Introduction
The world of the music industry is mostly a story of origination that has its roots in the 18th century. The creation of Music is as old as the existence of the human being however the determination to arcade and market the music industry has a history of only a few centuries; In the 18th century, the musicians like Amadeus Mozart started searching for more methods to sellout their music and shows to the people of his community. Handwritten and printed music was introduced in the 19th century and later become the core of the music industry. However, the music has particular limitation and only address and target to a particular place and audience and to the people that have notions related to music. This paper will discuss the personal understanding of three prompts related to the music production chain
Prompt 1: Music Production Chain
One can cultivate his/her inspired skills in composition and study to produce music for a variety of mass media, before offering the work as a connection of both the video and audio assets. The very first step in the music production chain could be to make the installation with the help of a personalized rig by using audio or video equipment and then develop and design the overall program notes to upkeep and endorse an installation process. Produce a sound design arrangement for the music which consumes sound effects, music, and recorded sound, and lastly design a prearranged list of all the audio assets that are used in the music.
Every single music creator has his own specific music production chain. Though, one could discover comparable procedures or chain music producers go towards the finished tracks. In my personal understanding, the creation of music includes both technical and creative tactics. And, every one of them has a different approach. With proper training and practice, one could acquire how to passage amongst the technical and creative approaches through the music production chain. The aptitude to highlight the two approaches will assist the work more proficiently without mislaying the overall momentum.
John Cage, Imaginary Landscape No. 4 (1951) track 3&7
Being written in 1951, “Imaginary Landscape No. 4” has scored for 12 radios. The two performers who played each radio, whereas one of them is setting up the frequency whereas the other one is changing the tone and volume makes the music more charming and pleasant. Track 3&7 is composed in a convention collaborator, i.e. With the notes that expresses duration placed on the five-line staff, and was instrumented with the help of chance operations, as compared with that of Cage’s Music of Changes, both of them were written with same notions. Although their composing tactics were similar, “Imaginary Landscape No. 4” works very differently in one key esteem that gives the environment of the music that they have employed – “the piano in the former case and the radio in the latter” – track 3&7 is indeterminate with the rest of the tracks.
The indeterminacy twigs from the element that the sound produced by the radio changes its frequency, location, and time at definite intervals, and these sounds from tracks 3&7 cannot be determined and hence each and every performance will differ in such a way that it cannot be predicted. The practice of indeterminacy is the main motivation behind tracks 3 and 7. After vigilant listening to the music, it is pretty clear that modest recurring pulses are being used all over the music. Additionally, a syllabic type texted background is engaged. Though, the shifting lines of bar and indiscretion in the music cause tautness and creatively undermine the prospects of a listener or spectator.
The main purpose of tracking 3&7 was not to shock the listener or surprise him/her but to rise the unpredictability that has already been added in the situation by the previous tracks over the tossing of coins. In precise, tracks 3&7 is a leap that gives a reach of one’s own clutch of oneself. The “leap out of reach of one’s own grasp of oneself” that Cage mentions in the track was to develop a notion of becoming a guiding morals, the main goal was to eradicate the will of an individual, partiality, and wishes, in the word, to give away the control. In the Western musical tradition, there is always stress on the uniqueness and originality, not to discuss the disciplined, categorized nature of the ensemble, certainly of the diatonic accord itself, had turned to be a suspect for the Cage.
Amores (1943) by John Cage
The second music in the text will be Amores (1943) by John Cage. Cage is mainly accredited with the creation of experimentalism as elegance in the late 1950s. Though he was a prodigious encouragement for conceptualist musicians in the era of the 1960s, his harmony and instructive approaches were dominant to the appearance of simplicity in the start of 1960s and afterwards. The importance of Cage prolongs beyond the music industry, and musicians nowadays perform in the theater, dance, movie, literature, and the opinion of the visual and performance-art field about Cage as the most determinative personality of its time. His influence is moderately due to his partnership with powerful personalities in these numerous fields and partly due to his prominence as a poet, writer, and musician, along with his importance as a visual composer.
Music of change by John Cage
The third piece of music in the text will be Music of change by John Cage. Cage created “Music of Changes” in the year 1951 and David Tudor has given his performance as the premiere on 1952 at the “Living Theatre in New York”(Pritchett, J.1996). . This music is recorded for an unaccompanied pianist and prescribed in more than four books without any headings or the standard tempo-markings.
