One result of this: some people, for whom classical music is the basis of operations, cannot always hear what is happening in pop music. A classical musician can listen to a rock song and say: “How disgusting! These rhythms are simply young! The same 4/4 stroke on each measure. “While a rock musician says, ‘Listen to how tight they are!’ – which means we must hear how well they play their beat. Every good band has its own beat. These different beats help to give your music different identities that people in classical music may not hear. , because they hear structural things that just don’t happen in rock. In the meantime, the rhythm develops in a way that they don’t arrive.
In other words (crudely stating an intriguing philosophical difference): classical music gets involved with thought, rock gets involved with body language. I would say that both are necessary to have a complete view of life. But remember, this is actually said in a crass way; Rock music did, and classical music has body language. Only the relative importance of thinking and body language differs.
Powerful Footnotes: First, rock and jazz, with an emphasis on groove and body language, were a musical eruption of non-Western culture (some aspects, anyway), in the heart of the West. . It is a profound change that helps explain some of the most blatant attacks on rock in the 1950s. Was rock the end of civilization? (Or, as a southern sheriff said, was “black [was not the word he used] communist music”?) No, but in many ways it was a nail in the future in the coffin of Western domination.
Second, classical music has not always had the rhythmless music it does now. At least in a famous 19th century song book (The Art of Singing, by Manuel García Jr.), singers are told that they can freely change the rhythms of what they sing, but the accompaniment will remain. stable. He spent. In other words, when a singer increases the pace, going up the hill to the peak, the orchestra will continue to play these Italian operas without any changes. The hallmark of a good opera director today is his ability to move the orchestra with a singer, but apparently that was not what happened 150 years ago.