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Why is there no record of music written by the Troubadors, but there was written music for the church?
According to musical history, religious music preceded any secular music including cultural folk music, which was not considered as legitimate worldwide until the late 17th century, but was challenged as early as medieval times. [ This fact reflects the faith values of humanity, being first and foremost and also because it was more universal in its ideas, easily shared over the world, especially
Europe. The conflict of war is responsible for generating musical styles that deal with human survival, including genuine narratives. Cultural trauma was first noticed by the break from monk incantations and notably the Troubadours. ]
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User: Why is there no record of music written by the Troubadors, but there was written music for the church?





Weegy: According to musical history, religious music preceded any secular music including cultural folk music, which was not considered as legitimate worldwide until the late 17th century, but was challenged as early as medieval times. [ This fact reflects the faith values of humanity, being first and foremost and also because it was more universal in its ideas, easily shared over the world, especially Europe. The conflict of war is responsible for generating musical styles that deal with human survival, including genuine narratives. Cultural trauma was first noticed by the break from monk incantations and notably the Troubadours. ]
Expert answered|vlads|Points 76|

User: Describe what the term “Renaissance means and then describe why this era was named as such Answer

Weegy: THE BEGINNINGS OF THE RENAISSANCE The Renaissance defined.- By the term Renaissance (" New Birth"), used in its narrower sense, is meant that new enthusiasm for classical literature, learning, [ and art which sprang up in Italy towards the close of the Middle Ages, and which during the course of the fifteenth and sixteenth centuries gave a new culture to Europe. [By many writers the term is employed in a still narrower sense than this, being used to designate merely the revival of classical art; but this is to depreciate the most important phase of a many-sided development. The Renaissance was essentially an intellectual movement. It is this intellectual quality which gives it so large a place in universal history] Using the word in a somewhat broader sense, we may define the Renaissance as the reentrance into the world of that secular, inquiring, self-reliant spirit which characterized the life and culture of classical antiquity. This is simply to say that under the influence of the intellectual revival the men of Western Europe came to think and feel, to look upon life and the outer world, as did the men of ancient Greece and Rome; and this again is merely to say that they ceased to think and feel as mediaeval men and began to think and feel as modern men. ]
Expert answered|vlads|Points 76|

User: How has technology affected music creation in the 20th century and in pop music?

Weegy: . [ Because music was no longer limited to concerts, opera-houses, clubs, and domestic music-making, it became possible for music artists to quickly gain global recognition and influence. Twentieth-century music brought new freedom and wide experimentation with new musical styles and forms that challenged the accepted rules of music of earlier periods. Faster modes of transportation allowed musicians and fans to travel more widely to perform or listen. Amplification permitted giant concerts to be heard by those with the least expensive tickets, and the inexpensive reproduction and transmission or broadcast of music gave rich and poor alike nearly equal access to high-quality music performances. n the early 20th century, many composers, including Rachmaninoff, Richard Strauss, Giacomo Puccini, and Edward Elgar, continued to work in forms and in a musical language that derived from the 19th century. However, modernism in music became increasingly prominent and important; among the most important modernists were Alexander Scriabin, Claude Debussy, and post-Wagnerian composers such as Gustav Mahler and Richard Strauss, who experimented with form, tonality and orchestration.[1] Busoni, Stravinsky, Schoenberg, and Schreker were already recognized before 1914 as modernists, and Ives was retrospectively also included in this category for his challenges to the uses of tonality.[1] Composers such as Ravel, Milhaud, and Gershwin combined classical and jazz idioms. n the 1950s the film industry also began to make extensive use of electronic soundtracks. From the late 1960s onward, much popular music was developed on synthesizers by pioneering groups like Heaven 17, The Human League, Art of Noise, and New Order. ]
Expert answered|vlads|Points 76|

User: How did composers change the way they composed from the Classical era to the Romantic era?

Weegy: At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic Symphonic writing. [ At the same time, the Impressionist movement, spearheaded by Claude Debussy, was being developed in France. The term was actually loathed by Debussy: "I am trying to do 'something different—in a way realities—what the imbeciles call 'impressionism' is a term which is as poorly used as possible, particularly by art critics" (Politoske 1988, 419)—and Maurice Ravel's music, also often labelled with this term, explores music in many styles not always related to it (see the discussion on Neoclassicism, below). Arnold Schoenberg, Los Angeles, 1948 Many composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions. The single most important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. From this sprang an unprecedented "linguistic plurality" of styles, techniques, and expression (Morgan 1984, 458). In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern; later composers (including Pierre Boulez) developed it further still (Ross 2008, 194–96 and 363–64). Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for the Tom and Jerry cartoons (Ross 2008, 296). ]
Expert answered|vlads|Points 76|

User: When was the harpsichord invented? Answer Twentieth Century Pre-twentieth Century

Weegy: "The earliest known reference to a harpsichord dates from 1397, [ when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the 'clavicembalum';[1] and the earliest known representation of a harpsichord is a sculpture (see below) in an altarpiece of 1425 from Minden in north-west Germany." Whoever invented the harpsichord did not have to proceed from scratch. The idea of controlling a musical instrument with a keyboard was already well worked out for the organ, an instrument that is far older than the harpsichord. Moreover, the psaltery was a widely used instrument of the Middle Ages. Like the later harpsichord, it had metal strings which were held at controlled tension with tuning pins and transmitted their vibrations through a bridge to a soundboard, rendering them audible. The insight needed to create the harpsichord was thus to find a way to pluck strings mechanically, in a way controlled by a keyboard. The 14th century was a time in which advances in clockwork and other machinery were being made; hence the time may have been ripe for the invention of the harpsichord. ]
Expert answered|vlads|Points 76|

User: Thank you!





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