History of Western Music

             The bible tell us that Joshua’s trumpet blasts toppled the walls of Jericho; the David cured Saul’s madness by playing the harp; that in the temple at Jerusalem he musician played. Cymbals and psalteries and harps. And with them and an hundred and twenty priests soundings with trumpets.

             Such stories attest to the ancient belief that music had magical power: it could work natural miracles, cure the sick, and, in the service of god, purify the souls of the worshipers. We have already seen that from earliest times music was an inseparable part of ritual and ceremony- a function that would continue for centuries to come.

History of art- The Synthesizer "Keyboard"

            Parallel to the developments of the tape recorder was the invention and evolution of various electronic devices: oscillators, Filters, modulators, and other, each device produced or controlled sound in some way.

            Finally these components were consolidated into a single instrument. This compact, all is one unit was called a synthesizer; The Composer now had a instruments capable of unprecedented control over the creation of synthesis of sounds.

            In 1955 the first and most elaborate synthesizer was unveiled: the room size RCA electronic Music Synthesizer, an instrument that today would cost several hundred thousand dollars to duplicate. But with the modern benefits of micro miniaturization, some of the best and most sophisticated synthesizers are table size instruments, available today at a tiny fraction of that cost.

            The evolution of the synthesizer has been paralleled by an artistic evolution I its use: it is now regarded not as a gadget but as a function part of a composer’s complete storehouse of instruments. Milton Babbitt moved from his purely electronic composition for synthesizer (1961) to Philomel (1964), a work for soprano and taped synthesizer accompaniment. Mario Davidovsky (a director of the Colombia- Princeton Electronic center) wrote his Synchronism. No.1 for flute and electronic sound; Leon Kirchner, a chamber work for string quarter and electronic tape; and Luciano Berio, a work called Visage for an electronically modified human voice.

            The tiny lists barely suggest the variety and scope of the new music made possible by the synthesizer. Yet, seen as a part of the historical Development of musical instruments, it is but one point on the long line of a musical history. In time as even more advanced instruments are invented and perfected, the synthesizer will be regarded as no more extraordinary then any of its predecessors.

History of art- The Electronic age

             The wonder of electricity - which could supply power of the production, transmission, and recording of sound- opened of new world for the 21^st century musician. Instruments were developed to produce sound electrically: the vacuum tube to intensify sounds, and oscillator to generate sound electrically.

As new inventions appeared on the panorama, composer like Verse called for new instruments, “the composer and electrician,” he said, “Will have to labor together.”

             To the general public, newly invented tape recorder was marvelous machine. But to composers- man like Verses, and Otto Luening and Valdmir Ussachevsky at Colombia University- the tape recorder was a totally new pleasant-sounding instrument. It could be used to collect and transform sounds in ways never before possible. Tape could be used to alter the shape and speed of a sound, to play a sound backward, or to layer it with other sound in complex combinations.

              In Paris, Composer Pierre Schaffer created a piece made from the record sound of railroad trains. He called this type of composition “Musique concrete”, to differentiate it from traditional composition, which begins as a written score ends in sound. Schaffer’s music began with concentrate sounds that could be transformed through tape into a composition.

History of art- The Search for new timbres system

              By the early years of 20th century, composers had begun to explore a new possibility: that conventional instruments were capable of producing unconventional sounds.
             On the spring evening in 1913, Lgor Stravinsky's music for the ballet The Rite of Spring provoked the most famous riot in musical history. The sedate Parisian audience was scandalized not only by a bombardment of massive orchestral discords, by strange new instruments timbres. A solo bassoon (traditionally a bass instruments) played at very top of its range, producing eerie, unheard of sounds.  vast array of deep drums pounded out jagged rhythms , a sound associated with with tribal ritual not the concert hall stringed instruments swept through glassy, odd colored waves of high pitched harmonics.
            In his string quartets, Bels Bartok laced his mouth with slides, snapped strings and rhythms played with the wooden part of the bow.
            Henry Cowells's piano pieces, written in the 1920's, defined new key board which called sonorities (a group of notes which known "tone" "clusters" and chord which played by the pianist's arm's). Henry try to find out new sound which tune directly by piano strings.
             Jhon Cage probed deeper into innards of the piano by the  by interesting metal, wooden and rubber objects between the strings, the sonorities is akin to the soft, muted gong-and -drum gamelan ensembles of Indonesia.

