Survey of Western Music (MUS 115) - Mary Byrne
Survey of Western Music (MUS 115) - Mary Byrne
Survey of Western Music (MUS 115) - Mary Byrne
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<strong>MUS</strong> <strong>115</strong><br />
A <strong>Survey</strong><br />
<strong>of</strong><br />
<strong>Music</strong> History<br />
Course Handout for Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D., Instructor
School <strong>of</strong> Arts & Science<br />
DEPT: <strong>Music</strong><br />
<strong>MUS</strong> <strong>115</strong><br />
A <strong>Survey</strong> <strong>of</strong> <strong>Music</strong> History<br />
COURSE OUTLINE<br />
The Approved Course Description is available on the web @ TBA ______________________________<br />
Please note: This outline will not be kept indefinitely. It is recommended students keep this outline for your records.<br />
1. Instructor Information<br />
(a) Instructor: Dr. <strong>Mary</strong> C. J. <strong>Byrne</strong><br />
(b) Office hours: by appointment only (marybyrne@shaw.ca); NOTE <strong>of</strong>fice location<br />
(c) Location: Victoria Conservatory <strong>of</strong> <strong>Music</strong> (900 Johnson Street) studio 320<br />
(d) Phone: (250) 386-5311, ext 5000 or leave message with Victoria Conservatory <strong>of</strong> <strong>Music</strong> staff<br />
(e) E-mail: marybyrne@shaw.ca – Please ensure that you always place <strong>MUS</strong> <strong>115</strong> in the<br />
subject line<br />
(f) Website: www.vcm.bc.ca or visit www.marybyrneflute.ca (see section for student notes for<br />
most recent posting <strong>of</strong> assignments)<br />
2. Intended Learning Outcomes<br />
(If any changes are made to this part, then the Approved Course Description must also be changed and sent through the approval process.)<br />
Upon successful completion <strong>of</strong> this course, students will be able to:<br />
1. Present thoughtful and discriminating commentary on composer, period, and genre style.<br />
2. Discuss select aspects <strong>of</strong> developments in musical instruments, including voice and<br />
orchestra.<br />
3. Discuss music in relationship to social, political, and scientific norms.<br />
4. Present research in written or other format on topics related to music.<br />
5. Discuss relationships between the disciplines <strong>of</strong> music and non-musical fields.<br />
6. Present a performance review <strong>of</strong> a live concert <strong>of</strong> classical music and/or related musical<br />
genres<br />
2 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
3. Required Materials<br />
(a) Texts:<br />
Jan Swafford, The Vintage Guide to Classical <strong>Music</strong> (Vintage Books, Random<br />
House, 1992) – available at Lansdowne Campus Bookstore for $24.95<br />
Course Pack prepared for this course, available at Lansdowne Campus Bookstore<br />
(b) Other<br />
Internet access in a setting permitting focessed audio-video use.<br />
Ticket ($10 at group rate, to be purchased through instructor in mid-September) and<br />
personal transportation to attend Pacific Opera production <strong>of</strong> Giuseppe Verdi’s<br />
Macbeth at the Royal Theatre, October 2, 2012, 6:30-10:00. Please mark this date<br />
with its change <strong>of</strong> meeting location and time on your calendar now!<br />
4. Course Content and Schedule<br />
<strong>MUS</strong> <strong>115</strong> comprises approximately 5-6 hours <strong>of</strong> total time per week, leading to 3 credits:<br />
classroom time: 3 instructional hours (150 minutes) per week: lecture, discussion, and<br />
demonstration on topics relevant to the course materials; listening to and observing<br />
representative works <strong>of</strong> the western classical repertoire; and completing in-class<br />
demonstrations <strong>of</strong> personal study and listening.<br />
Personal study and listening time: approximately 2-3 hours per week: focussed<br />
listening and study relevant to the course materials; out-<strong>of</strong>-class assignments as given.<br />
The goal <strong>of</strong> <strong>MUS</strong> <strong>115</strong> is to get to know and become conversant with wonders <strong>of</strong> <strong>Western</strong><br />
(European-based) classical music. To this end we will:<br />
conduct a historical survey <strong>of</strong> <strong>Western</strong> classical music from Greco-Roman times to the<br />
present through study <strong>of</strong> major composers, major works, and the major artistic periods;<br />
explore the interlock <strong>of</strong> music with the prevailing politics, philosophy, and social<br />
climate at the time <strong>of</strong> composition; and<br />
conduct a survey <strong>of</strong> the base elements <strong>of</strong> music (melody, rhythm, harmony, metre,<br />
form, timbre, orchestration, performance, interpretation, and performance practice).<br />
Class Meeting Times<br />
The class meets once per week, Tuesday evenings, Fischer 100 at Camosun Lansdowne<br />
Campus: 5:30-7:00, 15 minute break, and continuing 7:15-8:15. PLEASE NOTE:<br />
the exception to this schedule is October 2 when we meet at the Royal Theatre<br />
6:30-10:30 for the Pacific Opera Victoria production <strong>of</strong> Macbeth by Giuseppe<br />
Verdi.<br />
A partial list <strong>of</strong> assignments is included in this course pack (See page 10-13) This list<br />
is provided to assist students who must miss the occasional class to remain somewhat<br />
up-to-date with assignments. Additional assignments may be made during class<br />
meetings.<br />
3 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
5. Basis <strong>of</strong> Student Assessment (Weighting), linked directly to learning outcomes.<br />
Assignments (50%) – see pages 10-13 for a partial list<br />
Midterm 1 (10%) – October 9, 2012 – see page 8<br />
Midterm 2 (10%) – November 6, 2012 – see page 8<br />
Term Paper (15%) – November 13, 2012 – see pages 5-7<br />
… Assignments (50%)<br />
Final Examination (15%) – probably December 11, 2012; 6:00-8:00 – see page<br />
8 – check Camlink for exact day, time and location<br />
Assignments (50%)<br />
There will be weekly assignments 13 total: the 50% mark is calculated as an average AFTER<br />
dropping the lowest score. See pages 10-13 for a partial list – additional assignments may be<br />
made during class meeting time. Assignments are due at the next class meeting. While there<br />
is no direct penalty for late submission <strong>of</strong> work, no assignment will be accepted for marks<br />
once the midterm (or final course review) for that section <strong>of</strong> the course has taken place.<br />
Final submission deadlines are:<br />
October 9 for all September assignments;<br />
November 7 for all October assignments;<br />
December 4 for all November assignments.<br />
Written work may be submitted in-person in printed hard-copy<br />
or<br />
electronically to marybyrne@shaw.ca<br />
Electronic submission must be in MSWord or MS/PC compatible format, or copied<br />
into the body <strong>of</strong> the email itself. Always place <strong>MUS</strong> <strong>115</strong> in your subject line so that your<br />
work is diverted to the correct location upon receipt. For ease in locating your specific<br />
work for a specific date (should question <strong>of</strong> receipt arise later), it would be best to use<br />
the full subject line “(name), <strong>MUS</strong> <strong>115</strong> assignment (date).” Work submitted<br />
electronically will be acknowledged prior to the following class meeting; if you do not<br />
receive acknowledgement within that time, resend to marybyrne@shaw.ca and as a<br />
precaution, speak with the instructor at the next class. Work submitted electronically will<br />
be marked and returned electronically.<br />
All work will be marked and ready for pick-up at the next class meeting (hard copy) or<br />
by email (electronic submission). Please pick-up your hard-copy written assignments<br />
each week.<br />
It is rare, but sometimes assignments go missing. If you are not receiving electronic<br />
confirmation <strong>of</strong> receipt back from the instructor, or are not finding your assignments in<br />
the return pile each class, then your work may not be making it to the instructor to<br />
begin with. Please feel free to inquire about assignments if you are afraid one might<br />
have gone missing.<br />
4 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Term Paper (15%), due November 13, 2012<br />
…Term Paper (15%)<br />
The paper should explore the relationship <strong>of</strong> music with or to a non-music field or<br />
discipline, perhaps your own personal field <strong>of</strong> academic study (your major):<br />
The paper should de 2000-2500 words. A paper which falls short <strong>of</strong> this guideline will<br />
be assessed on an individual basis for “completion <strong>of</strong> argument.” If the paper feels<br />
thoroughly argued and complete, then a shorter paper may receive full marks. If a<br />
shorter paper feels insubstantial and incomplete, then a percentage mark will be<br />
assigned, i.e. 60% <strong>of</strong> the required length gives a base mark <strong>of</strong> 60.<br />
It is possible that this topic might not require full citations or bibliography depending<br />
on the perspective <strong>of</strong> the paper. If the topic relates heavily to any <strong>of</strong> the sciences, it<br />
may be possible to use author-date style <strong>of</strong> citations rather than Chicago Manual <strong>of</strong> Style.<br />
Before assuming that either is okay, please confer directly with the instructor and get a<br />
signature <strong>of</strong> approval.<br />
Topics in this category <strong>of</strong>ten become quite large. You may wish to discuss your topic<br />
choice with the instructor prior to investing a lot <strong>of</strong> time in your research, but this is<br />
not required.<br />
You may also be asked for a few spoken words for the class regarding your paper<br />
topic, just so that the whole class might know what you explored and discovered – very<br />
impromptu, there is no reason to make a prepared statement (just be ready for the<br />
question).<br />
If you would prefer to explore a non-written option for either <strong>of</strong> these papers – oral<br />
presentation, PowerPoint, videography, arts performance – please speak with<br />
instructor ASAP and no less than three weeks before due date.<br />
Your written work should be entirely your own work and should be presented entirely<br />
in your own words, according to accepted academic practice including appropriate<br />
notes and reference annotations (see below). Any written work not meeting these most<br />
basic criteria will be returned with a mark <strong>of</strong> “0.” To clarify, written work will be returned<br />
with a mark <strong>of</strong> “0,” if …<br />
If the instructor perceives any evidence <strong>of</strong> cut-n-paste from another source without<br />
full footnote citation;<br />
If the instructor perceives irregularity in the writing style which suggests more than<br />
one author; or<br />
If any other aspect <strong>of</strong> the paper, whether or not specified here, suggests to the<br />
instructor that the paper, in whole or in part, is the work <strong>of</strong> an individual or<br />
individuals other than the student who submits the work.<br />
Your written work should be thoughtful and well-researched. Work lacking in research,<br />
reasoned argument, or appropriate personal observation (as required by the assignment) will<br />
suffer a mark reduction <strong>of</strong> at least one full letter grade.<br />
5 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…Term Paper (15%)<br />
Listen to any music you reference in your written work with focussed attention<br />
Use a variety <strong>of</strong> resources for your research where research is required. A minimum <strong>of</strong> five<br />
edited sources is a good starting point in addition to any sonic source. Since it is not a<br />
heavily edited source, avoid using Wikipedia or Wiki-like sources unless supporting these<br />
sources with substantial research from specialists in the field.<br />
