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This original, graphic-led book explores and explains the key ideas underpinning the world's greatest classical compositions and musical traditions, defines their importance to the musical canon, and places them into their wider social, cultural, and historical context. The nineteenth title in DK's bestselling Big Ideas series, The Classical Music Book combines accessible, authoritative text with bold explanatory graphics to make the subject of classical music approachable to readers with an interest in the subject who want to learn more while still offering enough to appeal to music aficionados.

Abstract Raga characterization in Indian classical music is an important aspect of music learning in this country. But the methods usually followed are mostly qualitative. In this study, we intend to quantify such abstractness using measurable parameters. To study musical information congregation quantifiably, we introduce methods based on well-known concepts used in Statistical Physics, namely Maxwell-Boltzmann (MB) and Bose-Einstein (BE) distribution. In this present study, these distributions have been applied on the chosen acoustic signals to find new parameters (equivalent to ‘temperature’ in physical systems) which can distinguish between different features of different ragas (containing the same notes) in Indian classical music. Music clips chosen were the ‘Alap’ part of these three different ragas (Marwa, Puriya, Sohini) sung by a legendary classical music maestro. All of the chosen three ragas are based on the following same note structure: Sa, komal Re, shuddh Ga, tivra Ma, shuddh Dha, shuddh Ni. To apply MB statistics to music, it is assumed that different notes with different occurrence frequencies are at different energy levels, the distribution of which follows the MB distribution pattern. In case of BE statistics, a rank-frequency distribution of the time durations of various notes of different ragas is studied. The resulting analysis gives rise to a number of parameters that help to categorize the individual characteristics of ragas. The methods studied here are novel in the music research field and can prove to be useful in the fields of music and speech as quantifying parameters for style identification.

Music and visual mental imagery (VMI) are closely associated. The visual depiction of musical instruments and musical settings is central to music iconography and music-mediated visual culture. Music-evoked VMI, mediated by emotions, is another established field of study. Hindustani classical music (HCM) has a medieval musical pictorial tradition based on dhyanaslokas (meditative verses), which visually represent the ragas (musical modes) based on the evocation of their rasas or aesthetic emotion. This, incidentally, comes close to the contemporary understanding of music-evoked VMI. However, VMI evoked in response to music has received very little attention in studies on HCM, both for contemporary listeners and historically. In this context, we investigated whether HCM evoked VMI and whether its content was related to emotions, such as “calm” and “sad”, that dominate HCM. Additionally, the themes of the VMI in response to calm and sad clips were compared with corresponding VMI in Western music. Finally, medieval dhyanaslokas were analyzed for associated visual imagery (VI) that was compared with VMI generated in these contexts. Findings revealed that HCM evokes VMI, which is well differentiated for calm and sad clips. When the VMI for HCM was compared with Western VMI, though common themes emerged, cultural differences were identified. While VI in dhyanaslokas had similarities to VMI in response to HCM, marked differences also existed.

The purpose of this study was to propose an effective model for recognizing the detailed mood of classical music. First, in this study, the subject classical music was segmented via MFCC analysis by tone, which is one of the acoustic features. Short segments of 5 s or under, which are not easy to use in mood recognition or service, were merged with the preceding or rear segment using an algorithm. In addition, 18 adjective classes that can be used as representative moods of classical music were defined. Finally, after analyzing 19 kinds of acoustic features of classical music segments using XGBoost, a model was proposed that can automatically recognize the music mood through learning. The XGBoost algorithm that is proposed in this study, which uses the automatic music segmentation method according to the characteristics of tone and mood using acoustic features, was evaluated and shown to improve the performance of mood recognition. The result of this study will be used as a basis for the production of an affect convergence platform service where the mood is fused with similar visual media when listening to classical music by recognizing the mood of the detailed section.

i Music in the Classical World: Genre, Culture, and History provides a broad sociocultural and historical perspective of the music of the Classical Period as it relates to the world in which it was created. It establishes a background on the time span—1725 to 1815—offering a context for the music made during one of the more vibrant periods of achievement in history. Outlining how music interacted with society, politics, and the arts of that time, this kaleidoscopic approach presents an overview of how the various genres expanded during the period, not just in the major musical centers but also around the globe. Contemporaneous treatises and commentary documenting these changes are integrated into the narrative. Features include the following: A complete course with musical scores on the companion website, plus links to recordings—and no need to purchase a separate anthology The development of style and genres within a broader historical framework Extensive musical examples from a wide range of composers, considered in context of the genre A thorough collection of illustrations, iconography, and art relevant to the music of the age Source documents translated by the author Valuable student learning aids throughout, including a timeline, a register of people and dates, sidebars of political importance, and a selected reading list arranged by chapter and topic A companion website featuring scores of all music discussed in the text, recordings of most musical examples, and tips for listening Music in the Classical World: Genre, Culture, and History tells the story of classical music through eighteenth-century eyes, exposing readers to the wealth of music and musical styles of the time and providing a glimpse into that vibrant and active world of the Classical Period. Music in the Classical World: Genre, Culture, and History provides a broad sociocultural and historical perspective of the music of the Classical Period as it relates to the world in which it was created. It establishes a background on the time span—1725 to 1815—offering a context for the music made during one of the more vibrant periods of achievement in history. Outlining how music interacted with society, politics, and the arts of that time, this kaleidescopic approach presents an overview of how the various genres expanded during the period, not just in the major musical centers but around the globe. Contemporaneous treatises and commentary documenting these changes are integrated into the narrative. Features include the following: A complete course with musical scores on the companion website, plus links to recordings—and no need to purchase a separate anthology The development of style and genres within a broader historical framework Extensive musical examples from a wide range of composers, considered in context of the genre A thorough collection of illustrations, iconography, and art relevant to the music of the age Source documents translated by the author Valuable student learning aids throughout, including a timeline, a register of people and dates, sidebars of political importance, and a selected reading list arranged by chapter and topic A companion website featuring scores of all music discussed in the text, recordings of most musical examples, and tips for listening Music in the Classical World: Genre, Culture, and History tells the story of classical music through eighteenth-century eyes, exposing readers to the wealth of music and musical styles of the time and providing a glimpse into that vibrant and active world of the Classical Period.

\"Trans-Atlantic Passages : Philip Hale on the Boston Symphony Orchestra, 1889-1933 deals with one of the greatest of American music critics writing about one of the greatest of American Orchestras during a time of great change. Philip Hale (1854-1934) put Boston on the Transatlantic map in terms of the music world and its circuits of exchange. Professor Mitchell reconstructs Hale's oeuvre to produce an authoritative account of Hale's contributions to music criticism and to the role the Boston Symphony was able to play in the international world of nineteenth- and early twentieth-century music\"-- Provided by publisher.

An invaluable guide for lovers of classical music designed to enhance their enjoyment of the core orchestral repertoire from 1700 to 1950Robert Philip, scholar, broadcaster, and musician, has compiled an essential handbook for lovers of classical music, designed to enhance their listening experience to the full. Covering four hundred works by sixty-eight composers from Corelli to Shostakovich, this engaging companion explores and unpacks the most frequently performed works, including symphonies, concertos, overtures, suites, and ballet scores. It offers intriguing details about each piece while avoiding technical terminology that might frustrate the non-specialist reader.Philip identifies key features in each work, as well as subtleties and surprises that await the attentive listener, and he includes enough background and biographical information to illuminate the composer's intentions. Organized alphabetically from Bach to Webern, this compendium will be indispensable for classical music enthusiasts, whether in the concert hall or enjoying recordings at home.