Music: Western vs. Non-Western, Reactions, and Notation, Study notes of Music

Download Music: Western vs. Non-Western, Reactions, and Notation and more Study notes Music in PDF only on Docsity! MUSC130 Western vs. non-western Reason: globalization (yay youtube) Reactions to music Personal Cultural Universal Ancient Greeks believed music played a role in maintaining the balance in the world Affective - emotional reponse Kinetic - body movement in response to music Absolute music - music without any extra musical association supplied by the composer Program music - music meant to point to something outside itself e.g.: "La Mer" by Claude Debussy e.g.: "Pastoral Symphony" by Ludwig Van Beethoven ("Country Air," "By the Brook," "Country Dances," "Storm," "Calm after a storm") Music in: quotation, words, supernatural, drama, dance, synergism Quotation: when a familiar melody is quoted, or utilized in another song Words: using recognized words, e.g.: quotes from the Bible, Shakespeare, etc P'ansori: popular 19th century genre of Korean traditional music, super long (8hrs), features Sorikkun (singer), Gosu (drum player) Supernatural: Ancient Greek philosophers believed that certain melodic scales had an "Ethos", Shamans believe music can heal Drama: film, radio shows, commercials, etc. Dance: art in time Synergism: combining various disciplines. "Total Art Music" Gesamtkunstwerk Methods of music notation: Solfege: do, re, mi, fa, sol, la, ti, do greek and arabic equivalent HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y nd S el l T xt bo ok s Guidonian hand (different gestures for notes) Music can be repeated orally and in writing Notation: two types abstract - abstract prescription of notes for a player to sound tabulature - tells the player where to place the fingers and when Earliest forms of music notation - in sculpture and paintings, there are visual images of performances with lutes drums, flutes, etc Early abstract notation Writing symbols above the text - symbols referred to as Neumes Earliest Neumes were inflective marks which indicated general shape, but not necessarily the exact notes or rhythms to be sung Byzantine Neumes - present-dat notation that manitains the use of neumes. This notation began out of the regions of the Byzantine Empire and exists as both a performance genre and sacred genre for the Eastern Orthodox Church Evolution from Western Neumes to Present-Day Staff Notation 1 - Neumes above notes 2 - Use of the Alphabetical A-G above the text ... first written horizontally, then later vertically 3 - addition of lines to form what we today would call staff lines in conjunction with the use of both neumes and dots (later to become notes). A new set of symbols called "clefs" appear, assigning pitches to each of the lines and space between the lines 4 - Notes mature orthographically, how to depict different rhythms gets worked out and lastly tuning theories evolve Facts about Western Staff Notation The lines and spaces show desired pitch Rhythm can be written Visual Multiple notes can be placed simultaneously It is pitch-specific Can be initially complicated to learn Guitar Tabulature Shows where to place fingers Easy to learn HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Other - bagpipes Brass Metal - trumpet, Tibetan trumpet Other - animal horns, tusks, shells Chordophones - instruments containing strings that are either bowed, plucked, or struck Sympathetic strings - additional strings found on some instruments that are typically not played directly by the performer only indirectly through the tones that are played on the main strings Bowed - violin, sarangi Plucked - banjo, guitar, Japanese koto, oud, Burmese harp, baglama, kanun Struck - piano, hammered dolcimer, Membranophones - have a membrane that is either hit or struck by hand, stick, fingers, mallet, etc Tuned - timpani, tabla Untuned - snare drum, dumbek (tombek), tambourine Friction - cuíca, Idiophones - self-sounding instruments (percussion) Struck - gong, woodblock Plucked - music box, African mbira, kalimba Tuned-struck - church bells, xylophone, vibrophone Electrophones - synthesizers Musique Concréte - no instruments or performers needed. - the technician is both the composer and performer; ordinary sounds are manipulated Idiom Transfer - the timbre of one instrument is imitated by another instrument Organology - study of instruments Time Tempo is the speed or pulse or beat Metronome - used to mark beats of different tempos There are tempo markings in western music HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Allegro - fast (120 -260 bpm) Andante - walking pace (76-104 bpm) Largo - extremely slow (40-58 bpm) Adagio - close to largo, but not quite as slow Ritardando - when the tempo gradually becomes slower (found more often in music, often used at the end of a piece, or to create suspense) Accelerando - when