Make it a point to discuss your topic to completion, or to express your thoughts in full even<br />
if it takes fewer or extra pages/words. Work which is brief will only receive deduction if the<br />
instructor senses that the argument is incomplete or shallowly considered.<br />
Your written work should express your engagement with the topic. Written work which fails<br />
to convey a sense <strong>of</strong> personal understanding will suffer a mark reduction <strong>of</strong> at least one full letter<br />
grade.<br />
Choose your topic carefully, making it a topic about which you are genuinely interested in<br />
discovering more.<br />
Make it your goal to express your understanding <strong>of</strong> your research rather than to give a simple<br />
enumeration <strong>of</strong> what you found out from your sources. In other words, interpret your<br />
findings and bring them to life!<br />
When asked to give your own personal observations, thoughts, and responses, please feel<br />
free to do so without concern for judgment – although use <strong>of</strong> polite and non-inflammatory<br />
language is appreciated.<br />
Submitted papers should reflect accepted scholarly writing and formatting style and<br />
practice. To this end, you should:<br />
Present an organized text including introductory and concluding paragraphs as required for<br />
you topic, and follow a logical flow <strong>of</strong> argument throughout the full text;<br />
Use full sentences, punctuating and capitalizing as appropriate;<br />
Organize the text into paragraphs, either indenting or spacing prior to each new paragraph<br />
(single-spaced paper only);<br />
Avoid colloquial English such as contractions, unless such is indicated by the style and tone<br />
<strong>of</strong> the paper;<br />
Take great care with agreement and continuity <strong>of</strong> tense and number, and with use <strong>of</strong><br />
pronouns;<br />
Use FULL FOOTNOTE or ENDNOTE citation in accordance with The Chicago Manual <strong>of</strong><br />
Style formatting for humanities subjects (not parenthetical citation author/date except by<br />
special and prior permission). It is crucial that a reader be able to locate the source <strong>of</strong> any<br />
information which is not your own original thought, down to the page number. Provide<br />
FULL FOOTNOTE or ENDNOTE for the following:<br />
All direct quotation <strong>of</strong> another author or source. Quotations <strong>of</strong> fewer than three<br />
lines <strong>of</strong> text should be quotation marks and given in the body <strong>of</strong> the paragraph.<br />
Quotations <strong>of</strong> more than three full lines <strong>of</strong> text should be given single-spaced and<br />
indented on both margins.<br />
All facts which cannot be assumed to be common knowledge for the field <strong>of</strong> study.<br />
6 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…Term Paper (15%)<br />
All theories, claims, thoughts, hypotheses and the like which are not original to you,<br />
whether given in your own words or in the words <strong>of</strong> the original author.<br />
Submit a full list <strong>of</strong> resources used including all books, journals, on-line resources,<br />
and recordings <strong>of</strong> music. A minimum <strong>of</strong> 5 non-Wikipedia or Wiki-like “Print”<br />
sources is required. Resource citations must be in accordance with The Chicago<br />
Manual <strong>of</strong> Style formatting for humanities subjects.<br />
PLEASE NOTE: not every paper written will require citations or a list <strong>of</strong><br />
references as this is highly reliant on topic <strong>of</strong> choice, but the vast majority will.<br />
Assuming that your paper will require citations and a list <strong>of</strong> references,<br />
please use Chicago Manual <strong>of</strong> Style formatting for these, or gain<br />
permission from the instructor to use alternate formatting.<br />
See http://www.chicagomanual<strong>of</strong>style.org/tools_citationguide.html<br />
Negligence regarding citations and a list <strong>of</strong> references, including incomplete or inaccurate<br />
citations according to Chicago Manual <strong>of</strong> Style, may constitute plagiarism and will result in a<br />
mark <strong>of</strong> “0” for the paper.<br />
If you are in doubt, please consult your instructor or The Writing Centre.<br />
If you are looking to “Be Green” submit electronically (see rules in the box on the previous<br />
page), omit a separate title page, continue directly on to the endnotes and/or bibliography<br />
following the last line <strong>of</strong> text, single space, narrow the margins, use a smaller font (nothing smaller<br />
than 9 pt. preferred), print double-sided (but DO paginate) – the choice is yours, with no bonus or<br />
deducted marks.<br />
You may hand-write, type, or word-process your written work. You may submit in hard-copy<br />
or electronic format in MSWord or MS/PC compatible format.<br />
Marking <strong>of</strong> full papers will be based on quality <strong>of</strong> the writing and quality <strong>of</strong> the study<br />
presented. The following is a rough distribution <strong>of</strong> points from 100 for the basic elements <strong>of</strong> a<br />
well-written paper.<br />
Content <strong>of</strong> study and discussion (65%)<br />
Correct and thorough factual information<br />
Appropriate choice <strong>of</strong> music and research materials<br />
Quality and thoughtfulness <strong>of</strong> study/discussion<br />
Discussion and study within one on the topic guidelines below<br />
Essentials <strong>of</strong> written English (35%)<br />
Basic grammar, punctuation, word choice, and spelling (spell-check or grammarcheck<br />
may be used)<br />
Appropriate organization <strong>of</strong> thoughts – sentences, paragraphs, order <strong>of</strong> topics within<br />
the study/discussion (i.e. well outlined)<br />
7 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Examinations and a Wod on Plagiarism<br />
Proper use <strong>of</strong> quotation marks, footnotes or end notes, and bibliographic citations<br />
(bibliography required)<br />
Understanding is granted those whose first language is not English.<br />
Examinations (cumulative 35%)<br />
Midterm 1 (10%) – October 9, 2012<br />
Midterm 2 (10%) – November 6, 2012<br />
Final Examination (15%) – probably December 11, 2012, 6:00-8:00 – check Camlink<br />
Midterm examinations will take about 1 hour at the end <strong>of</strong> class.<br />
The Final examination will take about 2 hours in a designated session during exam week.<br />
Each will be made up <strong>of</strong> a variety <strong>of</strong> questions (~ 25 for midterms, ~ 50 for final)<br />
Short answer questions based on listening to music in the examination<br />
Short answer questions based on reading, class materials, and weekly assignments<br />
Longer answer questions (1-2 on each midterm, 3-4 on final examination)<br />
Examination are thorough – hard but not impossible – and will be based equally on in-class<br />
and out-<strong>of</strong>-class study <strong>of</strong> the previous month for the midterms, and <strong>of</strong> the full term for the<br />
final. The student who diligently attends class, reviews the week’s material after each class,<br />
and completes the assigned listening in a thoughtful and timely fashion – in essence,<br />
practicing their materials as would be expected from a music student learning an instrument<br />
– will do well on the examinations.<br />
No formal review <strong>of</strong> material will be given in advance <strong>of</strong> the examination; however, a list <strong>of</strong><br />
terms and music to be covered will be given at the previous class session. It is promised that<br />
all works and concepts tested on the final examination will have been discussed directly in<br />
class.<br />
PLEASE NOTE – RE: MIDTERMS – if you miss a midterm, you have limited<br />
options for making up the examination. (1) You must have a note from the<br />
appropriate pr<strong>of</strong>essional stating clearly why you were unable to be present at the<br />
class meeting <strong>of</strong> midterm examination; (2) you must take the make-up examination<br />
at the Victoria Conservatory <strong>of</strong> <strong>Music</strong> (900 Johnson Street); (3) you must complete<br />
the make-up examination before the marked midterm examinations are returned to<br />
your classmates the week after the original exam.<br />
A word about plagiarism and academic misconduct:<br />
Plagiarism is a serious academic <strong>of</strong>fence, see:<br />
http://camosun.ca/about/policies/education-academic/e-2-student-services-&support/e-2.5.1.pdf<br />
Academic misconduct, likewise, is a serious <strong>of</strong>fence, see:<br />
http://camosun.ca/learn/calendar/current/pdf/academic.pdf<br />
failure to cite the work <strong>of</strong> other authors or sources, or indulging in plagiarism <strong>of</strong> any kind<br />
will result in a mark <strong>of</strong> “0” for the assignment in question, in addition to any penalties<br />
8 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Examinations and a Wod on Plagiarism<br />
incurred under the broader Camosun Academic Conduct policy. Incidences <strong>of</strong> suspected<br />
plagiarism will incur the penalty above and then be investigated through one-on-one<br />
discussion between instructor and student to determine appropriate course <strong>of</strong> action. Any<br />
suspected violation <strong>of</strong> the Academic Conduct Policy will result in a mark <strong>of</strong> “0” for all<br />
participants on the assignment in question, and may incur additional penalties under the<br />
broader Camosun Academic Conduct policy.<br />
6. Grading System<br />
(If any changes are made to this part, then the Approved Course description must also be changed and sent through the approval process.)<br />
the following percentage conversion to letter grade will be used:<br />
A+ = 90 - 100% B = 73 - 76% D = 50 - 59%<br />
A = 85 - 89% B- = 70 - 72% F = 0.0 - 49%<br />
A- = 80 - 84% C+ = 65 - 69%<br />
B+ = 77 - 79% C = 60 - 64%<br />
Letter Grades (minimum 70% required to use course as prerequisite for another course, or<br />
to use toward completion <strong>of</strong> <strong>MUS</strong>F credential)<br />
7. Recommended Materials/Services to Assist Students to Succeed Throughout the Course<br />
LEARNING SUPPORT AND SERVICES FOR STUDENTS<br />
There are a variety <strong>of</strong> services available for students to assist them throughout their learning. This information is<br />
available in the College Calendar, Registrar’s Office or the College web site at http://www.camosun.bc.ca<br />
English Help Centre – Ewing Building<br />
Open to International Students in college level courses, Ewing 202, 250-370-3676<br />
Writing Help Centre – Isabelle Dawson Building<br />
Lansdowne Campus: Dawson 202A, 250–370–3491 or writingcentre@camosun.bc.ca<br />
Camosun College also provides several on-line resources for assistance in writing an excellent<br />
paper:<br />
Editing List: http://camosun.ca/services/writing-centre/editing-checklist.html<br />
Essay Writing Guide: http://camosun.ca.libguides.com/essay<br />
Helpful Links: http://camosun.ca/services/writing-centre/links.html<br />
The excellent website from UBC Department <strong>of</strong> History can answer many <strong>of</strong> your questions<br />
regarding use <strong>of</strong> footnotes: http://www2.history.ubc.ca/102ws/index_page0008.htm<br />
ACADEMIC CONDUCT POLICY<br />
There is an Academic Conduct Policy. It is the student’s responsibility to become familiar with the content <strong>of</strong> this<br />
policy. The policy is available in each School Administration Office, Registration, and on the College web site in<br />
the Policy Section. www.camosun.bc.ca/divisions/pres/policy/2-education/2-5.html<br />
9 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Class 1<br />
Sept 4<br />
Buy course<br />
pack and text<br />
Class 2<br />
Sept 11<br />
Turn in $10 for<br />
opera ticket<br />
List <strong>of</strong> Assignments<br />
Required Reading, Viewing,<br />
or Listening<br />
Course Pack: “Classification<br />
