# The Progression of Classical Music



## Nigun22 (Mar 2, 2016)

Classical music was always constructed and channeled in such a way that analytical criticism can be expressed. It was written down on paper. Had to be performed by either the composer or other interpreters, so besides the actual listeners, many professionals got a chance to examine the completed product and treat it like science. Study its mathematics, its construction and layout. 

Nowadays, since the advent of technological breakthroughs the composer if he may so choose, doesn’t need any of the categories mentioned above. He can sit down at the piano, compose a piece of music, preform it and record it and share it with anyone he chooses. If he so decides, he doesn’t really need the middleman to ‘interpret’ his work. Naturally he may feel that he is the best interpreter of his own feelings through melody. This opportunity which was not available in earlier classical times, has in a sense cut down the middlemen that was such an integral part of music making. 

For this composer an interpreter pianist is not necessary, so why write it down on paper?
One would argue that there is a need for preservation of the work, but for the contemporary composer there are other mediums of preservation, namely recordings of his own works. So we are witnessing some kind of progression within the classical music scene, where old mediums are not really necessary for those who simply want to share their musical ideas with others. 

For many, classical music has broader connotations. It is not a one man’s band, but a conversation between many musicians, the composer, the interpreter, the publisher, the theater, the stage, the audience, the gathering, and the lengthy chit chat that permeates and echoes the concert hall after an exciting show.

This is totally understandable, because for many of these musicians, music is a way of life, a way to make a living. They devote themselves entirely for the study of music, to get a degree, to get connected with the rite people in the classical music industry, so for them its more formal, serious, something one would describe as professional.

I would also suggest that there is a major difference between a composer that primarily composes for a solo instrument and one that composes orchestral and chamber music. The latter will naturally need the human interaction to get his final finished product to be played, that is if he chooses that his music be performed by actual musicians. But even he has the chance to compose multi layered complex and colorful sounds using the medium of digitals and computing, but he will lack the human element nonetheless.

Lets take someone like Chopin. He primarily composed for the piano. He had no way to record the performances of his music. The only way to preserve his music was to write and print it. But what if stereo recording was available to him? would he still write down his works?

I think he would have because he had other interests, primarily to teach his revolutionary piano technique and style of composition and also to earn money by those who were not only interested in listening to his music, but to actually witness how that music sparks up through his fingers.
So maybe Chopin wouldn't be a good example, because he had broader interests. 

He didn’t only want to ‘share’ his music, he wanted to teach it, perform it, and earn a living doing so. But if these other interests were absent and he only wished to share his music, then he most probably would’ve utilized digital recordings if he had it available, and his music wouldn’t have been less beautiful.

So classical music for some is a combination of many things, aspects, interests, and components. For some its not enough simply to listen to the work, they also want to view the performer. Others would also demand to view the score to see if it matches up to their desired level of competence and professionalism. Others would also like to criticize it, and have their say about what is good or bad about that given piece. 

I believe that today, when classical music is distributed through so many digital mediums, the web, Mp3 players, Cd’s and so on, there is a great audience of classical music lovers who are perfectly fine with simply listening to classical music without all the other interests. They have a very simple goal and that is listening and enjoying music, nothing more and nothing less.

Since this is the case, many composers who also possess a very modest goal which is to share their music with music lovers, have found an audience of happy listeners, who are not there to turn their music upside down through its length and hight, but to simply listen and enjoy it. 

So today’s modern realities have created the union between the happy listener and the sharing composer. And I believe its a worthy match.
After all wasn’t music suppose to make people happy, put smiles across their faces and bring ease into their lives?

Check back in history and see how music was used. Since when it was supposed to be some kind of a difficult science with set rules and mathematics?

Well it wasn’t supposed to be that, but that’s what makes western classical music, exactly that ‘Western Classical music’. It seems that nowadays its not so much the case. You can still create beautiful classical music that sounds classical and romantic with all its paramounts, zeniths and nadirs, charm grace and spectacle and still gather for yourself a willing audience that is there to listen, not to judge, enjoy not to antagonize, cherish your work, not to ridicule it, and I believe that’s something very positive.

Regards,

Saul Dzorelashvili


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## violadude (May 2, 2011)

Well, if the composer wants to write for more than the one or two instruments they are proficient in, writing it down and passing it on to groups of musicians is still the better option.


