picking up reverberant sound), playing tapes backwards and introducing one of the world's earliest electronic musical instruments, the theremin.
The changing face of film
As film storylines began to emerge from the sentimental to the psychological, Bernard Herrmann totally changed the role and impact of the film score. The sentimentality of vibrato violins was out, except in very specific circumstances. Instead, in came a punchy, direct string sound, played without vibrato, sometimes muted, sometimes as repeated jarring discords.
Herrmann also introduced classical music's most extreme experiment of the 20th century in serialism, a composing technique based around fractured sounds. Classical audiences may have found the technique difficult to comprehend but in Herrmann's hands, and in a film context – most notably in the final scene of Psycho – it construed pain and inhumanity to dynamic effect.


3 / 4 - Leonard Bernstein

How Leonard Bernstein reconciled the worlds of classical and popular music.
One man above all embodies the 20th century struggle for supremacy between classical and popular music. Leonard Bernstein – composer, conductor, TV personality, concert pianist, educator and visionary – walked the tightrope between the two musical traditions long before the term 'crossover' was coined. Howard Goodall describes him as the 'musical gatekeeper of America's 20th century', saying: 'The music he composed over a 40-year career integrates classical with jazz and rock, sacred music from the Christian and Jewish traditions and European and South American rhythms.'
His great cultural landmark was West Side Story. This richly layered and ambitious musical reflected the reality of urban America, tackling challenging issues like racism, immigration and poverty which then, as now, were the everyday experience of many New York communities.
Bernstein started his career as a trainee conductor and, having been asked to stand in and conduct the New York Philharmonic for a radio performance one night at Carnegie Hall, became an instant success. After that, such was the international demand for his talents that he didn't have time to compose as much as he wanted to. He did, however, manage to write three symphonies. The first, Jeremiah, was strongly influenced by three contemporary European masters of the symphony: Shostakovich, Sibelius and particularly Mahler. Unlike Mahler, though, Bernstein did not hide his Jewish background, and the stylistic fusion evident in this first symphony was to become his hallmark. Written in 1942, Jeremiah was a cry of despair for the Jewish people whose future in Europe was becoming horrifyingly clear. The third movement includes a solo soprano singing texts in Hebrew from the Book of Lamentations.

In his second symphony, The Age of Anxiety, Bernstein brought together jazz and classical forms, sounding at one moment like Prokofiev, then Gershwin, Rachmaninoff and Duke Ellington. He developed this cross-fertilisaton of styles throughout his life.
His catalyst for moving into popular music was the dancer and choreographer Jerome Robbins who in 1943 suggested they work together on a modern ballet piece. The result was Fancy Free, which was later expanded to become the hit Broadway musical On the Town.
In the mid-1950s, Bernstein produced Candide, a comic opera based on Voltaire's 1758 satire, which was aimed at mocking Senator Joe McCarthy's notorious anti-communist witch hunts. Through this he introduced the techniques of opera to the popular musical. The result was West Side Story – a groundbreaking musical with great songs, marvellous lyrics by a very young Stephen Sondheim, and groundbreaking choreography by Jerome Robbins.


4 / 4 - Cole Porter

How Cole Porter transformed popular music.
Which 20th century composers will still be delighting audiences in 300 years' time, as Handel, Mozart and Beethoven do today? Though the earlier composers, like Stravinsky and Shostakovich, were pushing the boundaries of classical music, their compositions were still recognisably related to the work of their predecessors. And, more importantly, music lovers wanted to listen to their work. But as composer Howard Goodall points out, classical music soon 'began a perilous journey into an arid form of modernism that the mainstream audience couldn't, or didn't want to, follow'.
By the 1920s, popular music entered the process, and songs that were catchy and entertaining, though often banal in their simplicity, began to rival classical compositions in their complexity and sophistication. This transformation, says Howard Goodall, was kick-started by Cole Porter, a musician who was part of a generation of gifted composers that created and developed the musical – one of the seminal American art forms of the 20th century.
Drawing on jazz, the music of the time, the rhythms of Porter’s music fused European with African-American traditions. It's no coincidence, then, that the finest interpretations of Porter's songs were by the some of the greatest African-American jazz, blues and swing artists. Even now, singers such as Ella Fitzgerald, Sarah Vaughan and Billie Holiday are known for their definitive versions of Porter’s songs.
The composer’s construction of harmonies also drew on more than one tradition, shifting from major to minor and back again. But Porter also drew on classical forms of music, using a technique called sequencing, basing his music on the same scales that are the foundation of classical music.
Songs for all
Porter had a thorough grounding in classical music, plus an ear for the sounds of the time. This, combined with his own unique brilliance, says Goodall, meant that for the first time since the Middle Ages, the composer had 're-established the link between the kind of music ordinary folk liked and that enjoyed by the sophisticated, educated classes’. Porter, says Goodall, ‘made them one and the same'.

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