<strong>of</strong> Instruments,” “Families” <strong>of</strong><br />
instruments; “Study <strong>of</strong> <strong>Music</strong>”<br />
and “Classical <strong>Music</strong> on a<br />
World Stage;”<br />
Textbook: Introduction<br />
Textbook: subsection Melody<br />
(pg. 8+)<br />
Textbook: pages 348-352<br />
Textbook subsection:<br />
Consonance and Dissonance (pg.<br />
28+)<br />
Coursepack: Section<br />
“Numerology, Letters and<br />
Circles for <strong>Music</strong>ians”<br />
…List <strong>of</strong> Assignments and Class Calendar<br />
Composers and <strong>Music</strong><br />
(Reflections due the NEXT week)<br />
See page 158 for works by the first 3 composers<br />
John Williams<br />
http://www.johnwilliams.org/reference/biography.<br />
html<br />
Hans Zimmer http://www.hanszimmer.com/<br />
Harry Gregson-Williams<br />
Or select from the following lists (total <strong>of</strong> 3):<br />
http://listverse.com/2010/02/27/15-mostinfluential-jazz-artists/<br />
Google “IMDb Movie Composers”<br />
http://www.gamesradar.com/10-great-video-gamecomposers/ <br />
http://www.rollingstone.com/music/lists/100greatest-artists-<strong>of</strong>-all-time-19691231/talking-heads-<br />
19691231<br />
R(aymond). Murray Schafer (# 1, 227, 311)<br />
http://www.thecanadianencyclopedia.com/<br />
S<strong>of</strong>ia Gubaidulina (# 251, 252, 310)<br />
http://www.allmusic.com/artist/s<strong>of</strong>ia-gubaidulina<br />
George Crumb (# 284, 290, 291, 345)<br />
http://www.georgecrumb.net/<br />
VS Concert – Cage 100 Festival, Saturday, Nov. 17,<br />
8:00, Alix Goolden Performance Hall<br />
UVIC <strong>Music</strong>, Eve Egoyan, Pianist, performs Surface<br />
Tension, a unique collaborative work for Disklavier<br />
piano and interactive video by the artist and David<br />
Rokeby. UVIC Maclaurin, Saturday Oct. 13, 8:00)<br />
Aventa Ensemble, PT Young at Maclaurin, 8:00,<br />
Saturday Sept. 8; OR Sunday Nov. 4; OR Friday Nov.<br />
30.<br />
10 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Class 3<br />
Sept 18<br />
Turn in $10 for<br />
opera ticket<br />
Class 4<br />
Sept 25<br />
Pick-up opera<br />
ticket<br />
Class 5<br />
Oct 2<br />
Class 6<br />
Oct 9<br />
Midterm 1<br />
Last day to turn in<br />
September<br />
listening<br />
Required Reading, Viewing,<br />
or Listening<br />
Biography <strong>of</strong> Hildegard von<br />
Bingen at<br />
http://saints.sqpn.com/blesse<br />
d-hildegard-von-bingen/<br />
Textbook subsection:<br />
Monophony to Polyphony to<br />
Homophony<br />
Textbook: Subsection The<br />
Early <strong>Music</strong> Movement<br />
Textbook: subsection Fugue<br />
and Canon<br />
Textbook: Subsection<br />
Seventeenth- and Eighteenth-<br />
Century Opera (pg. 58+)<br />
Coursepack sections: “TMI”<br />
and “Performance Practice”<br />
Attend Pacific Opera Victoria<br />
performance<br />
Class meets at Royal Theatre 6:30-<br />
6:40 for check-in prior to start <strong>of</strong><br />
opera at 7:00<br />
Royal Theatre<br />
805 Broughton Street<br />
Bus: eastbound Fort at<br />
Blanchard [100045]<br />
Directions, including parking,<br />
may be found at<br />
www.rmta.bc.ca<br />
Textbook, subsection Sonata<br />
Form, Symphony, Sonata, and<br />
Related Forms<br />
Coursepack sectioms: “way<br />
TMI” and “If Sonata Allero<br />
Form Were a Story”<br />
…List <strong>of</strong> Assignments and Class Calendar<br />
Composers and <strong>Music</strong><br />
(Reflections due the NEXT week)<br />
Hildegard von Bingen (# 48, 49, 50)<br />
Guillaume de Machaut (# 57, 58, 59)<br />
Josquin Desprez (#65, 66, 67, 68)<br />
Guillaume Dufay (#62, 63, 64)<br />
Early <strong>Music</strong> Society <strong>of</strong> the Islands, 8:00, Saturdays<br />
Sept. 29, Nov. 3, Nov. 24, OR Dec. 15, Alix Goolden<br />
Performance Hall<br />
Giovanni di Palestrina (#77, 78, 82)<br />
Giulio Caccini (#84, 85, 86)<br />
Claudio Monteverdi (#87, 88, 89)<br />
Orion Series at UVIC, That Lascivious Cornetto, Oct.<br />
15, 8:00, PT Young at UVIC Maclaurin<br />
Victoria Baroque Ensemble, Sunday Sept. 23; OR<br />
Friday Nov. 9, Church <strong>of</strong> St John the Divine, time<br />
TBA<br />
Antonio Vivaldi (#103, 104)<br />
(VS Concert Sunday, Sept. 30, 2:30, UVIC)<br />
George Frederich Handel (# 105, 106, 107, 108)<br />
Johann Sebastian Bach (# 111-118)<br />
Prepare for Opera by reading:<br />
Textbook: Subsection Nineteenth-Century Opera (pg.<br />
204+)<br />
And visiting …<br />
http://www.pov.bc.ca/macbeth.html and<br />
http://www.pov.bc.ca/resources.html<br />
Wolfgang Amadeus Mozart (#124, 130-137)<br />
(VS Concert Sunday, Sept. 30, 2:30, UVIC; Saturday<br />
Nov. 24, 8:00, Royal Theatre; OR Sunday, Nov. 25,<br />
2:30, Royal Theatre)<br />
Joseph Haydn (#125-129)<br />
(VS Concert Sunday, Oct. 21, 2:30, UVIC)<br />
11 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Class 7<br />
Oct 16<br />
Class 8<br />
Oct 23<br />
Class 9<br />
Oct 30<br />
Class 10<br />
Nov 6<br />
Midterm 2<br />
Last day to turn in<br />
October listening<br />
Class 11<br />
Nov 13<br />
Paper due<br />
Required Reading, Viewing,<br />
or Listening<br />
Coursepack sections:<br />
“Orchestral Instrumentation”<br />
and “Characteristics <strong>of</strong> Major<br />
anf Minor Keys”<br />
Textbook, subsection Sonata<br />
Form, Symphony, Sonata, and<br />
Related Forms<br />
Coursepack sections:<br />
“Deciphering the Codes” and<br />
“Numbering and Identifying<br />
Compositions”<br />
Textbook: subsection “Other<br />
Nineteenth-Century<br />
Composers”<br />
…List <strong>of</strong> Assignments and Class Calendar<br />
Composers and <strong>Music</strong><br />
(Reflections due the NEXT week)<br />
Giacchino Rossini (#169-171)<br />
Ludwig van Beethoven (#141, 142, 145, 146, 148,<br />
151)<br />
(VS Concert Saturday, October 27, 8:00, Royal<br />
Theatre; OR Sunday, Oct. 28, 2:30, Royal Theatre)<br />
Franz Schubert (#153-157)<br />
(VS Concert Monday, Nov. 12, 8:00, Royal Theatre;<br />
UVIC Lieder at Lunch, Wednesdays, Sept. 12 and<br />
Oct. 17, 12:30, PT Young at UVIC Maclaurin)<br />
Gustav Mahler (#253, 255, 256, 331)<br />
Robert [and Clara] Schumann (#161-164)<br />
(UVIC <strong>Music</strong>, Robert Silverman, piano with the<br />
Lafayette String Quartet, Sunday Sept 23, 2:30, PT<br />
Young at UVIC Maclaurin)<br />
Felix[ snd Fanny] Mendelssohn (#172-174)<br />
Johannes Brahms (#183, 203-6)<br />
(VS Concert Sunday, Oct. 21, 2:30, UVIC)<br />
Frederich Chopin (#166, 180)<br />
Franz Liszt (# 167, 176, 181)<br />
Nicolai Rimsky-Korsakov (#182, 207, 208)<br />
Piotr Tchaikovsky (#187, 197-201<br />
(Nutcracker Ballet, Nov. 30-Dec. 2, Royal Theatre)<br />
Richard Strauss (#312, 314, 315)<br />
Antonin Dvorak (# 182, 207, 208)<br />
Dmitri Shostakovich (#258-60, 283)<br />
Serge Prok<strong>of</strong>iev (# 23, 243, 257, 261)<br />
Bela Bartok (#238, 248, 265, 273)<br />
12 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Class 12<br />
Nov 21<br />
Class 13<br />
Nov 28<br />
Class 14<br />
Dec 4<br />
Required Reading, Viewing,<br />
or Listening<br />
Textbook: subsection Tonality<br />
and Atonality (pg. 258+)<br />
Textbook: AFTERWORD<br />
Textbook: subsections<br />
“Other Twentieth-Century<br />
Composers”<br />
…List <strong>of</strong> Assignments and Class Calendar<br />
Composers and <strong>Music</strong><br />
(Reflections due the NEXT week)<br />
Claude Debussy (#225, 262, 313, 316)<br />
(UVIC <strong>Music</strong>, Bruce Vogt, Piano, PT Young at<br />
UVIC Maclaurin, Saturday Oct. 27, 8:00)<br />
Aaron Copland (# 239-41, 247, 337)<br />
(VS Concert Saturday, Nov. 24, 8:00, Royal Theatre;<br />
OR Sunday, Nov. 25, 2:30, Royal Theatre)<br />
Edward Kennedy “Duke” Ellington (free, use<br />
last.fm))<br />
UVIC <strong>Music</strong> - An intimate evening <strong>of</strong> original<br />
music and jazz standards featuring Patrick Boyle<br />
(trumpet, guitar), Ian McDougall (trombone),<br />
Jonathan Goldman (accordion), Joanna Hood<br />
(viola) and Brian Anderson (double bass), Friday,<br />
Sept 28, 8:00, PT Young at UVIC Maclaurin<br />
George Gershwin (#214, 244, 326)<br />
Leonard Bernstein (# 220, 221, 327, 356)<br />
Serge Rachmaninov (#245, 313, 317, 330)<br />
Last day to turn in November listening<br />
Each week, listen again to any titled works or kind <strong>of</strong> music heard in class – many examples will<br />
be found on the web for free listening and perhaps download. Selections highlighted in-class<br />
may return on the examinations. If you identify an on-line source for each selection after each<br />
class bookmark the addresses you find, your review will be much easier at the end <strong>of</strong> term.<br />
Selections will be identified in class by number inthis handout.<br />
The Weekly Composer Study<br />
Each week, you are asked to study and hopefully enjoy through the coming week the works and<br />
lives <strong>of</strong> 3 composers (see chart above). Please listen to each work listed for each composer.<br />
Please read the biography <strong>of</strong> each composer in your textbook: Jan Swafford, The Vintage Guide to<br />
13 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…List <strong>of</strong> Assignments and Class Calendar<br />
Classical <strong>Music</strong>, or at the designated online site if there is no biography in the textbook. If you find<br />
yourself especially interested in any one composer, do read or listen to more as you have time.<br />
Try to really get to know each composer, her or his music, how the music reflects the time and<br />
place in which it was written, and how it speaks to you as a listener in 2012 Canada. You should<br />
strive to become so familiar with the style <strong>of</strong> each composer that you feel you could pick out<br />
her/his music just by listening and could easily share observations and understandings about the<br />
music with others, both those who are music aficionados and those who are musical newbies.<br />
As you encounter the assigned music, look for your own answers to questions such as these:<br />
What does the composer have to say about her/his time and place?<br />
How does this music affect me? Do I like this? Why?<br />
What seems unique or common about this composer’s music?<br />
Why might this music be considered great?<br />
Can this music speak to audiences <strong>of</strong> today?<br />
What kind <strong>of</strong> music might this composer write if s/he were still composing (if retired or<br />
passed on)?<br />
Am I most aware <strong>of</strong> the rhythm, melody, harmony, text, instrument, etc.?<br />
For each composer, please submit a personal reflection on your experience with the music. Most<br />
will choose to submit a written prose reflection, in which case, look to write a half to a full page<br />
(typed or handwritten equivalent) for each composer. Some will choose to record an audio or<br />
video file, in which case we should chat regarding best method for submission. Others may<br />
respond to the listening through a non-music art form (including visual arts, poetry, creative<br />
writing, movement, or performance art), in which case, again, we should chat regarding best form<br />
<strong>of</strong> submission. The choice <strong>of</strong> your reflection is up to you. In each reflection it is expected that<br />
you will have something insightful to <strong>of</strong>fer about the music <strong>of</strong> each composer and that you will<br />
communicate well your full and individual, personal engagement with the music. Each reflection<br />
will be marked from 100 based upon these criteria.<br />
As a substitute for the weekly composer assignment, you may submit a critical review <strong>of</strong> and concert programme<br />
from a live concert performance. You will still be held to account for any information which would be expected to be<br />
gained from doing the composer assignment. A maximum <strong>of</strong> 3 concert reviews may be substituted for assigned<br />
written work during the term. The chart above suggests some concerts which feature music by our<br />
selected composers. These websites <strong>of</strong> Victoria-based concert organizations might also be <strong>of</strong><br />
interest to you:<br />
http://www.balletvictoria.ca/<br />
