Art music

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Periods and eras of
Western classical music
Early
Medieval c. 500–1400
Renaissance c. 1400–1600
Common practice
Baroque c. 1600–1750
Classical c. 1730–1820
Romantic c. 1780–1910
Impressionist c. 1875–1925
Modern and contemporary
c. 1890–1975
20th-century (1900–2000)
c. 1975–present
21st-century (2000–present)
Ludwig van Beethoven's manuscript sketch for Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro), in his own handwriting. He completed the piece in 1816.

Art music (also known as Western classical music, cultivated music, serious music, canonic music, or more flippantly, "real music" and "normal music")[1] is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations[2] and a written musical tradition.[3] The main tradition in the Western world is usually called classical music. In this regard, it is frequently used[improper synthesis?] as a contrasting term to popular, traditional, or folk music[3][4][5] (also called vernacular music).[6] After the 20th-century, art music was divided into two extensions: "serious music" and "light music".[7]

Definition[edit]

This term is mostly used to refer to music descending from the tradition of Western classical music. This is the common definition referred by many musicologists and scholars,[improper synthesis?] including Susan McClary,[8] Lawrence Kramer,[9] Theodor Adorno,[10] Deryck Cooke,[11] Joseph Swain,[12] Nicholas Cook, Nicola Dibben,[13] Philip Tagg,[14] and Gregory Booth and Terry Lee Kuhn.[15] Many of these authors, however, tend to be critical or prudent with respect to certain implications of this classification. Those authors most particularly associated with critical musicology movement and popular music studies like Tagg tend to reject latent social elitism that has sometimes been associated with this classification.[original research?]

Tagg refers to it as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics."[16] He explains that each of these three is distinguishable from the others according to certain criteria.[16] Some other authors interested in music theory may define art music differently.[improper synthesis?] Musician Catherine Schmidt-Jones for example defines art music as "a music which requires significantly more work by the listener to fully appreciate than is typical of popular music." In her view, "[t]his can include the more challenging types of jazz and rock music, as well as Classical."[17]

While often used to refer primarily to Western historical classical music,[original research?] the term may refer to:

Characteristics[edit]

The term[clarification needed (is the source referring to "art music" or "serious music"?)] primarily refers to classical traditions (including contemporary as well as historical classical music forms) that focus on formal styles, invite technical and detailed deconstruction[2] and criticism, and demand focused attention from the listener. In strict western practice, art music is considered primarily a written musical tradition,[3] preserved in some form of music notation, as opposed to being transmitted orally, by rote, or in recordings (like popular and traditional music).[3][19]

Popular music[edit]

There have been continual attempts throughout the history of popular music to make a claim for itself as art rather than as popular culture, and a number of music styles that were previously understood as "popular music" have since been categorized in the art or classical category.[20] According to the academic Tim Wall, the most significant example of the struggle between Tin Pan Alley, African American, vernacular and art discourses was in jazz. As early as the 1930s, artists attempted to cultivate ideas of "symphonic jazz", taking it away from its perceived vernacular and black American roots. Following these developments, histories of popular music tend to marginalize jazz, partly because the reformulation of jazz in the art discourse has been so successful that many people today will not consider it a form of popular music.[20]

In the second half of the 20th-century, there was a large scale trend in American culture in which the boundaries between art and pop music became increasingly blurred.[21] Beginning in 1966, the degree of social and artistic dialogue among rock musicians dramatically accelerated for bands who fused elements of composed music with the oral musical traditions of rock.[22] During the late 1960s and 1970s, progressive rock bands represented a form of crossover music that combined rock with high art musical forms either through quotation, illusion, or imitation.[21] Progressive music may be equated with explicit references to aspects of art music, sometimes resulting in the reification of rock as art music.[22]

While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, as author Kevin Holm-Hudson explains: "sometimes progressive rock fails to integrate classical sources ... [it] moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between formalism and eclecticism."[22]

See also[edit]

References[edit]

