classical music presentation

How to Understand and Appreciate Classical Music

Classical music covers a very broad span of music from the Medieval to the present day. Each era of music has its unique characteristics and idiosyncrasies. To find your way towards a richer appreciation of a thousand years of musical and cultural history is no modest undertaking, but there are a few options I am about to suggest that I hope will help.

One route I have found successful, in a teaching capacity at least, has been to listen to a variety of classical music and see which piece inspires you or evokes some kind of emotional response. If there is a particular instrument, voice, or ensemble that you enjoy the sound of, this could help narrow down the selection process. My first instrument was the piano, and so I found myself interested to know more about Beethoven or Mozart. It was this interest that spurred a deeper appreciation of classical music in general.

From this humble beginning, I began to read about the composers I liked and tried to understand how they did what they did. Part of my reason for this was to be able to perform the pieces I enjoyed in a manner close to what the composer intended. As I was also beginning to compose music too, I wanted to see behind the notes and know why these great classical composers chose the notes they did and put them together in the way that they did. In a sense, this academic approach to understanding Classical music was something that suited me and provided me with a foundation of musical knowledge that allowed me to eventually study music at university.

Appreciation of Classical music , just the same as an appreciation of Jazz or Popular Music does not have to involve years of study but can be tackled on a much more friendly footing. Tuning in to a radio station like Classic FM can be an excellent starting point. Often the music is briefly introduced by the presenter with a few choice facts about the music, then part or all of the work is played. This particular station I mention as the selection of music tends towards the more well-known and popular side of the Classical repertoire that may be an engaging and approachable way to get further into Classical music.

In the top ten Classical pieces , there is ‘Eine kleine Nachtmusik’ (K.525) by Mozart;

‘Für Elise’ by Beethoven;

‘Toccata and Fugue in D minor’ by JS Bach;

and the ‘Symphony No.5’ by Beethoven.

These pieces have been popular for hundreds of years because there is something about them, amongst many other classical works, that appeals to a huge amount of people. Trying to fathom out why these compositions appeal on such a large scale can bring about a fuller understanding of the music itself. This, in turn, can give rise to a more fulfilling listening experience.

Before we delve further into the practicalities of this I must emphasize that listening is key. This may appear like an obvious thing to point out, but music is rarely just listened to. It often accompanies us at the gym, underscores a movie or advertisement, and is heard but not truly listened to. If you try to listen hard to any piece of music, the music begins to reveal its innermost secrets.

By this I refer to subtle changes in dynamics or expression; harmonies; the rise, fall, and phrase of a melody; changes in ensemble or textures, or rhythms, motifs, and tempo (speed), of the piece. These musical elements are not things that we are encouraged to listen for. Much popular music these days may provide a singable melody with a supporting repetitive beat but it does not invite deeper appreciation unless you are a production enthusiast, and that is another story. Popular music is designed to provide a background to our activities whereas Classical music, I would argue, has more to listen for and if you wish your appreciation to develop, listening deeply is a fine place to start.

Classical music can be reduced to background music and in fact ‘Eine kleine Nachtmusik’, was broadly intended by Mozart to be just that. But, this does not mean that the music has nothing below its surface; it does, and here is where the journey into the piece begins. If you listen, you begin to pick out more details. The melody on the opening movement, which is so popular, is a rising arpeggio figure that features in this section of the work. It is in a major key. The speed of the piece is quick (allegro), and the opening melody is played by unison strings. At first, this is challenging, but break down the listening into different elements.

Start by focusing on what is often the more dominant feature of a piece of music; the melody. Listen to the ‘shape of the melody’ and perhaps which instrument or voice has the melody. Does it swap maybe from one instrument to another? Listen again to the pieces, trying this time to hear the speed (tempo) of the music, and any repeating rhythmic ideas that maybe there. With the next listening, you could focus on the changes in volume (dynamic), to see what you hear. Are some instruments louder than others? At what volume does the melody start and end? Does it remain the same throughout this passage?

These are suggestions that would benefit from a little theoretical knowledge as well as concentrated listening. Knowing, for example, the names and sounds of orchestral instruments would be helpful. Being aware that music is often a melody plus an accompaniment (homophonic), so you can identify both parts of what is being played. Some music involves more than one melody, common in Baroque music , and this would be called polyphonic. A sketch in your mind of the characteristics of the period of music you are listening to will provide a backdrop of key elements to listen out for. You could make a brief tick list to help out.

Ultimately, a combination of contextual, theoretical, and practical musical knowledge will develop your appreciation more quickly. Patience is essential as it takes time and focus to gain musical understanding and allow your listening skills to grow. It goes without saying, but a passion for the music you are listening to will greatly assist your exploration of the wonders of Classical music.