http://finearts.uvic.ca/music/events/<br />
http://www.aventa.ca/<br />
http://victoria-baroque.com/<br />
http://www.pov.bc.ca/<br />
http://www.victoriasymphony.ca/<br />
http://www.earlymusicsociety<strong>of</strong>theislands.ca/<br />
14 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Attending the Pacific Opera Victoria<br />
Performance: October 2<br />
Class meets at Royal Theotre 6:30-6:40 for seating<br />
prior to start <strong>of</strong> opera at 7:00<br />
805 Broughton Street<br />
Directions may be found at www.rmta.bc.ca<br />
…List <strong>of</strong> Assignments and Class Calendar<br />
Prepare for attending Pacific Opera Victoria production<br />
<strong>of</strong> Verdi’s Macbeth by reading up on the opera and<br />
production on the Pacific Opera Victoria website, http://www.pov.bc.ca/resources.html . While<br />
it is possible to fly it blind on the night <strong>of</strong> the opera, because the text will be in Italian and the<br />
English translations (surtitles) will be shown on screens above the stage which many people find<br />
VERY distracting, it is STRONGLY recommended that you at least study the list <strong>of</strong> characters and<br />
the opera synopsis prior to arriving at the Royal Theatre on October 2.<br />
To Pursue Topics <strong>of</strong> <strong>Music</strong>Theory Search These <strong>Music</strong> Theory Links<br />
http://www.musictheory.net/ -- Ricci Adams <strong>Music</strong> Theory, an interactive romp through the basics.<br />
http://www.soundadvicedirect.com/about.html -- Sound Advice is Camosun’s entry-level theory<br />
programme and is home-grown here in Victori<br />
15 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Study <strong>of</strong> <strong>Music</strong><br />
…Study <strong>of</strong> <strong>Music</strong><br />
By taking this course you are embarking upon or extending your practice <strong>of</strong> musicology. Because it<br />
is an accurate and inciteful expression <strong>of</strong> musicology, I quote the opening <strong>of</strong> the “<strong>Music</strong>ology”<br />
article <strong>of</strong> Wikipedia in full with modifications shown in [ ]:<br />
<strong>Music</strong>ology (Greek: μουσική = "music" and λόγος = "word" or "reason") is the scholarly study<br />
<strong>of</strong> music. The word is used in narrow, broad and intermediate senses. In the narrow sense,<br />
musicology is confined to the music history <strong>of</strong> <strong>Western</strong> culture. In the intermediate sense, it<br />
includes all relevant cultures and a range <strong>of</strong> musical forms, styles, genres and traditions. In<br />
the broad sense, it includes all musically relevant disciplines and all manifestations <strong>of</strong> music<br />
in all cultures. ….<br />
In the broad definition, the parent disciplines <strong>of</strong> musicology include history; cultural …[,<br />
social, religious,] and gender studies; philosophy, aesthetics and semiotics; ethnology and<br />
cultural anthropology; archeology and prehistory; psychology and sociology; physiology and<br />
neuroscience; acoustics and psychoacoustics; and computer/information sciences[, many <strong>of</strong><br />
the hard sciences,] and mathematics. <strong>Music</strong>ology also has two [three] central, practically<br />
oriented subdisciplines with no parent discipline: [performance], performance practice<br />
and research; and the theory, analysis and composition <strong>of</strong> music. [bold and italics added]<br />
The disciplinary neighbors <strong>of</strong> musicology address other forms <strong>of</strong> [the visual, plastic, literary,<br />
and performing] art[s, along with the history, theory, and practice <strong>of</strong> each] … [as well as<br />
aspects <strong>of</strong>] ritual and communication, … architecture; linguistics, literature and theater;<br />
religion and theology; and sport. <strong>Music</strong>al knowledge and know-how are applied in medicine,<br />
education and music therapy, which may be regarded as the parent disciplines <strong>of</strong> Applied<br />
<strong>Music</strong>ology.<br />
Traditionally, historical musicology has been considered the largest and most important<br />
subdiscipline <strong>of</strong> musicology. Today, historical musicology is one <strong>of</strong> several large<br />
subdisciplines. Historical musicology, ethnomusicology, and systematic musicology are<br />
approximately equal in size - if numbers <strong>of</strong> active participants at international conferences is<br />
any guide. Systematic musicology includes music acoustics, the science and technology <strong>of</strong><br />
acoustical musical instruments, physiology, psychology, sociology, philosophy and<br />
computing. Cognitive <strong>Music</strong>ology is the set <strong>of</strong> phenomena surrounding the computational<br />
modeling <strong>of</strong> music. 1<br />
Ultimately, music and the study <strong>of</strong> music is about the music itself, that created and that recreated.<br />
It is to the end <strong>of</strong> enjoying and enriching the many benefits and joys <strong>of</strong> music that we dedicate our<br />
study.<br />
1 Wikipedia, “<strong>Music</strong>ology,” http://en.wikipedia.org/wiki/<strong>Music</strong>ology (accessed 21 May 2010).<br />
16 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
<strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Contemporary Reflections in Traditional <strong>Music</strong><br />
It is a seemingly impossible task – in fact, we are going to concede failure at the outset – yet we will<br />
make a stab at the unlikely: define <strong>Western</strong> Classical <strong>Music</strong>. For our purposes we will take the<br />
following as guidelines rather than rules – as a starting point, and then probably discuss and argue<br />
the points for the rest <strong>of</strong> the term and beyond.<br />
<strong>Western</strong> . . .<br />
We could have just as easily used the appellation occident (as opposed to orient) to describe the region<br />
considered to be “The West” or “The <strong>Western</strong> World.” For our study we will take “<strong>Western</strong>” to<br />
mean having roots in Greco-Roman civilization. The only absolute that comes from this definition<br />
is the understanding that we are now limited to the past 2500 years, give or take a century:<br />
geographically we are still at sea as this definition does not denote the same territory over the past 25<br />
centuries. As empires have risen and fallen since the time <strong>of</strong> Alexander the Great, boundaries and<br />
governments change and along with these so changes cultural practice.<br />
For our purposes, we will track our geography along with the Roman Empire.<br />
The story <strong>of</strong> <strong>Western</strong><br />
<strong>Music</strong> begins temporally<br />
with this broad area <strong>of</strong> the<br />
Mediterranean world. In<br />
this vast Empire (shown<br />
here about 300 CE) 2 , the<br />
religious movement we<br />
now know as Christianity<br />
was first legalized (313 CE)<br />
and then assumed a<br />
dominating role within the<br />
Empire (through the 4 th<br />
century). It was a time <strong>of</strong><br />
turmoil for the Roman<br />
Empire with numerous<br />
challenges on the borders<br />
<strong>of</strong> the empire by<br />
neighbouring tribes and<br />
internal divisions caused by power-hungry political and military. Even Italy and the city <strong>of</strong> Rome<br />
herself were threatened.<br />
2 Map from www.ccs.k12.in.us/.../Roman_Empire_Map.png, accessed 25 July 2010<br />
17 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Further challenges to the decaying <strong>Western</strong> Roman<br />
Empire continued for the next centuries, both from<br />
“barbarian tribes” <strong>of</strong> the north (Germany,<br />
Scandanavia) and east (Danube region, Eastern<br />
Europe), from the northwest (native tribes <strong>of</strong> the<br />
British Isles), and from the south and adjoining<br />
Middle East and Iberian Peninsula (Muslim<br />
Empire). 4 By the year 800 CE little <strong>of</strong> the territory<br />
<strong>of</strong> Europe could claim to be <strong>of</strong> the old Roman<br />
Empire, but a central core <strong>of</strong> Europe could rightly<br />
claim to be firmly held under the Roman Catholic<br />
Church.<br />
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
With the seat <strong>of</strong> political<br />
government <strong>of</strong>ficially moved to<br />
Constinople in 395 CE, the Empire<br />
was split for one final time east-andwest,<br />
leaving the western Empire in<br />
the hands <strong>of</strong> the minor political<br />
leaders and the religious leadership<br />
<strong>of</strong> the Catholic Church. It is with<br />
the split <strong>of</strong> the Roman Empire<br />
that we first are able to place a<br />
finger on the general geographic<br />
outlines <strong>of</strong> “The West.”. 3<br />
On Christmas Day 800 CE, the Roman Catholic Pope –<br />
representative <strong>of</strong> the Papacy <strong>of</strong> the Church, which for<br />
nearly 400 years had wielded full political power over<br />
the old <strong>Western</strong> Roman Empire – gave control <strong>of</strong> nearly<br />
all remaining lands to the Frankish King Charlemagne<br />
and annointed him Holy Roman Emperor in return for<br />
allegiance to the Catholic Church and military<br />
protection. 5<br />
3 Map from http://en.wikipedia.org/wiki/File:<strong>Western</strong>_Roman_Empire.png (accessed 25 July 2010)<br />
4 Map from http://en.wikipedia.org/wiki/File:Ostrogothic_Kingdom.png, (accessed 25 July 2010)<br />
5 Map from http://neon.niederlandistik.fu-berlin.de/static/nedling/taalgeschiedenis/Frankenrijk_onderKDG.jpg<br />
(accessed 25 July 2010)<br />
18 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
From the establishment <strong>of</strong> the roots <strong>of</strong> the Holy<br />
Roman Empire in 800 CE through the next 1000<br />
years we see the territories <strong>of</strong> <strong>Western</strong> Europe being<br />
drawn in, becoming “The West.” Through the 17 th<br />
and 18 th centuries we may also add the political court<br />
<strong>of</strong> Russia at St. Petersburg with its strong liaison with<br />
the French court at Paris. 6 Through the 19 th , 20 th ,<br />
and 21 st centuries we now add many (but not all) <strong>of</strong><br />
former European colonial countries and regions to<br />
our <strong>of</strong>ficial map <strong>of</strong> “The West” including all <strong>of</strong> North<br />
America and Greenland, all <strong>of</strong> South America,<br />
Australian and New Zealand, South Africa and some<br />
smaller areas on the African continent, Russia and<br />
most states <strong>of</strong> the former Soviet Union, Turkey, and<br />
finally again Greece herself along with most <strong>of</strong> the<br />
Balkan states. Since the middle <strong>of</strong> the 20 th century<br />
and with the advent <strong>of</strong> wide-spread communication<br />
technologies, areas traditionally comprising the orient– Japan, China, Korea, and other areas <strong>of</strong><br />
Southeast Asia – may now be considered largely, but not exclusively “western” for the purposes <strong>of</strong><br />
considering contemporary art and popular music. Indigenous peoples throughout this vast<br />
geographic region are not necessarily drawn into the western cultural sphere where music is<br />
concerned.<br />
In truth, in recent decades it may be possible to consider any region <strong>of</strong> the world to embrace the<br />
ideals <strong>of</strong> the West where contemporary art and pop music are concerned except those areas which<br />
have for many centuries been politically and religiously Muslim, a culture which embraces unique<br />
ideals regarding music. Regardless <strong>of</strong> the presence <strong>of</strong> <strong>Western</strong> musical ideals in some <strong>of</strong> the music<br />
from a particular geographic location, many indigenous cultures practice and embody musical ideals<br />
which differ from <strong>Western</strong> musical practice, for example Canadian First Nations and Australian<br />