In this music, it is important to note how Cage tries to escape from the outmoded Western tactics. He avoids the stringent Western design of defeating the time. Each of the books discloses spans of time ruled by the advancement of rhythms. Cage witnessed the configuration of a certain pattern as the number of events achieved at every type of tempo.
Cage further tries to escape from the outmoded resonance of the piano. He attains the ringing tones as well as the characteristically percussive type of the piano. The pianist should dampen the keys at a definite point without truly letting them to make a sound, thus letting those threads shake spontaneously without making any strike of the hammer. The pianist could affect the deterioration of a piano sound by functioning one of three gearsticks, as stated by the musician: the damper-pedal lets the threads shake easily till they certainly come back to the rest position, whereas the sostenuto-pedal lets only threads of blue notes to shake easily, and the Una Corda-pedal lets the hammer to hit only one thread for each key, in its place of creating a completer sound by hitting two or three threads per key.
Prompt 2: “Music for Strings, Percussion and Celeste” (1936) by Bela Bartok:
“The Music of Percussion and Celesta” is deliberated as the most astonishing creation by the Hungarian musician Bartok Bela. The melody comprises the most comforting music that I have ever paid attention to. Paul Sacher designed it, and it was predestined to rejoice the 10th birthday of the chamber group. In the year 1937, the work was premiered in Basel in the Swiss city of Basel by the chamber-orchestra led by Sacher, whereas after a few months, it was released in the universal version.
“The Music for Strings, Percussion, and Celesta” is a very well-ordered and accurately planned work—an exceptional mixture of cool exactness and dramatic fullness. For instance, one could say that, without the threat of exaggeration that the music raises spontaneously from the inaugural material. The 1st intact undertaking is a very lean, untainted, and monothematic amnesia: each letter in its 88 events could be sketched back towards the early theme—a twisting notion presented by the violas that the scrambles by the half phases from A towards E and back to A. The figure of the fugue intensifies that elementary form of an arch, growing in one massive crescendo to another peak and then gradually dwindling off. Thus does the texture of the melody, waving out from a harmony A to an impenetrable intertwining of numerous lines at the top—sparingly gestured by a hit of the deep drum—and then returning towards single A from where it has started. Accurately at the peak, Bartók upsets the fugue subject and all its succeeding reverberations, as if he had walked over the considering glass at that instant. (This occurs when the fugue extents a higher E-flat, the arena furthest from the A.)
The music surprises with a relaxing fugue and with a progressively changing time autograph. The gesture of the melody instrumentals is designed very deliberately to give a please tonal familiarity. The melody’s gesture is built on note A, which involves the commencement and finishing of the program. The music surprises on a subdued thread, and with furthermore singings integrated, the trace and the feel of the melody become congeals, and the music upsurges and becomes louder and louder till it reaches peaks at the point E, which is farthest from that of A. The thread’s muting is then detached and the melody slowly and moderately comes to be softer over mild celesta harmonies. The undertaking of the music and the muting appurtenances with the following stage of the fugue state helps in recreating more gently over the inversion.
Music is prearranged in four different measures. The measures are taken in such a way that the first and third motions are slow whereas the third and fourth motion is fast. The measure is emblazoned excluding the key autographs that are Adagio, Tranquillo, Andante, and Allegro Molto.
The second movement of the music is designed as quick and contains the theme of 2/4 times and while approaching the end, it reaches to 3/8. This movement is designed by using a loud syncopated percussion accent with the help of a piano. Which progresses in a protracted pizzicato part, having a piano concerto-like ending. The overall music is an enchanted piece that gives a perfect feeling and gratification of the high standard. When one pays attention to the melody, he could hear the 3rd measure, which is relatively slow and tend to be vanishing into a reedy line of tune. It is an example of what is acknowledged as Bartok’s “night music,” this is deliberated as an exceptional tactic of composition. The momentous part of the “percussion in Music for Strings, Percussion and Celesta” of 1936 was a nationwide forerunner to the likewise stimulating part of the tapping in the Masterpiece for two pianos and percussion.
The overall production and development of the melody are delightfulness; the procedure as per the mind’s eye was very extensive. Numerous preparations were placed in one place to make sure of the final touch, which is just like a fairy-tale. The tonal-based differences, the cadence, and the feel of the melody are away from imaginings. The creator has taken a significant amount of time to design the composition, organize the instruments, and a complete music production chain to give it a final touch. The tune portion’s production was well planned and executed, and the complete procedure was finished successfully. Heeding to the music gives a feeling of gratification, and one can enjoy and feel every tune of the music.