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Introduction to Classical Music

Yale University via Coursera Help

• What Is Music?
• Every day around the world, billions of people listen to music of one sort or another, and millions listen to Western classical music. Why do we do it? Because it’s fun? Because it energizes or relaxes us? Because it keeps us current, allows us to understand what’s happening in past and popular culture? The pull of music--especially classical music—has never been explained. The aim of this course is to do just that: To explicate the mysteries and beauties of some of Western cultures greatest musical compositions—among them masterpieces of Bach, Mozart, Beethoven, Wagner, and Puccini. We begin with the elements of music, breaking classical musical into its components of pitch, duration, and sound color, allowing us to better understand how music works. Next, we proceed to the compositions themselves, starting with the Middle Ages and Renaissance, to show how Western music developed in ways unique to the West. Ultimately, we reach the masters, commencing with Bach. What makes his music great? Why does it move us? What should we listen for? And so we proceed down through Western musical history, visiting virtually the people who created it and the places where they did so. By the end, we hope all of us have become more human (enriched our personalities) and had a rollicking good time!
• How Music Works, it's Magic.
• What is Music? Is music simply the organization of sounds and silences passing through time? Or is it more? Poet Victor Hugo believes music is "what feelings sound like." In this first module, we’ll take apart Hugo’s seemingly simple statement by spending some time asking how and why music induces strong emotions in people across different cultures. We’ll begin with a look at the inner workings of the human ear to determine how our brains process sound waves. Then, we’ll travel to different parts of the world, comparing and contrasting both traditional and popular Western music with sounds from various regions and cultures. You’ll find that it is both culture and the physics of music that determine why we like the music we like! From there, we’ll be ready to take a look at the basic elements of musical composition; rhythm, melody, texture, etc. We’ll also learn how classical composers used these elements in some of their most famous works and how modern artists are still using them today. Finally, we will see how the elements of musical composition have evolved over time and how they have been translated to a universal language enjoyed and understood by millions.
• The Sound of Music
• Have you ever wondered what it is that makes music sound sometimes rich and luxurious and sometimes strange and mysterious? Well, you’re in luck because this module, we’ll explore what the nature of simultaneous sounds and textures. We’ll start off with a look at chords, specifically how the three types of triads– tonic, dominant, subdominant– build a foundation upon which a melody can be constructed. Once we understand the rules of musical syntax, we’ll be ready to learn about musical progressions including the three types of cadences.We’ll also look at major and minor triads and how they work. Then, we’ll learn how to hear the bass and focus on the harmony of a song. Finally, I’ll talk you through the four families of musical instruments–brasses, percussions, strings, and woodwinds---and the various musical textures, forms, and styles that they can create. How exciting!
• Music Back in the Day
• We will cover a thousand years in musical evolution during this modules lectures! We'll start with the Middle Ages taking a look at its functional chants and dance music, then we’ll move to the period of the Renaissance, and finish off by listening to the ornate melodies of opera heard throughout the early Baroque period. From this, you’ll begin to see how advances in musical notation allowed compositions to become both more specific and more complex. These advances are ultimately responsible for focus being shifted away from the performers and towards the composers themselves.Along the way, we’ll highlight some of these musical inventors and innovators, such as Hildegard of Bingen and Johann Pachelbel. We’ll also have the unique opportunity to see (and in some cases even hear) many of the instruments that were popular during these different time periods. This will be a real treat, made possible with help from Yale instructor, Grant Herreid. Many thanks are owed to him!
• The Baroque Era
• Novelists, poets, painters, mathematicians, and even geologists talk about "fugue-like" structure in their media and disciplines. But what is a fugue and how did we get it? To find out, we enter the world of Baroque music and famed master of the fugue, Johann Sebastian Bach. First, we'll get a chance to "live" during the Baroque period by taking a detailed look inside the life, career, and even home of Bach-- explore where and how Bach and his family lived, discuss Bach’s music, and talk about the techniques of Baroque music as a whole. Next, Bach’s music will then be compared and contrasted with that of his exact contemporary and fellow German, George Frideric Handel. One might say that Bach was an idealist and Handel was a realist when it came to music, so we’ll look at how these personality traits informed each composer’s musical style. Finally, we'll wrap up the module with an introduction to music of the Classical Period, and who better to lead the way than the inimitable Wolfgang Amadeus Mozart?
• The Classical Era
• Would you believe that once upon a time, musical compositions were viewed as disposable, one-time-use entertainment? Could you imagine an orchestra attempting to perform a beautiful piece over the sounds of noisy patrons in a casino? How about a violin being drowned out by a dog loudly barking outside of a café? Well, this was the reality before the turn of the 18th century. It wasn’t until around 1800 that people began to appreciate musical compositions, as they do today. This was the same time we started to see large concert halls created specifically for the purpose of listening to concerts. Not long after, music was seen as something to be elevated and studied, in other words it became, “High Art.” This week, we’ll start by listening to music by Haydn and Mozart, getting our grounding, so to speak, in musical form. As we proceed, we'll also see where and how they lived, compare how they wrote and performed their music, and even look at some of the exact instruments they performed on all those years ago.We’ll spend latter part of the module highlighting two figures that stand at the very heart of Western music.The first is Mozart, a well-dressed, confident, eccentric, and ever brilliant innovator. We’ll explore his music through the lens of three artistic masterpieces: a piano concerto, an opera, and the Requiem mass... We’ll delve into the unique features of the music that make it the gold standard for all music for centuries to come. Perhaps the high (or low) point arrives when your instructor is ruthlessness murdered on stage by the feckless Don Giovanni.We’ll then shift over to Beethoven– a passionate, conflicted, and oft-times disheveled genius. His physical appearance may very well have served as the prototype for the stereotypical, “struggling bard,” or “tortured genius.” We’ll study some of his most famous sonatas, including his Moonlight Sonata and then go beyond his music to explore his personal life, including his struggle with deafness and depression.
