Music is mostly perceived as the extremely universal of all forms of art. Music can be defined as the art of making a combination of vocal and instrumental sounds in harmony or expressive way. Music is broad and sometimes is life to some people. It is an art by itself that can mean self-expansion and oneness. The work of art in any form that it may be is generated by an individual or group of ordinary persons who are talented and are expressing an opinion concerning the current times. Music expresses culture through the way musicians dress, the history of the community and the social life of that particular community. Music may sometimes involve the construction of patterns and combinations of sound that is the principal natural stimuli. Music may find its use in communicative, aesthetic, entertainment, religious or ceremonial purposes. Many composers use music as a pure academic instrument of study. In this study, we will feature the kind of music composed and performed by Amadeus Mozart.
Amadeus Wolfgang Mozart was one of the greatest composers of the classical music besides being the greatest of all times. The best music of Mozart has a natural flow, irresistible charm and can express joy, humor or sorrow that has got conviction and masterly. His theatricals, especially his efforts that came later, are exemplary examples of high art, together with his concertos of piano and later symphonies. Even Mozart’s lesser compositions and his young works feature in much appealing and often masterful music.
The art of music expressed by Mozart is based on talent and sometimes life experience. This music forms a reality and part of the history of Amadeus Mozart. Everyone has the liberty they need to express their ideas and feelings in any way they prefer. Music helps people to go deep in within their lives in search of utmost satisfaction, the truth and reality. Through music, people speak their feelings in the most convenient way. The popularity of Mozart’s music, which is considered extraordinary, is a product of, and a factor in the contribution towards the intense fascination within the public with this man and his music. Life and work studies of Mozart have traditionally been painted with a broad brush where stylistic issues are involved, incorporating relatively little analytical or critical detail in the process of justifying assertions made about the stylistic evolution of the music of Amadeus Mozart (Keefe 09).
The references made to Mozart’s originality during his time in Vienna fit easily into the aesthetic contexts of originality in the instrumental repertory of Viennese. The specific examples include his novel ideas, the turns of phrase that are witty, melodic structure that are imaginatively varied, and modulatory ingenuity. The stylistic boldness is usually associated with the overwhelming momentum that Mozart’s music conveys (Keefe 10).
Mozart was praised in 1790, having great original compositions displaying a wealth of ideas, variety and passionate sounds that made a person swim away with him being unable to resist the stream of his emotions. This work of art by Mozart made him to be described as a great genius in embracing the whole extent of the art of music like a river in spate that carries every stream that approaches it along with it. In describing the music done by Mozart, the researchers conclude that his work cannot feature any idea that has been heard before, even the accompaniments being called novel. In composing his music, everything that Mozart wrote consisted of a clear stamp of classical beauty. For this reason, Mozart pleased each time and time again, for his beauty of music evolved from time to time, and so he always pleased because he could always seem new (Keefe 09).
An identification and examination of stylistically innovative musical movements and art among the Viennese works by Mozart requires the understanding of stylistic development and how it should be manifest at various levels. In terms of Mozart’s stylistic practices, there should be the establishment of where striking musical procedures work in a specific Mozart instrument relating to musical procedures in his contemporary and preceding works. Mozart’s music featured two prominent styles: the piano concerto and the symphonies.
The piano concerto was the name given to a style where the piano featured prominently in the performance and production of this kind of music. The interactive affiliation between the piano and the orchestra in the concertos of Mozart is an issue fundamental to the appreciation of this great works. This issue is surveyed in his study in the context of the implications that are historical in nature and hermeneutic potential discourse. The invocations of dramatic dialogue are intensively ingrained in the writings of the late 18th century of instrumental music and this theme is developed into an original and highly positive view of orchestra/solo relations in the concertos of Mozart. The behavioral patterns of the concertos are analyzed and then linked to the theoretical discussion of the late 18th century drama and to corresponding relational development in the operas of Mozart. The piano concertos of Mozart emerge with freshness from this new approach as an exceptional medium of enlightenment, and significant in their way as the greatest 19th century operatic and works of theatre (Keefe).
Incidentally, it is almost certain that a lot of parts of Mozart’s symphonic timpani have been detached from the rest of other parts and mislaid even if they had existed in writing and on paper. Quite often, they would have been under the construction of the timpanists as they watched their colleagues that are trumpeters. It is the general contention that to play a C major or a D major symphony that incorporate trumpet parts without doing the introduction of a timpani part is doing a misrepresentation of Mozart’s music. In Mozart’s symphonies, a firm continuo bass-line is essential. Even when it was not specified in the score, a bassoon doubled the string bass, in Mozart’s well-constructed string lines, which assisted in etching the rhythms and also supplying the right period atmosphere (Dearing 17).
Work Cited
Dearling, Robert. The Music of Wolfgang Amadeus Mozart, the Symphonies. Fairleigh Dickinson Univ Press, 1982.
Keefe, Simon P. Mozart's Viennese Instrumental Music: A Study of Stylistic Re-invention. Boydell & Brewer, 2007.
Kinderman, William. Mozart's piano music. Oxford, England: Oxford University Press, 2006.
Music Is an Art Form" StudyMode.com. 06 2008. 2008. 06 2008 <http://www.studymode.com/essays/Music-Is-An-Art-Form-154416.html>.
