Session 3‘the elements of music’

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Paul Carr

A musicology presenation that focuses on the relationship between the elements of music and musical form.

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The Assignments list contains the details of the course listening assignments. There are four separate listening assignments of equal value (10%) and each assignment contains five compositions, some of which have more than one movement . You are required to listen to the recordings and write approximately one paragraph on each composition (but not each movement). Therefore, you should submit a five-paragraph document for each assignment through the Canvas assignment page. Many assignment dropboxes will remain available after their posted due dates. Previously, some dropboxes would disappear after a deadline had passed, but now most will be accessible through the end of the term. All student submissions will continue to be date-stamped. Therefore, if you submit an assignment after its published deadline, the tutor-marker will decide whether late penalties will be assessed, based on the grading policies established in your course or by the course supervisor. In composing your paragraphs, please make sure you: Describe what you hear and your impressions of the music. Use the terminology that you have learned in class. The wrong way: “It sounds weird.” The right way: “It sounds weird because the melody, when there is one, uses very large leaps with short phrases. There is no constant pulse, and the rhythm is hard to perceive. Each …” I am not interested in background information that you might find via Google. Do not include filler information, such as the composer’s birth and death dates, his/her teachers, etc. However, please do include some historical perspective from your notes that are relevant to the work, specifically how this work may reflect the composer’s style (or the general style represented by the composer). Please, avoid comparisons to subjective experiences (“It sounds like a chase scene in a movie,” or “It makes me feel like I’m lying in a boat, watching the stars….”). Your descriptions should be based upon what you hear, not how it makes you feel! Also, avoid a blow-by-blow description of the music , such as, “It starts with a solo flute, and then the harp comes in with an arpeggio, then the rest of the orchestra comes in. It gets loud, and then quieter, and then the flute plays another solo....” Instead, try to sum up what you hear . For example: “There are solo passages, often in the flute, which alternate with full orchestra. Sometimes the orchestra echoes the solo, other times it seems to answer it with different material....” Again, try to generalize about what you hear, and about the composer’s style. Below are some general descriptions you should consider ( don’t try to describe all of them!): Texture Monophonic? Polyphonic? Homophonic? Is the texture consistent, or does it change often? Timbre Which instruments are playing? Are they playing in unusual ways? Is the combination of instruments unusual? Melody Length of phrases, type of motion, step vs. leaps, e ...

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120 CHAPTER FOUR .. MUSIC AND OPERA FORMAL AND TECHNICAL QUALITIES We all have favorite forms of music: tejano, reggae, rock, rhythm and blues, rap, gospel, or Classical. Occasionally we are surprised to find that our favorite tune or musical form was once something else: a rock tune that first was an operatic aria, or an ethnic style that combines styles from other ethnic traditions. W hatever the case, all music comprises rhythms and melodies-they differ only in the ways they are put together. In this chapter we shall con centrate first on some traditional forms, but after that we discuss qualities that apply to all music. Music has often been described as the purest of the art forms because it is free from the physical restrictions of space that apply to the other arts. However, the freedom enjoyed by the composer becomes a constraint for us lis teners because music places significant responsibility on us. That responsibility is especially critical when we try to learn and apply musical terminology, because we have only a fleeting moment to capture many of the character istics of music. A painting or a sculpture stands still for us; it does not change or disappear, despite the length of time it takes us to examine and appreciate. Our attempt to grasp musical terminology appears more challenging because many of the concepts seem technical and most of the terminology foreign: specifically Italian. Nonetheless, music plays such a natural and ever-present role in our lives that we undoubtedly know and can perceive more than we suspect at both a formal and a technical level. FORMS At a formal level, our experience of a musical work begins with its type, or form. The term fonn is a very broad one. In addition to the forms we identify momentarily, all of which are associated with what we call "classical" (seri ous, or "high" art) music, we can also identify broader "forms" of music of which "classical" is only one-for example, the musical forms of jazz, pop/rock, and so on (see the Companion Website: Music, Musical Forms). As we will see in Chapter 11, the term Classical also refers to a specific style of music within this broad "classical" form. The basic form of a music composition shapes our ini tial encounter by providing us with some specific parameters for understanding. Unlike our experience in the theatre, we usually find an identification of the musi cal composition, by type, in the concert program. Here are a few of the more common forms: three vocal forms and three instrumental forms. We will encounter a few more in Part II of the text, and will define them within their historical contexts. Mass The mass is a sacred choral composition consisting of five 'sections: Kyrie, Gloria, Credo, Sanctus; �Ad Ag;UJi Dei. tKEE-ree-ay; KRAY-doh; SAHNK-toos; AHN-yoos-day ee). These also form the parts of the mass ordinary-the Roman Catholic church texts that remain the same from day to ...