• The Bridge From Classical to Romantic
• If you could put a soundtrack to the French Revolution, it would surely contain music from Beethoven's "Heroic" period, during which, he “brought sound to symphonies.” We’ll see how Beethoven’s incorporation of new instruments, as well as, his creation of a large orchestra, made his symphonies much louder and "sonically vivid" than those of his predecessors. The point of focus here will be a comparison of the music of Beethoven's "Heroic" period, represented by his Symphony No. 5, with that of his "Late" period, epitomized by his famous Ode to Joy. We'll also consider Beethoven the man, as revealed through primary source accounts of his life at that time. They paint a picture of a disheveled, wild-looking Beethoven, who lived among filth and clutter and was consumed by his work. The ultimate question: in what ways might his life of isolation and his hearing disability affected the nature (style) of the great music he created?As we bid aufwiedersehen to Beethoven, we move on to full-blown musical Romanticism. Romantic music, and indeed all romantic art, was known for its idealistic views on love and nature. Occurring roughly from 1820 to 1900, musical Romanticism saw an evolution of musical style as well as a change of venue (place) for musical performance. In addition to the aristocracy and their royal palaces, a strong middle class arose in Europe during this period. With the music of the ever-lyrical Franz Schubert, we'll step into the parlor of an upper-middle class home, to experience his domestic chamber music and songs. We’ll finish off the module by asking the question: How do we use musical sound to communicate? A look at program music (instrumental music that uses musical gestures to tell a story) will help us figure this out. After a quick auditory review of the workings of program music (we'll follow Vivaldi on a spring day), we'll watch Hector Berlioz go to hell. More accurately, we’ll follow the sequence of musical gestures he employs to re-create a fantastical tale of pursuit, destruction, damnation. Having learned our lesson, we’ll end with a little fun as we try to match themes extracted from various symphonies to the mental images that the composer had in mind. Do you speak the language of program music fluently? Join us and find out!
• The Romantic Era
• Module 8 will begin with a tour of Yale’s extraordinary keyboard collection; perhaps the finest of its kind in the world. We’ll see fully functioning instruments of all shapes and sizes, some dating back to the time of Mozart and before! We’ll learn the preferred brands and styles of some of the finest pianists of all time, Haydn, Beethoven, Liszt, Chopin, and Schubert to name a few. We’ll even get to hear some of these instruments played by musical educator and concert pianist Robert Blocker. His performances will help us hear exactly how advances in technology changed the sound and capabilities of pianos during this time period. Our next session this module covers a rather polarizing topic: Opera. Many people find the Opera too artificial, too long, and sometimes just plain boring; others enjoy nothing more than this glamorous art form. We’ll spend some time making a case for the power and beauty, indeed the magic, of Opera. Maybe, we’ll be able persuade some naysayers along the way. Because it is impossible to encompass all of Romantic opera in an hour, we'll concentrate on the masterpieces of Verdi and the groundbreaking music dramas of Wagner. Perhaps the only figure who can reasonably by compared to Beethoven in terms of musical originality and innovation, Wagner changed the face of 19th century music. We’ll explore Wagner by briefly analyzing his Ring Cycle. This innovative cycle of librettos, based on Norse mythology, contains some of the most iconic and recognizable music from the period. Wagner's use of "leitmotifs” made detailed storytelling possible, with the music even conveying the subconscious thought of singers on stage, a truly revolutionary feat. His work would go on to serve as inspiration for writers and film makers such as Tolkien, Lewis, Lucas, and Martin, not to mention countless composers. In the final lesson of this module, we’ll expand our focus to look at the orchestra as a whole during the Romantic period. Just 60 years after Mozart led his thirty-five-player orchestra, it was not uncommon to see Wagner and Mahler conducting ensembles with well over 100 members. In addition to increased numbers, the instruments themselves changed. Technological advances, transformed previously one dimensional instruments, such as the French horn, into versatile tools, capable of projecting a completely chromatic melody. This newfound versatility allowed composers like Brahms and Mahler to experiment with and forever redefine orchestral instrumentation.
• Music to the Present
• When you think of Impressionism, you probably think of paintings, likely the beautiful canvases of Claude Monet. But the emotionally evocative, non-realistic style of Impressionism pervaded all aspects of art. For music, another Claude, this time Debussy, typified the Impressionist movement. After learning about the sometimes outrageous lives of some of history’s famous composers, it may shock you to hear that Debussy led a rather banal existence, with no depression, psychosis or family tragedy to speak of. But from an ordinary life can come extraordinary music! We’ll look at three pieces, one each from his early, middle, and late career, to see how Debussy's style shifted away from more goal-oriented Romanticism to the “live in the moment” style that came to define Impressionism. After a brief guitar lesson taught with the help of the talented Solomon Silber, we’ll continue on to the Modernist period. As is well known to all by now, musical style is constantly changing. Sometimes the change is subtle, like the shift from Classical to Romantic music. At other times, however, change crashes like a Tsunami against previous traditions. This is what we experience as we engage the bracing sounds of Modernism. Beginning in the early 20th century, composers such as Igor Stravinsky and Arnold Schoenberg abandoned traditional melody and scale. Simply put, audiences were, at times, less than receptive to this change. We’ll listen to samples of the music that provoked audience hostility, and discuss what seems to make this music so inaccessible, at times downright unpleasant, for most listeners.We will close this week, and our course, with Postmodernism and Minimalism. We’ll see how composers like Aaron Copland brought orchestral music back to the people by paring it down to its most basic terms. We’ll then hear how artists such as Philip Glass and John Adams, took this idea and ran with it, composing captivating trance-like movements around the simplest of ideas.

