Artusi,
Giovani Maria (1540-1613) Italian composer in 1600
stated: “They…ruin the good old rules handed down…by
theorists and excellent musicians… These moderns…create
a tumult of sounds, a confusion of
absurdities.”
Byrd, William (1543-1623)
Lincolnshire England. Elizabethan period.
Vivaldi, Antonio (1675-1741) Venice Italy
Composer. Most prolific and inventive of the Baroque
period. Earliest music lessons from father who was in
orchestra at St. Mark’s cathedral. Later studied with
Giovanni Legrenzi composer and leader of orchestra of
St. Marks. Ordained and called “Red and priest” because
of red hair. 1703 or 4 became teacher, later conductor
and director at conservatory of the Ospedale DellaPieta
in Venice. Conservatory also orphanage for girls.
Orchestra of young girls that he wrote over 400
concertos. 40+ Operas for Venice and other cities in
Italy and Germany. Last year of life moved to Vienna,
didn’t work out, died poor. Used clarinet. Most music
remains unpublished. Goberman publisher died 1963 before
completion.
Handel, George Frideric (1685-1759)
Halle Germany. Wrote “The Messiah.” Traveled widely.
Baroque period. Father wanted him to be a lawyer. At 7
he played so well on church organ that duke of province
convinced father. Studied under organist Friedrich
Wilhelm Zachau. By 11 composing sonatas and church
services. 1702 while student, appointed organist at
Calvinist church. Hamburg joined opera orchestra as
violinist. Most we know is from friend Johann Mattelson.
Before 20 opera “Almira.” 1707 went to Italy the home of
Opera. Immersed himself in the operatic world.
Instrumental duel against Domenico Scarlatti. Lost
improves, organ won. Offered in 1710 job in Hanover
Germany at court. November on way to London, 6 months,
“Rinaldo” opera well received. Back in London 1712. Well
paid. Rest of life there. April 12 1742 Messiah in
Dublin Ireland first performance, instant success, but
failed in England. Became success there in 1750. Had
become England’s favorite composer.
Bach, Johann
Sebastian (1685-1750) Eisenach Germany 3/31/1685. Both
parents died before he was 10. Liked French ornamental
melodies and rhythms. Sang in choir. 1703 after sojourn
in Weimar playing violin, organist in Lutheran church of
St. Boniface in Arnstadt. 1705 left to Lubeck to hear
Danish organist Buxtehude nearly 70. Congregation mad he
returned 3 months late. 1707 packed harpsichord and all
in hay wagon for Muhlhausen as uncle died leaving him
money. Marred Maria Barbara. 1708 to Weimar became
member of orchestra. Then promoted to Duke’s organist.
To 1717 he wrote most of his organ music. Expert in
church organs – called as expert all over central
Germany. Early works influenced by Reinkel and
Buxtehude.. At court learned and heard Italians like
Vivaldi, Corelli and Albinoni. Arranged their string
concertos for solo harpsichord, ornamenting them.
Concertmaster of Duke’s orchestra. New compositions
every month for Dukal chapel. Dukal court of Cortan
employed him as conductor but got in trouble – didn’t
give notice. Director for Prince Leopold’s orchestra.
Cortan period composed bulk of secular instrumental
music. After son Willlhelm Friedemann old enough to
study music, wrote “teaching pieces.” 20 preludes for
keyboard, then others to teach son. Well-Tempered
Clavier book one. Intellectual and expressive. New style
combined German, French and Italian. In the midst of
success, wife died in 1720 and went back to the church.
1721 married Ana Magdalena Wilcken for whom he wrote the
little pieces in the notebook. 1723 – he was 38, next 25
years dedicated to the congregation of St. Nicholas
church in Leipzig. Age sixty still taught and led choir.
Haydn, Franz Joseph (1732-1809) Rohrau Austria.
Composer of classical – end of Baroque period.