“The Music string, celesta, and percussion” are widely validated in the use of such types of music in movies and films. Numerous directors select a “string, celesta, and percussion” type in order to have an emotive association or link with a film or movie. Many directors have applied string, percussion, and celesta in their horror, emotional and romantic movies. The success of Music for strings, percussion, and Celesta has made Bela to now freely choose his own choice of medium for the 2nd commission.
Prompt 3: Violin Concerto World Premiere
There are many world premiums held across the globe. One of the most unbelievable world premieres was Violin Concerto. The premium was completely filled with spectators which were very excited to get entertained by the beautiful piece of music and melody of the violin concerto.
Britten’s melodic linguistics is notable for his habit of musical features. In Britten’s melody, the thematic notions that carry several entities or appeals are mostly recurrence. These thematic facts are linked with a precise charisma through recurring, vocal, and musical decoration in his masques and in the film music. In the instance of the violin concerto, there were basically three key melodic features found that seem over the 1st movement. Every one of them can be frolicked by different tools, is set with different keys, and could be frolicked alone or in amalgamation with the others. The first obvious element is the “five-note timpani rhythmic figure” that unlocks the entirely new piece. This five-note component is conceded firstly by timpani and then delivered to other gadgets (such as bassoons and threads) as the poetic theme 1 is being proclaimed by the solo violin.
I think this characteristic recurring fragment helps not only as a motor that provides an overall movement to the 1st movement but further as a component that unites the timbre. The Musical element is canned as a fundamental supplement to Theme 1. In the first part of the very 1st movement (starting from the rehearsal), I found that the melodic structure comprises two main components which are lyric and rhythm, with the addition of chromatic changeovers in the solo violin. I think that Britten’s behavior of the two components is unpretentious: the two continuously seem with each other, with thin instrumentation letting the “hidden” five-note musical fragment to make out.
I think Britten was continuously mindful of the violin touch. So that, when the violin is provided with a dramatic singing tune, it is constantly in the most valuable list, which is present in the E string. Furthermore, the secondary rhythm and harmony are kept candid, permanently beneath the tune. The harmonic supplement interchanges gradually with long harmonies that offer a complete sound deprived of overwhelming the artiste. Although the march-like musical element is collected through the work, the excellence of the touch remains very clear. This makes sure that it helps only as beautification for the song, instead of an opposing musical awareness.
In “Britten’s violin concerto”, with a virtuoso like Brosa, he places no chance to bighead his respected violinist. The first use of poignant octaves is exposed two events before practice six. The descendant chromatic octaves are not too problematic to produce. As the way changes from one thread to another thread, musicians are obligatory to have a strong grasp of the poignant octaves. When stirring from higher locations to lower locations, even with a similar intermission, the contour would change consequently.
Another instance exemplifies numerous progressive fast moving intermissions on one page. Ways from practice 15 to 18 express a mixture of climbing 3rd, 6th, 8th, and 10th. I think one illustration is the 8th statement from rehearsal fifteen to sixteen (Laki, P.2012). The solo violin is given an octave feature with big leaps frequently bounding from the lower point toward high. When implementing upholding octaves in a firm beat, there are two pointing choices for actors to select from. One of them is the finger-octave, and the other one is just using similar digits to slide up.
I think music creation is different in the world today; music is mostly used for entertainment sources; it is further used to permit vibrant evidence to the people of the society. One of the sole use of melody is to carry comfort and a feeling of gratification to the people; it can be deliberated that the music gives relief. Music has a noteworthy role nowadays, and that is the reason why a majority of instrumentalists are esteemed and loved by most of people. Harmony is further used as a method of communication; numerous times, when somebody has affection for another person, music has a crucial role in linking the two and carrying out gratification. The “violin concerto world premiere” was a perfect place for entertaining and a place to acquire and gain the ability of aptitude and come closer to other people.
In conclusion, music presentation and creation are the methods that necessitate extensive planning and preparation. The numerous musical forms or kinds necessitate numerous kinds of research to attain a faultless final touch. There are many famous and well-known composers and musicians available who have to bring the music industry to new heights of entertainment with their talent and performance. The creation and production of music is a challenging process that requires uniqueness.
References
Pritchett, J. (1996). The Music of John Cage (Vol. 5). Cambridge University Press.
Laki, P. (2012). Performance practice and philology in Bartók’s Violin Concerto (1938). Studia Musicologica, 53(1-3), 153-160.
