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    • 18th and 19th centuries

      • Light music is a less-serious form of Western classical music, which originated in the 18th and 19th centuries and continues today.
      en.wikipedia.org/wiki/Light_music
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  2. en.wikipedia.org › wiki › Light_musicLight music - Wikipedia

    In the UK, the light-music genre has its origin in the seaside and theatrical orchestras that flourished in Britain during the 19th and early 20th century. [5][6] These played a wide repertoire of music, from classical music to arrangements of popular songs and ballads of the time.

  3. Eric Coates defined the structure of Light music, adopting pre-existing forms like the suite, the symphony, and the peculiarly English fantasy. Ronald Binge's cascading string effect was later associated with the music of Mantovani.

  4. Starting in the 18th century, light music was the contrast to absolute music. Here was music that was simple and that, as one writer put it, satisfied all the Ts: Tunes, Tonality, Triads, and the Tonic.

    • Where did light music come from?1
    • Where did light music come from?2
    • Where did light music come from?3
    • Where did light music come from?4
    • Where did light music come from?5
  5. Feb 29, 2012 · Composer Ernest Tomlinson and radio producer Tim McDonald describe how light music was lost, a discussion picked up by Radio 2 presenter Russell Davies and conductor John Wilson.

  6. May 3, 2020 · The first great era of radio brought a new generation of composers. In England, the likes of Eric Coates and Ernest Tomlinson composed catchy, upbeat music with patriotic overtones - "Dambusters ...

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  7. Music had two origins, "from speech (logogenic) and from emotional expression (pathogenic)", first proposed by the musicologist Curt Sachs. Reflecting on the diversity of music around the world, Sachs noted that some music confines to either a communicative or expressionistic form, suggesting that these aspects developed separately. [26]

  8. www.jstor.org › stable › 921216Light Music - JSTOR

    Wagner and Liszt are retained in light music until 1914, and the style of to-day has manifest traits of genetic kinship with that of the period of Debussy and Scriabin. When subjected to democratizing and vulgar-izing treatment by light music, any given serious style rapidly deteriorates and often becomes utterly debased. In general we have in the

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