Pre-romanticism. Established “Classical.” Musical
construction made him “Father of the symphony and the
string quartet.” Viennese music made express deepest
emotions. At 8 singing voice heard, joined choir in St.
Stephen’s church in Vienna. At 17 voice broke. Made
living playing and teaching. Nicola Porpora taught him
Italian and composition. Prince Anton Estrahzy heard him
and made him assistant musical director. 1962 Anton
died, next prince Nicholas kept him, promoted him, 30
years in employ. Wife hated music, used his music for
hair curlers. Made Estrahzy’s best known in Euroope.
Compositions played in the world at large. By 1771
composed deeper in feeling than previous. Wrote daring
keys like sharp ones, introduced touches of Hungarian
gypsy music. 1781 met with Mozart who admired him.
Pushed Mozart more than his own. Mozart opened Haydn’s
ears to new delicate melodic writing. From Haydn Mozart
learned the craft of putting together symphonies and
quartets. Played together whenever possible. 1790
Nicolas died, next prince more into painting. 1791 went
to England to cheers. 1.5 years returned with small
fortune. 1794 4 new symphonies and returned to London
symphony. Even King George 3rd wanted him to stay. Back
in Vienna started teaching Bethovan. Requiem was by
Mozart.
Mozart, Wolfgang Amadeus (1756-1791)
Salzburg Austria. Pianist, violinist and conductor. Most
compositions were commissioned. From simple peasant life
to elegance. Father Leopold famous teacher and composer.
Sister Maria Ana toured with him. Started music at 4. At
6 skilled on Organ, Harpsichord and Violin. Father took
on tours Paris, London, Italy. Greeted as wonder child.
Absorbed music from all countries. London wrote first
symphony. 1771 returned to Salzburg to be concert-master
of archbishop’s orchestra. Archbishop died and next
Herionymus cared less about music. 1773 discovered
Haydn’s string quartets. 1773-1776 wrote much. 1777 went
with mother toured in Germany, France too competitive,
but stayed there and composed. Paris 1778 mother died,
he returned to Salsburg. 1781 finally commissioned for
Opera: Idomeneo. Settled in Munich, then called back to
Salsburg. Mozart and archbishop fought. Moved to Vienna
– composed, performed and taught. Met Idol Haydn. Haydn
helped Mozart. Played together. Emporor Joseph II
commissioned “The Abduction from the Seraglio” comic
romantic opera. In Vienna 1782 it was a success. Next
married Constanze. Lived in gypsy fashion, gay carefree
life. Dedicated 6 string quartets to Haydn. Emporor
Joseph II gave consent to make “The Marriage Of Figaro.”
First performed in Vienna 1786. Prague Che… was
Figaro-crazy! Prague Symphony (#38 in D) was success.
Next wrote “Don Guivani.” His greatest, “The Perfect
Opera!” Later Vaugner followed idea of orchestra to
underline the drama, but at that time it was too heavy
for Vienna. Appointed Court Composer after Gluck’s
death. Paid little. Now father frenzy of composing. “A
Little Night Music” “Eine Kleine Nacht Musik.” “Musical
Joke” full of funny forms. “The Magic Flute” written in
last year, brilliant. Commissioned for “Requiem Mass”
interruptind Magic Flute. Convinced Requiem was for his
own death. Works listed with “K-number” for ordering in
chronological order. Early works followed strict
patterns of early classical period, dances, sonatas,
rondos and variations are clear cut. Later forms, more
personal feelings, more complex. Forms sprawl as though
he were thinking out loud. Composer of Romantic period,
born 50 years ahead of his time. Like 19th century
composers, many colors. Concertos and sonatas did much
to establish the basic style of piano writing. Long
before Chopin he played with free and expressive rhythm
Rubato. His piano smaller than that of today. Handling
of voice never surpassed.
Beethovan, Ludwig Van
(1770-1827) Bonn Germany. Master composer of symphonies,
sonatas, concertos and string quartets. Father
(drunkard) wanted a prodigy to make money for family.