Aboriginal.<br />
. . . Classical . . .<br />
May I begin by going on record: I am not in favour <strong>of</strong> making hard distinctions between “types” <strong>of</strong><br />
music. I have no objection to using terms to designate musics which have similar qualities, but I am<br />
not fond on allowing those loose designations to define or pigeon-hole music. To permit the latter<br />
is to open the door to isolating some music and even dismissing some music. This must not be<br />
permitted as all music may be understood as an expression <strong>of</strong> the culture which gives it birth. Still it<br />
may be useful to attempt placing rough outlines on the designation “classical.”<br />
When considering music, we labour under a triple whammy regarding the word “Classical.”<br />
Allow me first to quote from the New Grove Dictionary <strong>of</strong> <strong>Music</strong> and <strong>Music</strong>ians:<br />
6 Map from http://en.wikipedia.org/wiki/File:V%C3%A4steuropa-karta.png (accessed 25 July 2010)<br />
19 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
‘Classic, Classical’ evolved from the Latin classicus (a taxpayer, later also a writer, <strong>of</strong> the<br />
highest class) through the French classique into English ‘classical’ and German Klassik.<br />
In one <strong>of</strong> the earliest definitions (R. Cotgrave: Dictionarie <strong>of</strong> the French and English Tongues,<br />
1611), classique is translated as ‘classical, formall, orderlie, in due or fit ranke; also,<br />
approved, authenticall, chiefe, principall’. The two parts <strong>of</strong> this definition will be<br />
retained here and glossed as (i) formal discipline, (ii) model <strong>of</strong> excellence, supplemented<br />
by (iii) that which has to do with Greek or Latin antiquity (Dictionnaire de l’Académie,<br />
1694), and (iv) that which is opposed to ‘romantic’, the latter understood as morbid and<br />
unruly (Goethe, 1829). 7<br />
A not dissimilar definition comes from The Oxford Dictionary <strong>of</strong> <strong>Music</strong>:<br />
Term [classicism] which, applied to mus[ic], has vague rather than specific meaning:<br />
(1) Mus. comp. roughly between 1750 and 1830 (i.e. post-Baroque and pre-Romantic)<br />
which covers the development <strong>of</strong> the classical sym. and conc.<br />
(2) Mus. <strong>of</strong> an orderly nature, with qualities <strong>of</strong> clarity and balance, and emphasising formal<br />
beauty rather than emotional expression (which is not to say that emotion is lacking).<br />
(3) Mus. generally regarded as having permanent rather than ephemeral value.<br />
(4) ‘Classical music’ is used as a generic term meaning the opposite <strong>of</strong> light or popular<br />
music. 8<br />
With this in mind, we find that our triple whammy is thus:<br />
<strong>Music</strong> may be described as “Classical” in order to differentiate it from music which is<br />
“Popular” or “Folk” in nature. Definition by differentiation is hard to argue, and frankly,<br />
is a bit <strong>of</strong> a cop-out. The underlying assumption here is that “Classical” music is more<br />
difficult to understand and less immediate to the listener than either “Folk” or “Popular”<br />
music. This simply is not true as a rule! “Folk” music can be differentiated from “Art” music<br />
in that we can trace the origin <strong>of</strong> any single piece <strong>of</strong> “Art” music with fair accuracy whereas<br />
“Folk” music usually has an undefinable point <strong>of</strong> origin. “Popular” music can be<br />
differentiated in many respects from “Concert” music simply on the basis <strong>of</strong> intended<br />
performance venue or vehicle, but even this is going out on a very narrow limb.<br />
Usually the appellation <strong>of</strong> “Classical” in this case is applied either as an act <strong>of</strong> derision or as<br />
an act <strong>of</strong> snobbery – depending on the personal stance <strong>of</strong> the speaker!<br />
Still, if we are carefully observant we can discern at the roots <strong>of</strong> this misunderstood and<br />
misdirected use <strong>of</strong> the classification “Classical” some characteristics which do, in fact, set<br />
aside “Classical” from “non-classical” music.<br />
7 Daniel Heartz and Bruce Alan Brown. "Classical." In Grove <strong>Music</strong> Online. Oxford <strong>Music</strong> Online,<br />
http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/grove/music/05889 (accessed July 25,<br />
2010).<br />
8 "Classical." In The Oxford Dictionary <strong>of</strong> <strong>Music</strong>, 2nd ed. rev., edited by Michael Kennedy. Oxford <strong>Music</strong> Online,<br />
http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/opr/t237/e2198 (accessed July 25, 2010).<br />
20 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
o “Classical” music tends to exhibit characteristics <strong>of</strong> large-scale unfolding over a<br />
period <strong>of</strong> time, usually requiring the listener to retain an aural memory <strong>of</strong> an idea<br />
experienced in the beginning <strong>of</strong> the work, relate it to an idea experienced later in a<br />
work, and make a connection or reflection based on those experiences which creates<br />
a further experience.<br />
o “Classical” music tends to exhibit characteristics <strong>of</strong> dramatic tension and resolution,<br />
usually on multiple levels – there is usually a balance between anticipation and<br />
delivery, usually a certain but not necessarily predicatible logic to the unfolding <strong>of</strong> the<br />
work.<br />
o “Classical” music is usually a written, composed form – limiting improvisation to a<br />
small, specified set <strong>of</strong> possibilities. Performers are asked to interpret rather than<br />
participate in the act <strong>of</strong> composition, especially in recent centuries. It is usually<br />
possible to drop a clean line between the existence <strong>of</strong> a work <strong>of</strong> “Classical” music as<br />
separate from the existence <strong>of</strong> a work through a specific and identifying performance.<br />
o “Classical” music <strong>of</strong>ten contains strong, persistent, and frequently structural elements<br />
<strong>of</strong> aural metaphor and symbolism, whether overt or subliminal, as well as<br />
implications <strong>of</strong> character or temperament.<br />
o “Classical” music <strong>of</strong>ten embodies deliberate assignation and selection <strong>of</strong><br />
instrument/voice based on the need for specific qualities or temperaments <strong>of</strong> the<br />
music to be manifest by specific qualities and capabilities <strong>of</strong> a particular instrument.<br />
These qualities are not limited to “Classical” music – “Classical” music exists in many<br />
cultures including non-<strong>Western</strong> traditions – but “<strong>Western</strong> Classical” music will nearly always<br />
embody these qualities. While not succumbing to a declaration that “<strong>Western</strong> Classical”<br />
music is the perview <strong>of</strong> the educated elite, it must be confessed that <strong>of</strong>ten it does take a<br />
measure <strong>of</strong> learning, or at least experience, in order to begin to draw out <strong>of</strong> much <strong>of</strong> meaning<br />
embodied in works <strong>of</strong> “<strong>Western</strong> Classical” music that the composer intended.<br />
<strong>Music</strong> may be described as “Classical” as opposed to “Romantic” as with (iv) in our<br />
New Grove definition – “that which is opposed to ‘romantic’” – or (2) in the Oxford<br />
definition – “Mus[ic] <strong>of</strong> an orderly nature, with qualities <strong>of</strong> clarity and balance, and<br />
emphasising formal beauty rather than emotional expression (which is not to say that<br />
emotion is lacking). In a way (2) defines and clarifies (iv).<br />
Throughout musical history some styles <strong>of</strong> music inherently lean more toward the “Classical”<br />
side and others more to the “Romantic” side. The same can be said <strong>of</strong> styles within the<br />
visual arts including painting, sculpture, and architecture among others. The same can also<br />
be said <strong>of</strong> many literary arts. When we separate “Classical” and “Romantic” in this context<br />
“Classical” is defined as beautiful by reason <strong>of</strong> clarity <strong>of</strong> form and “Romantic” is defined as<br />
beautiful by reason <strong>of</strong> emotional affectation.<br />
In this context “Classical” music is understood to mimic the ideals <strong>of</strong> classical Greco-Roman<br />
antiquity – beauty by clarity – hense the attribution <strong>of</strong> the term “classical.”<br />
21 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
<strong>Music</strong> History includes what we know as a specific “Classical Period.” Our Classical<br />
Period is roughly defined by the years 1750-1800(25) and by the music <strong>of</strong> Haydn, Mozart,<br />
and a young Beethoven. In giving the title <strong>of</strong> “Classical Period” to this style <strong>of</strong> music,<br />
musicologists aver the sentiment that at this time music reached a peak <strong>of</strong> “beauty by clarity”<br />
which has been unsurpassed by all other styles. Admittedly this is a subjective call on the<br />
part <strong>of</strong> musicologists, but one which, in my opinion, is completely justified.<br />
When we use the word “Classical” as part <strong>of</strong> <strong>Western</strong> Classical <strong>Music</strong> we mean the first salvo<br />
in our “triple whammy.”<br />
. . . <strong>Music</strong><br />
The great Grove Dictionary <strong>of</strong> <strong>Music</strong> and <strong>Music</strong>ians devotes 21 print pages to pussy-footing around a<br />
definition <strong>of</strong> “<strong>Music</strong>.” 9 My beloved Harvard Dictionary <strong>of</strong> <strong>Music</strong> by Willi Apel, second edition,<br />
however, makes a pretty good stab at it, pointing out that the word “<strong>Music</strong>” – in all likelihood 10 –<br />
derives from the Muses <strong>of</strong> Greek antiquity, the nine <strong>of</strong> whom oversaw all aspects <strong>of</strong> human cultural<br />
endeavour: Epic Poetry, Lyric Poetry, Choral Poetry, Tragedy, Comedy, <strong>Music</strong>, Dance, History, and<br />
Astronomy. 11<br />
Even within the time <strong>of</strong> the Muses, when there was virtually no line between sacred and secular in<br />
any aspect <strong>of</strong> life, in the hands <strong>of</strong> Greek (and later) philosophers “music” edged into the realm <strong>of</strong> the<br />
metaphysical, the mystical, the cultish, and even the forbidden. In the Middle Ages scholars included<br />
<strong>Music</strong> among the sister sciences – the quadrivium: <strong>Music</strong>, Astronomy, Mathematics, and Geometry. 12<br />
Part <strong>of</strong> the problem <strong>of</strong> achieving definition is – not the least <strong>of</strong> which – that <strong>Music</strong> must be<br />
recognized as part art, part science, and part metaphysics. In fact, we have more success categorizing<br />
broad aspects <strong>of</strong> music than we do defining it. Plato, for example – almost like applying genus and<br />
species – categorized types <strong>of</strong> music as scientia harmonica, scientia metrica, and scientia rhythmica, or the<br />
science <strong>of</strong> pitch, the science <strong>of</strong> meter, and the science <strong>of</strong> [textual] rhythm respectively. 13 The<br />
medieval theorist Boethius divided music as musica mundana, musica humana, and musica instrumentalis:<br />
harmony <strong>of</strong> the universe, harmony <strong>of</strong> the human soul and body, and harmony <strong>of</strong> produced sound. 14<br />
St. Isidore <strong>of</strong> Seville in the early 7 th century termed music as musica harmonica, musica organica [ex<br />
flatu], and musica rhythmica [ex pulsis digitorum]: music <strong>of</strong> the voice, music <strong>of</strong> tuneful instruments,<br />
music <strong>of</strong> drums. 15 The 14 th century witnessed the emergence <strong>of</strong> musica mundana (<strong>of</strong> the universe),<br />
