Classical Music and the Problem of Its Turn
The
first essay in January, 2015 of The Big
Issue raises the idea of classical music in terms of its interpretation,
category and its turn of conventional considerations from the past. The interpretation
of the works entitled “classical music” at first is explained by the author who
studies the classical music that such works tend to meet two certain conditions.
The first one regarding the classical music accentuates the music itself or the singers owning high technique through performances. The second one contributes to the melodies composed which draw the audiences intoxicated to some extent. Both definitions are rendered by the author at the beginning of the essay for being generally categorized the so-called “classical music” in about 18th century till now known to the public. Next part the author intends to proclaim that the classical music has been performed with different kinds of musical instruments and types in modern era and has earned the international notice nowadays. For instance, the classical music no longer sets the boundary in Western culture but traces the folk music beyond. What the classical music has remains diverse with its music in experiment, complex and even entertainment that are beyond our expectations. The division of classical music and the songs in modern thus gradually dissolves. A great deal of classical musicians are given subsequently and there are no certain rules while listening to classical music but remains to be judged by the listeners whoever one is. This turn marks a vital significance of any listeners who are much free from interpreting the classical music.
While the author engages in the popularity of the classical music, he simplifies the relation of the sound and the time as to how the time can be presented or even created through the sound of music. The subtitle of this essay indicates that the sounds are to organize the time, and it may probe into the problematic of time-being as well as how possible the time is created in deformation. The author, nevertheless, discloses that it is connected between classical music and modern songs as if he further made them meet in a plane for showing the equal aesthetic appreciation of the time-being since he regards time as merely eras, and we listen to the music whatever it is by arousing collective memory for all human being. What he considers to be the common language of music as well as the time in recognition signify what his subtitle means. That is to say, the time-being depends upon the sound of music composed by the musicians at the era, revealing their thoughts or affections “at” that time. That the time, we can tell, which remains “biological clock” or “body clock” representing the time in a fix form of the past, present and future staying still as what they are. How the sound of music organizes the time is still not to be dealt with. As altering the thinking of time, take an example, I prefer to think the time is likely to be folded such as overlapped the past and the present for interpreting the memory as it continues shifting between both sides through what kinds of the sound of music can express such feature of the time. The time, as broken by the sound of the music, is possible or not to be fragmented? Or, it becomes fruitless while claiming that the sound organizes the time for the subtitle without delving into the function of the relation between the sound and the time in depth.
The first one regarding the classical music accentuates the music itself or the singers owning high technique through performances. The second one contributes to the melodies composed which draw the audiences intoxicated to some extent. Both definitions are rendered by the author at the beginning of the essay for being generally categorized the so-called “classical music” in about 18th century till now known to the public. Next part the author intends to proclaim that the classical music has been performed with different kinds of musical instruments and types in modern era and has earned the international notice nowadays. For instance, the classical music no longer sets the boundary in Western culture but traces the folk music beyond. What the classical music has remains diverse with its music in experiment, complex and even entertainment that are beyond our expectations. The division of classical music and the songs in modern thus gradually dissolves. A great deal of classical musicians are given subsequently and there are no certain rules while listening to classical music but remains to be judged by the listeners whoever one is. This turn marks a vital significance of any listeners who are much free from interpreting the classical music.
While the author engages in the popularity of the classical music, he simplifies the relation of the sound and the time as to how the time can be presented or even created through the sound of music. The subtitle of this essay indicates that the sounds are to organize the time, and it may probe into the problematic of time-being as well as how possible the time is created in deformation. The author, nevertheless, discloses that it is connected between classical music and modern songs as if he further made them meet in a plane for showing the equal aesthetic appreciation of the time-being since he regards time as merely eras, and we listen to the music whatever it is by arousing collective memory for all human being. What he considers to be the common language of music as well as the time in recognition signify what his subtitle means. That is to say, the time-being depends upon the sound of music composed by the musicians at the era, revealing their thoughts or affections “at” that time. That the time, we can tell, which remains “biological clock” or “body clock” representing the time in a fix form of the past, present and future staying still as what they are. How the sound of music organizes the time is still not to be dealt with. As altering the thinking of time, take an example, I prefer to think the time is likely to be folded such as overlapped the past and the present for interpreting the memory as it continues shifting between both sides through what kinds of the sound of music can express such feature of the time. The time, as broken by the sound of the music, is possible or not to be fragmented? Or, it becomes fruitless while claiming that the sound organizes the time for the subtitle without delving into the function of the relation between the sound and the time in depth.
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