Gareth Malone's How To Enjoy Classical Music: HCNF (Collins Shorts, Book 5)
Collins Shorts – insight in an instant.
There’s more to classical music than Beethoven’s Fifth, but where to start? Gareth Malone, the charismatic TV choirmaster, gives you some easy tips on how to appreciate a whole new world of music.
Collins Shorts are a fresh look at the ebook short, with the emphasis on vibrant design, animated content and expert authors who can provide accessible insight. They satisfy your thirst for knowledge without the need for time commitment.
This ebook will work on all e-readers but delivers its full punch on devices that support colour and animation. Please note the extent is between 20 to 40 pages, depending on your settings.
it when it’s on because it’s not musical. Composers keep us listening and interested by varying pitch and rhythm – but also the sound quality. If that doesn’t change enough then it’s like staring at a monochromatic picture – you want colour. In music we refer to colour as ‘timbre’. Timbre is a bit like the mix of flavours that makes up the individual taste of a wine or a particularly good cake. Our sensitivity to timbre is extremely developed. We can recognise the difference between
relatively similar sounds: a champagne cork exploding and a gunshot, our own front door opening and that of our neighbour’s coming through the walls, and we can often recognise people on the telephone from the first ‘hello’. Listening to classical music is helped by knowing the context in which the piece was written. Knowing that Bach was a devoutly religious man explains the serious nature of his composition. Knowing that Beethoven had a fiery personality tells you so much about his
familiar. There may well be one or two points that you remember hearing the first time. You’ve got their number and you’ve given them that all-important second chance. By the third date something of the structure of the piece should become clearer. Familiarity has set in and you may be able to predict – even look forward to – changes in the music, how many sections it is in, when we are heading for a climax, and so on. You’ve fallen hook, line and sinker. You’ll wake up humming it
listening? But think how often you meet someone and fall in love at first sight – once in a lifetime? Many pieces of music take time to get to know. Everybody experiences music differently. Several factors can affect this: the context, how much you know about the piece and how often you have heard it before. Try listening to a piece of classical music that you know well in a variety of contexts: You’ll find that the atmosphere of the piece changes and affects the activity as much as
the activity affects the music. What are you supposed to be hearing and how is it possible to change the way you listen? Why is it that classical musicians can talk endlessly about the merits of one violinist over another? Does it really affect how I listen if I know that Mozart was born in 1756 or any of the myriad of apparently pointless facts that seem to surround classical music? As I’ve said, there is no one correct way to listen to classical music. That said, there are facets of