There are many major developments that one can consider when discussing the influence that contemporary classical music, particularly the language of chromaticism, pan-tonality, atonality and serialism have had on the impact of Jazz. In this piece I intend to focus on developments in modern and post-modern culture that have seen contemporary classical music flourish into a proliferation of new styles and sounds. To help explain this I will give a brief history as well as use examples from ………… and explore how they have been influenced as well as influenced new styles and sounds in an amalgam of musical genre.
Western classical music, which has evolved over centuries, offers a richly varied repertoire of forms and styles, both instrumental and vocal, from the Baroque Era (1600-1799), with influential artists such as Bach, Mozart and Haydn to The Romantic Century (1800-1899), with artists such as Mozart, Wagner and Mussorgsky. In The Century of Modernism (1900-today) classical music has played an even greater part in the influence and proliferation of Jazz and contemporary music genre. Majority of popular styles in Western and European countries lend themselves to the song form, classical music can also takes on the form of a concerto, symphony, opera, dance music, suite, étude or symphonic poem. Classical composers have often aspired to imbue their music with a very complex relationship between its affective (emotional) content and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, repeated in different contexts or in altered form.
It is visible when comparing contemporary classical music and Jazz there is a connection between the technical mastery and the hybridization of musical language.
An influential composer who possibly was one of the first to develop modern classical music into transition was Arnold Schoenberg. ‘Perhaps the most fundamental of all
References: • “So in love” Ella Fitzgerald & Cole Porter • “That Haunting Melody (1911)” Al Jolson