63 Sentences With "absolute music" | Random Sentence Generator

"To me, the most pernicious thing ever written in the history of music is the Hanslick treatise about absolute music," said Michael Lewanski, the conductor of Ensemble Dal Niente.

To cap off this historical parallel, that meant the structural concepts of "listening" to absolute music were, in all respects, the same that intelligent dance music created within the genre of 1990s dance music as a whole.

Ambition or creativity—or ambition for creativity—meant both artistic trends captured a sort of auditory syncretism that, whether "pure," absolute music or intelligent dance music, sought out the future using ideas left concealed or unexpressed in the past.

Carl Dahlhaus describes absolute music as music without a "concept, object, and purpose".

In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layman listeners as an expression of sadness in music. Also called "abstract music", absolute music is music that is not explicitly "about" anything, non-representational or non- objective. Absolute music has no references to stories or images or any other kind of extramusical idea.

There was intense debate over absolute music versus program music during the late romantic era in the late 19th century. Advocates of the "absolute music" perspective argued that instrumental music does not convey emotions or images to the listener. They claimed that music is not explicitly "about" anything and that it is non-representational.M. C. Horowitz (ed.), New Dictionary of the History of Ideas, , vol.

202; Davidson, Israel, "Kol Nidre", The American Jewish Year Book 5684 (1923, NY) p. 191. And similarly, Hyams, Ario S., "Kol Nidre: The Word in Absolute Music", Journal of Synagogue Music, vol. 5, nr.

These different views anticipate in some way the modern debate in music philosophy whether music on its own or absolute music, independent of text, is able to elicit emotions on the listener or musician .

Absolute music (sometimes abstract music) is music that is not explicitly "about" anything; in contrast to program music, it is non-representational.M. C. Horowitz (ed.), New Dictionary of the History of Ideas, , vol.1, p. 5 The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony.

Ryelandt wrote a great deal of vocal and program music, and he often let himself be inspired by extra-musical stimuli. Yet his ideal was absolute music. But there was an ideal beyond that. For Ryelandt, music was a religious vocation.

He compares his music to poetry, in which metaphors may be interpreted in various ways. He does not accept the concept of absolute music, of music that only refers to itself. Without being programmatic, his music has a narrative that can suggest a variety of interpretations.

Absolute is the brand of a long-running series of compilation albums owned by the Swedish record company EVA Records. Initially, the only albums in the series were called Absolute Music, but starting in 1990 there have been other themed albums such as Absolute Dance and Absolute Rock.

Stravinsky in the early stage of his production used Russian folk music in an experimental way, like Groven. Groven's form is metamorphic. He often uses a kind of fortspinnung, and turns themes over to new themes gradually, in a very organic way. Groven did not believe in the concept of absolute music.

Music is rather inextricably embedded in our form of life, a form of life that is, as it happens, essentially linguistic. Thus music is necessarily apprehended, at least in part, in terms of the language and linguistic practices that define us and our world. This raises interesting points in the debate on absolute music.

Christopher Patrick Maloney is an American singer-songwriter, bass guitarist and music educator. He is widely known for his work with instrumental hard rock band Cosmosquad, his stints in Hardline and with Dweezil Zappa, as an independent solo artist, an instructor at the Musicians Institute, and the owner of Absolute Music Studios in Palm Beach County, Florida.

Ciprian, p.40–42 Instead, Urmuz preferred to attend concerts at the Romanian Atheneum, and, Ciprian writes, had an advanced understanding of absolute music even at age thirteen.Ciprian, p.42 Reportedly, the young man was also in the attendance at lectures given by Titu Maiorescu, a philosopher and aesthete who had influenced both Eminescu and Caragiale.

93 Mahler had by now abandoned all explicit programmes and descriptive titles; he wanted to write "absolute" music that spoke for itself.La Grange, Vol. 2 p. 805 Cooke refers to "a new granite-like hardness of orchestration" in the middle-period symphonies, while the songs have lost most of their folk character, and cease to fertilise the symphonies as explicitly as before.

Many techniques are used to analyze music. Metaphor and figurative description may be a part of analysis, and a metaphor used to describe pieces, "reifies their features and relations in a particularly pungent and insightful way: it makes sense of them in ways not formerly possible." Even absolute music may be viewed as a, "metaphor for the universe," or nature as, "perfect form" ( cited in ).

Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. Another factor that contributed to his perfectionism was Schumann's early enthusiasm, which Brahms was determined to live up to. Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.

In August 2009, Maloney and his fiancee (now wife) Kristina opened Absolute Music Studios, a state-of-the-art music lesson facility in Jupiter, Florida. The studio focuses on modern teaching techniques with an emphasis on contemporary music. The studio has several instructors and teaches guitar, piano, voice, bass guitar, drums, songwriting, recording, band workshops, saxophone, clarinet, flute, trumpet, tuba, ukulele, and many other instruments.

While Tchaikovsky may have been incapable of writing absolute music, his real challenge was that while he was conscious of his formal shortcomings and continued striving for an unreached perfection, his actual ideal never really changed. Because the ideal never changed, the problems to which Tchaikovsky addressed himself never really changed, either. In this sense, it could be argued that he never really grew or matured.Wood, 85.

Both kinds of emotions could be completely different. For such reasons, understandable program music was by Hanslick regarded as impossible. According to him, the true value of a piece of music was exclusively dependent on its value as "absolute music". It was meant in a sense that the music was heard without any knowledge of a program, as "tönend bewegte Formen" ("sounding moving forms").

"Good Thing" is a song written by Pål Svenre and Rebecka Törnqvist, and recorded by Törnqvist for her 1995 album of the same name. The song was also released as a singleInformation at Svensk mediedatabas and appeared on the Absolute Music 20 compilation.Absolute Music 20 The song peaked at No. 13 on the Swedish singles chart. It also charted at Trackslistan, entering after the summer break, on 26 August 1995 ending up at 19th position.

Regarding "absolute" music, orchestral and chamber music has always been Soukup's main concern. In particular he wrote during his whole career a large amount of sonatas and concertos for various instruments. Apart the Concerto for Trombone, Strings and Timpani (1967), written for Miloslav Hejda, all his concertos and sonatas have not been composed for specific performers, but include specific features of the techniques of each instrument. So, although virtuosic, they're relatively easy to play.

Vernon and Irene Castle, early ballroom dance pioneers, c. 1910–18 The waltz with its modern hold took root in England in about 1812; in 1819 Carl Maria von Weber wrote Invitation to the Dance, which marked the adoption of the waltz form into the sphere of absolute music. The dance was initially met with tremendous opposition due to the semblance of impropriety associated with the closed hold, though the stance gradually softened.Silvester, Victor 1993.

Pritchard also accompanied Ugglas on his revue tour. Pritchard's first single "Fast Car", originally recorded by Tracy Chapman, was included in the compilation album Absolute Music 61. She had previously sung backing vocals for Celine Dion and for the Swedish singer Velvet. In 2019, Pritchard appeared on stage at the Eurovision Song Contest in Tel Aviv, Israel as one of the backing singers for the United Kingdom entry performed by Michael Rice.

Xenia Seeberg (birthname Anke Wesenberg, born 4 April 1967 in Geldern, West Germany) is a film and television actress. She is perhaps best known for her role as Xev Bellringer in the science fiction television series Lexx. She also debuted as a singer in 1996 on the EMI Electrola label with her maxi single "Heartbeat". Several of her songs, including "Heartbeat", have appeared on compilations such as Dance Fever (1996), Dancemania 4 (1997) and Absolute Music 20 (1999).

Some Toscanini biographers (including Mortimer Frank and Harvey Sachs) have questioned the merit of the compositions, speculating that Toscanini may have performed them out of a sense of duty. Gian Francesco Malipiero said of Martucci's second symphony (1904) that it was "the beginning of the renaissance of non-operatic Italian music."Gian Francesco Malipiero, Contemporary Music in Italy, in: The Score 15 (March 1956), p. 7. Martucci was an instrumentalist pur sang, taking absolute music as his highest goal.

Tchaikovsky wrote programmatic music throughout his career. While he complained to his patroness, Nadezhda von Meck, that doing so seemed like offering the public "paper money" as opposed to the "gold coin" of absolute music, he displayed a definite flair for the genre. The fantasy-overture Romeo and Juliet remains one of Tchaikovsky's best known works and its love theme among his most successful melodies. The piece, however, is actually one of three he wrote after works by Shakespeare.

