Influence of Ethnic Consciousness on Composers: Exploring Nationalism in Music, Schemes and Mind Maps of Dance

Download Influence of Ethnic Consciousness on Composers: Exploring Nationalism in Music and more Schemes and Mind Maps Dance in PDF only on Docsity! A New Type of Musical Coherence Module 17 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course August 2017 1 • Nationalism in music • Biography of Claude Debussy • Analysis of Clair de lune Outline 2 • Some nationalistic schools – Scandinavian • Edvard Grieg, Norway (1843-1907) • Carl Nielsen, Denmark (1865-1931) • Jan Sibelius, Finland (1865-1957) Nationalism in Music 5 Grieg Sibelius Nielsen • Some nationalistic schools – French • Georges Bizet (1838-1875) • Claude Debussy (1862-1918) • Maurice Ravel (1875-1937) • Camille Saint-Saëns (1835-1921) Nationalism in Music 6 Bizet Saint-Saëns Ravel • Some nationalistic schools – German • Richard Wagner (1838-1875) Nationalism in Music 7 • Some nationalistic schools – Spanish • Issac Albeniz (1860-1909) • Manuel Da Falla (1876-1946) • Enrique Granados (1867-1916) Nationalism in Music 10 Albeniz Da Falla Granados • Some nationalistic schools – Czech/Slovak • Antonin Dvořák (1860-1909) – Hungarian • Franz (Ferenc) Liszt (1811-1886) Nationalism in Music 11 Dvořák Liszt • Some nationalistic schools – Romanian • Georges Enescu (1881-1955) – Brazilian • Heitor Villa-Lobos, Brazil (1887-1959) Nationalism in Music 12 Enescu Villa-Lobos • Career – Musical milestones • Suite Bergamasque, ages 28-33. • Prélude à l’après-midi d’une faune, age 32. • Pelléas et Mélisande, opera, age 40, after 10 years of work • La mer, age 43 • Children’s Corner Suite, age 46, dedicated to his daughter. • Préludes for piano, first book, his best composition for piano, age 48 Biography 15 • Personal life – Tumultuous • Various wives, mistresses • One of whom shot herself (but survived) • “He was a very, very strange man.” • But was devoted to his daughter. Biography 16 Debussy and daughter Claude-Emma • Personal life – Tumultuous • Various wives, mistresses • One of whom shot herself (but survived) • “He was a very, very strange man.” • But was devoted to his daughter. – Died of cancer, age 55. • Daughter died a year later from diptheria at age 14, due to doctor prescribing wrong medicine Biography 17 Debussy and daughter Claude-Emma Biography 20 • Approach to composition – Always experimental, on the cutting edge • Departed somewhat from tonality. • Nonstandard scales – Modes, whole-tone • Parallel and “nonfunctional” harmonies. – La fille aux cheveux de lin (1:04) – We will see something similar from Jule Styne! • Late pieces are scarcely tonal. – Préludes, book 2 Biography 21 • Approach to composition – Debussy’s fundamental challenge • Find a new type of musical coherence • A new type of organization for an abstract medium Biography 22 • Legacy – Closed out the romantic era • Pushed tonal framework to the limit. • Even though Mahler, Bruckner were yet to come. – Innovative harmony influenced many • Stravinsky, Bartók, Boulez, Villa-Lobos • Gershwin, Ellington, Strayhorn – Particular influence on jazz • 9th, 11th, 13th chords and other tensions. • Traditional organizational techniques – Approximate sonata allegro form – Tonal center (D♭ major) – Unifying motif – Melody based on major triads – Some traditional V-I cadences • Debussy’s own techniques – Couplets – Replace I-V-I with I-III♭-I Clair de Lune 25 26 Audio file A1 A2 Approximate sonata allegro form: A1A2BA3+Coda A♭ E♭ C A♭ F D♭ Melody consists of major triads. V: A♭ E♭ C A♭ I: A♭ F D♭ A classic technique. Compare with Mozart Classic V7-I cadence, then I-IV-I progression. “Cheats” by borrowing traditional expectations. V7 I IV6 I IV6 I7 27 B Couplets with approximate repetition Couplets with almost literal repetition Melodic & rhythmic motif III♭ I III♭ I-III♭-I replaces I-V-I (pivot on A♭) I 30 A3 V47 Imaj7 Return to recapitulation with V7-Imaj7 cadence. (but suspended 4th in V7, Tonic omitted from Imaj7) III7 I6 V7 ii7 V79 III7 vi7 ii7 vi7 V7 Move to coda with traditional V7-I7 cadence Fairly standard progression. 31 Coda Couplets with almost literal repetition Couplets with approximate repetition III♭ I I7 III♭ I III♭ Conclude with III♭-I cadence rather than V-I I-III♭-I replaces I-V-I I 32 Couplets, an ancient technique used in Hebrew poetry (e.g. the Psalms of David) help the ear digest the music. Psalm 8 (KJV) [1] O LORD our Lord, how excellent is thy name in all the earth! who hast set thy glory above the heavens. [2] Out of the mouth of babes and sucklings hast thou ordained strength because of thine enemies, that thou mightest still the enemy and the avenger. [3] When I consider thy heavens, the work of thy fingers, the moon and the stars, which thou hast ordained; [4] What is man, that thou art mindful of him? and the son of man, that thou visitest him? [5] For thou hast made him a little lower than the angels, and hast crowned him with glory and honour. [6] Thou madest him to have dominion over the works of thy hands; thou hast put all things under his feet: [7] All sheep and oxen, yea, and the beasts of the field; [8] The fowl of the air, and the fish of the sea, and whatsoever passeth through the paths of the seas. [9] O LORD our Lord, how excellent is thy name in all the earth!