Cook's Argument Of Authenticity?

In Music, Nicholas Cook claims that musical authenticity is rooted in the subjective way that our thinking about music has meaning for us, as an individual1 Cook 's claim looks at the origins of rock music in the blues, sung and played, by “Black Americans in the deep South.”2 In this frame of view, the music was seen as an authentic expression that came from the soul of the performer.”3

While composing his great works, Beethoven was struggling to come to terms with a terrible news, one that he desperately tried to hide. He was going deaf. He loss his hearing in his early 30s and by 1819 he was completely deaf. At that point of time he was devastated by his loss of his hearing but he was passionate about music that it didn’t stop him from composing music. Even with his deaf ears he composed some of his great music at that time of the

The idea of moral deference allows for a lot more room for interpretation than authenticity, this is because in authenticity the singer wants to be able to recreate the work as closely to the original as possible, whereas moral deference acknowledges that implausible option. Given that authenticity relies much more heavily on recreation than moral deference does, there is the constant problem of keeping the proximity of tradition (Bicknell, 178). This is because in order to offer an authentic performance one must be fully engaged with the traditions and culture of those who originally sang it and without that awareness the piece is not really authentic and could cause great offence to the listeners. Given the overall notion of maintaining authenticity, there will continue to be a discourse between the musician and the fan, given in the sense of how the song is then performed. Though it is thought impossible to create an authentic experience it does not seem to prove too much of controversy, so long as the song is performed without aim to give offence. Overall, regarding the discussion of authenticity and moral deference Bicknell claims that, “the notion of moral deference is much more powerful and fruitful than the concept of authenticity.

This could be understandable from a certain view, perhaps from the older generations, who hold on to their ways and do not realize the changes in the culture around them. I personally have encountered this in my own tribe (Navajo), when a group of Navajo rappers began to perform in their native language at public events; it was both embraced and denied (mostly by the older age bracket). The music earned its authenticity in some ways, such as introducing non-natives to our culture and exposing the language to the younger generations, who have lost it. It seemed to have gained a new type of authenticity as something new to both young and old audiences. I observe that ATCR is something similar, that it will be readily accepted by the electronic groups, because of the genres already existing diversity, and accepted by the traditional means by being something new and apart of the culture.

In chapter five of Nicholas Cooks book, he discusses how music must be represented in terms of performance value and its ability to convey emotions. He talks of how music in Western culture sets out to be conveyed as a performance of a piece and that its hidden meaning is to be conveyed from this performance. He also feels that the meanings of popular music, jazz, non-Western music pieces does depend on how they are performed. Cook believes that both perception and composition are fundamental when dealing with music as they work with each other.

Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and

Only a few composers in the history of time have ever successfully left their mark throughout our musical world we live in today. It’s been over two hundred years since the birth of Beethoven and his music still speaks to us today as he originally expressed and composed it. Ludwig Van Beethoven was born in the city of Bonn Germany on December 16th 1770 and has since been one of the most influential composers known to man. A common theme of early age learning and mastering seems to emerge in Beethoven’s life because while living in a musical family as a child, his father taught him how to play the piano, violin and in addition how to compose musical pieces since he was four years of age. A few short years later, he gave his first public piano performance at the age of seven. While Beethoven certainly gained a lot of knowledge from his peers, he also supported his family by giving music lessons and also by playing in the court orchestra. In the year 1792, Beethoven worked under an Austrian composer Franz Joseph Haydn and by the year 1800, his compositions established him as a strong Mozart successor.

Also among Beethoven’s teachers, though later in his life, were Johann Georg Albrechtsberger, an organist at the imperial court in Vienna whom he studied under until 1795, and Antonio Salieri; Mozart’s old rival whom Beethoven learned vocal composition in the same period he was studying under Albrechtsberger. Before Albrechtsberger and Salieri was a man named Haydn, whom he studied under for a period of about three years starting in 1792 until 1794 when Haydn moved to London. It is said that Beethoven admired Haydn so much that he was the only man he had ever bent his knee to kiss the hand of. Finally, Beethoven studied under Aloys Forster, a specialist in writing scores for quartets. It is plane to see that throughout his life, his talent was not only constructed through his love of music, but forged by his exposure to multiple mediums and teachings throughout his life.