Ackté first offered the libretto to Sibelius, who, after two years, declined to set it, explaining in a letter to Ackté that he believed the text should be subservient to the “absolute music” of the score, and he felt unable to achieve that with what he called Aho’s “masterpiece”.Salmenhaara, Erkki. Jean Sibelius and The Tempest, 1993 (originally published in Finnish Music Quarterly, 4, 1993.) Accessed 13 April 2011. Juha was Merikanto's second opera, following Helena in 1912.

The critic Eduard Hanslick, who believed in 'absolute music', lambasted Les préludes. In an 1857 article, following a performance in Vienna, he denounced the idea of a 'symphonic poem' as a contradiction in terms. He also denied that music was in any way a 'language' that could express anything, and mocked Liszt's assertion that it could translate concrete ideas or assertions. The aggrieved Liszt wrote to his cousin Eduard "The doctrinaire Hanslick could not be favourable to me; his article is perfidious".

The "War of the Romantics" is a term used by some music historians to describe the schism among prominent musicians in the second half of the 19th century. Musical structure, the limits of chromatic harmony, and program music versus absolute music were the principal areas of contention. The opposing parties crystallized during the 1850s. The most prominent members of the conservative circle were Johannes Brahms, Joseph Joachim, Clara Schumann, and the Leipzig Conservatoire which had been founded by Felix Mendelssohn.

73 is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music".McVeagh, p. 115 There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet.

Weißheimer left 106 works, including songs and choral cycles. Even though he tried compositionally to go his own way, he could not emerge from the shadow of his great teacher Liszt, and of Wagner. His operas, his cantatas, and his instrumental music underline this. Even if his "absolute" music pays homage to one of the great string quartet and successful "obligatory violin parts" to Bach's Well-Tempered Clavier, he displays in his other works a clear tendency for program music.

No other member of the Balakirev circle identified himself so much with absolute music as did Borodin in his two string quartets, in addition to his many earlier chamber compositions. As a cellist, he was an enthusiastic chamber music player, an interest that increased during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. Borodin based the thematic structure and instrumental texture of his pieces on those of Felix Mendelssohn.

1, p. 5 The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann. Adherents of the "program music" perspective believed that music could convey emotions and images. One example of program music is Berlioz's Symphonie fantastique, in which the fourth movement is the composer's depiction of a story about an artist who poisons himself with opium and then is executed.

Furthermore, Mokranjac's composition teacher Stanojlo Rajičić was a conservative, who insisted that his students should express themselves in traditional forms of absolute music (such as sonata-form). On the other hand, Mokranjac's mature works exhibit a synthesis of neo-expressionist and neo- impressionistic elements. Mokranjac's oeuvre can be divided in three stages, distinguishable by the visible changes in the composer's stylistic orientation, but also by the changing interest in certain genres and performing forces.Marija Kovač (1984) Symphonic Music of Vasilije Mokranjac, Belgrade, Association of Serbian Composers, p. 5.

For most of his life, Kilar's output was dominated by music for film with a small but steady stream of concert works. Post 2000, he turned to "music of a singular authorship". Since his 2003 September Symphony, (Symphony No.3), a four-movement full scale symphony written for the composer's friend Antoni Wit, Kilar returned to absolute music. September Symphony was the first symphony by the composer since 1955's Symphony for Strings (along with another student symphony) and Kilar considered it his first mature symphony (composed at age 71).

The third movement is a slow and enigmatic fugue in four voices . The writing reflects the composer's preference at this point in time for pure, absolute music, free of any suggestions of philosophical, literary, or plastic imperatives . The fourth movement, in rapid tempo and at first in a steady triple rhythm, combines the functions of finale and scherzo. In its intricate, jazz-like syncopated rhythms and abundance of large melodic leaps it is close in character to two piano pieces Chávez wrote in the same year: Blues and Fox.

The aesthetic ideas underlying the absolute music derive from debates over the relative value of what were known in the early years of aesthetic theory as the fine arts. Kant, in his Critique of Aesthetic Judgment, dismissed music as "more enjoyment than culture" because of its lack of conceptual content, thus treating as a deficit the very feature of music that others celebrated. Johann Gottfried Herder, in contrast, regarded music as the highest of the arts because of its spirituality, which Herder attributed to the invisibility of sound. The ensuing arguments among musicians, composers, music historians and critics have, in effect, never stopped.