Craig Wright

• united states

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• AA Anonymous 9 years ago This is one of the best courses I have taken so far. The educator teaches in a correct way all the elements regarding the understanding the classical (an even general) music and forms of art. I consider this course very hard, especially because there are a lot of materials to learn from. I created a document where I kept my notes and it is +47 pages long. But don't get me wrong, it is a course for total beginners. Even though, I would take it again. Helpful
• DR Dave Rawlings 7 years ago I'm the most unmusical person in the world (so my wife says), and had no knowledge of classical music before starting the course. I found some of it challenging, especially the sections that concentrated on the technical aspects of the music. Nevertheless I felt I gained a lot, now have a little knowledge, and enjoyed the course. The professor's approach is very engaging and covers the historical development very well. Helpful
• Pam Gould 8 years ago I thought I was going to learn a bit about western classical music, but I learnt an huge amount about 'music' as a whole. Craig Wright is an engaging and enthusiastic teacher. He has inspired me to learn more about medieval music. I've downloaded the course and have referred to it many times when studying other music MOOCs. Brilliant! Helpful
• AA Anonymous 4 years ago I am currently taking this course and can not get enough of it! He explains everything in depth so that you gain a proper understanding of classical music, its differences to pop music and many other things. a great course taught by a great teacher! Helpful
• NV Natalie Vaughan 6 years ago An excellent, comprehensive well presented introduction to western classical music. Highly recommended for anyone interested in increasing their knowledge of classical music! Helpful
• RS Rachel Schultz 9 years ago This is a great course, especially for music lovers. Very interesting. The teacher is understandable, and the music sounds great! Helpful
• AA Anonymous 4 years ago Truly an exhilarating and outstanding experience. Our Professor and Guide took us through the sessions through excellent historical research as well as well designed acoustic and virtual presentations. His beautifully structured theoretical insights introduced the uninitiated to the musical mysteries and opened the fantastic world of Western Classical music to the students. Highly recommended for all music lovers. Helpful
• Christopher Gidley 4 years ago Great introduction to classical music. Does not assume any prior knowledge (but it can help if you have some). Starts at the beginning of written music to progress all the way to the present time (post-modern era). Talks about the major composers within 24 hours (although a few major ones are left out, but can be found in his book). Highly recommend! Helpful
• LA Lada A. 3 years ago Great opportunity to learn about classical music from a masterful teacher, who provides the music theory, cultural history and more needed to really appreciate the pieces as he guides you through the centuries. Helpful
• AA Anonymous 4 years ago I did misstage. I dont want to Begin this class. English Language i too difficult for me. I have not started, but had to buch ”taking right now ” to het this letter away. 2020.05.28 Helena Perkkalainen Helpful
• JA Joseph Alagbe 4 years ago I have really been longing to take an online course on music buy am very poor to sponsor myself and I will be happy if I can be sponsored and taught well and also be given a certificate. Helpful
• AA Anonymous 4 years ago Se ve muy interesante el curso, pero veo que es en ingles y pues me parece mal que solo esté en un idioma no da la opción de tomarlo por falta del manejo de este. Helpful
• Anne Elder 8 years ago Helpful
• ZV Zorica Vasic 7 years ago Helpful
• AB Anastasia Blita 9 years ago Helpful
• EA Emilia Alquist 7 years ago Helpful
• MT Mak Shiu Kwong Thomas 7 years ago Helpful
• DJ Deepak Jois 9 years ago Helpful
• DG Dimitri Gurewitsch 9 years ago Helpful
• HA Henry Alvarado 8 years ago Helpful

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Transcript: classical music from jazzy types too.. To blues type music these types of music were hits for more than 20 years! too one of my personal favorites, a piano type classic old people are old :o thanks for watching!

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Transcript: he wrote 106 symphonies (cc) photo by Franco Folini on Flickr hadyn was born on 31 of march 1732 and died on the 31 may 1809. he had illness in 1802 and it got worse he then passed away in 1809 before napolen invaded vienne. (cc) photo by Metro Centric on Flickr Vienna joseph haydn was a conductor he wrote classical music and compossed it him self Research he was 77 when he passed Results haydn had no children Notes (cc) photo by Metro Centric on Flickr was his home Hadyn facts of haydn (cc) photo by jimmyharris on Flickr Haydns Birth And Death

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Transcript: Music from today will always reflect certain time periods and cultural events a song may have pieces of old music to update it the new song of today 1683-1764 Jean-Philippe Rameau http://8tracks.com/docellis/classical-dubstep ` 1397-1474 Guillame Dufay end 1700s-1800s enlightenment 1098-1179 Hildegard von Bingen http://beamsandstruts.com/bits-a-pieces/item/840-saturday-night-jukebox-classical-music-in-dubstep Thank you 2000 Hip Hop 1935 Rock and Roll ... small Ashley, Chrissy, Tiffany, & Antonio 1935s Jazz Relashionship of Classical Music and Genres from Today 2002 Dubstep

