What do we do in our free time?
We watch TV shows.
We watch movies.
We listen to music.
We read books.
But actually, when we listen to music, or watch a movie, we may just be feasting on one of the extensions of a work of literature, with out even knowing it. To all those people who regard studying literature as being useless: try living with out it and see how your life turns into a gray, disgusting bowl of mush.
Literature is everywhere, and what a man poured out onto ink and paper 300 years ago can always be studied and explored further, diving into the wells of the author's state of mind and emotions, newly discovering the lands the author has already conquered. There is always something to learn when you read someone else's writing, whether it's The Republic or a blog post.
Last week, the Turkish government issued a new law stating that the government now has the right to view any of our private chats and listen to our conversations over the phone. One of the newspapers which still, despite the horrendously oppressive government, can actually deliver true and "un-politicized" news, printed the heading "Big Brother Left Innocent". Whether it is the reference a minority newspaper in Turkey makes to a classic work of dystopic fiction to reflect what takes place in the real world, or that George Orwell, way back in 1948 predicted what would happen to the world and wrote a work of "fiction" on it which turns out to be eerily accurate, goes to show what fiction -and literature- are capable of.
Personally, I don't care much about a research being done on how reading literary fiction improves one's ability to detect the state of mind of a person from only their eyes. What I'm interested in is, how literary fiction, or any type of fiction, can help us get along in life and broaden our horizons. When we study these works, we get to know about the time period these books were written in, or about the years they take place in. We get to learn about different cultures and traditions, facts we would otherwise regard as unimportant and facts which we wouldn't search on Google about in our free time.
But these are just the tip of the iceberg.
The most important thing we gain by reading and studying works of fiction is getting to know people and how they react to certain events. We get to know different types of people, and by the end of the book, if the author was skillful enough, we get connected to the characters so tightly that we do not want to let go. We get to know what a grieving father thinks when he acts, we get to know what an assassin feels like when he completes his kill or gets his training, we know what drives a man looking for vengeance, we know how a poet caught in the webs of a conspiracy against him and trapped inside the strict views and rules of a society feels like.
So reading and studying literary fiction-or any type of fiction, at that- is not a total waste of time as some people may assume it to be. Along with learning about the time periods and circumstances the novels were written/take place in, we also get to know people. And there's nothing wrong with getting to know more about the dominant -and supposedly the most intelligent- species on earth which we live among, compete with, and fall in love with.
Sunday, October 20, 2013
Tuesday, October 8, 2013
Ah, Sweet Dissonance
I, IV, V, I
I, Ic, IV, I
BORING.
These are chord progressions typical of the Baroque and Classical Eras in classical music. These are what the moving bass line is made out of and what the melody is based on in compositions from these eras and there is nothing wrong with them, except the fact that they are terribly boring. With the rise of the Romantic Era, composers could take more liberty in their compositions and "dared" to change these chord progressions, followed by the 20th century musicians who completely denied the sense of key or tonality. Now listening to music from the late Romantic era and the 20th century, the dissonances are something I look forward to, and I like to be surprised by unexpected chords rather than predicting and humming the next chord in my head when I'm listening to a symphony.
To understand what I said in the previous paragraph, you'll need a crash course in music history:
Music originated from Africa, with the use of percussive instruments made out of simply animal skin stretched over a surface.
The first recognized "era" is Medieval music; the most basic element of medieval music were Gregorian Chants, simply, homophonic ("single sound") songs sung by males.
Next comes the Renaissance, where composers started to take these Gregorian chants and popular folk songs and fit them into Masses. Instrumental music gained more importance, but still pieces were not written specifically for instruments. They accompanied the singers in typical dances, an "estampie", for example.
Around the year 1600, the Baroque era is claimed to have started. In architecture, the buildings from the Baroque era have extravagant decorations and sizes; and the music doesn't fall behind in this race of exaggeration. It is the Baroque era which hosted the famous musicians Vivaldi, Bach and Handel. Operas, symphonies, simply instrumental music gained great importance. It was at this time which Bach wrote his pieces for the harpsichord and basically invented the key system we use today: he wrote the Well Tempered Clavier.
Later set as the year of Bach's decease, at 1750, the Classical era commences. The music of the Classical Era pulls away from the extravagance of the music from the Baroque era; it is lighter in texture. For example, there is a main melody line over chordal accompaniment, a moving bass line, referred to as "basso continuo". Also, the use of keys and contrast in music, mainly instrumental music, gained importance. Mozart, Beethoven and Haydn lived and composed in this era.
Then followed the Romantic Era, starting at roughly around 1820. The music from the Romantic Era hosted some unexpected chord changes, it was a revolt against the Classical and Baroque era molds. It put more emphasis on emotion and expression in the music rather than it sounding good or it being expected. With the invention of the "pianoforte", now shortly referred to as the "piano", composers could now use a wider range- both in sound and volume. Chopin, Tchaikovsky, Liszt and Schumann are only a few of the romantic, emotional and expressive composers of the time.
And finally came along 20th century music with its clashing dissonances and a total defiance of previous stereotypes and accepted facts regarding composition, featuring Stravinsky, Prokofiev and Debussy.
When substances change phase, their energies, their movements, and their entropy changes. Just like an act of melting or evaporating, as music moves from Gregorian Chants to 20th century, its "entropy", its state of disorder, increases. People start to defy the previous accepted facts about music and they add something more of themselves into it. Every next "movement" or era is an act of defiance against the previous one. The Baroque gave more importance to instrumental music, Mozart managed to get away from the fixed forms and some chord progressions, Chopin focused on emotion rather than proper chord progressions and Stravinsky set off a riot when the Rite of Spring was first performed. Music changes, and for me, it changes for the better.