The symphony has a duration of roughly 35 minutes and is composed in four movements: #Maestoso: Allegro pesante #Scherzo #Andante sostenuto #Rondo: Epilogue à la processional On the experience of composing absolute music, Herrmann said, "For the first time I was not confined to the outline of a story. It was not necessary to depict waves, portray the anguish of a lost soul, or look for a love theme... Consequently, working on the Symphony I had a Roman holiday." Albert Imperato of Gramophone compared the music favorably with that of other 20th century composers Samuel Barber, William Walton, and William Schuman.

Shortly after the change Yoshikawa left the group, to be replaced by Chew Hasegawa (now of Japanese funeral doom band Corrupted) and then by Kazuya Nishimura, known by his stage name Atari. The band's sound from this period was marked by harsh, dissonant punk edited extensively by Eye in the studio, citing Sonic Youth and Funkadelic as influences, among others. This style was seen by some as "pointlessly abrasive" without any underlying motive, making Boredoms nihilistic absolute music, according to some critics; however, the strangeness of the record increased the band's popularity in the musical underground.

In 1846, César Franck composed a symphonic work "Ce qu'on entend sur la montagne", based on a Victor Hugo poem.See the preface of a new edition of C. Franck's Symphonic Poem Les Éolides The same poem was shortly afterwards taken by Liszt as subject of a symphonic fantasy, an early version of his Symphonic Poem Ce qu'on entend sur la montagne. As far as there was a radical new idea in the 19th century, it was the idea of "absolute music". This idea was supported by Eduard Hanslick in his thesis "Vom musikalisch Schönen" which was 1854 published with Liszt's help.

"The struggle with Death is the subject of the first movement, and the andante accordingly dwells on Death's words", writes Cobbett. After a scherzo movement, with a trio that provides the only lyrical respite from the depressing mood of the piece, the quartet ends with a tarantella – the traditional dance to ward off madness and death. "The finale is most definitely in the character of a dance of death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella", writes Cobbett. So strong is the association of death with the quartet that some analysts consider it to be programmatic, rather than absolute music.

The discordant and violent tone of the symphony, written at a time of growing international tension, led many critics to suppose the symphony to be programmatic. Hubert Foss dubbed it "The Romantic" and Frank Howes called it "The Fascist".Schwartz. p. 74 The composer dismissed such interpretations, and insisted that the work was absolute music, with no programme of any kind; nonetheless, some of those close to him, including Foss and Boult, remained convinced that something of the troubled spirit of the age was captured in the work. As the decade progressed, Vaughan Williams found musical inspiration lacking, and experienced his first fallow period since his wartime musical silence.

The aesthetic ideas underlying the absolute music debate relate to Kant's aesthetic disinterestedness from his Critique of Aesthetic Judgment, and has led to numerous arguments, including a war of words between Brahms and Wagner. In the 19th century, a group of early Romantics including Johann Wolfgang Goethe and E.T.A. Hoffmann gave rise to the idea of what can be labeled as spiritual absolutism. "Formalism" is the concept of ‘music for music’s sake’ and refers only to instrumental music without words. The 19th century music critic Eduard Hanslick argued that music could be enjoyed as pure sound and form, that it needed no connotation of extra-musical elements to warrant its existence.

Liszt, in some of his works, supported the relatively new idea of programme music—that is, music intended to evoke extra-musical ideas such as a depiction of a landscape, a poem, a particular character or personage. (By contrast, absolute music stands for itself and is intended to be appreciated without any particular reference to the outside world.) Liszt's own point of view regarding programme music can for the time of his youth be taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined.

The majority of opposition to absolute instrumental- based music came from composer Richard Wagner (notable for his operas) and the philosophers Friedrich Nietzsche and Georg Wilhelm Friedrich Hegel. Wagner's works were chiefly programmatic and often used vocalization, and he said that "Where music can go no further, there comes the word… the word stands higher than the tone." Nietzsche wrote many commentaries applauding the music of Wagner and was in fact an amateur composer himself. Other Romantic philosophers and proponents of absolute music, such as Johann von Goethe saw music not only as a subjective human "language" but as an absolute transcendent means of peering into a higher realm of order and beauty.

