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When kids go to music class in school, they oftentimes do not perceive why it is important for them to study the history of classical music. The truth is that, even though it may sound vastly different, classical music is the basis on which all other popular music has been built. Without it, we would not have all of the a great deal of genres that we take pleasure in listening to today. The origins of classical music may genuinely be found in early Christian music, which takes a good deal of of it is influences from ancient Greek music. The Greeks formulated instruments such as the aulos and the lyre, which led to numerous of the instruments found in contemporary orchestras. Unfortunately, there is not a outstanding deal of music from the early amount of time of classical music still available. The Renaissance period, which took place amid 1400 and 1600, was marked by more instrumentation than the past. In fact, the music of this amount of time is the firstborn time that bass instruments were introduced into the compositions. This is likewise the time in which musical notation was developed, permitting generations to come the prospect to receive pleasure from the compositions that were written at the time. The amount of time of music beginning in 1905 and leading up to the present is known as modernism. This amount of time is in general known for rejecting all of the conventions set up for the duration of the former musical periods. During this time, artists produced new music theory and proficiencies for respective instruments. Many of these developments have made their way out of classical music and into the mainstream tunes that people listen to each day. Classical music may not be as likeable to the innovative day ear as other genres, but it is indispensable for everyone to recognise it is history. Classical music set up all of the conventions and tools that were necessary to construct music as we recognise it today. If someone listens carefully, they will be competent to listen it is influences in all of their favored songs. Most helpful customer reviews 126 of 127 people found the following review helpful. My experience with such books goes back to Aaron Copland’s 1957 “What to Listen for in Music.” This classic played a large role in getting me on my own journey in classical music, but it is now quite out of date; it doesn’t even touch on the most recent half-century. (William Schuman updated this book, but even that fell well short of the mark for those interested in contemporary music.) This Swafford book is, I believe, the best of its kind for the purpose of setting out the “essential canon of classical music” and the composers (and their key works) who comprise it. To better understand why I think Swafford’s book is best, perhaps I should begin with the fact that I have a few views, somewhat strongly held, regarding what such a book should contain if it is to encourage the classical music newcomer. The first of these is that it should cover, in helpful detail, the entire tradition of western classical music from the Middle Ages to (more or less) the present day. To do less, by including less, is to downplay the role of historical development: an isolated composer, or period in music, lacks context to understand his, or its, place in the canon. The second is that, like it or not, all composers are not equally “canonical” in the sense of being of equal importance from an historical perspective. If the writer is *too* inclusive by including a large number of composers of lesser stature, this will only serve to dilute the importance of the true “canonical” composers unless the effort is of encyclopaedic length. The third is that temporal context, i.e., the societal and cultural milieu in which a composer has worked, is a key component to understanding what, how and why the composer has written what he (or she) has. A part of that understanding is how the composer acted within that milieu and reacted, or worked, according to the tradition and the materials available. The fourth – and perhaps most important – is that the author’s preferences and prejudices should not affect objectivity: there must be a sense of even-handedness indicating that, whether or not the author *likes* a specific composer, the composer is properly included on the merits. With these views as a given, Swafford’s book is easily the best of its kind. Swafford grasps the long arc of classical music beginning in the Middle Ages with chant (both monophony and polyphony, with worthwhile comments on Pérotin and then Machaut, the first clearly acknowledged contributors). The Baroque, Classical, Romantic and Twentieth-Century modernist periods then unfold logically as each successive period builds on its predecessor(s). Each important composer is given approximately 8 to 12 pages for a satisfactorily detailed description of his importance and contributions, his relationship to his milieu and how he built on the tradition in place before him, and sufficient biographical information for us to see the human side of him. This is then followed by 2 or more pages that describe what his most important works were: what they are like, and why they are important. More than a few of these composer sections are inspired in their writing, with the ones on Beethoven, Berlioz, Debussy, Ives, Bartók and Stravinsky being particularly fine examples of Swafford’s craft. And, while the emphasis is on instrumental and orchestral, rather than operatic, music, three primarily operatic composers (Monteverdi, Wagner and Verdi) share equal billing because the “long arc” would be incomplete without them. Swafford’s detailing of important composers ends in the 20th century with Shostakovich and Britten. But he includes briefer descriptions of many other 20th century composers (and their key works) at the end of this chapter. (He does likewise for the preceding music periods as well; no one of true historical importance is overlooked.) The book is interspersed throughout with extended “sidebars” that discuss various classical music concepts (e.g., melody; consonance and dissonance; monophony, polyphony and homophony; sonata form; tonality and atonality) in simple terms. An afterword, “Music: An Approach to Defining the Indefinable,” comes as close to an all-inclusive description of what music is, and its “ineffability,” as any I’ve ever read. The book concludes with a summary of recommended works for building a classical library (actually, a compilation of the recommendations that Swafford had earlier made in the body of the text) and a glossary of technical terms in easily-understandable language. Swafford’s writing throughout is masterful, and he always seems to find the words that clarify, rather than obfuscate, without being didactic. This should come as no surprise to anyone who has read his superb biographies of Charles Ives and Johannes Brahms. Since Swafford’s recommendations for building a classical library don’t include specific recordings (except in very rare instances for early music), I recommend that a classical music newcomer also acquire something like “The Penguin Guide to (Classical) Compact Discs.” These two books, used together, should get you well on your way. Highly recommended! Bob Zeidler 40 of 40 people found the following review helpful. “The Vintage Guide to Classical Music” is extremely well written, and obviously well researched. It’s also very entertaining! The author consistently demonstrates not only a wealth of knowledge about his subject, but his love for it as well. For me, this book remains an indispensable guide to classical music. Highly recommended! 19 of 19 people found the following review helpful. The book is divided into classical music periods (Baroque, Romantic, etc.) in chronological order, with brief notes at the beginning of each period describing the times. The author then gives a brief biography for each major composer in that period, and afterward spends a few pages introducing the major works by that composer and suggesting which ones would be good to start with. At the end of the book, the author also has a good list of suggested works for building your own classical music library.
The author is very easy to read, and makes learning about classical composers and music interesting. He obviously has some opinions about composers music, but you can tell they are learned opinions, and they make the reading all the more fun.
This book is not just biographies, and not just a history of music, it is the history of classical music through the people who made that music. It is the ideal introduction to classical music, and a good book to have in your own library. |
A no-brainer recommendation for classical music newbies.