For Beethoven, the sonata form is not a scheme that can be used in caprice one day and abandoned the next. This form dominates everything he imagines and composes; it is the very mark of his creation and the form of his thought – an inherent form, a natural one. (Edwin Fischer, Beethoven’s Piano Sonatas). Beethoven’s thirty-two piano sonatas constitute a great treasure that embodies a part of the human eternity. Numerous pianists and musicologists have researched or studied them, trying to impart to their students or readers the prodigality of these true musical riches. Beethoven holds a key role in the transformation and evolution of the sonata form. Even if he maintains the characteristics initially set by his predecessors, Haydn and Mozart, Beethoven imposes on the sonata his strong personality creating a new, impressive, form of art, in which his own life, with its joys and sorrows, is projected.
With Beethoven the musical theme acquires remarkable proportions, of such strength, that it imposes itself over the listener’s attention and memory. As the French composer, Vincent d’ Indy once said, with Beethoven, the musical theme turns into an concept that spreads throughout the hole work making it easily recognizable even if harmonic, modal or tonal aspects change. The fundamental principle of organization of the Beethoven piano sonata is the tonality. We can say that Beethoven perceived tonality as the key to any composition, since it leads to the true understanding of the musical form. In what the structural architectonic of the Beethoven piano sonatas is regarded, there are no apparent patterns: out of the thirty-two sonatas written by Beethoven, twelve have four parts, thirteen have three parts and seven have two parts. Another interesting aspect is that of the diversity of de movement types and the order of succession. The sonatas Op. 26, 27, 54, 109 or 110 reveal this total liberty of dealing with the character of the constitutive pats and their order in the sonata form. But, no matter the movements or their order of succession, there can be established a general characteristic of the Beethoven piano sonata (and work in general) can be easily established: his great care to create a easily perceptible connection between the constitutive parts of the sonata.
Classical symphony- In Western classical music, a symphony is an extended musical composition, scored almost always for orchestra. "Symphony" does not necessarily imply a specific form, though most are composed according to the sonata principle. Many symphonies are tonal works in four movements with the first in sonata form, which is often described by music theorists as the structure of a "classical" symphony, although many symphonies by the acknowledged classical masters of the form, Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven do not conform to this model.

Classical music permeates contemporary life. Encountered in waiting rooms, movies, and hotel lobbies as much as in the concert hall, perennial orchestral favorites mingle with commercial jingles, video-game soundtracks, and the booming bass from a passing car to form the musical soundscape of our daily lives. In this provocative and ground-breaking study, Melanie Lowe explores why the public instrumental music of late-eighteenth-century Europe has remained accessible, entertaining, and distinctly pleasurable to a wide variety of listeners for over 200 years. By placing listeners at the center of interpretive activity, Pleasure and Meaning in the Classical Symphony offers an alternative to more traditional composer- and score-oriented approaches to meaning in the symphonies of Haydn and Mozart.
A classical concerto is a three-movement work for an instrumental soloist and orchestra. It combines the soloist's virtuosity and interpretive abilities with the orchestra's wide range of tone colour and dynamics. Emerging from this encounter is a contrast of ideas and sound that is deamatic and satisfying.
The classical love of balance can be seen in the concerto, wher soloist and orchestra are equally important. Solo instruments in classical concertos include violin, cello, clarinet, bassoon, trumpet, horn and piano. Concertos can last anywhere from 20 to 45 minutes, and it has three movements: (1)fast, (2)slow, and (3)fast. A concerto has no minuet or scherzo.
Int the first movement and sometimes in the last movement, there is a special unaccompanied showpiece for the soloist, the cadenza. The soloist will be able to display virtuosity by playing dazzling scale passages and broken chords. Themes of the movement are varied and presentd in new keys. At the end of a cadenza, the soloist plays a long trill followed by a chord that meshes with the re-entrance of the orchestra. Cadenzas are improvised by the soloist.
Classical Opera is generally considered to a musical theatre production where the singers need a classically trained voice to be heard over the orchestra without benefit of amplification. Generally, classical operas are sung all the way through - works that have spoken dialogue are usually referred to as Operetta.

