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Frankfurt Group
The Frankfurt Group, also called the Frankfurt Gang or the Frankfurt Five, was a group of English-speaking composers and friends who studied composition under Iwan Knorr at the Hoch Conservatory in Frankfurt am Main in the late 1890s. The group included Balfour Gardiner, Norman O'Neill, Cyril Scott and Roger Quilter, who were all English, and Percy Grainger and Frederick Septimus Kelly, who were born in Australia but established themselves as composers in England. Although they did not study in Frankfurt all at the same time they remained close friends from their student days onwards. Knorr, though German-born, was strongly influenced by Russian music and was a believer in fostering the individuality of his pupils. The Frankfurt group were united more by their friendship and their non-conformity than by any common aim, though they did share a dislike of Beethoven, and a resistance to the musical nationalism of the self-styled English Musical Renaissance of Hubert Parry and Charle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iwan Knorr
Iwan Otto Armand Knorr (3 January 1853 – 22 January 1916) was a German composer and music teacher. Life A native of Gniew, he attended the Leipzig Conservatory where he studied with Ignaz Moscheles, Ernst Friedrich Richter and Carl Reinecke. In 1874, he became a teacher and in 1878 director of music theory instruction at the Imperial Kharkiv Conservatory, in what is now Ukraine. In 1883, he settled in Frankfurt Frankfurt, officially Frankfurt am Main (; Hessian: , "Frank ford on the Main"), is the most populous city in the German state of Hesse. Its 791,000 inhabitants as of 2022 make it the fifth-most populous city in Germany. Located on its na ..., where he joined the faculty of the Hoch Conservatory. In 1908, he became director of the school. As a teacher he exerted great influence. Among his pupils were Bernhard Sekles, Ernest Bloch, Vladimir Sokalskyi, Ernst Toch and Hans Pfitzner, as well as the English-speaking composers such as William Beatton MoonieTwo Cent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Pastoral School
The English Pastoral School, sometimes called the English Nationalist School or by detractors the Cow Pat School, is an informal designation for a group of English composers of classical music working during the early to mid 20th century, who sought to build a distinctively English style of music by composing in a style informed by Tudor music and Folk music of England, English folk music, and often explicitly evoking the English countryside. The leading composers associated with the school were Ralph Vaughan Williams, Frederick Delius and Gustav Holst, with other notable figures including George Butterworth, John Ireland (composer), John Ireland, Frank Bridge, Edmund Rubbra, Gerald Finzi, Herbert Howells, Ernest John Moeran and Peter Warlock. Stylistic Features The English Pastoral school was not a formal group and the composers associated with the style were not necessarily collaborators nor associates, nor did they share any kind of manifesto. As a result there is some degree o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Composition Schools
A composition school is a group of composers or a style of composition purportedly shared by a group of composers, often from the same area or who studied in the same place. The membership of almost all groups is assigned by others and disputed. Older groups tend to be larger and are all assigned, while more contemporary groups tend to be more specific and may be self identified. For example, the title "mighty handful" was coined by music critic Vladimir Stasov in 1867 to describe the composers also referred to as The Five—first by Balakirev in 1870 , while the "Boston Six" were grouped by others and may include ten members. The international members of the Darmstadt School all attended the Darmstädter Ferienkurse. The Franco-Flemish School (1400–1630) is split into five generations, each of which have at least three members, while Les Six (1920) contains six members. See also *Prima pratica *Seconda pratica Seconda pratica, Italian for "second practice", is the counterpar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Culture In Frankfurt
Culture () is an umbrella term which encompasses the social behavior, institutions, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, and habits of the individuals in these groups.Tylor, Edward. (1871). Primitive Culture. Vol 1. New York: J.P. Putnam's Son Culture is often originated from or attributed to a specific region or location. Humans acquire culture through the learning processes of enculturation and socialization, which is shown by the diversity of cultures across societies. A cultural norm codifies acceptable conduct in society; it serves as a guideline for behavior, dress, language, and demeanor in a situation, which serves as a template for expectations in a social group. Accepting only a monoculture in a social group can bear risks, just as a single species can wither in the face of environmental change, for lack of functional responses to the change. Thus in military culture, valor is counted a typical be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orchestration
Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble, such as a concert band) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g., melody, bassline, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra. In classical music, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. However, in musical theatre, film music and other commercial media, it is customary to use orchestrators and arrangers to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Architecture
In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated primari ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord (music)
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (in which the notes of the chord are sounded one after the other, rather than simultaneously), or sequences of chord tones, may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and almost any other genre. A series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pre-Raphaelite
The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. The group sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. They rejected what they regarded as the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood believed the Classical p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frederick Delius
Delius, photographed in 1907 Frederick Theodore Albert Delius ( 29 January 1862 – 10 June 1934), originally Fritz Delius, was an English composer. Born in Bradford in the north of England to a prosperous mercantile family, he resisted attempts to recruit him to commerce. He was sent to Florida in the United States in 1884 to manage an orange plantation. He soon neglected his managerial duties and in 1886 returned to Europe. Having been influenced by African-American music during his short stay in Florida, he began composing. After a brief period of formal musical study in Germany beginning in 1886, he embarked on a full-time career as a composer in Paris and then in nearby Grez-sur-Loing, where he and his wife Jelka lived for the rest of their lives, except during the First World War. Delius's first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s. In Delius's native Britain, his music did not make regular appearances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