the tempo gradually becomes faster Rubato - tempo both accelerates and ritards (common in non- western music, sometimes in western to show drama) In music beats can be grouped and can fall into patterns Some groups have 2, 3, 4, or more beats (like in a metered poem, with stressed and unstressed syllables) Music can contain both STRESSED beats and UNSTRESSED beats Strongest stressed beat - DOWNBEAT How to determine the Meter (pattern of the grouped beats) 1) Identify the downbeat (strongest) and then count the beats 2)Conduct the beats: Downbeat - is the initial beat marked by the movement of the arm going down in conducting Upbeat - is the final return of the arm to the starting position at the end of a conducting pattern. This is an unstressed beat. Simple Duple Meter Pattern - 2 Beats 1 downbeat + 1 unaccented (upbeat) | 1, 2 | 1, 2 | 1, 2 | Simple Triple Meter Pattern - 3 Beats 1 downbeat + 1 unaccented + 1 upbeat aka - Waltz | 1, 2, 3 | 1, 2, 3 | 1, 2, 3 | Simple Quadruple Meter Pattern - 4 Beats HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y nd S el l T ex tb oo ks 1 downbeat + 1 unstressed + 1 stressed + 1 upbeat Beat 1 is the primary accent, Beat 3 is the secondary accent (next strongest accent) | 1, 2, 3, 4 | 1, 2, 3, 4 | 1, 2, 3, 4 | Compound Duple meter Pattern - 6 beats 1 downbeat, 2 unaccented, 1 upbeat, 2 unaccented | 1, 2, 3, 4, 5, 6 | 1, 2, 3, 4, 5, 6 | 1, 2, 3, 4, 5, 6 | Compound Triple Meter Pattern - 9 beats Accents on 1 (upbeat), 4, and 7 | 1, 2, 3, 4, 5, 6, 7, 8, 9 | 1, 2, 3, 4, 5, 6, 7, 8, 9 | 1, 2, 3, 4, 5, 6, 7, 8, 9 | How do we write Meter in Music Time Signature consists of 2 numbers, one above the other Top number tells how many beats per mesure Bottom number tells what kind of note gets one beat 4 on bottom = quarter note is 1 beat, half is 2 beats, whole note is 4 beats, eight note is 1/2 beat, sixteenth note is 1/4 beat, 8 on bottom = eighth note is 1 beat, quarter is 2 beats, half is 4, whole is 8 beats, sixteenth is 1/2 beat A Dot added to the right of a note adds to the duration of a note by 1/2 the quantity of the note plus its original quantity (1.5 note) Measure - formed by bars used to separate beat parts Simple duple 2/4, simple triple 3/4, simple quadruple 4/4 If it has 2, 3, 4 in the top number of the time signature (i.e. 2 beats per measure, etc) then it is simple meter. If it has 6, 9, or 12 in the top number of the time signature (i.e. 6 beats per measure, etc) then it is compound meter. Simple meter - means that each beat can be divided into two notes HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Chromatic scale -adding chromatic notes to your piece can add color -consists of half steps Gypsy minor scale -scales containing the interval of an augmented 2nd (more than a whole step) Modes -related to the word “mood” -ex. northern indian mode Bhairavi represents melancholy and is performed in the early morning before sunrise -ex. western catholic church- 8 church modes of medieval chant such as aeolian 10/5 Modes recognized by distinctive scales each associated with particular mood or ethos Western church modes- Ionian, Dorian, Phygian, Lydian, Mixolydian, Aeolian, Locrian Disjunct interval- intervals greater than a third Conjunct interval- intervals less than a third Contour- shape of the melody Example “Joy to The World” falling “Frère Jacques” rising “La donna e mobile” Both Stylistic Options for a melody: Sequence- short melodic fragment is repeated each time beginning on a different step of the scale Inversion- repetition of a melody upside-down as if almost a reflection Augmentation- increase time values of each note of the original melody as if to stretch the melody making it fell longer and slower Diminution- opposition of augmentation HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Motive- shortest melodic unit that is easily recognized and relatively complete in itself Ex. Beethoven’s Fifth Modulation- changing the tonic of the original melody from one key to another giving the melody a fresh, contrasting point Key Signature- located prior to time signature that establishes scale or mode by means of identifying the sharps and/or flats that relate to the said scale/mode Most Common Modulations: Tonic to Dominant, Major to Minor Texture- how and to what extend melodic lines are simultaneously combined Monophony- one melody by itself without any additional accompaniment Heterophony- tow or more versions of the same melody performed simultaneously. Everyone keeps same tune in their own way Polyphony- more than one melody at the same time Parallel Motion- same melody different pitch levels other than octave Oblique Motion- one part fixed other moves Imitative Counterpart- same or similar melody appears at different entries Non-Imitative Counterpart- two or more different melodies of similar importance 10/7 Polyphony- parallel motion Def: same melody at