This article is from the April 2011 issue of KC Stage
There is a sad trend in the social response to classical music that makes it difficult for those who are on the outside of the tradition to get inside. Many dread the idea of going to a symphony concert where one must dress in uncomfortable clothes and sit still in sullen silence for hours at a time. In this article, I hope to encourage those who may be put off by the idea of classical to music to give it a good solid chance. Here are some tips on how to get started.
To begin with, let me define “classical music”. The term “classical” itself can be somewhat confusing. First, “classical” refers to the culture of ancient Greece. In the 1700s, there came a movement in which artists, writers, and musicians attempted to revive the “classical” styles of ancient Greece (although what musicians were doing in the 1700s far removed from the ancient Greek “classical” style). So, the Classical Period in music actually describes a period of approximately 1750-1830. However, the term “classical” (with a small “c”) generally refers to the entire tradition of serious music of the concert hall tradition. This includes a wide variety of pieces from piano solos to symphonies and a time period that begins as early as the Renaissance and continues to present. So the term “classical” can cause a bit of confusion even amongst musicians, but unfortunately there is no better term commonly used to describe this type of music.
Unfortunately, classical music can be intimidating for someone that is not familiar with it. It is unhelpful that composers are immortalized as gods in busts made of white marble, making the uninitiated feel inferior and unworthy of approaching the altar of classical music. This is why it is helpful to know the histories of the various composers. Through learning about composers’ lives, one will see that they are real people of varying background, nationality, and social status. Begin by picking a composer that you are already somewhat familiar with and read an encyclopedia article or other short bio of that composer and note when the composer lived, what style period the composer is connected with, and what genres the composer primarily composed (i.e. solo songs, piano sonatas, string quartets, symphonies, opera, etc.). If you are not familiar enough with composers to have a foot in the door, then I would suggest starting with Mozart, Beethoven, or Tchaikovsky, since their music is infused in pop culture and you may find that you are more familiar with their music than you realized. When reading the composer’s bio, make note of primary works that are mentioned and listen to these first.
Another thing that makes classical music difficult to approach is the use of generic, uninviting titles such as “Symphony no. 9” or “Concerto in F”. Such non-descriptive titles do little to evoke the imagination of the listener, and for some composers that is indeed the point, since some believe that music should be created for its own sake and not to evoke imagery or provide a narrative. Nonetheless, learning what these generic titles mean will help you know what to listen for. For example, knowing that a minuet is a type of dance and that a piano concerto is often in three movements (often fast, slow, and fast) will give you a little information on what to expect. So, use a music dictionary (such as the free one found at www.naxos.com/education/glossary.asp) to learn what these terms mean. Be aware that some terms may be spelled differently according to the language of the title. A quick internet search should help you find the most common English spelling.
Another reason that some are not drawn to classical music is because of its lack of vocals (in instrumental works), and the difficulty in understanding lyrics in vocal classical music because of vibrato or because the work is in a foreign language. It is understandable that people enjoy hearing songs sung, since it is human nature to latch on to a tune and sing along. Without a lyrical hook, a listener must find other musical elements that bind a piece together – this is where understanding different types of form will be helpful. For example, a fugue begins with a thematic subject that is then answered in another voice or instrument. Throughout the fugue the subject comes back in various ways, sometimes higher or lower, and sometimes fragmented. Understanding the most basic ideas about fugue will make listening to them more meaningful. The same thing goes for the sonata – if one understands that a sonata begins with an exposition section with a primary theme, secondary theme, and a closing theme, then it will be much easier to understanding what one is hearing. Again, just reading about the basic structure of musical forms in a musical dictionary will help even without any musical training.
Now, to talk about the dreaded opera genre. Yes, most people that know little to nothing about opera will have the same mental picture when the word “opera” is spoken – a fat lady wearing a Viking helmet and singing high notes unintelligibly with thick vibrato (Brünnhilde from Wagner’s Ring Cycle). One of the most difficult things about getting into opera is that they are seldom performed in English, and even when they are, thick vibrato and extreme vocal registers sometimes make the words difficult to understand. It is definitely helpful to at the very least read a synopsis of the opera before seeing it and even better to read a translation of the entire libretto. In most cases, reading a libretto takes considerably less time than reading a play script, since there is some amount of lyrical repetition and musical interludes that would not be found in a spoken-word play. It is certainly worth the effort to do this before sitting through an opera for hours trying to figure out the plot with no other information.
Finally, it is good to expand one’s horizons. After all, most people are drawn to music with which they are familiar. Music played on the radio is often popular because it has been exposed to a wide variety of people (over and over…). One will never know if they like a song or not if one has not heard it. Similarly, while one may not be a fan of Bach, they might be very interested in Mozart or Beethoven if they had been exposed to their music. So, challenge yourself to listen to music by different composers and see if there is one you particularly enjoy. If so, comb your public library or the internet and see what else you can find by the same composer. The more you get to know the music, the more equipped you will be to make a solid opinion on it, and the more you will understand the differences between different composers and genres.
Finally, I encourage everyone to take advantage of some of the classical music experiences available in the Kansas City area. Some examples include the Kansas City Symphony, the Lyric Opera, the Kansas City Ballet, and the Kansas City Chorale. Before you go, check the website and see what pieces will be performed. Try to read up a little on the composers and listen to some of the pieces before you go. With a little more knowledge about classical music, you may find that you enjoy it more than you ever would have expected!
Samuel Stokes is a PhD candidate in the music theory program at Louisiana State University and a freelance composer and playwright. Find out more at http://stokesmusic.tripod.com
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