The Impact Of Trobairitz's Influence On Music And Music

During the early 1930s Movies, Music and Art had a major role during the Great Depression. Despite all the hardships in the 1930s, people were enthralled by the entertainment provided during this time period. It was extremely exciting and it had a huge impact on peoples daily lives. It would also take people out of the dark times, and to a much happier place. Some people were so impacted by the Great Depression, that they began to lose hope until Movies, Music, and Art spoke to the people of our society.

During the 1900s, passion of composing music arose and encouraged many young teens to create garage bands and elder to perceive music as career. Famous musicians like Robert Johnson, Bill Monroe, and Elvis Presley were seeking the same. Although many were composing songs, most of them adapted their own versions from many which created a list of similarities and differences between them. Most commonly similar were themes or forms yet some differentiated in delivery style or instrumentation. Many artists got more creative and used similar instruments but give a twist into the sound play. This can be seen in the script or heard in the audio of the songs “Walkin’ Blues” and “Blue Moon of Kentucky” like many others.

The Courtier, originally written as a “courtesy book”, can now be considered to provide significant insight into the norms and practices associated with courtship and gender during the Renaissance era. The book’s third volume is a particularly insightful window into 16th century romantic ideals. Throughout Book Three, Baldassare Castiglione builds an elaborate perspective on what makes the perfect court lady, what sexual and social behavior is acceptable, and how an ideal couple (both courtier and court lady) should function.

Troubadours and Trouvères were introduced in the twelfth and thirteenth centuries. After Henri de Malines delivered secular music, French nobles composed a high amount of secular music called troubadours and trouvères. A troubadours and Trouvères melody does not indicate a rhythm but does have a beat.

Throughout history, music has evolved and branched off into many different categories, each of which have distinct styles and orchestrations; there is classical music that is centuries old and today there is modern contemporary music that is often synthesized or played with electronic instruments. There are also many ways that the two styles can cross over each other; this is seen in popular music and a lot of video game music. Though many people cannot see any similarities between modern and classical music, modern music is really an evolution of classical music; the roots of modern music go back to classical era.

To effectively support this argument, it is vital to analyze different aspects of love as discussed by Beauvoir in her account of The Woman in Love. The first basis of this narrative portrays man as a superior being to whom an inferior has to submit. He is a god in his woman’s eyes modeled just a little lower than the angels . While the man occupies his rightful status as a god, the woman is deemed as the worshipper. Both eventually become the other’s prisoner. In this vulnerability, women are ready to submit completely to their husbands whose image they hold in high regard.

From the works of the French Aquitanian and Champagnian troubadours, the framework/ideals of fin amour grew and spread throughout Europe, reaching the courts of Britain. As the conception of fin amour became increasingly popular amongst the literature of the aristocracy, writers such as, Andreas Capellanus wrote of the stages and rules of courtly love. Inspired by this movement in the culture and literature of court, the poet Marie de France composed a collection of romantic lays. In the “Breton Lays”, Marie presents her narratives as a guide for courtly lovers. For, each lay exhibits the problems, consequences, and rewards that can occur if a lady or knight does/or does not follow the three principles of fin amour which, as explained by the scholars Jeri S. Guthrie (1976) and F.R.P Akehurst (1995), include mezura (to have self-restraint and patience in love, to have discretion within an affair), joven (to be spontaneous in love, to woo with grand gestures and gifts), and cortezia (to follow the moral and societal rules of court).

Theodor Adorno was an important member of the Frankfurt School, which developed ideas of critical theory and cultural Marxism. Adorno adopted a Marxists approach in his work, especially among his work as a musicologist, seeing propaganda within popular music. He saw music as thought provoking and believed that it prevented its listeners from having real thought, he wanted people to challenge the way they listened to popular music. In his article On Popular Music, which he had written in 1941, Adorno speaks about how he believed there were two spheres of music, popular and serious music. About the standardisation in popular music, in which it followed certain patterns which created pseudo-individualism. Also on how popular music affects its listeners in different ways compared to serious music. As a Marxist philosopher, Adorno was an idealist for the idea of capitalism, also as a Marxist sociologist he had an understanding of society and the idea of there being two different classes in all aspects of culture and society.