First concert at 8. 1792 sent to Vienna. Studied under
Haydn. Lessons stormy because he inquired about rules.
Phenominal improvisor. After leaving Bonn no regular
music work since mainly freelance composer and works for
friends. Prices for various forms. Deaf he didn’t give
up. Conversation became difficult – people wrote down
discussion. Listen to ‘inner ear’ for composing. In the
arts stormy passion, simple directness and warm
tenderness began to take the place of aristocratic
elegance and grace. Music different – dramatic – from
others. Soft to loud explosively. Key changes
untraditional. Hammered percussive chords. Bold
arpeggios. Added picallo and trombones in 5th,
contrabassoon in the 9th. Clarinette replaced oboe. It
was the musical form of the sonata that Bethovan changed
more than anything else. Connected themes, not only 4.
Foreshadowed the cyclic form of later composers. Titles
made statements, music should make statements about
mankind, not just idle dreams of upper classes. One of
his convictioins: “Man should be free!” “All mankind are
brothers.” His scarchzos are all musical jokes. Opera
Fidelio 1805 did poorly. Life was 3 periods:
youthful—first 50 opus numbers 20+ piano sonatas..
second period: greatest single step by music made by an
individual composer in the history of the symphony and
the history of music in general. Third period: standards
people still use. Solo piano, string quartet,
combination of voices and orchestra. Last works most
extraoidinary of all mankind. Torment brought forth some
of the most sublime music. Old classical forms left far
behind. Never composed quickly and easily. Many sketches
in notebooks. Months even years on one
theme.
Schubert, Franz (1797-1828) Vienna
Austrian. The last of the classic composers, first of
the romantics. Wrote classical patterns but changed to
suit his own purpose and nature. Established a new form
of chamber music. 600+ songs.
Mendelssohn, Felix
(1809-1847) Hamburg Germany. Brilliant composer of
the early Romantic period. Family of Moses Mendelssohn
philosopher. “Scottish symphony / Number 3” “Italian
symphony / Number 4.”
Chopin, Frederic
(1810-1849) Near Warsaw Poland. “The poet of the piano.”
Father French mother Polish. At 20 left for Germany and
never returned (heart buried in Poland, the rest in
Paris). Most successful in Paris. Famous love affair
with Georges Sand. Iin 1948 left for England. After a
collapse returned to Paris. All piano pieces except 2
concertos focused on the piano. “Could make the piano
sing” using rhythm called Rubato. In Rubato melodies are
sped or slowed while tempo is constant. Must use the
pedal a lot to play his music. Exploited the pianos
sustaining pedal. Brought into European music dances of
Hungarian music Mazurkas and Polonaise. Prelude in A
Major, Opus 28 – play it!
Schumann, Robert
(1810-1856) Zwikau German composer and critic. Torn
between music and poetry. Mother wanted his to study
law. Lost right ring finger. Untraditional styled of
teaching composition. 1834 founded a newspaper for
music, fighting for the highest standards of musical
criticism. Edited it for 10 years under different names,
“Davidsbunbler” who were ready to tear down philistines
in the arts who were against new ideas. Liszt recognized
his genius. He wrote about music and musicians in an
informed manner. Wife Clara (daughter of Wieck his
teacher whom he took to court to marry) was loved by
Brahms. Eight children.
Liszt, Franz (1811-1886)
Raiding Hungary. Composer, teacher and the greatest
piano virtuoso. At 9 Hungarian nobleman funded studies
in Vienna. Student of Czerny. Paris conservatory refused
the foreigner. In Paris became friends with all the
young revolutionary writers and composers who were
taking part in the arts. Paginini inspired his
composition style. Enormously successful. Improvised on
themes given him by the audience. Support benefits for
Hungarian flood victims and the statue of Bethovan in
Bonn. He made Weimar the musical capital of Europe. The
first to write symphonic poems for orchestra –
compositions that told a story dramatically or suggested
a philosophical theme. Restless experimenter in new
sounds melodically and harmonically. Later music was
dissonant and atonal. Whole step scale and Hungarian
scales. Later lived in Rome, became A.B. Liszt.