So after listening to pieces written by late-romantic and 20th century composers, Vivaldi's Four Seasons does not really interest me. I prefer clashing dissonances and unexpected harmonies over predictable chord progressions and commonplace blocks of "music". I look for and want to hear those dissonances because that is what gives the music its "acid". Yes, Vivaldi's Four Seasons, especially Winter, is very famous and it relaxes you and is a treat for your ears, but it is just that. It doesn't excite you, it doesn't provoke you, it doesn't make you tilt your head, rewind, and think "What did I just listen to?" .
Perhaps an example would help things get clearer.
Take the first chord in Eine Kleine Nachmusik by W. Amadeus Mozart. A G-chord, with the G, B and D all there. Now take the first chord of Igor Stravinsky's Rite of Spring, Part I, "Augurs of Spring", starting from the bottom: Fb, Ab, Cb, G, Bb, Db, Eb; ah, sweet dissonance! I would prefer this intoxicating ring of dissonance, Stravinsky, and the C and Db in one chord (a semitone apart), over a neat and clear G chord any day.
I, Ic, IV, I
BORING.
These are chord progressions typical of the Baroque and Classical Eras in classical music. These are what the moving bass line is made out of and what the melody is based on in compositions from these eras and there is nothing wrong with them, except the fact that they are terribly boring. With the rise of the Romantic Era, composers could take more liberty in their compositions and "dared" to change these chord progressions, followed by the 20th century musicians who completely denied the sense of key or tonality. Now listening to music from the late Romantic era and the 20th century, the dissonances are something I look forward to, and I like to be surprised by unexpected chords rather than predicting and humming the next chord in my head when I'm listening to a symphony.
To understand what I said in the previous paragraph, you'll need a crash course in music history:
Music originated from Africa, with the use of percussive instruments made out of simply animal skin stretched over a surface.
The first recognized "era" is Medieval music; the most basic element of medieval music were Gregorian Chants, simply, homophonic ("single sound") songs sung by males.
Next comes the Renaissance, where composers started to take these Gregorian chants and popular folk songs and fit them into Masses. Instrumental music gained more importance, but still pieces were not written specifically for instruments. They accompanied the singers in typical dances, an "estampie", for example.
Around the year 1600, the Baroque era is claimed to have started. In architecture, the buildings from the Baroque era have extravagant decorations and sizes; and the music doesn't fall behind in this race of exaggeration. It is the Baroque era which hosted the famous musicians Vivaldi, Bach and Handel. Operas, symphonies, simply instrumental music gained great importance. It was at this time which Bach wrote his pieces for the harpsichord and basically invented the key system we use today: he wrote the Well Tempered Clavier.
Later set as the year of Bach's decease, at 1750, the Classical era commences. The music of the Classical Era pulls away from the extravagance of the music from the Baroque era; it is lighter in texture. For example, there is a main melody line over chordal accompaniment, a moving bass line, referred to as "basso continuo". Also, the use of keys and contrast in music, mainly instrumental music, gained importance. Mozart, Beethoven and Haydn lived and composed in this era.
Then followed the Romantic Era, starting at roughly around 1820. The music from the Romantic Era hosted some unexpected chord changes, it was a revolt against the Classical and Baroque era molds. It put more emphasis on emotion and expression in the music rather than it sounding good or it being expected. With the invention of the "pianoforte", now shortly referred to as the "piano", composers could now use a wider range- both in sound and volume. Chopin, Tchaikovsky, Liszt and Schumann are only a few of the romantic, emotional and expressive composers of the time.
And finally came along 20th century music with its clashing dissonances and a total defiance of previous stereotypes and accepted facts regarding composition, featuring Stravinsky, Prokofiev and Debussy.
When substances change phase, their energies, their movements, and their entropy changes. Just like an act of melting or evaporating, as music moves from Gregorian Chants to 20th century, its "entropy", its state of disorder, increases. People start to defy the previous accepted facts about music and they add something more of themselves into it. Every next "movement" or era is an act of defiance against the previous one. The Baroque gave more importance to instrumental music, Mozart managed to get away from the fixed forms and some chord progressions, Chopin focused on emotion rather than proper chord progressions and Stravinsky set off a riot when the Rite of Spring was first performed. Music changes, and for me, it changes for the better.
So after listening to pieces written by late-romantic and 20th century composers, Vivaldi's Four Seasons does not really interest me. I prefer clashing dissonances and unexpected harmonies over predictable chord progressions and commonplace blocks of "music". I look for and want to hear those dissonances because that is what gives the music its "acid". Yes, Vivaldi's Four Seasons, especially Winter, is very famous and it relaxes you and is a treat for your ears, but it is just that. It doesn't excite you, it doesn't provoke you, it doesn't make you tilt your head, rewind, and think "What did I just listen to?" .
Perhaps an example would help things get clearer.
Take the first chord in Eine Kleine Nachmusik by W. Amadeus Mozart. A G-chord, with the G, B and D all there. Now take the first chord of Igor Stravinsky's Rite of Spring, Part I, "Augurs of Spring", starting from the bottom: Fb, Ab, Cb, G, Bb, Db, Eb; ah, sweet dissonance! I would prefer this intoxicating ring of dissonance, Stravinsky, and the C and Db in one chord (a semitone apart), over a neat and clear G chord any day.
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