keannu
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Source : mockup test 2021. 4.14, Q 38 (12th graders)
In the classical period of European music, much musical material was de facto considered common property.
When Antonio Vivaldi presented in Venice his opera Rosmira fedele, the score was actually a pastiche in which, among his own ideas, musicologists later identified ideas by George Frederic Handel, Giovanni Battista Pergolesi and Johann Adolph Hasse, among others. As far as recycling of segments of music initially written for other occasions into new pieces is concerned, it needs to be observed how today composers are discouraged from doing so for a number of reasons. A practical one is that each new piece is sure to remain available, in score or as an audio file. In the 18th century, on the contrary, once the particular occasion for performing a new piece was over, it became almost impossible to ever hear it again. Under such circumstances, recycling previously composed music was the only way to make it more durable.
And if new pieces also contained ideas from other composers, that would re-enforce European musical traditions by increasing the circulation of melodies and harmonic patterns people loved to hear.
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1. Does this passage say that re-playing other musicians' pieces was helpful as in the past, there were no means of recording the pieces?
In the 18th century, on the contrary, once the particular occasion for performing a new piece was over, it became almost impossible to ever hear it again.
2. Dees "would" mean a presumption or habitual action in the past? I think the latter.
And if new pieces also contained ideas from other composers, that would re-enforce European musical traditions by increasing the circulation of melodies and harmonic patterns people loved to hear.
In the classical period of European music, much musical material was de facto considered common property.
When Antonio Vivaldi presented in Venice his opera Rosmira fedele, the score was actually a pastiche in which, among his own ideas, musicologists later identified ideas by George Frederic Handel, Giovanni Battista Pergolesi and Johann Adolph Hasse, among others. As far as recycling of segments of music initially written for other occasions into new pieces is concerned, it needs to be observed how today composers are discouraged from doing so for a number of reasons. A practical one is that each new piece is sure to remain available, in score or as an audio file. In the 18th century, on the contrary, once the particular occasion for performing a new piece was over, it became almost impossible to ever hear it again. Under such circumstances, recycling previously composed music was the only way to make it more durable.
And if new pieces also contained ideas from other composers, that would re-enforce European musical traditions by increasing the circulation of melodies and harmonic patterns people loved to hear.
=========================================
1. Does this passage say that re-playing other musicians' pieces was helpful as in the past, there were no means of recording the pieces?
In the 18th century, on the contrary, once the particular occasion for performing a new piece was over, it became almost impossible to ever hear it again.
2. Dees "would" mean a presumption or habitual action in the past? I think the latter.
And if new pieces also contained ideas from other composers, that would re-enforce European musical traditions by increasing the circulation of melodies and harmonic patterns people loved to hear.