Wagner, Richard (1813-1883) German. Excessive
four-hour-long music dramas.
Foster, Stephen
Collins (1826-1864) Lawrenceville near Pittsburgh
Pennsylvania USA. Many of America’s favorite songs.
Little training. Nearby Negro churches inspired him.
Father wanted businessman, at 14 wrote his first
composition “Tioga Waltze” At 18 first song published.
1848 sold group including “Old Susana” to publisher for
$100, became favorite of 49ers in SF. Publisher got
10,000, he decided to be publisher. Wrote many for E. P.
Christy’s Minstrels. Ashamed to be known as the composer
of what he called Ethiopian songs. Married 1850 but
unhappy for wife and daughter – drank heavily and always
in debt. When in need would sell rights to all songs for
whatever he could get. “Camptown Races” and 15 other
songs sold outright for $200. Wife left often. Over 200
great songs, thought of as Folk rather than composed
songs. Many well known titles.
Tchaikovsky,
Peter Ilyitch (1840-1893) Votkinsk (Ural mountains)
Russian composer. When 10 family moved to St.
Petersburg. Clerk in ministry of justice. Studied in
school of Rubinstein, still working. To surprise of all
he resigned to be musician. Nicholas Rubenstein hired
him as professor of music theory 12 year post. His aim
were compositional rather than pedagogical. Nervous
collapse from overwork. Countess von Meck supported him
for 13 years. Mother in law of niece. Relationship to
sponser was only by correspondence. Wed unstable young
woman. Tried to catch pneumonia – caught cold. Became
morbid and melancholy. Madame von Meck supported him
going to Switzerland, France and Italy. Wrote much gay
music there. Settled down to creative life – Moscow and
the country. Voratous reader. Met many bitter
disappointments. Swan Lake was too symphonic. Sleeping
Beauty and Nutcracker weren’t well received. Piano
concerto number 1 Rubenstein said unplayable, premiered
in Boston in 1875. Came into demand as conductor of his
own works. In 1891 was invited to conduct in NY opening
of Carnagie Hall. Philadelphia, Baltimore…Returning to
Russia plunged into completely different type of
symphony composition.
Brahms, Johanes (1833-1897)
Hamburg Germany. Late Romantic German composer. Son of
all around musician. At 7 played piano. At 10 Edward
Marxsen piano teacher. He became teacher. Helped family
financially. Played in taverns and theatres. When at 20
Remenyi discovered him, invited to accompany. Remenyi
taught Hungarian gypsy music. Remenyi introduced him to
Jochim, violinist and great friend from then on. Liszt
liked Brahms. Schuman proclaimed Brahms’ genius in his
magazine. Clara Schuman’s wife made him famous playing
his works at her recitals. Clara died in 1896. Life not
a dramatic one. Occasional tours of Germany, Austria and
Switzerland where he played and conducted. Liked long
walks. 1850 his piano concertos burst upon the scene.
Brought “thunder and lightning” for the piano. Brahms
never wrote difficult music merely for the sake of
glittering effect. 1860s wrote “Variations On A Theme By
Handel” also “Variations On A Theme By Paganini.”
Requiem Mass successful. Later also “Variations On A
Theme By Haydn.” Because he showed much could still be
developed, critics like Hugo Wolf and Nietze the
philosopher. Never replied to attacks. Defended by
Edward Hanslick, influential critic. 1881 University of
Breslauv awarded honorary degree of Doctor of
Philosophy, because of works had examples of his sense
of humor. Instead of solemn material, several jolly
German songs. After 1881 no more large instrumental
groups music. 1891 turned to dark quality of clarinet.
