6 Answers

  1. The same as with gold…)Classics, like the shining, corrosion-resistant precious metal, will remain with humanity forever.And this is an axiom,no proof is required here…)

  2. I will be banal – it will remain classic. It will also be listened to, it will still be relevant and in demand. That's the whole point, that through time, some things remain the same.

  3. Classical music will continue to be such for a long time, as a recognized standard of classics of bygone eras. The world and society are constantly changing, but history remains the same. Therefore, despite the fact that music fashion and trends in music will constantly change – the classics will remain classics.

  4. It is worth starting with the fact that classical-translates as “exemplary”, so classical music can be both among jazz pieces and among electronic music (Aphex Twin, for example).

    With exemplary music, it will be the same as with, for example, exemplary architecture or painting. It will be copied, supplemented, and modified.

    If academic music was meant, then composers will continue to look for new consonances, new forms and themes that would reflect modern reality.

    There are frequent cases of using modern musical instruments in the works of academic composers such as A. Schnittke (his Requiem. It uses an electric guitar and a drum kit, especially evident in the Credo number).

    And for a snack, I recommend listening to the fusion opera “The Alchemist” by the Ural composer A. Kuzmin.

  5. In my opinion, many composers of the mid-and late 20th century can already be called classics to some extent. John Lennon or Paul McCartney, for example, will definitely go down in history as the creators of new, complex and melodic music that defined the development of modern genres. And if we remember Chuck Berry, Louis Armstrong, BB King, then quite rightly we will refer them to the most real classics. But only to the classics of what?.. Of course, jazz, blues, rock and roll are musical genres that were formed, not surprisingly, under the influence of real academic music. But in the days of Elvis Presley, Frank Sinatra, or Ray Charles, most people did not understand the music that these and many other musicians created. This, by the way, is comparable to the attitude to the current electronic music or rap. Then it seemed that rock ' n ' roll or just rock music is some incomprehensible strumming against the background of a heart-rending scream. No one expected that in our time, anyone will even remember about ” Johnny B. Good” или “What a wonderful world”! We thought that the hobby would be, so to speak, fleeting.:)

    I would imagine that in the future classical music will include Bach, Mozart, Rachmaninoff, Tchaikovsky, Shostakovich, as well as Lennon, Knopfler, Clapton, BB King, Foghetti, Armstrong and many other composers who changed the direction of music, came up with new genres, techniques and styles.�

    Don't be afraid to add to the classics. Music, like humanity, is constantly evolving. And any development presupposes the existence of origins.

  6. Classical music is usually understood as a canon consisting of works and composer figures, which, as they usually say, “passed the test of time”. It is assumed that the temporal distance reveals the true and lasting value of a work of art. However, this expression, if we allow ourselves a certain amount of skepticism and sobriety, rather means that some works, on the one hand, have become the basis of educational academic practices, on the other hand, they are the basis of listening habits and conventions. Beethoven or Mozart are more popular and “understandable” to the average modern listener than Schoenberg or Boulez, not because they have come into contact with a single universal truth in their music, which is communicated to listeners in the form of special goodness, but because classical music of the XVIII – early XIX centuries has indirectly entered the flesh and blood of modern popular music culture. The latter is closer in its structures to the works of old famous masters than to modern academic music or some separate, not so well-known and popular forms of music of the past, such as the pre-baroque music of Orlando Lasso or John Okegem.

    The canon is not something unchangeable, it is a narrative, a story that is constantly created and reproduced in the interaction of numerous groups of people and individuals – musicians, composers, teachers, listeners, critics. It changes – sometimes almost imperceptibly, sometimes with evidence-as a result of many circumstances. What seems stupid, wrong, boring, or tasteless at one time turns out to be a source of viable ideas and inspiration at another. Composers who might have been well-known masters in their time later give way in the collective memory to others who are less well-known. The canon itself — what a musician needs to learn and what a music enthusiast is supposed to know-is constantly expanding with new names. For example, according to popular opinion among experts, the great musical innovators of the first half of the 20th century, such as Schoenberg, Webern and some others, have already earned their place as classical composers: without knowledge of their music, their ideas, it is impossible to navigate the current state of affairs in the musical sphere.

    Sometimes music historians or enthusiasts discover for the audience previously unknown music by old composers that previously remained in oblivion. One of the most prominent examples of this kind is the music of Johann Sebastian Bach, an almost sacred composer figure in the modern canon. At a time when his sons,who were themselves remarkable composers, were creating music, that is, when they were writing music. in the middle of the 18th century and beyond, until the first performance of Bach's Matthew Passion in 1829, his music was known among professionals (for example, Mozart, Beethoven and many other composers and pianists were brought up on his preludes and fugues from the HTK), his oratorios were performed in churches, but in general it was not popular among wide circles of music lovers. For them, Bach-father was old-fashioned and heavy, because then the harmonic-homophonic warehouse – a combination of a pronounced melody and its accompaniment-became fashionable. The sophisticated and virtuosic polyphonism of Bach's compositions seemed somewhat excessive and even boring. However, later, thanks to the activities of the Bach Society and composers and musicians who were in love with Bach's compositions, thanks to the change in the intellectual climate, the music of Johann Sebastian Bach attracted more and more attention, became more and more performed. Now his compositions are played in concert halls and used on media platforms so often that many of them have become something of a “classic smash hit”, that is, they are often used in the media. music that is known by ear can compete with pop music.

    There are many examples of changing the balance of power or the appearance of new figures in the “unchanging” classical canon. Attempts to predict how the tastes of the audience, critics, music historians, and composers will change seem fruitless, because in the future we usually face a different past: new ideas, facts, and their interpretations that are created and stored in the collective memory by the constant efforts of historians, experts, enthusiasts, and the general public.

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