different pitch levels other than an octave -parallel 3rds or 6ths -parallel 4ths or 5ths -parallel 2nds or 7ths Polyphony- oblique motion HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Def: 1 part remains at a fixed pitch while another part moves (i.e. bagpipes, Irish Ill’n pipes) Polyphony- diaphony (a different type of oblique motion) Def: same as oblique, but specific to voice (i.e. Bulgarian women’s choir, Byzantine chant) Polyphony- imitative counterpoint Def: same or similar melody appears in various parts but with different points of entry -2 types: 1) Exact or “strict” imitation -canon -round (“row row row your boat”) 2) Free imitation -fugues (17th c. Baroque music) Polyphony- non imitative counterpoint Def: when 2+ different melodies of similar importance occur simultaneously (i.e. Korean shinawi music, Gottschalk’s “L’ Union”) Homophony Def: melody with accompaniment; where the melody dominates but is supported by the other parts (i.e. popular music, Mozart’s piano concerto No. 21) Chordal Texture Def: 4 pts where all parts move nearly always at same time (alto, soprano, tenor, base) Harmony Def: looking at music in horizontal (melody) + vertical (line up of notes) fashion correspondence What is a Chord? HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld rs .c om Bu y a nd Se ll Te xt bo ok s -designate each block w/ a letter -”A” is the first section, “B” may be second ex) “Road to Batoche” fiddle -AB form: my country tis of thee -ABA ternary form: menuet I and II AAB German Bar Form -each stanza follows the pattern aab -ex) track 34 Lutheran chorale AB rounded Binary form -popular dance form from the 18th C., used for contests -ex) Red River Jig (I-V repeat V-I repeat) Popular song AABA -allows for repetition and some contrast -ex) “I’m walkin” fats domino Strophic form -music repeats from verse to verse Strophe + Refrain -music for refrain usually different than strophes -refrain usually shorter than verses -may sing a refrain after each verse Rondo form- ABACA (5 or 7 part, come back to A) -theme -Episode in dominant key (v) -theme -different episode in contrasting key -theme -ex) haydn piano trio in g major HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Theme & Variation -what are some ways to vary a musical theme? -rhythm, change key, add ornaments, tempo 2 types of variation -simultaneous -successive: different each time Variations on a ground bass -sectional variations -continuous variations Free strict Pairing -1st section usually slow tempo, but with variety of rhythms -1st section introductory -2nd section faster tempo 10/14 Closed form -modular -strophe + refrain -theme + variation -free strict pairing -developmental form Closed form: free strict pairing Def: pairing of a slow, unmeasured prelude with a fast, measured piece ex) Balkan Zuma Prelude + Dance, Indian Alap & Gat, Prelude + Fugue, Recitative + Aria, Jap Neton -Indian Alap + Gat -raga: mode HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks -tala: rhythmic cycle -Alap is rhythmically free-establishes raga thru melody -Gat or the actual “composition”-melody in the established raga is rhythmically structured within tala -Recitative + Aria -Recitative is rhytmically free -Aria is the actual song -ex) marriage of figaro by mozart Developmental form -Fugue -monothematic form -established in the baroque 17th c. -polyphonic: begins in exact “strict” imitations and then turns to free imitation -main elements: -subject: theme; introduced at beg. in 1 voice, next voice enters when subject is fully established -answer: 1st time the subject enters and its not on the tonic, often enters on 5th scale -exposition: once subject has been introduced by all voices, this section is the exposition -episode: section of fugue where the theme is not present in any of the voices -stretto: a section of fugue where voices re-enter with the theme and often overlap. this is often found towards conclusion of the piece as the piece up to this point is building intensity. climax of piece. -Sonata form -”sonata” is a genre, an instrumental work involving 1+ performers -”sonata form” is not the sonata as a whole, but the form of its 1st movement of other genres likes symphonies and quartets. fully established in classical era or 18th c. -main elements: HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks Text and poetry -the poem is the primary art form of the Middle East -melodies viewed as device to help present text ex) Yunus Emre- 13th c poet of Muslim order, one of the most important Turkish poets Modes -Maqam (Arabic) -Makam (Turkish) -Dastgah (Iran) -the scales are microtonal (ex. Makam Hijaz) Improvisation -appreciation for repetition -common to begin a piece with a solo -Taqsim or taxim: improvisation w/ an instrument -mawwal or layali: improvisation w/ voice Rhythmic modes -turkish: usul -arabic: iqa’a -iran/persian: darb The