Transcript: Classical Music By William Simon Thanks For Paying Attention ! In my personal opinion the best composer of the Classical Era was Ludwig Van Beethoven. Although he did not compose hundreds of pieces he did compose nine amazing and internationally renounced pieces which are enjoyed everyday by the men and women of the world who have a passion for Classical Music. Wolfgang Amadeus Mozart Franz Joseph Haydn Made from Western Liturgical and Secular Music Lasted From 1750 – 1820 Usual works were Concertos, symphonies and sonatas Major factor in development of music notation Although this may sound ridiculous Classical music is proven to be one of the most effective ways of making infants brains develop. A Harvard graduate studied the reactions brains have when a child listens to classical music and compared it to say rap. Classical music is proven to help increase memory and IQ level in mainly infants but can also minutely increase it in adults Christopher Gluck is know as the man who started Opera or changed it 100%. Gluck revolutionized opera by softening the contrast between melodic themes and orchestral passages. He wrote his notes in line with the opera's words similar to how modern movie makes make movie scripts and he also brought together French and Italian operatic styles. Favorite Composer Classical Music is arguably the first real type of music. Although Classical Music spams for hundreds of years the Classical Era of music brought froward dozens of famous composers who we still appreciate. It is suggested that the notation system we use for music began to develop in this time. Salieri may have been jealous of Mozart's musical genius, but the rumors of Salieri killing Mozart with poison although would be awesome are false.. Salieri was a respected composer who was most know for his contributions to opera, but stopped composing operas in 1804 and then started composing only church music. Salieri was friends with Haydn and gave music composition lessons to Beethoven. The Effects Of Classical Music Ludwig Van Beethoven Half of Mozart's life as he said was wasted on touring Europe and composing countless pieces. Born in 1756 Mozart began composing at the age of five. After he toured with his father Mozart died at the age of 35. Yet during his short life Mozart greatly advanced classical period music with over 600 compositions. His style is closely related to that of Haydn's but more radical and was accused for being too long and having too many notes. You Tube http://en.wikipedia.org/wiki/Classical_music http://www.npr.org/music/genres/classical/ http://www.classical.net/ http://www.naxos.com/education/brief_history.asp http://library.thinkquest.org/16020/data/eng/text/education/theory/history.html Bibliography Antonio Salieri Classical Music Many view Beethoven as the man connecting the classical period to the romantic period. Beethoven only wrote nine symphonies. Compare that to Haydn and Mozart who together wrote over 150 symphonies it makes Beethoven look like he did nothing which is simply not true. What makes Beethoven special was his successful attempt to break the mold of the strict rules of the classical period. His compositions especially Symphony number nine opened the gates to composing with feelings. Haydn was a remarkable composer, epitomizing classical music, and though he wasn't as cool as the Mozart when he was young, his music was always exactly what Classical Music should be like. Haydn, unlike most composers, had a predictable job. Haydn composed, directed, tought, performed, and managed musicians from the royal family. During this time, Haydn composed many pieces of music for the local orchestra to perform. With a large amount of work, including over 100 symphonies and 60 string quartets, he is often called the "Father of the Symphony". Christoph Willibald Gluck Classical Musics Inspiration on The World Of Music

Transcript: MUSIC CHOIR Topic I think this is about facts! I think this is about feelings! I think this is about data! Different perspectives

Transcript: Classical Music Simplicity, logic, and order Still dependent upon royal sponsors, but... Lower classes & the musically uneducated Ticket sales! Skilled performers in public eye Classical Composers Franz Joseph Hayden (1732-1809) Wolfgang Amadeus Mozart (1756-1791) Ludwig Van Beethoven (1770-1827) Franz Joseph Haydn (1732-1809) "Father of the Symphony" Symphony String Quartet Piano Trio Prince Esterhazy Rondo form Ludwig Van Beethoven (1770-1827) Wolfgang Amadeus Mozart (1756-1791)

Transcript: Classical Music Top 3 classical composers W.A.Mozart W.A.Mozart stands for wolfgang Amadeus Mozart which was his real name. Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Mozart. J.Haydn Joseph Haydn was born in Rohrau, Austria, a village near the borderwith Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter",an office akin to village mayor. Beethoven Ludwig van Beethoven remains one of the most famous and influential of all composers. Ludwig van Beethoven is beethovens real name. Classical music facts Classical music is the art music produced in, the traditions of Western liturgical and secular music, emerging broad period from roughly the 11th century to present times. The instruments used in most classical music were largely invented before the mid-19th century (often much earlier). Famous composers From left to right: Top row – Antonio Vivaldi, Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, Ludwig van Beethoven; second row – Gioachino Rossini, Felix Mendelssohn, Frédéric Chopin, Richard Wagner, Giuseppe Verdi; third row – Johann Strauss II, Johannes Brahms, Georges Bizet, Pyotr Ilyich Tchaikovsky, Antonín Dvořák; bottom row – Edvard Grieg, Edward Elgar, Sergei Rachmaninoff, George Gershwin, Aram Khachaturian By Holly Alee and Abbie Composers and performers alike are typically highly literate in understanding notation.

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Esa-Pekka Salonen: A Conductor at the Top, and at a Crossroads

Salonen, who will soon be a free agent for the first time in decades, could do pretty much anything at this stage. What will it be?

By Joshua Barone

Reporting from Stockholm and New York

On a late afternoon in May, pop and classical music luminaries gathered in the neo-Gothic sanctuary of a 19th-century church-turned-Soho House in Stockholm. With drinks in hand, they listened as the media personality Cilla Benkö asked Esa-Pekka Salonen, “So what’s going on in your head at the moment?”

“Well, I’m at a crossroads,” said Salonen, the composer and conductor, who is a year away from becoming a free agent for the first time in decades. “I’m kind of figuring out what to do, if anything.”

Salonen is in a good position to choose what comes next. He is a conductor at the top of his field, and the kind of composer who can bring on not just one high-profile commissioner but several for each new piece he writes. The day after his interview with Benkö, he received the Polar Music Prize , an honor that has been called the Nobel Prize of music, directly from the hands of the Swedish king.

