Why should college students appreciate classical music?

Classical music has a unique charm and artistic value. Appreciating some classical music from a young age can broaden a child's musical horizons and help develop a lively and cheerful character. So how do you guide your child to appreciate classical music?

1. Lay the foundation for appreciating classical music. Classical music is more esoteric and difficult to understand, so it is important to pay more attention to enriching children's knowledge in this area. Adults can tell children some ancient stories, look at some ancient pictures and listen to the sounds of classical instruments.

2. Appreciation of classical music should pay attention to ways and means to arouse children's interest, stimulate their enthusiasm, make their imagination active, and better understand the musical works. Before enjoying the music, adults can briefly introduce the name and main content of the musical work to children. Telling the story combined with pictures to the child, so that the child has some psychological preparation when listening to the music, and can produce certain associations with the content expressed in the musical work.

3. When your child is enjoying classical music, you can combine it with stories and poems to help him understand. For example, when appreciating "Ambush on Ten Sides", you can play the music while explaining according to the music plot, so that the child can realize the mood in the music. In addition, you can repeatedly give the child to appreciate a classical music to deepen the impression.

4. Let the child listen to the music while doing the action.

When a child is listening to classical music, he or she often shows a variety of facial expressions or body movements, which is a way for the child to express his or her inner feelings and help him or her to deepen them.

Additionally, when choosing music, adults should pay attention to selecting works that are rich in content, clear in theme, simple in structure, and understandable to children. In daily life, children should be allowed to appreciate more, I believe that children will be able to learn to appreciate classical music.

The above can be used as a reference.

Learn to listen -- how to appreciate classical music

So I also advocate that you first focus on listening to this middle section of the music, although they are the spiritual products of the last two centuries, but still far from being out of date, which the most profound works, the important spiritual wealth of mankind, and today is still often listen to a long time new.

So, listening to this part of the focus should pay attention to what?

Many enthusiasts naturally rally around one skyscraper: Beethoven. Beethoven is the man who took over the classical tradition of Haydn and Mozart with one hand, and broke new ground with the Romantics with the other. His importance cannot be overemphasized, and his important works are endlessly heard and always fresh. We would do well to listen to as many as we can. For in future listening, whether looking back at his predecessors or looking out at his successors, you will need to think of Beethoven.

You're already quite familiar with the symphonies "Heroes," "Destiny," and "The Field. People also pretty much know and also love Beethoven through these works first. Some people also looked up to the temple of the Chorale at an early age. Yet they are works that need to be heard again and again, and never enough. I urge you to listen to the other five symphonies that are often overlooked. Listen to them, and you will both recognize in them a Beethoven whom you already know well, and therefore feel an affinity for; and you will be surprised to discover that there is more to him than you knew! The "First" and "Second" are a glimpse of his youth. "The fourth gives us a touch of tenderness of heart. The "Seventh" and "Eighth" are the jokes of a bold and uninhibited man who sings and dances.

When you have heard the first eight symphonies over and over again, and then listen to the Ninth, it may be easier to hear a greater depth in the reflective and concluding music.

There are two preludes that should not be left out: "Egmont" and "Leonora's Third". The latter, in particular, is actually a compact little symphony with a high density of information.

His thirty-two piano sonatas, which we don't have much time for, let alone understand, even in passing. Especially like that to play nearly an hour of "Op. 106", many people have to "mountain" it! However, rather than listen to some of the works of others, but also to read these: "Pathos", "Moonlight", "Passion", "Tempest" and "Dawn" ("Wallstein").

The deepest and least accessible part of Beethoven's temple are the string quartets. But how can we stop there if we really want to understand the depth of the man, especially in his twilight years? Let's start with some of the more accessible ones, such as the F major (Op. 59 bis), which is accessible yet highly chewy.

After you've familiarized yourself with Beethoven, you can follow the stream of music history down to the starry Romantic school. But it's also worth going back upstream and knocking on Mozart's door first. At first, you may think that Mozart is simpler than Beethoven, and that he is so plain and uninteresting that he does not attract much interest. In fact, it is precisely this kind of seemingly simple and bland music, without the help of literary titles, that makes it more difficult to truly understand its flavor. It may take years of listening to a great deal of music before you can recognize the beauty of its innocence. And once you've discovered it, you're bound to be hooked on it, and then you'll find other people's work to be pretentious and not flavorful enough.

If you have listened to the repertoire that includes important works by Mozart and Beethoven, you have laid a solid foundation. From there, you can go on to listen to title music, folk music. Post-Romantic works are not too unfamiliar. Because these two men were the summation and the beginning of something new, those who came after them were in the same line as them. Impressionism will refresh you in contrast to this tradition. After having feasted on the Romantics. After the fat and sweet of the late Romantics, cross two centuries of time to listen to Baroque music, although it is a source of the musical sea, but the kind of musical language and style that has been reduced to history, is a good sobering agent.

Gaining experience from repeated comparisons, we feel our listening skills improve and seem to be able to feel with a more autonomous musical mind.

We'll leave the specifics of the work to a later discussion of "how to listen," but this letter is an introduction.

Copland emphasizes that a thousand words are no substitute for listening to music. All I can do is urge and assist you to do so, based on what I have learned from my own listening.

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