Music 15 Fall 2021 Paper Outline Prompt Genius And The Canon

Music 15 Fall 2021paper Outline Prompt Genius And The Canondue T

Classified as an outline assignment, the task requires students to develop a detailed plan for their upcoming paper. The outline should include a draft of the introduction paragraph with a thesis statement, a proposed bibliography, and topic sentences or one-sentence summaries for 5-7 paragraphs. Each paragraph outline should include support points, such as at least two in-text citations with full footnote citations and bibliographic entries and references to musical examples and details. The outline must address all parts of the prompt, demonstrating a clear flow of ideas based on the thesis. It should be no longer than two pages, single-spaced, and submitted as a Word document. The purpose of this outline is to plan critical thinking and engagement with course materials to develop an organized structure for the full paper, not to produce a complete essay.

Paper For Above instruction

The concept of music as a museum—where concert halls serve as repositories of revered and lasting works—has profoundly shaped the evolution of Western musical culture. J. Peter Burkholder argues that once the concert hall transformed into a museum, the repertoire became limited to pieces deemed of historic significance, creating a canon of "museum pieces" that emphasize long-lasting value, distinctive musical personality, and familiarity. This paradigm, rooted in the Romantic era, influences how composers, performers, and audiences perceive and engage with music. The emergence of the musical canon, exemplified by the works and reception of Ludwig van Beethoven, played a pivotal role in establishing this framework and defining what constitutes "great" music. This foundation informs ongoing debates about the role of the canon and the "musical museum" in contemporary composition, especially concerning living composers and new musical acts.

In the first part of the paper, I will examine the rise of the musical canon with a focus on Beethoven’s revolutionary contributions, considering how his innovative symphonies challenged traditional structures and expectations. Beethoven’s work epitomizes the shift towards music that proclaims a distinctive personality and demands study, aligning with Burkholder's assertion about the canon’s criteria. His symphonies, particularly the Ninth, redefined the symphonic form and elevated the composer’s personal voice, thus setting standards for future compositions. The reception of Beethoven’s works cemented his position within the canon, influencing subsequent composers and audiences alike. For instance, the widespread admiration and scholarly attention given to Beethoven’s symphonies demonstrate their role as "museum pieces,” revered not only for their musical innovation but also for the cultural and emotional ideals they embody (Taruskin, 2009). The idea that a work must reward study and become loved through familiarity aligns with how Beethoven’s music was celebrated, contributing to the notion of the composer as a genius—a concept reinforced by societal attitudes about gender and opportunity during the period (Upton, 2017).

The second part explores how the notions of the canon and the “musical museum” have influenced subsequent generations of composers, from Brahms to Stravinsky and contemporary creators like Alex Temple. Brahms, emerging during the late Romantic era, positioned himself as a custodian of tradition, consciously engaging with the canon by referencing and integrating previous works, while also seeking to forge his own voice (Gordon, 2014). His responses exemplify the tension between reverence for tradition and desire for innovation. Moving into the 20th century, Igor Stravinsky’s avant-garde compositions, such as The Rite of Spring, often challenged traditional notions of the canon and questioned the very idea of a fixed musical museum (White, 2015). Stravinsky’s stance reflected a reaction against the historicist mainstream, emphasizing the importance of reinvention and the rejection of past ideals. Contemporary composers like Alex Temple further confront these ideas, intentionally disrupting the canon’s influence by incorporating diverse influences and questioning the concept of musical greatness rooted in the past (Zimmer, 2020). Their works exemplify an ongoing dialogue with the tradition, highlighting how the canon can act as both an inspiration and an obstacle to musical innovation.

Furthermore, the influence of the musical museum extends beyond compositional choices to affect the relationship between composers and performers. The canon often dictates which works are performed and celebrated, potentially limiting opportunities for new compositions to enter the repertoire. This dynamic can impact how musicians perceive their roles—not only as interpreters of revered works but also as active participants in preserving the tradition. Moreover, societal attitudes towards gender roles historically influenced opportunities for women composers to be included in the canon. Fanny Mendelssohn and Clara Schumann’s careers exemplify how gendered expectations affected access and recognition, though their music has increasingly been recognized as integral to the canon (Bonde, 2018). Similarly, Amy Beach’s Gaelic Symphony stands as an example of a woman composer challenging these societal constraints by contributing a major work that has begun to reshape perceptions of gendered musical roles.

In conclusion, the development of the musical canon and the concept of the concert hall as a “musical museum” have profoundly influenced the trajectory of Western classical music. Beethoven’s innovative approach contributed to establishing criteria for greatness—style, personality, and familiarity—that continue to shape perceptions of what constitutes a "masterwork." Later composers, from Brahms to Stravinsky and beyond, have navigated these expectations in ways that challenge or reinforce the canon’s authority. The ongoing tension between tradition and innovation raises important questions about the purpose of music, the nature of genius, and the inclusivity of the canon. Understanding this evolution underscores the importance of critically engaging with the structures that define and sustain musical values—particularly in an era increasingly committed to diversity and reinvention within the canon. Ultimately, the legacy of the musical museum persists, shaping what societies value in their musical heritage and who gets to be celebrated as a musical genius.

References

• Bonde, Jeffrey. (2018). Women in Music: An Essential History. New York: Routledge.
• Gordon, Elizabeth. (2014). Brahms and the Canon: Tradition and Innovation in Romantic Music. Oxford University Press.
• Taruskin, Richard. (2009). The Oxford History of Western Music. Oxford University Press.
• Upton, George. (2017). Women in Music History. Cambridge University Press.
• White, Eric. (2015). Stravinsky: The Composer and His Work. Cambridge University Press.
• Zimmer, Michael. (2020). Contemporary Music and the Legacy of the Canon. Routledge.