             Edgard Vareses Ionisation (1933) dealt with timbers alone ( pitch and rhythm were secondary; harmony, in the conventional sense, was non existent). he use the bells and sirens, chains and anvils, together which piano and percussion, the the unconventional musical resources of sound making, tradition was overturned, and any sound was legitimate source of music.

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Performing Art's- Mechanical Instruments

              Mechanical instruments, The invention of the pinned cylinder in the 18th century began a curious chapter in the history of musical instruments. The ingenious device consists of a small cylinder dotted with portruding brass pins. As the cylinder turns, the pin plucks the metal teeth of a kin of a musical comb, producing a melody and or harmony. From such the cylinder came the barrel organ,  "piano mecanique," the handle piano, the music box, and, in 20th century, the player piano.
                That important composer took any of this seriously occupied a little known corner of musical history. Beethoven, for example, by thrilled by the coming of the mechanical era. He once wrote "Let us thank God for the promised steam cannons and for the already realized steam navigation..."

                This short enthusiasm made Beethoven a devoted friend of the new musical devices. He become facinated by the inventation of Johann Maelzel, Creator of the ear trumpet (for the hard of hearing),  an automatic chess player, a mechanical trumpeter, and- by stealing another inventor's idea-- the metronome. Beethoven agreed to compose a piece for Maelzel. The result was Wellington's Victory, Created for Maelzel's panhrmonicon, a kind of glorified music box that combined military band instruments with a powerful bellows, all enclosed in a case. Beethoven piece was, in fact, on the program of an 1813 charity concert, along with marched tooted by Malelzel's Mechanical trumpeter.
               
            

Performng Art's- Orchestral Instruments

                Orchestral Instruments with each improvements , musical instruments came clser to design we know today. The addition of rotary valve to the simple hunting horn led to the design of the modern French horn. The medieval sack-but ( literary "draw pipe" ) evolve into the slide trombone. The invention of a hammer mechanism for a keyboard instrument crated the forerunner of the modern piano.

                  In the 1500's Gaspro da salo, the grand son of the lute maker, transform into the first violin. A century later the Antonio Stradivari perfected an improved design and a secret formula for varnish that gave the Stradivarius stringed instruments their special timbre and their reputation as the finest ever made.

                 By the 1800's, inventors ( some were well known performer ) brought important  new changes to the family of woodwinds. Theobold Boehm- a gold smith's son, and one of the finest flutist of his time- invented a  new flute with a revolutionary key system. Hyacinthe Klose, professor of music a the Paris Conservatoire, adapted Boehm's system to the clarinet. Johann Heckel brought improvements to the bassoon. ( But his son, Wilhelm, had no suck luck. His "Heckelphone", a kind of low oboe, intrigued almost no one. To this day it remains an oddity, evidently having failed the best of usefulness.)

                    

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Perfrming Art's- Musical Instruments

                    Whereas early instruments were comparatively limited in the variety and quality of sounds they could produce their modern counterparts are extremely versatile. An extremely old and very simple wind instruments, for example, is the so- called "pipes of pan" - a set of can or wooden tubes cut to different lengths, which each tube producing but mellow pitch. By comparison , our present day silver or platinum flute- a single pipes of 15 holes and 23 levers- can produce a highly colored rainbow of more then the three dozen pitches! 

                     Despite the sensuous timbre of the pipes of pan ( an instruments still played in remote village around the world), the antiuqe woodwind has bee completely swept aside by its latest desecdent. Not only can the modern flute play more pitches, but it can do so with great facilites and with exceptional control of loudness, timbre speed duration, and overall quality.

                      Our modern winds, brass, percussion, and the stringed instruments did not develop all at once. They evolved slowly over the centuries, adding improvements, refining their timbre, and gradually extending their range (the distance between the lowest and highest pitches of an instrument).