Style difficult to analyze. Unique way of saying things.
Un-classical chord movements. Accused of old fashioned
in his time, nowadays seen as true romantic composer who
wrote poetic charged music within the old forms he loved
so much.
Monet, Claude (1840-1926) French.
Pioneer of Impressionist painting.
Dvorak,
Antonin (1841-1904) Near Prague Czechoslovakia. Best
known for Symphony in E minor “From The New World.”
Father butcher / innkeeper wanted him to keep family
business. At 16 went to Prague. Played violin and viola
in cafes and theatres to support studies. Brahms, Liszt
and Smetana older folks interested and helped him get
published. 1874 prize for symphony – enabling all time
to composition. Home country was the old Slavic province
of Bohemia, then part of Austria. Slavonic dances
following Smetana following folk roots. So successful
arranged for orchestra! 1876 death of oldest child,
wrote “Stabat Mater.” Large and small works. Touch of
sweetly sad dances of homeland. 1892 to NY to become
director of National Conservatory of music. Many best
works written. Cello concerto beautiful. Summer in
Spillvale, Iowa where there were many Czech farmers.
There wrote his famous symphony “From The New World”
where he tried to catch the spirit of American folk
songs and spirituals. Often called #5, it was #9,
arguments about whether he had really used folk melodies
in it. Thrilled with the US also wrote contata to US
flag, offered to write new National Anthem. A great
admirer of Stephen Foster, one of the few who appreciate
him. After 3 years in US homesick, returned to teach in
conservatory in Prague. 7th humoresque written then.
Back in Prague member Austrian House Of Lords. Symphonic
poems based on the legends of Bohemia, and his opera
“Rusalka” (“The Water Nymph”) established him as
Czechoslovakia’s. most authentic musical voice. Sly
little counter-melodies but never obscured clarity of
music. Balanced phrases.
Edison, Thomas Alva
(1847-1931) USA invented the phonograph in
1877.
Debussy, Claude (1862-1918) French.
Blurred harmonies and atmospheric moods – Impressionism
in music.
Sibelius, Jean (1865-1957) Finnish.
His symphonic poem Finlandia in 1900 roused
patriotism and he became known as “Finland’s greatest
son.” In Etude magazine in 1948 he stated: “Things are
not good because they are old, nor bad because they are
new…we must be open-minded about new experiments in
music, always remembering the only standard in music is
beauty.”
Marconi, Guglielmo (1874-1937) sent a
trans-Atlantic wireless radio message in
1901.
Bernstein, Leonard (1918- ) Lawrence
Massachusetts USA
Selected Music Styles at the
Turn of the 20th Century
Post-Romantic—The Romantic tradition continued
with some individual changes.
Impressionism—Associated most with the music of
Claude Debussy, its vague and atmospheric tone
paintings frequently violated traditional rules of
composition.
Pointillism—Written in a fragmented style, the ear
is required to blend the tones.
Exoticism and Primitivism—Inspired by primitive
cultures and works of art, rhythm was revitalized and
superseded melody in importance.
Neo-Classicism—More contrapuntal textures and
18th-century forms reappeared (suites, toccatas,
sonatas) using 19th –century harmonies.
Humor and Satire—Some composers satirized the
pretentiousness of Romantic music and poked fun at
everything, including themselves.
Expressionism—Intensely personal feelings were
expressed with focus on dark, even weird and twisted
emotions that are usually hidden from others.
Atonality—Increased chromaticism and dissonance
make tonal centers unclear to the listener, or the use
of a tonal center or key is rejected by a
composer.
Nationalism and Folk Influence—Research into folk
elements of various regions and countries gave greater
harmonic and rhythmic variety to the musical
language.
Cakewalk and Ragtime—The music for the cakewalk
became associated with ragtime with its “ragged,”
uneven, syncopated melodies over a march-like
bass.