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Chapter 46Charles Ives The Unanswered Question Composed: 1908 Ives, like other modernists working in the early twentieth century, was trying to find new means of musical expression that went beyond standard conventions of harmony and melody. Nowhere is this struggle between old and new styles more evident than in The Unanswered Question. Listen to the Text Composer Profile: Charles Ives Listen to the Text Ives (1874–1954) both absorbed and rebelled against almost every musical tradition of his time. The son of a Civil War bandmaster, he grew up in Danbury, Connecticut, where he learned many different kinds of music: the orchestral repertory of the concert hall, church hymns, band music, and popular songs in the parlors of the town's homes. Ives worked all of these idioms into his own music, often in the same work. As a composer, Ives's career path also went against the grain. If a composer “has a nice wife and some nice children,” he once asked, “how can he let them starve on his dissonances?” His “day job” was in insurance, and as it turned out, Ives did quite well for himself. He composed in his spare time, but his music was rarely performed or published during his lifetime. Declining health forced him to more or less give up composition after 1918. Only toward the end of his life did critics and performers begin to take note of his music. By the time he died, he was recognized as a pioneer who had challenged convention and gone against the grain well before other American composers would take up the cause of modernism. Charles Ives in his study, ca. 1947. He would not achieve widespread fame as a composer until after his death, when he began to be recognized as one of the pioneers of musical modernism. Exploring The Unanswered Question Listen to the Text First, listen to Ives's composition, using the following prompts as a guide. Then read the discussion of how the elements of music operate in this piece. • Timbre: Listen for the distinctive sound of three different groups of instruments: strings, solo trumpet, and a quartet of wind instruments (two flutes and two clarinets). • Melody: How many distinct themes can you identify? • Texture: Listen for the layered texture of these instruments. Notice that the strings play continuously, while the trumpet and the quartet of winds come and go. • Harmony: Which group plays the most conventional-sounding musical harmonies? Which plays the most unconventional musical harmonies? ♫ Listen to This First Charles Ives, The Unanswered Question Contrasting Timbres The music is performed by three contrasting groups of instruments: • Strings: A small string orchestra of violins, violas, cellos, and double basses plays throughout the entire work from beginning to end, without pause. • Solo trumpet: A single trumpet interjects what Ives called “The Unanswered Question” at five different points over the course o.

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Classic Combo Plate Directions: Before there were all the cart options, I remember going to the cafes near campus that offered combo menus. For a reasonable price, the menu usually had two lists of items and you would choose one from column A and one from column B for a very satisfying lunch. For our musical version of the combo plate, you are asked to select one composer from column A (just the big three) and one composer from column B (a very long Wikipedia page with composers listed by birth year) Both composers must share the same, or nearly the same, birth year . The latitude for this is no more than + or - 10 years. We want to place both of them solidly within the Classic era and also within roughly the same generation. Find one movement of a piece of music by each. that is a total of two tracks for this assignment. Include a link to that specific movement of each piece so that readers of your post can quickly click it to listen. You may use Naxos (a bit easier to pinpoint the exact movement in a longer piece) or YouTube but you are responsible for providing the accurate url. Please be careful in YouTube that your music link takes your reader to exactly the movement you write about. For each of these two tracks provides clearly the full title of each piece and the exact movement title or number if these are from multi-movement works. Provide background information on both of the movements of music you have selected and some bio information on the lesser known composer from "column B". Include musical observations based on your own listening as you compare the two tracks. You may find it easier to make a targeted comparison if you select works of a similar genre (for instance, the first movement of a piano sonata by each composer, or the slow movement of a symphony by each, or the minuet movement of a string quartet, or a soprano aria from an opera by each......) Interesting "fun facts" might include: did the two ever meet? Where did they live, did they study with the same teacher? Were they both performers as well as composers? Did each have a patron? Music Selection parameters Column A Classic era composers are limited to the big three we have covered already this term: Franz Joseph Haydn b. 1732 Wolfgang Amadeus Mozart b. 1756 Ludwig van Beethoven b. 1770 Choose just one movement of one piece by one of these "big three" composers. Column B classic era composers are listed at the page linked below. Scroll to find the birth years you need for a match. https://en.wikipedia.org/wiki/List_of_Classical-era_composers#Middle_Classical_era_composers_(born_1730%E2%80%931750) Choose just one movement of one piece by one of the other classic era composers that you find at this page. Reply post: After completing your main post, make an interactive reply post to another student's main post. An interactive reply post shows you've listened to the music they wrote about (supply track timings for your musical obse.

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Session 3‘the elements of music’

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