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## Nigun22 (Mar 2, 2016)

Yes, I agree, I believe i said that in my article.


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## Guest (Mar 3, 2016)

violadude said:


> Well, if the composer wants to write for more than the one or two instruments they are proficient in, writing it down and passing it on to groups of musicians is still the better option.


And to my knowledge, there is no composer of significance that never strayed from one or two instruments?


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## violadude (May 2, 2011)

Nigun22 said:


> Yes, I agree, I believe i said that in my article.


Alright. Most composers end up wanting to write for more than one or two instruments. So I don't see the variables you are talking about having that much effect on the overall trajectory of classical music.


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## SeptimalTritone (Jul 7, 2014)

Saul, if you post on "Today's Composers" your music, you should expect us to make suggestions.

The music theory guidelines of melody, voice leading, counterpoint, and harmonic cohesion are not "science" or "mathematics" but how music actually sounds and how it actually works. You should be listening to our well-formed criticisms and understand them. This is how you make improvements. Your pieces aren't currently up to par and... not so much enjoyable. That's why I gave you precise criticisms, guidelines, and suggestions. They aren't "rules and mathematics" but how one's music directly sounds and feels.

Please look at composers/authors and see how music theory works. It isn't austere math: it's how musicality, sound, and emotion come to life. I haven't even given you any rules per se: I've merely exposed to you the important elements of music that matter for making a good piece!


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## violadude (May 2, 2011)

SeptimalTritone said:


> Saul, if you post on "Today's Composers" your music, you should expect us to make suggestions.
> 
> The music theory guidelines of melody, voice leading, counterpoint, and harmonic cohesion are not "science" or "mathematics" but how music actually sounds and how it actually works. You should be listening to our well-formed criticisms and understand them. This is how you make improvements. Your pieces aren't currently up to par and... not so much enjoyable. That's why I gave you precise criticisms, guidelines, and suggestions. They aren't "rules and mathematics" but how one's music directly sounds and feels.
> 
> Please look at composers/authors and see how music theory works. It isn't austere math: it's how musicality, sound, and emotion come to life. I haven't even given you any rules per se: I've merely exposed to you the important elements of music that matter for making a good piece!


Oh....it all makes sense now.

This is just a salty tears moment.


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## DaveM (Jun 29, 2015)

SeptimalTritone said:


> You should be listening to our well-formed criticisms and understand them. This is how you make improvements. Your pieces aren't currently up to par and... not so much enjoyable.


I've composed some music. I'm sure composers can be helpful to other composers in some areas, but the judgment of whether the music is enjoyable is not necessarily one of them. Non-composers might find it enjoyable.


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## MarkW (Feb 16, 2015)

I agree with Septimal... and would add that historically most composers were concerned with making a living. Merely "sharing" their music with people was far down their list of concerns.


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## Nigun22 (Mar 2, 2016)

SeptimalTritone said:


> Saul, if you post on "Today's Composers" your music, you should expect us to make suggestions.
> 
> The music theory guidelines of melody, voice leading, counterpoint, and harmonic cohesion are not "science" or "mathematics" but how music actually sounds and how it actually works. You should be listening to our well-formed criticisms and understand them. This is how you make improvements. Your pieces aren't currently up to par and... not so much enjoyable. That's why I gave you precise criticisms, guidelines, and suggestions. They aren't "rules and mathematics" but how one's music directly sounds and feels.
> 
> Please look at composers/authors and see how music theory works. It isn't austere math: it's how musicality, sound, and emotion come to life. I haven't even given you any rules per se: I've merely exposed to you the important elements of music that matter for making a good piece!


Oh Yes of course I agree, the reason I post it here is to get feedback and criticism I have no problem with that. What I did say was that some composers will not look for this criticism and that is why they will not post their work on a site like this.

As to your opinion that my music is not up to par and not so much enjoyable that is not a fact. If it was then I wouldn't have many music loving people including professional musicians loving and appreciating my work. So that's the beauty of criticism, you can say what you want, I can agree with some of the things you say and then reject the other things which are opinion based and not always factual or true to reality.

Cheers


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## Stirling (Nov 18, 2015)

You can break the rules, after know what the are.


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