Rimsky-Korsakov wrote about the Belyayev composers' "worship of Tchaikovsky and ... tendency toward eclecticism" that became prevalent during this period, along with a predilection toward "Italian-French music of the time of wig and farthingale" (that is, of the 18th Century) typified in Tchaikovsky's late operas The Queen of Spades and Iolanta. Over the long term, Tchaikovsky's influence over the Belyayev composers was not as great. Though they remained more eclectic in their musical approach and focused more on absolute music than The Five had done, they continued writing overall in a style more akin to Rimsky-Korsakov than to Tchaikovsky. Even Glazunov backed away from echoing Tchaikovsky strongly in his mature work, instead amalgamating nationalistic and cosmopolitan styles in an eclectic approach.

The Piano Variations were a product of Copland's second-style period, also called the abstract period, which comprised only instrumental (non-vocal) compositions. During this time, the composer moved away from the jazzy idioms he experimented with in the 1920s and started working more in the direction of absolute music. The influence of composition pedagogue Nadia Boulanger, with whom Copland studied in Paris at the Fontainebleau School of Music for Americans, is prevalent in the formal style, logic, patterns, and attention to detail in the Piano Variations and other works in this period. Copland stated that he worked on the variations individually without an agenda for fitting them together or sequencing them, which seems to contradict the piece's highly ordered construction and seemingly inevitable development.

Newton's Apple is an American educational television program produced and developed by KTCA of Minneapolis–Saint Paul, and distributed to PBS stations in the United States that ran from October 15, 1983, to January 3, 1998, with reruns continuing until October 31, 1999. The show's title is based on the legend of Isaac Newton sitting under a tree and an apple falling near himmore popularly, on his headprompting him to ponder what makes things fall, leading to the development of his theory of gravitation (an event often loosely described as him "discovering" gravity). The show was produced by Twin Cities Public Television (TPT). For most of the run, the show's theme song was Ruckzuck by Kraftwerk, later remixed by Absolute Music.

His output comprised symphonic works (36 Greek Dances, the symphonic overture The Return of Ulysses, the fairy drama Mayday Spell, the Second Symphonic Suite, the ballet The Maiden and Death, works for wind orchestra and several concertos), chamber, vocal and instrumental works including the huge cycle of 32 Piano Pieces. Besides his musical work, Skalkottas compiled an important theoretical work, consisting of several "musical articles", a Treatise on Orchestration, musical analyses, etc. Skalkottas soon shaped his personal features of musical writing so that any influence of his teachers was soon assimilated creatively in a manner of composition that is absolutely personal and recognizable. Throughout his career Skalkottas remained faithful to the neo-classical ideals of Neue Sachlichkeit and 'absolute music' proclaimed in Europe in the 1925.

Over the years rumours developed that the band had recorded a full album that was shelved by Polydor, after they were dropped for the label. However the band never had an album deal, and were only licensed to Polydor for the two single releases. The band did have more than an album's worth of material, and these were largely good- quality demos which were recorded at various studios, including a number of weeks at Rockfield. In recent years, Lane manages the Drum Dept at Absolute Music, Poole, whilst both McFarlane and Lefevre returned to South Africa, Devine moved to Market Harborough and Davey settled in Bournemouth, teaching bass in Bournemouth and Poole College and performing regularly with several jazz bands.

The musicologist Richard Taruskin in 2005 applied the phrase "ontogeny becomes phylogeny" to the process of creating and recasting music history, often to assert a perspective or argument. For example, the peculiar development of the works by modernist composer Arnold Schoenberg (here an "ontogeny") is generalized in many histories into a "phylogeny" – a historical development ("evolution") of Western music toward atonal styles of which Schoenberg is a representative. Such historiographies of the "collapse of traditional tonality" are faulted by music historians as asserting a rhetorical rather than historical point about tonality's "collapse". Taruskin also developed a variation of the motto into the pun "ontogeny recapitulates ontology" to refute the concept of "absolute music" advancing the socio- artistic theories of the musicologist Carl Dahlhaus.

Program music is a term usually applied to any musical composition on the classical music tradition in which the piece is designed according to some preconceived narrative, or is designed to evoke a specific idea and atmosphere. This is distinct from the more traditional absolute music popular in the Baroque and Classical eras, in which the piece has no narrative program or ideas and is simply created for music's sake. Musical forms such as the symphonic poem, ballade, suite, overture and some compositions in freer forms are named as program music since they intended to bring out extra-musical elements like sights and incidents. Opera, ballet, and Lieder could also trivially be considered program music since they are intended to accompany vocal or stage performances.

