The Social Order and Music

The Social Order and Music by Riedel is an article discussing the expansion of society and music in the 19th century. What Riedel calls the "continuous expansion" of all aspects of human life indeed does effect everyone in the society. As middle-class takes over, an explosion in creativity and productivity (through the invention of mechanical devices, which leads to fewer hard-labor workers) is apparent. Public education becomes important since the work force now calls for more specialized professions. As people become more educated, the idea of individuality becomes more prominent. Spirituality becomes less of a concern than scientific reasoning. The increase in population is seen because of the advanced medial techonology. More diseases are being cured or at least brought under control.

These dramatic changes in society effects the musical society greatly. The biggest change in music during the 19th century is the fact that music is reaching a larger audience. Concert halls and music theaters are being bulit. Middle-class can now afford to go to concerts and purchasing pianos at home. As music publishing and printing become even more popular, more people can afford taking lessons at home. This reaching out of expanded audiences inspires the composers to write with "local color" in mind. Use of folktune materials in music not only is more publicly accessible, it also speaks nationalism. Riedel discusses how the roles of the society and the composers are a bit different from what we have seen in the Baroque and Classical periods. Pre-19th century, composers composed for mostly churches or courts. They were composing for certain purposes. They were told what and how to compose. In the 19th cenutry, the patronage system never disappeared; composers were supported by the rich, rising middle classes. The difference here is that now the composers have the freedom to write what they like. The bonus is that they get paid for it! The idea is that if this rich middle class patron recognizes your talent and like what you are putting out musically, he will support you financially and will want to play your music!

After reading this, I realize how it is not that different from the system we have today. Piano teachers today, who teach from home with their own pianos are pretty much in the same boat. Without the patronage of these students and their parents, it is hard to imagine how these teachers would survive in the money-deprived musical society today. Even something relating to myself personally is the assistantship that I have through FSU. Without the College of Music's patronage of supporting me through school, (so I wouldn't have to starve, ask money from my parents, borrow money from friends, or work at Starbucks...) I would not be able to learn, get my degree and eventually, hopefully, get a descent job in the future. Riedel uses Dvorak's as an example to illustrate the the advantage of the patronage system in teh 19th century when Dvorak received a state stipend for his music, as he was able to use the funding to continue composing as he likes. Riedel commented: "he was liberated by the patronage system rather than limited by it". When he puts it this way, patronage system doesn't seem so bad, and being a well-funded musician is a fortunate thing!