The award is given to a classical and a pop artist annually; Salonen’s counterpart was Nile Rodgers, the mind behind songs like “We Are Family” and “Le Freak” and albums by Madonna, David Bowie and Beyoncé. Guests at the ceremony included the royal family, the megaproducer Max Martin and a member of ABBA, all gathered for a televised evening of tributes and black-tie diners dancing in the aisles to music related to the prize winners.

With royalty grooving to Daft Punk but also listening attentively to Salonen’s “Concert Étude for Solo Horn,” it was a fitting celebration for Salonen, one of the most open-minded, open-eared and fundamentally cool artists in classical music, who at 66 is beloved and respected across the field.

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Bruckner's magnificent finale self.__wrap_n=self.__wrap_n||(self.CSS&&CSS.supports("text-wrap","balance")?1:2);self.__wrap_b=(t,n,e)=>{e=e||document.querySelector(`[data-br="${t}"]`);let s=e.parentElement,r=O=>e.style.maxWidth=O+"px";e.style.maxWidth="";let o=s.clientWidth,u=s.clientHeight,a=o/2-.25,l=o+.5,d;if(o){for(r(a),a=Math.max(e.scrollWidth,a);a+1 {self.__wrap_b(0,+e.dataset.brr,e)})).observe(s):process.env.NODE_ENV==="development"&&console.warn("The browser you are using does not support the ResizeObserver API. Please consider add polyfill for this API to avoid potential layout shifts or upgrade your browser. Read more: https://github.com/shuding/react-wrap-balancer#browser-support-information"))};self.__wrap_n!=1&&self.__wrap_b("undefined",1)

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Anton Bruckner's Symphony No. 8 is a massive piece—more than 80 minutes from beginning to end. Conductor Yannick Nezet-Seguin says the symphony is akin to entering a vast canyon. As you listen to Bruckner, he says, "Accept that space and time are different. It is not about the micro event but the grand line. Just breathe in, breathe out, and feel the connection of that music to the harmony of the universe." Join us to hear conductor Yannick Nezet-Seguin lead the finale to Bruckner's Symphony No. 8 at the Lucerne Festival in Switzerland.

Episode Playlist

Karim Al-Zand: Visions from Another World: Movement 3 ROCO | Mei-Ann Chen, conductor Album: Visions Take Flight Innova 1016 Anton Bruckner, arr. Robert Haas: Symphony No. 8 in C minor: Movement 4 Lucerne Festival Orchestra | Yannick Nezet-Seguin, conductor Lucerne Festival, Concert Hall KKL, Lucerne, Switzerland Luigi Boccherini: Guitar Quartet No. 4 in D Major, G. 448: Movements 3-4 Dolce Suono Ensemble: Gideon Whitehead, guitar | Mimi Stillman, piccolo | Christine Lim, violin | Burchard Tang, viola | Thomas Kraines, cello and castanets DSE Presents, Trinity Center for Urban Life, Philadelphia, PA Jonathan Peters: Arthropod Suite ROCO | Jeri Lynne Johnson, conductor ROCO, St. John the Divine, Houston, TX

Alfredo Casella: Berceuse triste Op. 14 Anna Geniushene, piano Album: Berceuse Piano Classics PCL10279 Gary Kuo: In Remembrance Lviv National Philharmonic of Ukraine | Benjamin Loeb, conductor Lviv National Philharmonic of Ukraine, Ukrainian National Academic Theater, Lviv, Ukraine Joseph Haydn: Sonata in D Major, Hob. XVI:42 Anna Geniushene, piano Van Cliburn International Piano Competition, TCU Van Cliburn Concert Hall, Fort Worth, TX Amy Beach: Piano Quintet in F-sharp minor, Op. 67 Pedja Muzijevic, piano | Livia Sohn, violin | Benjamin Beilman, violin | Gabriela Diaz, viola | Nina Lee, cello Spoleto Festival USA Chamber Music Series, Dock Street Theatre, Charleston, SC

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Bruckner's magnificent finale

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More From Forbes

From classical it to ai jazz. time to get some lessons.

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International jazz day.

It’s all-digital now, from how you operate your company, to how you design your products and services, to how you attack the marketplace. None of this is new. It’s been true for at least a decade, though there are still companies that refuse to believe that they’re technology companies, which every company is in 2024 — and forever.

In fact, way, way too many executives still believe their companies can be run as a set of distributed functions shared with a variety of outside partners. Imagine how many partners there often are, and how challenging it is to manage multiple contracts? Not to mention the number of interdependencies across providers. Just remember that one single configuration file update recently crashed half the world . Can AI help reduce the chaos of IT and add strategic advantage? Yes, it can.

AI (machine learning and generative AI) completes the business-technology merger – even if some companies fail to see it. Tactical due diligence around the next big data analytics project or your next foray into multi-cloud-based solutions misses the point entirely. This is all strategic now. Operational technology is fully commoditized. It provides no competitive advantage. Competitive advantage only exists with strategic technology, and the clear winner here is AI.

AI is the strategic change that analysts, vendors, consultants, CIOs, CTOs and CEOs still often fail to see. (We collected some data in 2023 and 2024 that—incredibly—describes a lukewarm commitment to AI.) This is not incremental. It’s one of those pivots—like what we saw with the internet—that companies see, or they don’t, the kind of pivots that allowed companies like Uber, Airbnb, VRBO, PayPal and Stripe into the game as major players in vertical industries and essential infrastructure providers to all things transactional. OpenAI and Nvidia are there now, along with old-school technology vendors like Microsoft, Meta and Google, all trying to pivot before their customers pivot somewhere else. Yes, the war is on.