9 Bruno Nettl. "<strong>Music</strong>." In Grove <strong>Music</strong> Online. Oxford <strong>Music</strong> Online,<br />
http://www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/grove/music/40476 (accessed July 25,<br />
2010).<br />
10 Medieval writers also suggested a origin <strong>of</strong> the word “<strong>Music</strong>” in the ancient Egyptian word for water: moys. This<br />
possibility is somewhat more circumstantial, but none-the-less lends a refreshing twist to the idea <strong>of</strong> music.<br />
11 Interesting that at this stage that both “History” and astronomy are considered” human endeavours,” and that the<br />
visual arts are entirely missing.<br />
12 An absolutely fascinating book on this very topic is Temperament: How <strong>Music</strong> Became the Battleground for the Greatest Minds<br />
<strong>of</strong> <strong>Western</strong> Civilization by Stuart Isac<strong>of</strong>f<br />
13 Willi Apel, “<strong>Music</strong>,” Harvard Dictionary <strong>of</strong> <strong>Music</strong>, second edition (Cambridge, MA: Harvard University Press, 1979).<br />
14 ibid.<br />
15 ibid.<br />
22 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
musica humana (<strong>of</strong> humans), musica vocalis (<strong>of</strong> animal voices), musica artificialis armonica (<strong>of</strong> spoken word),<br />
musica artificialis armonica prosaica metrica rhythmica (<strong>of</strong> metered and rhymed prose), musica artificialis<br />
instrmentalis cordae (<strong>of</strong> strings), musica artificialis instrumentalis ventus (<strong>of</strong> winds), and musica artificialis<br />
instrumentalis pulsus (<strong>of</strong> percussion). 16 As late as 1500 CE theorists were resurrecting Aristoxenos’<br />
simple division <strong>of</strong> music into practical (performance, artistic, or sounding) and theoretical (scientific,<br />
written, or scholarly) disciplines <strong>of</strong> 300 BCE: these broad divisions as well as many <strong>of</strong> the smaller<br />
ones above persist to this day. 17<br />
These many annotations <strong>of</strong> some <strong>of</strong> the historical divisions <strong>of</strong> music do less to bring us closer to a<br />
definition <strong>of</strong> music than they do in highlighting where some <strong>of</strong> the problems <strong>of</strong> achieving a useful<br />
definition lie. To complicate further, even within <strong>Western</strong> languages, the word “<strong>Music</strong>” does not<br />
always seem to represent the same entity, in the same way not everyone might agree on what is<br />
meant by the colour “Purple.” In some languages the word for “<strong>Music</strong>” clearly includes poetry<br />
and/or drrama, whereas English tends to separate the three words. Alternately, in common English<br />
usage it is sometimes unclear <strong>of</strong> whether we are speaking <strong>of</strong> “<strong>Music</strong>” in a literal or metaphorical<br />
sense, as in “music to my ears.” For every person who attempts to define “<strong>Music</strong>” there is little limit<br />
to the number who disagree with the definition.<br />
I hypothesize the following:<br />
In the beginning is “Sound.” “Sound” has loudness or s<strong>of</strong>tness (“Dynamic”), character or colour<br />
(“Timbre”), duration, and an acoustic vibration frequency (“Pitch”).<br />
“Sound” becomes “Tone” as differentiated from “Noise” when it acquires an intangible and<br />
subjective aspect <strong>of</strong> pleasantness.<br />
When “Tones” are combined and organized OR heard to be combined and/or<br />
organized,“<strong>Music</strong>” emerges.<br />
”Tones” and their opposite “silences” may be understood to be organized within time into<br />
perceivable, even recognizable patterns <strong>of</strong> “Ryhthm;”<br />
“Tones” may be understood to be organized in patterns <strong>of</strong> rise and fall, however slight,<br />
creating a perceivable, even recognizable “Melody.”<br />
“<strong>Western</strong> <strong>Music</strong>.” with its assumptions <strong>of</strong> deliberate human genesis and creation within a cultural<br />
context, further suggests:<br />
16 ibid.<br />
17 ibid.<br />
A recognizable “Pulse;”<br />
Metrical organization <strong>of</strong> tones, rhythms, and pulses on smaller or larger frameworks<br />
(“Meter”);<br />
Organization <strong>of</strong> tones and melodies according to set pitch patterns such as “Modes” or<br />
scales;<br />
Potential presence <strong>of</strong> multiple layers, actual or implied, <strong>of</strong> melody resulting in “Harmony.”<br />
23 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Western</strong> Classical <strong>Music</strong> on a World Stage<br />
Play-Lists and Notes<br />
Potential effect <strong>of</strong> “Harmony,” actual or implied, to add further dimension to “Rhythm”<br />
and/or “Meter;”<br />
A power <strong>of</strong> motion and spirit (temperment) suggestive <strong>of</strong> song, dance, meditation, or<br />
recitation;<br />
A communicative power<br />
“<strong>Western</strong> Classical <strong>Music</strong>” with its greater assumptions <strong>of</strong> formal structure and aesthetic value,<br />
further suggests:<br />
Organization into formal structures <strong>of</strong> melody, harmony, rhythm, and meter (“Form”);<br />
Deliberate selection and cultivation <strong>of</strong> tone colours (“Timbres”);<br />
Beauty, within the perspective <strong>of</strong> the communicated message;<br />
An implied but not requisite ideal that both performance and listening are deliberately<br />
undertaken and that both benefit from special practice <strong>of</strong> skills not normally routine to daily<br />
life<br />
24 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Elements <strong>of</strong> <strong>Music</strong><br />
<strong>Music</strong> heard in class is drawn from the following:<br />
… Elements <strong>of</strong> <strong>Music</strong><br />
1. David New, Listen (2009), National Film Board <strong>of</strong> Canada http://www.nfb.ca/film/listen/<br />
<strong>Music</strong> selections which follow are, for the most part, field recordings, and are drawn from the<br />
following two sources: Jeff Todd Titon, ed., et al., Worlds <strong>of</strong> <strong>Music</strong>: An Introduction to the <strong>Music</strong> <strong>of</strong> the<br />
World’s Peoples (Belmont, CA: Schirmer, 2005) , and Guy L. Beck, ed., et al., Sacred Sound: Experiencing<br />
<strong>Music</strong> in World Religions (Waterloo, ONT: Wilfrid Laurier University Press, 2006).<br />
2. Songs <strong>of</strong> hermit thrushes. Maine, USA (1999)<br />
3. Postal workers canceling stamps. Ghana (1975)<br />
4. Bubaran “Kembang Pacar,” University <strong>of</strong> Wisconsin-Madison Javanese Gamelan Ensemble.<br />
Madison, WI (2000)<br />
5. Festival Drumming, Taiko Ensemble Yuukyuu-kai. Bamberg, Germany (2000)<br />
6. “Tsuru no sugomori” (“Nesting Cranes”), shakuhachi and shamisen, Washington, DC (1986)<br />
7. “Sarasiruha” (“To the Goddess Saraswati”), Kriti in Natai raga, adi tala. Chennai, INDIA<br />
(2001)<br />
8. “Kutirimunapaq” (“So that we can return”), K’antu <strong>of</strong> Bolivia. La Paz, Bolivia (1982)<br />
9. “Nag Beigu” (“Ferocious Wild Bull’), traditional Dagbon. Ghana (1984)<br />
25 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Elements <strong>of</strong> <strong>Music</strong><br />
10. “Nhemamusasa” (literally, cutting branches for shelter), traditional Shona. Zimbabwe (1971)<br />
11. “Hakusen no” (“A White Fan”), performed by Shitaya Kotsuru.<br />
A white fan / spreading out / lasting forever / the firm pledges / like the silver node <strong>of</strong><br />
the fan / shimmering in the shadows / the boughs <strong>of</strong> pine trees / the splendid leafy<br />
colour <strong>of</strong> deep green / the clearness <strong>of</strong> the pond / in the garden approached /<br />
undisturbed by waves <strong>of</strong> wind / the surface <strong>of</strong> the water. / What an envialble life, / don’t<br />
you think?<br />
12. “Lullaby,” traditional Zuni. New Mexico (1950)<br />
My boy, little cottontail, little jackrabbit, little jackrabbit.<br />
My boy, little cottontail, little rat, little boy, little boy<br />
My boy, little jackrabbit, little cottontail, little cottontail.<br />
My boy little jackrabbit, little cottontail, little rat, little rat.<br />
13. Biblical Cantillation <strong>of</strong> Torah, sung by Joseph A. Levine (2000)<br />
Translation: And God spoke to Moses, after the death <strong>of</strong> Aaron’s two sons … and God<br />
said …<br />
14. Qur’ān recitation (sūra 1.107), al-Fātitha, recited by Hafiz Kani Karaca (1997)<br />
Translation):<br />
In the Name <strong>of</strong> Allāh the Compassionate, the Merciful<br />
Praise be to Allāh, Lord <strong>of</strong> the Creation,<br />
The Compassionate, the Merciful,<br />
King <strong>of</strong> Judgment Day!<br />
You alone we worship, and to You alone we pray for help.<br />
Guide us to the straight path,<br />
The path <strong>of</strong> those whom You have favoured,<br />
Not <strong>of</strong> those who have incurred Your wrath,<br />
Nor <strong>of</strong> those who have gone astray.<br />
From The Koran, trans. N.J. Dawood (London,<br />
Penguin 1956)<br />
26 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
15. Bhagavad Gītā 18:65-66, sung by Guy L. Beck (2005)<br />
Translation:<br />
Think <strong>of</strong> me, love me, and worship Me.<br />
Sacrifice and <strong>of</strong>fer submission to Me.:<br />
Thus you will come to me;<br />
I promise you in truth, for you are very dear to me.<br />
Renounce all types <strong>of</strong> religious duties and<br />
Simply surrender to Me.<br />
You will thus achieve liberation from all sins.<br />
Of these there is no doubt.<br />
… Elements <strong>of</strong> <strong>Music</strong><br />
Translated by Guy L. Beck in Sacred Sound:<br />
Experiencing <strong>Music</strong> in World Religions (Waterloo,<br />
ONT: Wilfrid Laurier University Press, 2006),<br />
p. 129<br />
16. Shabad <strong>of</strong> Kabīr “Āsā Srī Kabīr Jīu: Har Kā Bilovanā, sung by Bhai Harjinder Singh Ji<br />
(1998)<br />
Translation:<br />
My brother! Churn the milk <strong>of</strong> devotion to God<br />
Churn it with poised mind, lest its essence is lost.<br />
Sanak and Sanandanm, Brahmin sons,<br />
have not realized the extent <strong>of</strong> the Creator.<br />
Brahmā himself has made his life waste in the study <strong>of</strong> the Vedas.<br />
Make your body a churning pot, do the churning in<br />
your heart, mind and soul.<br />
Gather the Holy Word into this pot<br />
Divine churning consists <strong>of</strong> contemplation in heart, mind, soul.<br />
One obtains the stream <strong>of</strong> divine nectar<br />
through the grace <strong>of</strong> Guru.<br />
Says Kabīr: Should the Lord cast his glance <strong>of</strong> grace,<br />
One gets across the other shore through the Divine Name. Translation by Guy L. Beck in Sacred<br />
Sound: Experiencing <strong>Music</strong> in World<br />
Religions (Waterloo, ONT: Wilfrid<br />
Laurier Unjversity Press, 2006), p. 151<br />
17. Invocation: Mangalacharanam, Three Gems: Trisaranam, Chanted by the Theravāda monks<br />
form the Mahābodhi Society, Calcutta, India (1999)<br />
Translation:<br />
Homage to Him (Buddha), the Blessed One, the Worthy One, the Perfectly<br />
Enlightened One!<br />
=<br />
To the Buddha for refuge I go<br />
To the Dharma for refuge I go<br />
To the Sangha for refuge I go<br />
=<br />
27 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
For the second time to the Buddha for refuge I go …<br />
=<br />
For the third time to the Buddha for refuge I go …<br />
… Elements <strong>of</strong> <strong>Music</strong><br />
18. Tibet Contour Chant, chanted by the Tibetan monks <strong>of</strong> the Drepung Monastery (1989)<br />
19. Amazing Grace, Nashville (2001)<br />
20. “Weeping Pilgrim” from The Sacred Harp (1844), a book <strong>of</strong> over 250 hymns and songs for<br />
communal choral singing published by Benjamin Franklin White (1800-1879) and Elisha<br />
J. King (1821-1844), Georgia, USA.<br />