  1. ^ Bruno Nettl (1995). Heartland Excursions: Ethnomusicological Reflections on Schools of Music. University of Illinois Press. p. 3. ISBN 978-0-252-06468-5. 
  2. ^ a b Jacques Siron, "Musique Savante (Serious music)", Dictionnaire des mots de la musique (Paris: Outre Mesure): 242. ISBN 2-907891-22-7
  3. ^ a b c d Denis Arnold, "Art Music, Art Song", in The New Oxford Companion to Music, Volume 1: A–J (Oxford and New York: Oxford University Press, 1983): 111. ISBN 0-19-311316-3
  4. ^ "Music" in Encyclopedia Americana, reprint 1993, p. 647.[full citation needed]
  5. ^ Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", Popular Music 2 (1982): 37–67, here 41–42.
  6. ^ Jochen Eisentraut (2013). The Accessibility of Music: Participation, Reception, and Contact. Cambridge University Press. p. 196. ISBN 978-1-107-02483-0. 
  7. ^ Michal Smoira Cohn (2010). The Mission and Message of Music: Building Blocks to the Aesthetics of Music in our Time. Cambridge Scholars Publishing. pp. 93–94. ISBN 978-1-4438-1883-4. 
  8. ^ Susan McClary,Feminine Endings: Music, Gender, and Sexuality, second edition (Minneapolis: University of Minnesota Press, 1991–2002): xv-xv
  9. ^ Kramer Lawrence, Musical Meaning: Toward a Critical History, Volume 1 (Berkeley and Los Angeles: University of California Press, 2002): 81 & 203.
  10. ^
    • For the use of the "serious music" term: Theodor Adorno, "On the Social Situation of Music" (1932), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie Essays on Music (Berkeley and Los Angeles: University of California Press, 2002): 395 et passim.
    • See also Theodor Adorno,"On Popular Music" (1941), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie Essays on Music (Berkeley and Los Angeles: University of California Press, 2002): 437–53 et passim.
    • For the use of the "art music" term, see Theodor Adorno, "On the Social Situation of Music" (1932), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie Essays on Music (Berkeley and Los Angeles: University of California Press, 2002): 427 et passim; see also Theodor Adorno, " Alieneted Masterpiece: Missa Solemnis" (1959), in Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie Essays on Music (Berkeley and Los Angeles: University of California Press, 2002): 665.
    • Both terms ("art music"/"serious music") are dealt as equivalents in the context of the book and this is reflected in the index of the book: the "art music" entry is reported on the "Serious Music" entry of the index (cf. Theodor W. Adorno, Richard D. Leppert, and Susan H. Gillespie Essays on Music (Berkeley and Los Angeles: University of California Press, 2002), 717).
  11. ^ Deryck Cooke, The Language of Music (Oxford and New York: Oxford University Press, 2001): 53 and 96 and passim
  12. ^ Joseph Swain, Musical Languages (new York and London: Norton and Company, 1997): 124 and passim
  13. ^ Nicholas Cook and Nicola Dibben, "Musicological Approaches to Emotion", in Music and Emotion: Theory and Research, 45–70 (Oxford and New York: Oxford University Press, 2001): 56
  14. ^ Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", Popular Music 2, 37–67 (1982): 39–42 et passim
  15. ^ Gregory D. Booth and Terry Lee Kuhn, "Economic and Transmission Factors as Essential Elements in the Definition of Folk, Art, and Pop Music", The Musical Quarterly 74, no. 3 (1990):411–38. Citation on 418.
  16. ^ Catherine Schmidt-Jones, "What Kind of Music Is That?", from the website Connexions, last edited by Catherine Schmidt-Jones on 10 January 2007 8:58 am US/Central, retrieved on 12 December 2008.
  17. ^ Theodor W. Adorno, "On Popular Music", in Studies in Philosophy and Social Science, 17–48 (New York: Institute of Social Research, 1941): IX.[full citation needed]
  18. ^ Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", Popular Music 2 (1982): 37–67, here 41–42.
  19. ^ a b Tim Wall (2013). Studying Popular Music Culture. SAGE Publications. pp. 42–43. ISBN 978-1-4462-9101-6. 
  20. ^ a b Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. pp. 317, 1233. ISBN 978-0-313-39348-8. 
  21. ^ a b c Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. pp. 85–87. ISBN 978-1-135-71022-4. 

Further reading[edit]