Roots of the Classical: The Popular Origins of Western Music

By Peter Van Der Merwe | Go to book overview

Epilogue

It is said that all systems contain the seeds of their own destruction. As I write these words, peering into the vast, empty abyss of the twentieth-first century, Western classical music would seem to be a case in point. One way of grasping the full measure of its decline is to make a list of those twentieth-century works that are both genuinely modern and genuinely popular. This excludes two important classes of composition: on the one hand, those that make use of old or folk music, such as Vaughan Williams's Fantasia on a Theme by Thomas Tallis, Respighi's Ancient Airs and Dances, Copland's Appalachian Spring, or Britten's Young Person's Guide to the Orchestra; on the other, the dubious category of the 'modern but not too modern', the kind of thing that gets put on between, say, the 'Hebrides' Overture and Beethoven's Fifth Symphony, in the hope of not frightening the public away. Bartók's Concerto for Orchestra is perhaps an example.

Setting aside these two categories, what is left? In Chapter 15, I mentioned some of the works composed in or just before 1900: Puccini's Tosca, Mahler's Fourth Symphony, Sibelius's Finlandia, Rimsky-Korsakov's 'Flight of the Bumble Bee', and so on. Clearly, there is little here to frighten the concert-goer, and during the next two decades music of a similar broad appeal continued to be composed. The following list, though far from complete, is probably a fair sample:

1901–1910:

Elgar, 'Cockaigne' Overture (1901)

Rachmaninov, Piano Concerto No. 2 in C minor (1901)

Ravel, String Quartet in F (1902)

Sibelius, Symphony No. 2 in D (1902)

Mahler, Symphony No. 5 (1902)

Sibelius, Violin Concerto (1903)

Puccini, Madam Butterfly (1904)

Debussy, La Mer (1905)

Elgar, Introduction and Allegro for Strings (1905)

Strauss, Salome (1905)

Sibelius, Symphony No. 3 in C (1907)

-461-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Roots of the Classical: The Popular Origins of Western Music
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Acknowledgements vii
  • Contents ix
  • List of Figures xi
  • A Note on Terminology and Notation xii
  • A Note on the Musical Examples xvi
  • Abbreviations xviii
  • Introduction 1
  • Part One - The Melodic Foundations 5
  • 1: The Subtle Mathematics of Music 7
  • 2: The Ramellian Paradigm 19
  • 3: The Children's Chant 27
  • 4: The Pentatonic Scale 38
  • Part Two - The Harmonic Revolution 51
  • 5: Primitive Harmony 53
  • 6: The Discovery of Tonality 66
  • 7: Rivals to Tonality 86
  • 8: Dissonance and Discord 106
  • 9: The Evolution of Tonality 116
  • Part Three - The Melodic Counter-Revolution 129
  • 10: The Rude, the Vulgar, and the Polite 131
  • 11: The Debt to the East 144
  • 12: The Dances of Central Europe 231
  • 13: The Nineteenth–century Vernacular 271
  • 14: Romanticism 339
  • 15: Modernism 376
  • 16: The Popular Style 426
  • Epilogue 461
  • List of Musical Examples 467
  • Glossary 485
  • Bibliography 502
  • Index 515
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 562

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.