In April 2012, Stephenson completed an eleven-date high-profile tour with The Daintees playing The Boat to Bolivia album in full to critical acclaim. The touring Daintees line up since November 2010 features original guitarist John Steel (Boat to Bolivia/Jackdaw4), John's wife Kate Stephenson (Midge Ure/Sam Brown/Jackdaw4) on drums, and Lou Short (Martin Stephenson 1997/2000) on bass guitar who left the group March 2013. Daintees have signed a major deal with Absolute music and also have a new agent Neil O'Brien They have remained active in recent years and, in 2018, performed a multi date tour "Gladsome, Humour and Blue 30th Anniversary" tour which culminated in a rapturous reception at the Sage on Tyneside on 8 December that year. This performance was filmed and released on DVD entitled Gladsome 30.

The composer reused the parts of his unused score for The Bible: In the Beginning in such films as The Return of Ringo (1965) by Duccio Tessari and Alberto Negrin's The Secret of the Sahara (1987). Morricone never left Rome to compose his music and never learned to speak English. But given that the composer always worked in a wide field of composition genres, from "absolute music", which he always produced, to "applied music", working as orchestrator as well as conductor in the recording field, and then as a composer for theatre, radio, and cinema, the impression arises that he never really cared that much about his standing in the eyes of Hollywood.Ennio Morricone Interviewed: John Doran, "Compared To Bach, I'm Practically Unemployed", Quietus interview, 8 April 2010.

The suite is in five movements, each bearing a programmatic title in French: # "Renouveau champêtre" (Renewal [i.e., Spring] in the Country) # "Gamins en plein air" (Children Outdoors) # "La vieille maison de l’enfance, au soleil couchant; Pâtre; Oiseaux migrateurs et corbeaux; Cloches vespérales" (The Old Childhood Home at Sunset; Shepherd; Migratory Birds and Crows; Vesper Bells) # "Rivière sous la lune" (River beneath the Moon) # "Danses rustiques" (Rustic Dances) The work follows a programme presenting a day-night-day sequence, as Enescu had done nearly forty years earlier in his Op. 1, Poème roumain, and would do again two years later in the suite Impressions d'enfance for violin and piano, Op. 28. Nevertheless, Enescu transforms his descriptive writing into the realm of absolute music in one of his most sophisticated orchestral compositions . Programme music, however, is rare in Enescu's output.

For Madetoja, the 1930s brought hardship and disappointment. During this time, he was at work on two new major projects: a second opera, Juha, and a fourth symphony, each to be his final labor in their respective genres. The former, with a libretto by the famous Finnish soprano, Aino Ackté (adapted from the 1911 novel by writer Juhani Aho), had fallen to Madetoja after a series of events: first, Sibelius—ever the believer in "absolute music"—had refused the project in 1914; and, second, in 1922, the Finnish National Opera had rejected a first attempt by Aarre Merikanto as "too Modernist" and "too demanding on the orchestra", leading the composer to withdraw the score. Two failures in, Ackté thus turned to Madetoja, the successful The Ostrobothnians of whom was firmly ensconced in the repertoire, to produce a safer, more palatable version of the opera.

As described by scholar William Moritz, the movie is "intricate, dynamic, fast-paced ... juxtapos[ing] similar cultural habits from countries around the world, with a superb orchestral score ... and many synchronized sound effects."Moritz (2003), p. 25. Composer Lou Lichtveld was among a number of contemporary artists struck by the film: "Melodie der Welt became the first important sound documentary, the first in which musical and unmusical sounds were composed into a single unit and in which image and sound are controlled by one and the same impulse."Quoted in Dibbets (1999), pp. 85–86. Melodie der Welt was a direct influence on the industrial film Philips Radio (1931), directed by Dutch avant-garde filmmaker Joris Ivens and scored by Lichtveld, who described its audiovisual aims: > To render the half-musical impressions of factory sounds in a complex audio > world that moved from absolute music to the purely documentary noises of > nature.

Igor Stravinsky, one of the most important and influential composers of the 20th century Neoclassicism in music was a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music. In form and thematic technique, neoclassical music often drew inspiration from music of the 18th century, though the inspiring canon belonged as frequently to the Baroque and even earlier periods as to the Classical period—for this reason, music which draws inspiration specifically from the Baroque is sometimes termed neo-Baroque music.

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