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Is Programmes A Quality Of Music

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Are programmes a quality of music, a quality given to music, or unrealistic?

When listening to a Chopin Prelude, or a Beethoven Symphony, listeners often notice an evocativeness of emotions in the music. While the exact specificity of the emotion varies per person, the concept of emotional programmes is not foreign to musicians and audiences alike. Where the discussion becomes more of a debate, however, is when it comes to descriptions of things more concrete than emotions, such as poems, people, and even animals.
Composers across the ages have differed greatly in their opinions on this matter; however, the argument became most famous during the programme-centric Romantic Period of the 19th century, as described in the Encyclopedia of
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But it would be an error to think that Chopin permitted every one of the small notes to be distinctly heard. It was rather an undulation of the A flat major chord, here and there thrown aloft anew by the pedal. Throughout all the harmonies one always heard in great tones a wondrous melody, while once only, in the middle of the piece, besides that chief song, a tenor voice became prominent in the midst of chords. After the Etude a feeling came over one as of having seen in a dream a beatific picture which when half awake one would gladly recall.
His reflection on the piece shows that the programmatic title comes from the musical structure of the Etude, described as of “a plucking nature, rather reminiscent of a harp” by other critics (Yu, no date), which makes it closer related to the bird calls in van Beethoven’s previously mentioned symphony.
The Butterfly and Ocean Etudes provide examples of how rhythmic patterns in music can be considered programmatic of physical objects. The renown Butterfly Etude is called as such since “no metaphor better
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