Takht -traditional ensemble that formed the base- group of arab music in the late 19th c/20th c -instruments in the takht: -ud or oud -nay or ney -nay or ney -kanun (qunun) -kemamce (kamamja) -riqq Instruments of the Turkish Janissary Bands HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks -Zil (cymbals) -kos (timpani) -davul (bass drum) -nakkare (small timpani) -cavgah (turkish crescent) 11/6 Ludwig Van Beethoven -physical and forceful energy of romanticism and delicacy of classicism combined in Beethoven -trained and exploited by father -moved to Vienna, musical capital of Europe, at age 22 -growing deafness leads to social isolation 1801-18 -32 piano sonatas 11/9 Review: -Bach wrote for church, did not write for opera -Mozart wrote for aristocracy -Handel wrote opera, oritorio, developed English oratorio -difference between Baroque (1 effect/movement) and classical (2 effects and emotions) -Florentine camarata: came up with opera -sonata de camera: for entertainment, not at church -oritorio: no stage movement or scenario -Ode to Joy: 9th symphony, based upon Schiller -Roika: 3rd symphony dedicated to Napolean Ch 19- 19th C Art & Music Visual Art -change from portrait painting to landscape, emphasis on nature HTTP://NOTES.BOOKHOLDERS.COM Bo kH ol de rs .c om Bu y a nd S el l T ex tb oo ks Ruckenfigur -added dimensions for observer -idea of incorporating different disciplines of art Cross Disciplines -literature- Ossian -Art- (i.e. Ossian’s Dream by Gerard) Contrasts in color -grotesque The Sublime -Raft of the Medusa Nationalism -the heart of 19th c romanticism -reacting against foreign rule, ppl found a national identity in their cultural past Music in the Romantic era -medieval legends, writings of Shakespeare- all supplied literary inspiration Characteristics in romantic era -chromatic melodies and harmonies -larger orchestration with a wider range of instruments -moods widely contrasting in same composition -less predictable forms Program music -instrumental concert music with an extra musical association -although it existed previously (Beethoven’s Pastoral Symphony), it didnt become dominant until 19th c. -programmatic concert overtures HTTP://NOTES.BOOKHOLDERS.COM oo kH ol de rs .c om Bu y a nd S el l T ex tb oo ks How did opera move from italy to france? -italian troop visits paris 1752 (nearing classical era) -vaudeville -carnival -Gluck present at performance 2 types of opera in Baroque and classical -serious opera -comic opera Opera Seria -purpose: promote morality and models of merciful rulers -serious subjects -heroic operas- conflict of human passions (love against duty) -librettist/poet- metastasio set the form Comic opera -purpose: caricaturing the foibles of aristocrats and commoners -italy- sung thru out; france/germany- dialogue is spoken -sung in dialect (language of that country) -comic cast with serious characters -rapid recitative with keyboard only (opera seria- full orchestra) -6+ singing characters Opera of Handel (baroque) -serious opera -3 acts -recitative- set up action -aria- expression of characters Opera in baroque versus classical Baroque: -monody -1 effect HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks -decorated sets -little to no movement -arias- very long and improvisation -use of castrati singers Classic: -homophonic -more than 1 affect -staging movement -arias- short, written out Ch. 15 -Jazz, blues, rag time, soul, r+b, funk, gospel, rap Ragtime -peaked 1890s to 1915 -started in cities of New Orleans, St Louis and Bmore where the pianist was called “professor” -style: -piano music/piano roll -rhythms built on steady 2/4 beat in left hand w/ syncopated melody in right -improvised “ragging tunes” Ragging Tunes -taking bits of popular tunes and improvising on them in an early jazz, syncopated, African American style “Professors of Ragtime” -Eubie Blake (Bmore) -Jelly Roll Horton (New Orleans) -Scott Joplin (Missouri) “Maple Leaf Rag” HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks -Scott Joplin- composer -first published in 1899 -wanted it played “as written” w/o ragging First African American virtuoso pianist -James P Johnson (NY) -paved the way for artists like Art Tatum and Thelonius Monk Blues -poetic (AAB) + musical (12 bar blues) form + feeling -boogie woogie -rhythms and blues -rock and roll -soul -influenced jazz Blues techniques -note bending, scooping and sliding -ambiguous use of 3, 5, and 7 scale degrees (blue notes) -blues progression: I IV V I (12 bar form) -blues scale (a pentatonic scale with the blues notes added) -rhyming text Blues soloists -Bessie Smith (track 23) -Billie Holiday Boogie Woogie Blues -1920s-30s -Faster version -12 bar blues progression with strong rhythmic left hand pattern in the piano part -fast passages in the right hand Chicago blues HTTP://NOTES.BOOKHOLDERS.COM Bo ok Ho ld er s.c om Bu y a nd S el l T ex tb oo ks