• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Are musical influences important to a composer, or is it necessary to be original?

Extracts from this document...

Introduction

Are musical influences important to the composer or is it necessary to be original? Throughout musical history, from medieval plainsong and chant, through to the serialism and minimilism of the 20th century, music has evolved. I believe this evolution has occurred due to a combination of influences and originality. All composers are given an education including musical theory and instrumental lessons. The facts they learn during their education, and the pieces they play when learning an instrument form the basis of their musical influences. It is impossible to play a piece without, to a certain extent, analysing it; whether one likes the piece, or dislikes it, it becomes part of your musical background that influences you. As such, and because all composers must learn the history of music, and play music written by other composers, I do not believe that musical influences are so much something that is important to the composer, as something that is unavoidable. ...read more.

Middle

ascending melodic line over an ostinato like bass line is accompanied by an extended crescendo; the Mannheim birds, which used higher register instruments to imitate the twittering of birds, and the Grand Pause, where the music stops to create a moment of complete silence, before it restarts again with vigour. Without the originality of the composers that were writing for the orchestra at Mannheim, it is quite possible that the style of music would not have developed as rapidly as it did during that period. However, one must consider not only if originality or musical influences are necessary, but also whether they are successful. A great many composers have relied on the fact that, by studying the techniques by other composers, whose music is known to be popular with the public and using them as influences, they will be able to produce music that will be equally popular. ...read more.

Conclusion

Despite his innovation and originality, he was often not well received; in March 1913, in a concert featuring his Chamber Symphony No.1 in E Major, clapping had to contend with hisses and laughter. A newspaper reported that "one could hear the shrill sound of door keys among the violent clapping and in the second gallery the first fight of the evening began", and later on, more fights erupted, as Schoenberg interrupted the performance to declare that any trouble makers would be thrown out. I conclude therefore, that their must be a fine balance between reliance upon the influences from other composers, and development of one's own original ideas; relying to heavily on influences from the past leaves music that is often popular in its day, but soon forgotten; too much originality and innovation, and a composer can find their music disliked by the general public, which makes building a name for oneself very difficult indeed. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Here's what a teacher thought of this essay

3 star(s)

A nice essay that serves to weigh up the balance of original ideas with ideas 'borrowed' from other pieces. A balance that any new composer should address as they compose for themselves.

Marked by teacher Nathan Smith 08/01/2013

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Music essays

  1. How does Jacques Loussier’s interpretation of Toccata and Fugue in D Minor differ from ...

    Beside's Loussier's arrangement, other variations of this piece include Vanessa Mae's dance remix and Stotowski / Ormandy's orchestral arrangement in 1927, which was also featured as the opening music in Walt Disney's 1940 Fantasia1. The opening melody, as shown in Figure 1, is now a classic horror theme associated with gothic elements and horror movies.

  2. Compare the decades 1910-1920 and 1930-1940 in the development of Jazz music.

    The group brought the New Orleans style to national prominence, and were probably the first U.S. band to generate mass popularity and make its members stars. Jelly Roll Morton travelled around America from 1907 to 1923 playing both in bands and solo, reaching Chicago by 1914 and settled there in 1922.

  1. In this essay I will discuss about the stereotyping of Bend it like Beckham ...

    We also know that Billy isn't somebody who stereotypes people because of his best friend who dresses up like a girl and is gay, and Billy isn't bothered about it. There is also stereotyping towards the miners. The people who aren't on strike but are miners get stereotyped.

  2. Identify four aspects of John Williams' ET; 'Flying Theme' that makes the music immediately ...

    Another aspect that Williams uses is pitch. He uses pitch to make the music attractive and appealing by using the leit motif. Williams shows this by making the intervals in the main melody of piece get wider to signify the flying action of the onscreen characters.

  1. A life in the day of me.

    one, "you have to have a hot drink inside you or you'll have wind for the rest of the day." Mothers, I'm a teenage boy, the only thing wind will do is give me and my mates a good laugh every so often.

  2. What is the nature of employment in the music industry?

    A contract of employment is an agreement that is between the employer and the employee, by having the employer offer the employee work to do a particular job and agrees to work for the employer in return for wages. An employer would however provide a contract to make sure the

  1. Nicolai Rimsky-Korsakov's Concerto for Trombone, composed in 1878. The work is one that I ...

    This, although seemingly small and insignificant, results in a much cleaner phrase, and which I think works extremely well. Into the next phrase Lindberg does not attach the accents at all, instead he uses a gentle vibrato through the phrase to add musical colour.

  2. Trace the development of harmony from Schumann through Brahms to Debussy. Drawing on ...

    Schumann has reinterpreted the chord of C major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising tritonal leap more logical than it initially seems. The original motivic material is presented exactly as it occurred in bars 1-4 to provide an aesthetic harmonic balance to the piece.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work