There are exceptions to both of these conditions - certain works that are technically operettas have become opera house standards and so no such distinction is made - two notable examples being Mozart's The Magic Flute and Strauss' Die Fledermaus. And some opera houses use ambient mics and "reinforcement" to deal with acoustical inadequacies of the house.

But in musical theatre, where mics are hidden in wigs or costumes (or ugh! visible like phone operators), the demands on the voice are greatly reduced and so these productions are generally referred to as "musicals."

Opera began in the late 16th century in Italy (it actually sprang from an attempt to revive ancient Greek theatre) and new works continue to be written today (Phillip Glass, Jake Heggie, William Bolcom, to name a few current composers). Most of the modern repertory of what is considered "classical" opera, however, runs from the period of Mozart (18th century) to the early 20th century works of Puccini.

Dance is an art form that generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting.
Dance may also be regarded as a form of nonverbal communication between humans, and is also performed by other animals (bee dance, patterns of behaviour such as a mating dance). Gymnastics, figure skating and synchronized swimming are sports that incorporate dance, while martial arts kata are often compared to dances. Motion in ordinarily inanimate objects may also be described as dances (the leaves danced in the wind).
Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.
Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop culture. African dance is interpretative. Ballet, Ballroom, Waltz, and Tango are classical styles of dance while Square Dance and the Electric Slide are forms of step dances.
Every dance, no matter what style, has something in common. It not only involves flexibility and body movement, but also physics. If the proper physics are not taken into consideration, injuries may occur.
Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer.
Ballet is a type of performance dance, that originated in the Italian Renaissance courts of the 15th century, and which was further developed in France and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with most of the audience seated on tiers or galleries on three sides of the dance floor. It has since become a highly technical form of dance with its own vocabulary. It is primarily performed with the accompaniment of classical music and has been influential as a form of dance globally. Ballet has been taught in ballet schools around the world, which use their own cultures and societies to inform the art. Ballet dance works (ballets) are choreographed and performed by trained artists, include mime and acting, and are set to music (usually orchestral but occasionally vocal). It is a poised style of dance that incorporates the foundational techniques for many other dance forms. This genre of dance is very hard to master and requires much practice. It is best known in the form of late Romantic ballet or Ballet Blanc, which preoccupies itself with the female dancer to the exclusion of almost all else, focusing on pointe work, flowing, precise acrobatic movements, and often presenting the dancers in the conventional short white French tutu. Later developments include expressionist ballet, neoclassical ballet, and elements of modern dance.

Theatre (in American English usually theater[1]) is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance. Elements of design and stagecraft are used to enhance the physicality, presence and immediacy of the experience.[2] The specific place of the performance is also named by the word "theatre" as derived from the Ancient Greek θέατρον (théatron, “a place for viewing”) and θεάομαι (theáomai, “to see", "to watch", "to observe”).
Modern Western theatre derives in large measure from ancient Greek drama, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre scholar Patrice Pavis defines theatricality, theatrical language, stage writing, and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts, literature, and the arts in general.[3]
Theatre today includes performances of plays and musicals. Although it can be defined broadly to include opera and ballet, those art forms are outside the scope of this article.

Film, motion pictures or movies
Filmmaking, the process of making a film
Movie theater, a building in which films are shown
Cinema (2008 film) or Bommalattam, a Tamil film
Cinema (TV channel), a defunct Scandinavian movie channel
Cinema 4D, a 3D graphics application
In music:
Cinema (band), a 1982 band formed by ex-Yes members Alan White and Chris Squire
Cinema (The Cat Empire album)
Cinema (Elaine Paige album)
Cinema (Nazareth album), or the title song
"Cinema" (Yes song)
"Cinéma" (song), a song by Paola di Medico
"Cinema" (Benny Benassi song)
Cinema, an album by Cachorro Grande
Cinema, an album by ICE MC, or the title song
Cinéma, an orchestral composition by Erik Satie later arranged for piano duet by Darius Milhaud

Photography is the art, science and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor or chemically by means of a light-sensitive material such as photographic film.[1] Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. The result in an electronic image sensor is an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result in a photographic emulsion is an invisible latent image, which is later chemically developed into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a print, either by using an enlarger or by contact printing. Photography has many uses for business, science, manufacturing (e.g. photolithography), art, and recreational purposes.