The music of America has become very diverse, as it should be, with each person taking and bringing influences from styles of music in the US and all over the world to create new blends. With the amount of people in the music industry today a musician who has a different sound than anybody else will definitely turn a few heads. Some make it bigger than others, but the music tends to hold a particular sound, especially if the singer uses their roots as an influence in the music.

Katherine Bergeron’s book, Voice Lessons: French Mélodie in the Belle Epoque, approaches French art song in a new and unique way, making it an invaluable resource for art song scholars and performers alike. Bergeron’s goals for this book are primarily abstract in nature; she aims to tell a story “about that French sound, both what it was and how it got that way” (viii). To achieve her vision, Bergeron examines the mélodie through a variety of different lenses, including musical, vocal, aural, linguistic, literary, scientific, philosophical, and cultural angles.

Music not only has issues in discrimination and racism but also in religion. In an article by Lake State Publications (2002), the transformation of music started during the early Christian era. It said that only Gregorian Chants were recognized in sacred ceremonies. However, secular and non-religious songs became rampant when the church had an unlikely encounter with the French Nobles called troubadours causing them to write the very first secular songs and ask the ministers to sing them to the public. Secular music continued to gain importance to the masses and vocal music became more important

This performance meanders through a selection of secular songs dating from the Middle Ages, Renaissance and Baroque periods. Music is performed in chronological order, with samplings from the beginning, middle and end of each period. Changes in vocal arrangements, instruments, mood and style all shift as the audience is led through centuries of musical innovation and revolution. “Music Through the Ages” begins with A l'entrada del temps clar (When the Clear Days Come), an anonymous secular song written by early troubadours in the Middle Ages. Troubadours were poet musicians living in Southern France from the eleventh through thirteenth centuries, and spoke Occitan, a Romance language still spoken in parts of the region today.

My musical knowledge extends only over a small portion of today’s popular culture’s artists; I used this class as an opportunity to broaden my horizons. On March 23rd, I attended a live lecture recital performance produced by Rutgers’ own Reid Masters, the Assistant Director of the Glee Club. His credentials include a Bachelor of Music and a Master’s degree, both from Princeton University, and both of which were concentrated in Sacred Music. As a doctoral candidate for the Doctor of Musical Arts Degree at Rutgers University, Masters designed a lecture and conducted a recital concentrated on German organist and composer Heinrich Schutz’s work; Schutz created the Musikalische Exequien for the funeral service of Prince Henry II of Reuss. In order to achieve the sound that Schutz envisioned, Masters recreated Schutz’s choir and instrumentals in

Though Norway has a small population of only 5.3 million inhabitants, its musical culture is just as rich as many other countries. From classical and folk, to blues, country, electronic, hip hop, pop, rock, and metal, Norway’s traditions contribute to all of them. Although Scandinavia is often overlooked, it has a strong influence on all of the world’s music today. Archaeological digs have shed light on some unknown history of Norwegian music by revealing artifacts including instruments such as the lur. The lur, having been seen on ancient Scandinavian rock paintings, is a five- to eight-foot-long bronze blowing horn. Having been found in Norway, Denmark, South Sweden, and even Northern Germany, these instruments are cast into many

The first being songs trobar clus which characteristically were love songs of serious nature. This division is the more popular of the two and consists of songs types like the canso, plahn, and tenso. A keen example of not only a typical troubadour song, but also one that includes the trobar clus canso is Comtessa de Dia written in the second half of the twelve century found in the Anthology of Music in Western Civilization. First of all, it is clear to see that it is a troubadour canso through musical analysis. The song is set to a modified strophic form and is homophonic in nature. The melody is mostly stepwise, with the only melodic skip being a third, and its range is only of a 6th. Comtessea de Dia is also clearly in mode 1, with the note A being its tenor, and ending on a D as its