<strong>Music</strong>al terms associated with this section:<br />
Dynamic<br />
Form<br />
Harmony<br />
Melody<br />
Meter<br />
Mode<br />
Pitch<br />
Pulse<br />
Rhythm<br />
Timbre<br />
Tone<br />
28 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Classification <strong>of</strong> <strong>Music</strong>al Instruments<br />
….<strong>Music</strong>al Instruments and Voices<br />
Humans have gone to great lengths to develop instruments to help give voice to the expression <strong>of</strong><br />
music … and we have done this for a very long time (http://www.bbc.co.uk/news/scienceenvironment-18196349<br />
from May 2012) We may yet realise that we humans are not alone in this<br />
practice. At the same time, we are quickly broadening our understanding and acceptance <strong>of</strong> what is<br />
an instrument.<br />
In recent years musicologists have found benefit to assigning instruments a designation <strong>of</strong> “family,”<br />
somewhat as biologists assign Domain, Kingdom, Phylum, Order, Class, Family, Genus, and<br />
Species to life forms. Over history the way we classify instruments, both formally and colloquially,<br />
has changed. Generally instruments within a family have a similarity in playing method and<br />
sounding mechanism. Each instrument retains its own “voice” through timbre (pronounced<br />
“tamber” -- the colour, characterisitic, or quality <strong>of</strong> a sounding pitch) and tessitura (“range” – high or<br />
low – <strong>of</strong> an instrument or voice), in addition to strengths, areas <strong>of</strong> ease, historical usage and an<br />
overall personality<br />
Here is a quick overview <strong>of</strong> those broad families – our common or colloquial designation on the<br />
left and the formal Hornbostel-Sachs classification on the right:<br />
Common Hornbostel-Sachs Classification<br />
Woodwinds<br />
Brass<br />
Percussion<br />
Strings<br />
Flute, clarinet, saxophone,<br />
oboe, bassoon Aerophone: Free, non-free, and<br />
Trumpet, trombone,<br />
French horn, tuba<br />
unclassified<br />
Xylophone, Marimba, Ideophones: Struck, plucked, friction,<br />
chimes, maracas, shakers<br />
and blown<br />
drums<br />
Membranophone: Struck, plucked,<br />
friction, singing, and unclassified<br />
Violin, viola, ‘cello, guitar,<br />
harp<br />
Chordophone: simple and complex<br />
Mixed: usually a chordophone or<br />
anaerophone<br />
Soprano, Alto, Tenor,<br />
Bass voices<br />
Not classified<br />
Keyboard piano, organ<br />
Voice<br />
Electronic or<br />
amplified<br />
Synthesizer, Electric bass Electrophone<br />
Please take time to scan the Wikipedia article on Hornbostel-Sachs classification <strong>of</strong> instruments at<br />
http://en.wikipedia.org/wiki/Hornbostel-Sachs as it is excellent in synopsizing this complex topic,<br />
and showing the breadth and depth <strong>of</strong> musical instruments worldwide<br />
29 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
….<strong>Music</strong>al Instruments and Voices<br />
Most Familiar Modern Instruments:<br />
An Introduction through Sound<br />
It takes some practice to be sure what instrument you are hearing, and even the most experienced<br />
listener can get it incredibly wrong if the instrument is used in a way that it not typical for the<br />
instrument. The following selections demonstrate some <strong>of</strong> the most typical characteristics <strong>of</strong> the<br />
most familiar instruments:<br />
Flute (piccolo) #133, 225<br />
Oboe (English horn) #276<br />
Clarinet (E-flat clarinet, bass clarinet) #134, 135, 275, 293, 301<br />
Saxophone (family <strong>of</strong> four) #279, 292, 307, 308<br />
Bassoon (contrabassoon) #136, 288<br />
Trumpet #294<br />
French horn #191 bullet 3, 287, 300<br />
Trombone #286<br />
Tuba #309<br />
Percussion #298, 299, 302, 303<br />
Harp #280, 304<br />
Guitar #137, 296, 305, 306<br />
Piano #132, 141, 142, 161-4, 166-8, 310<br />
Organ #95<br />
Violin #160, 273<br />
Viola #110<br />
Cello #111<br />
Double bass #289<br />
Harpsichord #120, 121<br />
For voice types, please refer to class<br />
presentation for reference works<br />
A number <strong>of</strong> iconic and popular works feature individual instruments in signature roles<br />
21. Maurice Ravel (1875-1937), Bolero (1928)<br />
see http://en.wikipedia.org/wiki/Bol%C3%A9ro for the order <strong>of</strong> instruments as they<br />
are heard<br />
30 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
….<strong>Music</strong>al Instruments and Voices<br />
22. Benjamin Britten (1913-1976), Young Person’s Guide to the Orchestra (1946)<br />
Instruments in order <strong>of</strong> appearance: Full orchestra, Woodwinds, Brass, Strings, then<br />
Percussion; Piccolo and Flute; Oboes; Clarinets; Bassoons; Violins; Violas; Cellos;<br />
Double Basses; Harp; Horns; Trumpets; Trombones and Bass-Tuba; Percussion<br />
(Timpani; Bass Drum & Cymbals; Tambourine & Triangle; Snare Drum & Wood Block;<br />
Xylophone; Castanets & Gong; Whip; Percussion Tutti); full orchestra<br />
23. Serge Prok<strong>of</strong>iev (1891-1953), Peter and the Wolf, op. 67 (1936)<br />
24. Paul Tripp (1911-2002) and George Kleinsinger (1914-1982), Tubby the Tuba (1945)<br />
If you are shaky on your knowledge <strong>of</strong> modern concert instruments, check out the following:<br />
Even though many <strong>of</strong> these websites are focussed toward kids, they are good:<br />
BBC Guide to the Orchestra (http://www.bbc.co.uk/orchestras/learn/guidetotheorchestra/<br />
“Arts Alive” Instrument Lab (http://www.artsalive.ca/en/mus/instrumentlab/ ), National<br />
Arts Centre Orchestra<br />
SFS Kids <strong>Music</strong> Lab (http://www.sfskids.org/templates/splash.asp ), San Francisco<br />
Symphony<br />
DSO Kids Listen (http://www.dsokids.com/ ), Dallas Symphony Orchestra<br />
Top 10 Uncommon Orchestral Instruments (http://listverse.com/2007/12/09/top-10uncommon-orchestral-instruments/<br />
) – links to saxophone and bass clarinet are broken,<br />
celesta and alto flute are very poor examples, and others are VERY good.<br />
And you may particularly enjoy:<br />
Garrison Keillor, Young Lutheran’s Guide to the Orchestra (comedy, but still the<br />
musical and character representation <strong>of</strong> the various instruments <strong>of</strong> the orchestra are quite<br />
valid – perhaps avoid this one, however, if you do not wish to participate in comedy which<br />
pokes fun at a religious denomination.<br />
Leonard Bernstein, Young People’s Concerts, episode 3 (an oldie, but goody)<br />
<strong>Music</strong>al Terms in association with this section:<br />
Tone<br />
Brass<br />
Timbre<br />
Range<br />
Tessitura<br />
Woodwinds<br />
Percussion<br />
Strings<br />
Keyboard<br />
Voice<br />
Aerophone<br />
Ideophones<br />
Membranophone<br />
Chordophone<br />
Electrophone<br />
31 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Relative to Voice:<br />
….<strong>Music</strong>al Instruments and Voices<br />
<strong>Music</strong>ians use this term for several purposes: (1) literally, the human voice; (2) the “voice” <strong>of</strong> the<br />
instrument; or (3) a line <strong>of</strong> music performable by a single performer (vocal or instrumental).<br />
Considering, now, specifically the human singing voice …<br />
Soprano: in modern usage, a high voice, usually that carrying the melody: this can apply to<br />
voice or instrument! Soprano can also be used to define the whole range <strong>of</strong> high-voiced<br />
singers, usually female or children’s. Within the soprano tessitura, musicians commonly make<br />
several divisions:<br />
The highest <strong>of</strong> the high women’s voice is sopranino, or coloratura (see down). Maturity is<br />
implied.<br />
A high child’s voice (unbroken) is treble, or descant. Lightness and purety is implied.<br />
A moderately high, or limited range soprano voice is mezzo soprano, or simply mezzo<br />
A somgful high woman’s voice is designated “lyric soprano”<br />
A heavy high woman’s voice is designated “dramatic soprano”<br />
Alto: in modern usage, a medium voice: a low high-voice, or a very high low-voice: this can<br />
apply to voice or instrument. For singers this represents the approximate speaking range <strong>of</strong> the<br />
average woman, and implies a certain huskiness or mellowness <strong>of</strong> timbre. Both men and<br />
women are capable <strong>of</strong> singing alto.<br />
A very low female voice is contralto. Contralto always designates a woman’s voice, but<br />
this woman may be able to sing very low into the tenor or even baritone register.<br />
A high trained-falsetto men’s voice is countertenor.<br />
An unchanged male voice or an extremely high natural male voice (VERY rare) may be<br />
an alto<br />
A low child’s voice may be alto (boy or girl)<br />
A mezzo soprano may double as alto.<br />
Tenor: in modern usage a medium voice: a high low-voice: this can apply to voice or<br />
instrument. Tenor, in early music, is likely to refer to the melody: the voice holding (tenere!)<br />
the melody. In singing tenor defines a naturally high men’s voice. A true male tenor voice is<br />
usually a very trained voice and very short-lived as it is very difficult on the vocal apparatus.<br />
Within the tenor tessitura, musicians commonly make several divisions:<br />
A very high, light, and flexible men’s tenor voice is designated leggiero tenor<br />
A strong, warm, but not heavy men’s tenor voice is designated lyric tenor<br />
A bright, high, and heroic men’s tenor is designated spinto tenor<br />
A strongly dramatic, ringing, emotive, and powerful men’s tenor is designated dramatic<br />
tenor, or tenore de fooza, or rubusto<br />
A dark, rich, very powerful men’s tenor is designated heldentenor<br />
Baritone: in modern usage, a moderately low voice: this can apply to voice or instrument. As<br />
previously, the men’s baritone voice has divisions and designations as do tenor and soprano, but<br />
is mostly limited to “lyric” and “dramatic.” A deep, low men’s baritone voice is designated<br />
Bass-baritone<br />
Bass: in modern usage, a low voice: this can apply to voice or instrument! In singing the<br />
men’s bass voice is divided lyric and dramatic, and also high (hoher) and low (pr<strong>of</strong>undo)<br />
32 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Voices<br />
No <strong>of</strong>ficial classification<br />
ChildrenÊs Voices<br />
treble<br />
….<strong>Music</strong>al Instruments and Voices<br />
WomenÊs voices from highest to lowest, including quality<br />
Coloratura Soprano (high range and great flexibility)<br />
Lyric Soprano (lighter in quality)<br />
Dramatic Soprano (powerful and declamatory)<br />
Mezzo-soprano (mid-range and my have any <strong>of</strong> the qualities <strong>of</strong> a soprano)<br />
Dramatic Contralto<br />
Contralto<br />
MenÊs voices from highest to lowest, including quality<br />
Countertenor (similar range to female contralto or possibly mezzo-soprano)<br />
Heldentenor (heroic tenor with power and agility)<br />
Lyric Tenor (lighter in quality)<br />
Tenore robusto (dramatic, powerful, vigorous)<br />
Baritone<br />
Basso buffo (comical, agile bass, may also have extreme low range)<br />
Basso cantante (lighter in quality)<br />
Basso pr<strong>of</strong>undo (low and powerful, solemn in character)<br />
33 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Flute Family<br />
….<strong>Music</strong>al Instruments and Voices<br />
Sachs Classification: edge-blown aerophone. Common Classification: Woodwind<br />
Ancient and Modern Flutes<br />
Fipple Flutes:<br />
Recorder<br />
Tin whistle<br />
Flageolet<br />
Ocarina<br />
Flue section <strong>of</strong> the Organ<br />
Bosun’s Whistle<br />
Most Native American flutes<br />
Tibia<br />
Transverse Flutes:<br />
Piccolo<br />
Concert Flute (or German flute) – and bigger versions <strong>of</strong> same<br />
Fife<br />
Bansuri<br />
Dizi<br />
Traverso<br />
Willow flute<br />
End-blown flutes:<br />
Pan Pipes<br />
Shakuhachi<br />
Ney<br />
Anasazi<br />
Xaio<br />
Kaval<br />
Quena<br />
jug<br />
34 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Oboe and Bassoon Families<br />
….<strong>Music</strong>al Instruments and Voices<br />
