英国论文代写推荐- 作曲家勋伯格和斯特拉文斯基的音乐竞争

音乐是人类社会最重要的组成部分之一。从古代开始,音乐就作为社会不可分割的一部分存在于人类社会中。随着时间的推移,音乐得到了评估,音乐发生了许多变化。社会和世界历史上的重大事件,如世界大战,对音乐产生了重大影响,这些社会政治事件导致了音乐的几次变革。有很多音乐家来到这里,给音乐下了新的定义(Morris, Morris and Levy, 2007)。有时候,很明显,两位著名的作曲家是对立的,因为他们对音乐的看法和观点与他们的背景和文化不同。在音乐史上,作曲家之间存在着许多冲突。在这些冲突中,最被炒作的冲突之一是关于勋伯格和斯特拉文斯基的。本篇英国论文代写推荐– 作曲家勋伯格和斯特拉文斯基的音乐竞争提供给留学生们阅读。

Igor Stravinsky was a musician of the neoclassical era and composed music in early twentieth century. Moreover, Arnold Schoenberg was a musician of Viennese Modernism era and active supporter of the progress of the German tradition in the custom of serialism. Schoenberg was actually the pioneer of the movement along with Webern and Berg. The history has witnessed the two successful music composers’ intense rivalry on musical aesthetics. The research assignment is on the rivalry of Arnold Schoenberg and Igor Stravinsky and their music. In this assignment, the key argument means that the difference between the views of Igor Stravinsky and Arnold Schoenberg has been analysed with evidence and relevant information (Peddie, 2011).
The music world witnessed two opposing camps in modern music led by two famous music composers in early twentieth century. One was Arnold Schoenberg, and another was Igor Stravinsky, where Arnold Schoenberg considered himself since the successor of the great institution or tradition of European music, and Igor Stravinsky was a neo-classicist and reacted to the Romanticism by rejecting expressive nature of music. These two music composers emerged between the two world wars, and they led to two completely different approaches to modern music writing. As per Igor Stravinsky, the twelve-tone method was invented by Arnold Schoenberg-like AloisHaba’s experimentations with quarter tones (Boretz, 2016). They can only present scientifically. For Stravinsky, no one can make genuine art with either means.
Arnold Schoenberg claimed that Stravinsky’s music was chic, attention-grabbing and old. He claimed that Stravinsky intends to write the music for the present day and use older music as a model and it was traditional old fashioned music.
Both the music composers had many things common, despite the traditional wisdom. They both excluded musical sauce that was music deliver only decorative and diverting objectives, associated novel forms of Apollonian impartiality. Apart from this, they drew inspiration plus validation from the history. However, in the attempt of trimming the Romantic fat post-war aesthetics characteristics of Stravinsky, it is being manifested by the reference of popular and historical styles in stark and pared-down format. Schoenberg invented the twelve-tone framework, which was a new framework of pitch organization to perform the same tasks as Stravinsky. Both of the aesthetic positions are comprehensively modern.

Schoenberg strictly opposed the brand of neoclassicism by Stravinsky. The issue was not just matter of the style, but it reflected the massively alternate point of views of the art and history. Hence, it was then a moral conflict between the two eminent music composers. As per the views of Schoenberg, Stravinsky was trying to return the time restoring and re-enacting the traditional music practices in spite of trying to create a new one. An efficient historicist Schoenberg believed that it was the responsibility of the music composer to think advance and create a new one, and to him, Stravinsky avoids his accountability be regressing.
The Schoenberg and his invented technique are referred to as twelve-tone technique and a straight descendant of developing a variation of Brahm in its musical motif’s density is depicted in this analysis. Instead of a break from the history, the twelve-tone music was cast like an unavoidable result of conventional techniques a normal development towards the greater reasonableness, coherence plus transparent objectives. This connection to the German history is apparent in the application of archaic forms by Schoenberg, and his models are closely linked to Bach, who is considered as the progenitor of German Music. Schoenberg extended Bach’s contrapuntal language, and he believed that he was supporting to immortalize the tradition of Germany.

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