Bibliography
The
Golden Encyclopedia Of Music, Norman Lloyd, 1968 Western
Publishing Company
Beyond the Romantic Spirit
1880-1922, Nancy Bachus, 2003 Alfred Publishing Co.
quote:
Artusi, Giovani Maria (1540-1613) Italian composer
in 1600 stated: “They…ruin the good old rules
handed down…by theorists and excellent musicians…
These moderns…create a tumult of sounds, a confusion
of absurdities.”
Nobody appreciates change.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I'm old.
Everything I know only applies to the way things used to
be!
quote:
Sibelius, Jean (1865-1957) Finnish. His symphonic
poem Finlandia in 1900 roused patriotism and he became
known as “Finland’s greatest son.” In Etude magazine
in 1948 he stated: “Things are not good because they
are old, nor bad because they are new…we must be
open-minded about new experiments in music, always
remembering the only standard in music is beauty.”
I like that one, and:
quote:
Schumann, Robert (1810-1856) Zwikau German composer
and critic. Torn between music and poetry. Mother
wanted his to study law. Lost right ring finger.
Untraditional styled of teaching composition. 1834
founded a newspaper for music, fighting for the
highest standards of musical criticism. Edited it for
10 years under different names, “Davidsbunbler” who
were ready to tear down philistines in the arts who
were against new ideas.
Just just as we (rhetoricatlly)
debate whether elevator music is really music, if
push-a-button disco is real music...
There's a funny thing about the
styles: they disappear. When I was a kid we had swing
and western and juke box music. Swing and western were
readily identifiable, but juke box was just everything
else. Most of the music of that period wouldn't fit into
any category. Nowadays we talk about Rhythm & Blues,
but I never heard any of that category. In the fifties
we had "rock & roll" but all the music I heard was
either schmaltzy stuff or what we now call doowop. Rock
& roll faded before it ever got started, being
replaced by the British invasion, sometimes called
"Mersey Beat". A lot of the records are still played a
lot, but unless they have a gimmick (doowop) or a thick
accent (British stuff) they don't really fit into any
category. And then of course there was that long spell
of "acid" rock, which covered a lot of very different
styles. About the only thing common to all the acid rock
bands is that they seemed to be exploring the limits of
their equipment.
What I'm saying here is that
unless a style has some obvious defining characteristic
(doowop is not calypso is not reggae, etc), it seems to
be assigned to a class by subsequent generations, not
necessarily the same class that the performers thought
they were doing at the time. And it often seems that
most of the music in any period is not part of the style
most often associated with that period.
Ok, I'm
done. Go on with your show!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I'm old.
Everything I know only applies to the way things used to
be!
quote:
Originally posted by Wuzzat: There's a funny thing
about the styles: they disappear...
What I'm
saying here is that unless a style has some obvious
defining characteristic (doowop is not calypso is not
reggae, etc), it seems to be assigned to a class by
subsequent generations, not necessarily the same class
that the performers thought they were doing at the
time. And it often seems that most of the music in any
period is not part of the style most often associated
with that period.
Davidsbundblers Operation Central
I
feels ya!
I'm not even sure a obvious
defining characteristic as you said, can save a
style!
I tell youth I follow Run-DMC or Public
Enemy or Cool Mo D or X-Clan type of Rap,
Conscious and they tell me that the fact that
they don't know those groups IS MY PROBLEM! I'm out of
date in a style I used to do, when it wasn't schmaltzed
or over-commercialized out.. hope I didn't lose you
there buddy..
I try and say
"subculture can never be mainstream," meaning, once
urban music is to sell cars, it is no longer urban. I'm
probably still losing you.. what I'm saying is this:
Commercialization destroys 'styles' and
'genres.' How about Wham's lead singer, that Michael
Something, talks in a total British accent, but sings
like he's from Bronx, when Madonna did her first hit,
"Holiday," she was doing "black music." That ended it
being black, don't get me wrong, anyone can play it, but
it stopped being black.
