Who First Used The Term "Classical Music" And When?

Usage of term "classical" is itself problematic. In its most objective form, the word might be used when discussing the most eminent artists and authors of Greco-Roman antiquity, whose works exhibited a highly developed sensitivity to balance and clarity. The term itself did not come into use with regard to Western European culture until the late eighteenth century; at that time it was applied as a standard of value. For example, the Schlegel brothers proposed usage of the word to refer to a "paradise lost," a time and stylistic period characterized by logic, simplicity, unity of content and form. Whatever the case, the phrase "Classic Era" as applied by musicologists denotes not so much a single school or nationality, but rather a convergence of similar trends which occurred throughout Western Europe.

I don't think so! Having played the flute for many years I can assure you that much older stuff is still being widely "recycled" - by flautists anyway.

Here's a good (but long) reflection on "Classical Music" that I found at http://www.gprep.pvt.k12.md.us/~music/musikbok/chap13.html

To a modern listener, "Classical music" describes what most people think of as "serious, high-brow" music. To composers and the audiences of the era, nothing could be further from the truth.

Part of this problem comes from the approach many modern performers take when performing music of previous eras. We tend to play them as sterile museum pieces, utterances of gods to be feared and worshipped. Written accounts of these composers and their contemporaries show that the music was treated like a living, breathing entity--with often a healthy amount of improvisation expected to take place. Many modern listeners have been conditioned to look on contemporary jazz/rock musicians as wild and undisciplined performers and past masters as crystalline music-making machines when in reality, they were a great deal alike in their practices.

Let us also not forget when we listen to symphonies, concerti, and string quartets, why they were composed--for entertainment. They were composed by musicians who generally got paid for what they did, many who composed for specific occasions. This was the popular and contemporary music of the time--and like musicians today, composers in past eras often wrote for the markets available--be it for monarchy, the church, the masses, etc. While many of these masters knew they were composing the best music of the time, a lot of them would probably be stunned to find that 200 years later their music is still highly revered by many over the music of our own contemporaries. To the ears of an eighteenth century listener, his music sounded new and emotionally liberated from the older Baroque style. It had an enlightened expression, clearly a medium for the thoughts of the new era. Classical composers found the polyphony of the previous era muddy, and the element of a prominent melody became very important in the era's musical style.

But, Toraneko, my only point was that all this recycling - including the older stuff - began in Mozart's time. Even Bach was forgotten by all but a few connoisseurs for nearly a century, until Mendelssohn sparked a renewed interest.

''We tend to play them as sterile museum pieces, utterances of gods to be feared and worshipped. Written accounts of these composers and their contemporaries show that the music was treated like a living, breathing entity--with often a healthy amount of improvisation expected to take place.''

this is something to be looked at. i do want to know more abt improvisation and the role it has played in classical music. reading a bit abt classical, I would say improvisation was somehow ironed out.

''toraneko you must post more on ilm!!''

I second that!!!

As for improvisation etc. in "classical" music - the pre-classical composers used not to put in very much, if any, notation about tempo and dynamics as it was up to the individual performer to interpret the piece how they wanted. Same goes for trills and other ornamentation. Basically, they'd supply you with the main notes and then you'd fancy it up how you saw fit.

Most really old music, if played exactly as notated, sounds really plodding. Pausing, adding grace notes, altering the timing slightly, syncopating etc. as well as dynamic and tempo changes are needed to make the pieces sound good.

I'm sure there are other ILXers out there with far more musical training who can elaborate more on this.

well it doesn't matter since you play music and obv you have things to say abt it.

OK so what composers made a good use of improvisation in music?

all this talk abt flutes reminds me of an Earle Brown CD I bought from Hat art last week. it's a graphic score for flutes. will listen to this today.