The results of using the constructs of authenticity to evaluate music are therefore shown to be superfluous due to its foundations built upon opinions. Authenticity does not allow for a overall sound level of analysis as it relies upon a preconceived notion of what is authentic. These preconceived notions were more than likely criticised within their begins, thus leading to an endless evolution of authenticity. The quest for a composition to be utter authentic is an ongoing, impossible feat which will not be accomplished if the authenticity of music is based upon opinions. Therefore, Little Mix's cover of the Cameo song, Word Up demonstrates that ramifications that criticisms of authenticity. This is more clearly evident through analysing the

Essay Question: The definition of what is deemed ‘authentic’ varies according to each popular music genre. Authenticity and what makes a performer, sound and look real, has been contested for almost as long as music has existed as an industry. Audiences who hold a certain genre near and dear to their hearts want to feel that the people who align themselves with that genre are representing the core values and aesthetics in the most ‘true’ or ‘pure’ sense possible. However, these values and aesthetics differ from genre to genre.

Ludwig van Beethoven is a name that is common to most people and is synonymies with great classical music. He is known, quite loosely, as the German composer who created beautiful pieces with an incredible disability. Despite an unhappy family setting and the deafness that struck soon after, the man appeared to rise from his misfortunes and follow his passion. Mr. Beethoven created some of the most wonderful music and is considered one of the greatest musicians of all time. Ludwig, at a very young age, began his career as a marvelous piano player and composer of piano music. Beethoven continued his work expanding to string quartets and other kinds of chamber music, songs, two masses, an opera, and nine symphonies. The

From the time Ludwig van Beethoven was a young child, everyone around him could see that he was extremely talented. His name is known all around the world and when people think classical music, Beethoven is one of the first names that pop up. Long after his death in 1827, his music is still listened to. Soon to be mothers are sometimes told to allow the baby to listen to classical music, especially by Beethoven, to help with brain development. College and high school students are told we can benefit by listening to Beethoven when studying. Even in some modern songs, you can hear Beethoven’s legacy living on. Beethoven was an excellent composer and wrote pieces that defied the norm of the Romantic Era. Many artists today may not realize that

Beethoven is one of the most famous music composers not only of his time but as of today also. Although he suffered from loss of hearing, he has composed some of the most beautiful pieces of music we can still listen to today. After reading Beethoven’s testament, I have more of an understanding of what he was and had to go through due to his deafness. The correlation I found between his lack of hearing and his music is the emotion he put into his Fifth Symphony. Different from the Baroque style a symphony expressed multiple moods because of the movements used in a symphony making it more “real”. Because of Beethoven’s tragedy, his music displayed emotions parallel to what he felt, making his music more relatable and memorable. The complexity

Ludwig Beethoven was not only one of the greatest composer & musician ever born- he is a wonderful study tool for me during exam week. My faithful study partner was born in a small town, Bonn, Germany on December 16, 1770 to a family of professional musicians. Beethoven learned violin and some other instruments from his father. His father wanted him to be perfect in music, and in that endeavor he violently scolded Beethoven whenever he made any kind of mistake during practice. Even, according to one story, due to the punishments given by his father, Beethoven suffered from hearing problems in future, which basically ruined his life. (NP)

Difficult as it may be to define the true relationship of an artist to his successors, this difficulty is enormously increased when the subject is as complex a man and musician as Beethoven. His role as both a “preserver of the eighteenth-century tradition1 and a pioneer of romantic self-expression, has secured his status as one of the most revered composers in the history of Western music. Throughout his symphonic cycle, Beethoven’s own journey of self-discovery can be very clearly heard. The Third, Fifth, Sixth and Ninth symphonies were particularly pioneering; they used new ideas such as programme music, orchestral and symphonic expansion and the prolongation of dissonance, inspiring a new generation of romantic symphonists. However, there is an equally strong argument, suggesting that musical fashion and history had turned away from Beethoven towards the end of his life. In the music of his immediate contemporaries, with the exception of Schubert perhaps, his work hardly played a vital force and it was not until the latter half of the 19th century that his influence began to dominate the musical scene. Composers such as Brahms and Bruckner developed the motivic and intrinsically musical ideas in Beethoven’s music whilst others such as Berlioz, Liszt, Mahler and Wagner embraced the extra-musical programmatic ideas. Through an extension of Beethoven’s work in both of these strands, his legacy