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musical forms

Listening is not merely a natural biological and relates more to the musical sphere, there is a big difference between hearing and listening, and a song, as well as a speech, can be felt on the surface or penetrated deep including varying degrees of attention. During the 1900 is designed to teach you how to understand the buildings and facilities through a piece listening. This practice mainly North American, are known as music appreciation, whose name already indicates the appreciation of music in the sense of understanding a critical level. This current of thought organized real courses to spread his theories that have formed over time in an increasingly complex. Critics now reject this kind of music reading, because the associated language and for many the music is not a language in the sense that it does not express concepts in a manner intelligible as it is in a language. The risk is to see the musical production only as a psychological operation where sheet music and performance are only partial representations, as well as the language is expressed only partial expression of the person. In fact
language and music have much in common: they share the ability to absorb and change over time, such permeability, according to the mutations of society. According to the theoretical advocates of music appreciation, you should define the community of listeners whose musical perception has aesthetic significance because only they would be able to make a formal speech. These listeners would coincide at a glance the composers themselves and their task would be to prescribe how the music should be played, because it does not follow a correct path of play would result in an error of assessment and therefore misunderstandings on the part of listeners. This line of thinking assumes that we can first define the syntax as a set of rules with which it was created music, and then determine (or define) as it should be played, but in reality the use of composers writing mode completely independent responding to the cognitive processes of which we are still in the dark and so it is impossible to establish universal rules of musical interpretation.
The theoretical discourse of music appreciation part by the growing awareness that music is a form of language, which goes back many centuries ago when it was realized that it had some power over the collective thinking, and today there is so much a concern the nature of music as a language, but rather it focuses on its syntax even more than semantics. The doubt about the nature of the music comes from the fact that if it was indeed a language, it would not even need a text or stage or other extra-musical reality to express a meaning, the modernists have sought autonomy and appreciated this music rest but not registered in all musical events. There are in fact more and compositions that do not understand, do you want for our lack of culture, either by a distance between composer and audience. In other words, if they were independent of all other realities, they can not, however, never be universal, ie universally understood by all, since they are the mirror that reflects the realities of each community. They are the expression of different cultural identities, and then taking any composition, but may not have universal value, as can be understood can never be fully appreciated by all.

Beatrice Eleanor