In New Art Forms blog we’ll try to present most innovative, subversive and controversial artists. The first one is Nigel Tomm. We chose him because of growing controversy all around his art. We’ll take a look at his recent movies, where Nigel Tomm interprets such classical texts as Hamlet, Waiting for Godot or The Catcher in the Rye. Nigel Tomm is also known for his scandalous novel - The Blah Story (up to now 14 volumes are released!), here’s a small quote, i.e., typical The Blah Story sentence: “The blah of the blah was distinctly blah, yet blah was blah sure that it blah from the blah”. So, let’s take a quick look at the artist.

The Catcher in the Rye ( 2008 )
Description from Amazon.com:
This is 75 minutes and 6 seconds of pure blue screen. Nothing less and nothing more. New movie by Nigel Tomm demolishes the boundaries of new absurdism. In 1951, a novel ‘The Catcher in the Rye’ by J. D. Salinger was published. In 2008, a film ‘The Catcher in the Rye’ directed by Nigel Tomm was filmed. Intelligent. Eccentric and subversive. ‘The Catcher in the Rye’ by Nigel Tomm preserves and destroys, it lifts and anchors, it aids and hinders, it’s convenient and frustrating. It has two sides. The most extravagant depths of your wildest imagination are packed in 75 minutes and 6 seconds of pure blue screen. Breathtaking.
Waiting for Godot ( 2008 )
This is 72 minutes and 5 seconds of pure green screen. Nothing less and nothing more. New movie by Nigel Tomm extends the boundaries of new absurdism. It had to happen sooner or later. Nigel Tomm redefines classical drama one more time. Film adaptation of Samuel Beckett’s ‘Waiting for Godot,’ directed by Nigel Tomm, serves us more than meets the eye. The scene apparently represents the shift into dream state, and it’s the most beautiful and surprising screen of mind. This is not a drama revolution. This is a visual morphine where tragedy is expressed in the purest prospect. It’s just a tiny little line between you and the inside of the screen. It’s all in the head, isn’t it? Now you see it. Now you don’t. Hamlet ( 2008 )
This is 63 minutes and 1 second of pure white screen. Nothing less and nothing more. Just shocking new absurdism. Without compromise. Without compare. Nigel Tomm brings his own version of William Shakespeare’s ‘Hamlet.’ Luminous. Sensuous. Iconic. From the moment you touch the play button, the experience begins. Visually stunning, emotionally precise, the extraordinary awaits you. Probably it is one of the most intense, the most radical, the most innovative manifestation of the freedom of thought, of expression and of creation. This is the new ‘Hamlet’ – the most majestic ‘Hamlet’ experience by Nigel Oedipus Rex ( 2008 )
This is 71 minutes and 20 seconds of pure red screen. Nothing less and nothing more. Just pure new absurdism. Bring lights down and take time to reflect. Absolute tragedy now is built in new aesthetics where freedom of expression allows unique experiences. Transform Sophocle’s ‘Oedipus Rex’ and take your own journey into ‘Oedipus Rex’ film, directed by Nigel Tomm. Again and again. It’s infinite. Shocking. Pure tranquility. Precise harmony of horror. As usual. Nigel Tomm keeps on top of the shape of drama to come.
Excerpt from the film: The Brothers Karamazov ( 2008 )
This is 73 minutes and 5 seconds of pure magenta screen. Nothing less and nothing more. Just genuine new absurdism. Felt to feel. Enigmatic. Twisted. Absolute morph and absolutely on the edge Nigel Tomm’s film version of Fyodor Dostoevsky’s novel ‘The Brothers Karamazov’ lasts 73 minutes and 5 seconds. 73 minutes and 5 seconds of pure magenta screen. From the outside in, and from the inside out. Unique sense of text visualization. Nigel Tomm is, however, not interested in the meaning of the text. He is interested in the layering and superposition of the text, to serve you exclusive viewpoint of perfectly charged emotions which now are expressed in the purest forms. Be provoked, challenged and inspired.