I asked a Trinidad
friend if there were any white Soca (soul-calypso)
groups. He said no, I said why, he said "we'd beat their
a--!" Integration may be the culprit in the US... ouch
since I'm mulatto..
I remember a poster I say
"The Roots of Rock and Roll" with some white rocker....
I got nothing against white rocker, pink ones, blue,
what have you..
But... there
is definitely a history destroying function in people
co-opting, and marketing getting a hand in, popular
culture.
Nothing particularly against 'rich
kids,' but when a rich kid can 'buy' in to a style like
Rap, crooning, house / disco / rave, well once it is out
of the hands of who made it, .. well there it goes! If
you don't claim what you have, well, there it goes!
AWB (Average White Band - what a name!), their
first song was "Pick Up The Pieces" and I heard it in
LA, KUTE102 FM, and was sure James Brown had a new song.
Oooooh no! They were just like the title, picking up the
pieces. They fonkey too!
Sorry Wuzzie but you
got me going, I found out I'm a Schumannist, bitter
music critic, and I reeeally resonate with what you said
there!!!
My actual
intention in replying to this post was to let you know
I've been busy, doing my own musicology, and just
yesterday updated: http://Inersha.com/worldsou.doc 1.5MB
word file. It explains all the musical and stylistic
tricks I've been doing in my Soulsa music. Samples of
the music for that World Soulsa CD are on http://inersha.com/ .
Hey,
thanks for joining my quest to find out where the good
music went! U A Buddy!
I went to a bigband concert last
night. You know, old fogey stuff. But so thrilling to be
almost knocked down by a wall of sound emanating from a
20+ band consisting of 5 saxes (all sizes), 5 trombones,
5 trumpets, piano, drums, bass, vocalists and
more.
Rock n roll, country, classical, gospel and
new-age are all great. But bigband swing is here to stay
too.
quote:
Commercialization destroys 'styles' and 'genres.'
Maybe. A while back you were looking
for a program that would do what you wanted it to do.
How would you feel if the programmer had asserted his
inner self by writing a program that does what HE THINKS
you ought to do? (Microsoft does that a lot!) The answer
to that question is "discipline". Any endeavor requires
one kind or another of discipline. Many would-be artists
reject that concept, but in fact they are only choosing
their preferred form of discipline. That's fine if they
can still make a living.
So it's not necessarily
correct to say that commercialization destroys styles.
In many cases commercialization is the only thing that
makes a style viable. But the exchange of money requires
an artist to channel his efforts in a manner demanded by
the purchaser, instead of chasing some philosophy. The
one is internal discipline, the other is external or
imposed discipline. The problem with internal discipline
is that the artist may just be creating brain farts,
unable to fully assess his own work. The problem with
external discipline is that the artist may be creating
somebody else's brain farts and can't afford to turn
down the job. That explains certain trends lately
exemplified by various pop stars, that guy who paints
soup cans, Gage's silent "concerts", and others. They
are products of rebellious times, making a living by
selling artistic rebellion.
Would they do the
same things for free? Probably not. The question is
whether the audience would pay for something else. When
people hear music or see a visual display they almost
always prefer something more traditional; melodic music,
recognizable pictures, graceful dance movements, etc.
But when choosing something by their own judgment they
tend to look for something more unusual, more dramatic,
more amazing than what they are accustomed to. That is a
social effect. It demonstrates a dissatisfaction with
the status quo, a search for something more meaningful;
anything as long as it's not related to "the crap they
learned in high school". In other words, rock & roll
really was a form of rebellion against parental
authority! So were the beatnik movement, the hippie
movement, gang colors, and everything else. The
rebellion even spills over into politics: It's been
decades since there was a candidate that anybody wanted
to vote for. All the arguing is over who to vote
against.
So what do you do about all this? Look
for work, I suppose.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I'm old.
Everything I know only applies to the way things used to
be!