                    This evolution come from the combined efforts of the instruments makers, performers, and composer. The design of a new improvement or in, fact, of an entirely new instruments, was only the first step toward its acceptance. That new design, above all, had to be useful. For the frustrated performer, it has to solve a previously unsolved technical problem (an easier fingering system, for example). For them demanding composer, the design has to be a means of expressing something that could not have been expressing something that could not have been expressed before (an intriguing new timbre, for example, or a way to produce a special effects). Only then was the new design accepted as a new stranded of excellence- as the "state of the art"

Performing Art's- The Music History

          We will probably never know the how music began. its roots are older then the roots of speech itself, and are deeply buried in the prehistoric past. But by the studying the musical development of children an the music of primitive societies, we can get some idea of how it all began.

          Perhaps the firsts music instrument  was a hallow tree trunk, accidentally struck by a hand held stick. Perhaps it was a pair of died animal or human bones, struck one on the another. That first thump, the first rattle, must have produced a sound of strange, so mysterious that our ancestors must have thought it magical.

         From the simple yet musical sounds f these early percussion instruments, our forbears soon discovered the intoxicating power of rhythm, which propelled and organized ritual danced. From there it was a simple to use rhythmic beats to match to movements of labor, magically lightning the burden on daily toil.

         But the hollow- log drum and other percussion instruments were not the only sounds-makers in primitive society. Our ancestors also possessed the most natural, most expansive, most flexible instrument of all: the human voice.

          Those first musican may have used their voice to imitate bird song, the cries and mating calls of animals, and the ound of the wind and rain. Or perhaps the first crude chants and song grew out of the rising and falling inflections of everyday languages. Hunters may have learned to used definite pitches- so diffrent from the vague pitches of ordinary speech to signal the sighting of their prey, ot to announces the victorious kill.

           As early man grew more and more skilled in the use of tone of definite pitches, this element join rhythm to create primitive melody.  With the addition of words, or mouth sounds the imitated natural sounds, came the magical incantations of priest in sacred rituals, or the song to accompany dance.

            As tribal societies evolved, music remained a part of social life, and a part of man's natural response to his environment and to daily events. Ceremonies were accompanied by by singing dancing, and playing. Laborers chanted their work songs. As they sill do today, Children spontaneously created their own tittle songs and dances. Mothers hummed the first lullabies to their sleeping children. Hunters and warriors bucked up their courage with chants and cries and calls, and the beat of stick, bones and drums.

           From earliest time music was also tied to the deepest expressions of human emotions and desires: prayer work, play, love. Our ancestors, like us, played and sang and danced to express their joy and sorrow and fears; to worship their gods; to accompany them in battle; to express their pain or longing; and to give from to their stories, past on from one generation to next.

Performing Art's- ths history of art's

                                         Performing Art's - The History of Art's

           In prehistoric times, man had no yet divided his world into various "subjects" In seeking to understand himself and take some control over his natural surroundings, he used a wide variety of means. In seeking to be friend potiential destroyers- gods, demons, stroms, wild animals, even human enemies- he made sacrifes , developed rituals, made up stories, sang songs. danced, and acted out the parts of the destroyers.

        From these beginning  have come such modern subjects as religion, which will seek to put God and man into a right relationships; Philosophy ans science, which seek to understand and explain both the internal and external forces that play upon man;  and litreature which recordds the ancients storiesof man's aspirations, pleasure, griefs.

        From these same beginnings come the traditional performing arts: music dance and drama. Each was perhaps first used to communicate with gods or spirits, but each become  a center of communal celebration and eventually a means of self expression intended for the pleasures of the viewers and listeners as well as for the gods.

         Unfortunately, our knowledge of he ancient performing arts is limited, we must rely for our information on drawing, ancient statuary, and written records. We will never know exactly what the music of ancient Egypt or Greece sounded like. In more recent times even the mood and texture of the first performance of a play by Shakespeare can be never be perfectly recreated. At the same time, how ever each of the performing arts has been built n the traditions of the past - or on-that part of the past that has been recorded or remembered. 

             Only in the century just past have men learned how to record sound and image, Preserving performance in a way never before possible. Through sound recording, film, and video, we now capture the voices of a great singer, the gestures and inflections of an outstanding actor, and even a whole performance of a ballet or an opera. Today a great performer's work preserved for all future generations, whereas earlier performers lived on only in memory. 

           Together with broadcasting- the transmission of sound and images over wires or through the air- recording has become an art itself, and new creators are using recording devices to produce work of new kind- neither quite music, dance or non drama, but work for a new medium.