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Britannica Classics Check out these retro videos from Encyclopedia Britannica’s archives. Britannica Explains In these videos, Britannica explains a variety of topics and answers frequently asked questions. Barthes explains that "one must put oneself in the position or, better, in the activity of an operator, who knows how to displace, assemble, combine." Barthes compares this way of understanding Beethoven's music to "the reading of a modern text" which requires "writing it anew." He argues that both Beethoven and the modern text must be modified to make them meaningful in changing cultural and historical circumstances. Barthes writes that "Beethoven's music has in it something inaudible." He maintains that the music produced by the deaf Beethoven cannot be enjoyed in the ordinary fashion. Barthes describes a different myth involving Beethoven's "fatal malady." Beethoven's malady or illness was the loss of his hearing late in life. Barthes writes that "to want to play Beethoven is to see oneself as the conductor of an orchestra." He observes the absurdity of imagining that any child dreams of growing up to be the conductor of an orchestra. The introduction of the orchestra in the performance of Beethoven's music prevents amateurs from approaching it. Barthes blames the disappearance of the amateur musician on the romantic image of Beethoven's music. Beethoven's legacy contains "the trace of a movement, of a journey, it appeals to the idea of fate." Barthes maintains that Beethoven's story can be read as a myth about an artist searching for truth and afflicted with "a fatal malady." Barthes identifies some recognizable structural features in the story of the "Romantic Beethoven." He notes musical and psychological features as well as contrasts in intensity and a break with tradition. 
His story is thus endowed with romantic myths about creativity and emotional expression. Barthes writes that "Beethoven was the first man of music to be free." His romantic style escaped the constraints of more formal classical styles. is a trading name of Music In Print Limited, a company registered in England and Wales. He observes an uncertainty in the mythical and modern role that Beethoven inhabits in music history. Barthes points to the German composer Ludwig van Beethoven's (1770–1827) music for an explanation of the decline of interest in learning to play an instrument.Barthes sees musicians as technicians who abolish "in the sphere of music the very notion of doing." Fewer people spend time learning an instrument for the sheer joy of playing it because of the lowly status associated with being an amateur or nonprofessional. He writes that "passive, receptive music, sound music, has become the music." The muscular nature of performance has changed with the evolution of new means of creating music. The search for "practical music" that is performed should be conducted in "concert, festival, record, radio." Barthes contends that classical music performed by pianists is no longer the most popular style of music.
He thinks this class is disappearing in the wake of the cultural trend toward working longer hours.
He associates musical performances with the leisure class. He explains how music that gets performed either with instruments or through singing is muscular and bodily. Abraçar a sua individualidade é bom por vários outros motivos. "Musica Practica" distinguishes between "the music one listens to" and "the music one plays." Roland Barthes contends that each is its own art form with a unique social and historical context. Aprender a abraçar a sua individualidade pode ter um impacto positivo na sua saúde mental, construir a sua autoconsciência, melhorar a sua autoestima e ajudar você mesmo a encontrar um maior senso de propósito na vida, sendo mais claro sobre quem você é e quem você não é.
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