Note that the lane the internet opened has opened for AI—and then AI opened its own lane. But this one is far wider and impactful than the internet ever was. In fact, while the internet was an enabling technology that led to all sorts of new business models, AI is both an infrastructure and an applications platform that rides on the internet and its own large language models (and simpler models powered by everyday algorithms like regression).

Today’s NYT Mini Crossword Clues And Answers For Tuesday, August 13

Trump vs. harris 2024 polls: harris expands lead in latest survey, musk-trump x interview: trump takes friendly questions from musk after glitch-plagued start, the sounds of music.

Imagine the journey a musician might take from classical to jazz. Once upon a time, technology—when done well—was classical music, the same way that finance, accounting and HR—when done well—were classical. We thought about “IT” that way for years. We compared it to other business functions and processes, which in the 20th century was appropriate. But while accounting, finance and HR have obviously changed, they’re still more classical than jazzy. Technology, on the other hand, morphed into something that bears no resemblance to its 20th century self. It moved from the back office to the front office, took over the building, connected the world and then stood up and looked around for more things to do. The classical-to-jazz journey converts old classical fans to jazz ones—the full and forever integration of business and technologists.

Listen to this:

“Classical performances are traditionally based on pre-composed material, revitalizing scores from years past; whereas jazz is fresh with each performance with musicians extemporaneously re-composing in real time through the use of improvisation.”

The switch from classical to jazz assumes that business-technology is a concert with very different music than the concerts you’ve probably attended. Digital technology—powered by AI—is the last, and ongoing, improvisation. As more and more operational technology is commoditized in the cloud, leverage lies in the strategic application of emerging technology to current and future business processes and models prioritized by how much they impact current and future products, services and markets. AI is the maestro.

Business processes and whole business models must change, not just adapt: incrementalism-by-default is the enemy, in spite of how much safe political capital it generates. You must improve them, automate them, or just kill them altogether. But what do you replace them with? Which technologies make this happen? Which are irrelevant to your primary and adjacent markets—and markets you cannot even see today? Do you know how all this works—together? Or how it will work next year? AI will change just about everything. While we just entered the normal “trough” about the ROI around AI, be careful not to be seduced away from the unlimited potential of machine learning and generative AI. It’s all jazz now. You have no choice but to adapt even if you’ve been classically trained, which most companies have been over decades. It’s not like learning how to play golf left-handed. It’s about learning a whole new sport whose moves and rules bear no resemblance to the sports you play. It’s like learning how to play the French horn in a month, not the bongos you’ve already outsourced. AI’s a French horn. It’s complicated but capable of some of the most beautiful music you’ve ever heard.

Lessons — And Commitment

Let’s assume you’re given no choice, that you’re told you must learn how to read music and then play the French horn. Where do you start? You first need to assess how musical your team is. You then need to hire some good instructors. You need some instruments. You need it all. But most of all you need commitment, which according to some data we recently collected suggests that most companies are not fully committed to AI. Only 20% of companies defined “AI” initiatives as high priority, and over 47% defined them as insufficient or unknown. Consistent with this finding, only 25% adequately fund their AI initiatives and 37% believe they do “sometimes,” while 37% reported that their AI initiatives are not adequately funded or they just don’t know! If there’s no commitment, you’re going to have to somehow motivate your team to appreciate the complexities of AI jazz. Without commitment you’ll be stuck with the same old beautiful classical music you’re been listening to for decades. Beautiful, quiet and complacent—and that’s how it ends.

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Magic, ballet, Broadway and classical music included in UMN Morris's 2024-25 Performing Arts Series

The University of Minnesota Morris announces the 2024–25 Performing Arts Series presented by the Campus Activities Council (CAC). This season features performances by AnnaRose, Ballets with a Twist, Broadway’s Next Hit Musical, and ProMusica Minnesota. 

Saturday, October 5, 7:30 p.m. | Edson Auditorium

AnnaRose, a Las Vegas magician with a touch of Iowa charm, wows crowds with her spellbinding acts at prestigious spots such as the Magic Castle in LA. Her shows in Sin City have earned her accolades, and her magic has graced top TV shows like Masters of Illusion and The Today Show, where her blend of wit, versatility, and audience rapport shine through.

Ballets with a Twist

Saturday, October 26, 7:30 p.m. | Edson Auditorium

Cocktail Hour: The Show is a lively, visually stunning night-on-the-town experience. Watch as "Manhattan," "Martini," mocktail "Shirley Temple," and more spring off the menu and onto the stage in a series of dazzling vignettes. Suitable for audiences of all ages, the fun and fast-paced show transports theatergoers through time and around the world with original choreography, music, and costume design.

This event is hosted by UMN Morris Chancellor Janet Schrunk Ericksen, and thanks to a generous donation from an anonymous donor, the performance is free and open to the public. Chancellor Ericksen will also host a reception before the performance in Oyate Hall. No tickets are needed for this performance, and seating will be available on a first-come, first-served basis.

Broadway’s Next Hit Musical 

Friday, February 21, 7:30 p.m. | Edson Auditorium

Broadway's Next Hit Musical is the ultimate stage showdown where viewers get to play director by tossing in song ideas for "The PHONY Awards." Watch as improvisers work their magic, turning these ideas into award-worthy tunes and crafting an entire impromptu musical around the winning song. Get ready for a wild ride filled with on-the-spot scenes, toe-tapping tunes, dance breaks, laughter, and even a chance for the audience to join in on the fun!  

ProMusica Minnesota

ProMusica Minnesota Artistic Director and pianist Bethel Balge returns to Morris with a program of timeless classics plus…a grand tango. Minnesota Orchestra’s Principal Clarinetist Gabriel Campos-Zamora and Associate Principal Cellist Silver Ainomäe join forces with Balge to present traditional fare–trios by Beethoven and Brahm and a heady cocktail–Le Grand Tango by Astor Piazzolla. Piazzolla’s Grand Tango was written in 1982 for cello and piano, melding tango rhythms with jazz-inspired syncopation. Come and experience chamber music at its best!

Season and individual event tickets are available for purchase online at z.umn.edu/performing-arts-series , over the phone from 10 a.m. to 5 p.m. at 320-589-6077, or in person at the Office of Student Engagement & Events on the Morris Campus, located on the lower level of the Student Center.  

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Brain Study Shows How Classical Music Lifts Your Mood

Key takeaways.

Classical music lifts a person’s mood by improving brain connections

The music caused stronger interactions between regions related to sound and pleasure

Adding low-frequency sound to music increased people’s enjoyment of it

MONDAY, Aug. 12, 2024 (HealthDay News) -- Does listening to classical music make you feel sublime?

A new study suggests there might be a scientific reason for that: Researchers discovered that the music lifts a person’s mood by improving connections between brain regions related to both sound and pleasure.

How? Music synchronizes brain waves between the auditory cortes, which processes sound, and the rewards circuit that processes emotional information, according to findings published Aug. 9 in the journal Cell Reports .

The study focused on a brain circuit connecting two areas of the forebrain -- the bed nucleus of the stria terminalis (BNST) and the nucleus accumbens (NAc)

A group of 13 patients with treatment-resistant depression already had electrodes implanted in this circuit for the purpose of deep-brain stimulation, researchers explained.

“The BNST-NAc circuit, sometimes referred to as part of the ‘extended amygdala,’ underscores the close relationship between this circuit and the amygdala, a central structure in emotional information processing,” said senior researcher Dr. Bomin Sun , director of the Shanghai Jiao Tong University’s Center for Functional Neurosurgery.

In the study, patients listened to the third movement of Beethoven’s Symphony No. 7, “representing joy and excitement,” researchers wrote in their paper.

Electrode scans revealed that the music boosted the flow of brain waves through this circuit, researchers reported.

They also found that altering the music slightly could improve the patients’ response to it.

For example, inserting low-frequency theta noise into music increased patient’s reported enjoyment, results showed.

Theta frequency sounds are associated with the lightest stage of sleep and can induce a meditative effect, according to the Sleep Foundation.

The research team next plans to study the interaction between music and the deep structures of the brain. They also want to introduce other sensory stimuli, including visual imagery.

“By collaborating with clinicians, music therapists, computer scientists and engineers, we plan to develop a series of digital health products based on music therapy, such as smartphone applications and wearable devices,” Sun said in a journal news release.

“These products will integrate personalized music recommendations, real-time emotional monitoring and feedback, and virtual-reality multi-sensory experiences to provide convenient and effective self-help tools for managing emotions and improving symptoms in daily life,” Sun added.

More information

The Sleep Foundation has more on theta waves and binaural beats .

SOURCE: Cell Press , news release, Aug. 9, 2024

What This Means For You

Classical music can improve a person’s mood by stimulating the interaction between the brain’s sensory and reward systems.

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Billie Eilish, H.E.R., Red Hot Chili Peppers and Snoop Dogg to perform in the LA28 handover celebration at the Closing Ceremony of Olympic Games Paris 2024

Picture by 2024 Getty Images

LA28 has revealed the all-star musical lineup for the LA28 handover that will take place at the finale of the Paris 2024 Closing Ceremony on Sunday, 11 August.

Artists including the Grammy and Academy Award-winning Billie Eilish , Grammy-winning Red Hot Chili Peppers and Snoop Dogg , Southern California music icon, will perform in the celebration. Grammy, Academy and Emmy Award-winning artist H.E.R. will perform the U.S. national anthem live in Paris.

"This is the biggest moment in LA28 history to date, as the Olympic flag passes from Paris to LA,” said LA28 Chairperson Casey Wasserman. “We are thrilled to feature the very best of LA with local artists and are grateful to Billie, H.E.R., the Chili Peppers and Snoop for their collaboration on what will be an incredible show to a global audience that will give fans a taste of what’s to come in 2028.”

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Jagger Eaton, Kate Courtney, Michael Johnson to join the program

The blockbuster lineup of California-based music artists headlines the LA28 Handover celebration, in which LA28 will introduce itself to the world, bringing together LA’s culture of entertainment, diversity and creativity, with sport at the core.

Team USA Olympians will join the program, including 2x Olympic medalist skateboarder Jagger Eaton , mountain biker Kate Courtney and track and field gold medalist Michael Johnson . Eaton, Courtney and Johnson have journeyed with LA28 through the Games, each with a custom-designed LA28 emblem released in July .

“The LA28 Handover promises to showcase the heartbeat of LA — which like the Olympics — is where people come from all over the world to pursue their dreams,” said executive producer and creator Ben Winston.

“We hope to showcase a collection of Los Angeles stories – featuring the city’s people, creativity, music and of course sport, all wrapped up with a little Hollywood magic – to invite the world into the LA28 Games.”

The Closing Ceremony of the Olympic Games Paris 2024 will take place at the Stade de France on Sunday, 11 August.

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