Sachs Classification: double-reed aerophone. Common classification: Woodwind<br />
Ancient relatives <strong>of</strong> Oboes<br />
Shawm<br />
Sorna<br />
Raita<br />
Suona<br />
Sopila<br />
Zurna<br />
Aulos<br />
Crumhorn<br />
Duduk<br />
Mussette<br />
More recent relatives <strong>of</strong> the Oboe<br />
English Horn (Cor anglais)<br />
Oboe d’amore<br />
Bass Oboe<br />
Heckelphone<br />
Oboe da caccia<br />
Ancient Relatives <strong>of</strong> the Bassoon<br />
Dulcian<br />
Rackett<br />
More recent relatives <strong>of</strong> the Bassoon<br />
Contrabassoon<br />
Sarrusophone<br />
Other Double Reeds<br />
HighlandBagpipes<br />
Cornemeuse<br />
Uillean pipes<br />
Dudelsack<br />
35 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
….<strong>Music</strong>al Instruments and Voices<br />
Clarinet and Saxophone Families<br />
Sachs Classification: single--reed aerophone. Common Classification: Woodwind<br />
Ancient relatives <strong>of</strong> Clarinet<br />
Alboque<br />
Chalumeau<br />
Hornpipe<br />
Pibgorn<br />
Mijwiz<br />
Arghul<br />
More recent relatives <strong>of</strong> the Clarinet<br />
Basset Horn<br />
Larger and smaller versions <strong>of</strong> the modern clarinet<br />
As a relatively recent invention (1846), the brain-child <strong>of</strong><br />
Adolphe Sax,, the saxophone is a reasonably unique<br />
instrument with no identifiable predecessors other than<br />
the larger body <strong>of</strong> sinigle-reed instruments!<br />
Other Single Reeds<br />
Duda<br />
Swedish bagpipes<br />
36 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Brass Families<br />
….<strong>Music</strong>al Instruments and Voices<br />
Official Classification: lip-reed (trumpet) aerophone. Common Classification: Brass<br />
Ancient relatives <strong>of</strong> Trumpet<br />
Romam Tuba<br />
Bucina<br />
Sh<strong>of</strong>ar<br />
Conch<br />
Lur<br />
Didgeridoo<br />
Natural Trumpet<br />
Cornetto<br />
More recent relatives <strong>of</strong> the Trumpet<br />
Flugelhorn<br />
Cornet<br />
Bugle<br />
Rotary valve and slide trumpets<br />
Smaller and larger trumpets<br />
Ancient Relatives <strong>of</strong> the Horn<br />
Natural Horn<br />
Hunting Horn<br />
Alphorn<br />
Post Horn<br />
More recent relatives <strong>of</strong> the Horn<br />
Mellophone<br />
Wagner tuba<br />
Alto horn<br />
Saxhorn<br />
Vienna Horn<br />
37 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Ancient Relatives <strong>of</strong> the Trombone<br />
Sackbut<br />
Bucchin<br />
More recent relatives <strong>of</strong> the Trombone<br />
Valve Trombone<br />
Alto and Bass Trombones<br />
Ancient Relatives <strong>of</strong> the Tuba<br />
Serpent<br />
Ophecleide<br />
More recent relatives <strong>of</strong> the Tuba<br />
Euphonium<br />
Baritone Horn<br />
Contrabass Bugle<br />
Sousaphone<br />
….<strong>Music</strong>al Instruments and Voices<br />
38 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Struck Idiophones<br />
….<strong>Music</strong>al Instruments and Voices<br />
Percussion Family<br />
Two <strong>of</strong>ficial classifications: idiophones and membranophones<br />
Bells, Chimes, Glockenspiel<br />
Cymbals<br />
Xylophone<br />
Marimba<br />
Castanets<br />
Triangle<br />
Spoons<br />
Shaken, Plucked, or Rubbed Idiophones<br />
Rattles (shaken)<br />
Rainsticks (shaken)<br />
Jaw harp (plucked)<br />
Glass Harmonica, crystal glasses (rubbed)<br />
Scrapers and ratchets (rubbed)<br />
Saw (rubbed)<br />
Membranophones<br />
Drums<br />
Timpani<br />
Mirliton or Kazoo<br />
A bit <strong>of</strong> each idiophone and membranophone<br />
Snare Drum<br />
Tambourine<br />
<br />
39 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Keyboard Instruments<br />
No <strong>of</strong>ficial classification, rather subset <strong>of</strong> other families.<br />
String family keyboards (modern and ancient)<br />
Piano (struck)<br />
Pian<strong>of</strong>orte (struck)<br />
Harpsichord (plucked)<br />
Virginal (plucked)<br />
Spinet (plucked)<br />
Clavichord (touched)<br />
Wind family keyboards (modern and ancient)<br />
Flue section <strong>of</strong> the Pipe Organ (flute!)<br />
Reed section <strong>of</strong> the Pipe Organ (free-reed)<br />
Harmonium (free-reed)<br />
Percussion family keyboards (modern and ancient)<br />
Celeste<br />
….<strong>Music</strong>al Instruments and Voices<br />
40 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modern Bowed Strings<br />
Violin<br />
Viola<br />
Violoncello (or ‘Cello)<br />
Double Bass<br />
Regional and ethnic Fiddles<br />
Ancient Bowed Strings<br />
viols, especially viola da gamba<br />
vielle<br />
hurdy-gurdy<br />
tromba marina<br />
String Families<br />
Sachs Classification: chordophone.<br />
Common Classification: Strings<br />
….<strong>Music</strong>al Instruments and Voices<br />
41 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Plucked Strings (modern and ancient)<br />
Zither or autoharp<br />
Psaltery<br />
Lute<br />
Guitar<br />
Lyre<br />
Kithara<br />
Harp<br />
Koto (or Chyn)<br />
Veena<br />
Struck Strings (modern and ancient)<br />
Dulcimer<br />
Cimbalom<br />
Pantaleon<br />
….<strong>Music</strong>al Instruments and Voices<br />
42 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
….<strong>Music</strong>al Instruments and Voices<br />
Free-Reed Families<br />
Sachs Classification: single--reed aerophone. No single common classification<br />
Fitted-slots instruments<br />
Harmonica<br />
Accordion<br />
Bandoneon<br />
Concertina<br />
Harmonium<br />
Reed section <strong>of</strong> the Organ<br />
Whirling instruments<br />
Siren<br />
Lasso d’amore<br />
Bullroarer<br />
Plosive instruments<br />
Boomwhacker<br />
End-struck pipe<br />
<br />
43 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> <strong>of</strong> Greco-Roman Antiquity<br />
<strong>Music</strong> <strong>of</strong> Greco-Roman Antiquity<br />
600 BCE – 400 CE<br />
<strong>Music</strong> heard in class is drawn from the following. These selections are rerecreated from verbal<br />
and pictorial sources by current Italian recreative music group, Synaulia – Synaulia has a very<br />
informative website and some postings on YouTube if you would like to investigate this area more.<br />
There you can find pictures and descriptions <strong>of</strong> all instruments used, including much archeological<br />
background. All compositions are newly composed by Walter Maioli and his team <strong>of</strong><br />
musician/perfomers, and are inspired by Ancient Rome (1 st and 2 nd centuries CE)<br />
25. Animula Vagula (double flute, 2 tympana, cymbal)<br />
26. Tympanum (tympanum)<br />
27. Fortuna (tympanum, horn scraper, bells)<br />
28. Tibia Duplex (double fistulae)<br />
29. Pompeii (double fistulae, tympanum, cymbals, crotales)<br />
30. Tibiae Impares (two tibiae, one 30 cm, the other 35 cm)<br />
31. Lares (wedged fistula, tibiae, percussion)<br />
32. Diana (three buccine and cymbals)<br />
33. Arena (cornu and tuba)<br />
34. Pastorale (tibia)<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Melody:<br />
Rhythm<br />
Pythagoras <strong>of</strong> Crotos<br />
Plato (Greek)<br />
Textbook pages 4-5 may be used for additional reference.<br />
Aristotle (Greek)<br />
Cicero (Roman)<br />
The Muses<br />
<strong>Music</strong> <strong>of</strong> the Spheres (Egypt)<br />
For additional and fascinating reading, check out Essays no. 1-30 by David Whitwell at<br />
http://www.whitwellessays.com/<br />
44 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Aural Traditions <strong>of</strong> the Early Church<br />
Aural Traditions <strong>of</strong> the Early Church<br />
Chant in Local Christian Communities<br />
BYZANTINE, VISIGOTH, LOMBARD, OLD ROMAN, GALLICAN<br />
(300 CE – 600 CE)<br />
Gregorian Unification<br />
(600 CE – 800 CE)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
35. “Alleluia” from services for Holy Monday (week before Easter): example <strong>of</strong> Byzantine Chant,<br />
centered around Constantinople, c. 400 CE<br />
Text: Alleluia<br />
36. “Hymn to the Virgin <strong>Mary</strong>” from the liturgy (church service) <strong>of</strong> St. John Chrysostom: example <strong>of</strong> Greekinfluenced<br />
chant from Antioch, Turkey, c. 400 CE<br />
Text: Axion esti …<br />
Translation: Worthy to be …<br />
37. Psalm 110 (from the Old Testament <strong>of</strong> the Bible): Tecum principium in die virtutis tue: example <strong>of</strong><br />
Milanese (centered at Milan in northeastern Italy) and Ambrosian (named for St.<br />
Ambrose [340-397] <strong>of</strong> the church at Milan) chant, c. 375 CE<br />
Text: Tecum princípium in die virtútis tuæ<br />
Translation: Thy people shall be willing in the day <strong>of</strong> thy power<br />
38. Communion: Qui manducaverit ; example <strong>of</strong> Beneventan (centered at Benevento in southern<br />
Italy) or Old Lombard chant, c. 350 CE<br />
Text: Qui manducaverit / corpus meum / et biberit / sanguinem meam / ipse in me manet / et ego in<br />
eum / alleluia<br />
Translation (loosely): I will take in the he body and blood <strong>of</strong> Christ. Alleluia<br />
45 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Aural Traditions <strong>of</strong> the Early Church<br />
39. Sacrificium: vox clamantis : example <strong>of</strong> Visigothic, later called Mozarabic (literally “Christian in<br />
an Arab land”) chant, centered in Toledo, Spain, c. 400-700 CE<br />
Text : Vox clamantis …<br />
Translation: The voice crying out loud …<br />
40. Adoration <strong>of</strong> the Cross: Agios o Theos, Sanctus Deus: example <strong>of</strong> Old Roman Chant, centered in<br />
Rome, Italy, c. 500 CE<br />
Text: Agios o Theos, Sanctus Deus …<br />
Translation: O Holy God …<br />
41. “Versus de l’eveque Theodulf d’Orleans: Gloria, Laus”: example <strong>of</strong> Gallican chant, broadly<br />
centered in what is now France. Much <strong>of</strong> this body <strong>of</strong> chant will later be codified into<br />
what is now known as Gregorian Chant<br />
Text: Gloria, laus et honor tibi sit Rex Christe, Redemptor<br />
Translation: Glory, praise, and honour be given to you, King Christ, the Redeemer<br />
42. “Viderunt Omnes” : example <strong>of</strong> Gregorian Chant (plainsong)<br />
Text: Viderunt omnes fines terre salutare Dei nostril / jubilate Deo omnes terra. / Notum fecit<br />
dominus salutare suum: / ante conspectum gentium revelavit iusticiam suam.<br />
Translation: All the ends <strong>of</strong> the earth have seen the salvation <strong>of</strong> our God: / sing joyfully<br />
to God, all the earth. / The Lord has made known his salvation: / He has<br />
revealed His righteousness in the sight <strong>of</strong> the nations.<br />
<strong>Music</strong>al Terms in association with this time period (consult glossary <strong>of</strong> text for further elaboration):<br />
Mode / Modal<br />
Plainchant<br />
Voice<br />
Unison<br />
Drone<br />
Melisma<br />
Monophony<br />
Mass<br />
In addition, textbook pages 6-13 may be used for further reference on this period.<br />
Boethius<br />
(Philosopher)<br />
Song <strong>of</strong> the Sibyl<br />
(UNESCO)<br />
If you have little or no experience with the traditional mass <strong>of</strong> the Roman Catholic Church, you may<br />
find this to be helpful: http://en.wikipedia.org/wiki/Mass_%28music%29 in order to gain some<br />
insight into the musical side <strong>of</strong> the medieval and early Christan Liturgical Mass.<br />
46 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> in the Medieval Catholic Church<br />
<strong>Music</strong> in the Medieval Catholic Church<br />
Carolingian Organum<br />
EMERGENCE OF “COORDINATE HARMONY”<br />
(800 CE – 1000 CE)<br />
Romanesque Polyphony<br />
BREAK-AWAY VOICES<br />
(1000 CE – <strong>115</strong>0 CE)<br />
Gothic Style<br />
NOTRE DAME AMD AQUITAINE<br />
(<strong>115</strong>0 CE – 1300 CE)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
43. Domine, labia mea aperies: Psalm 51, verses 17 and 18, here presented as a plainchant; followed<br />
by section <strong>of</strong> parallel organum. While this example originates from Aquitaine region <strong>of</strong><br />
modern France (late 12 th Century), it is exemplary <strong>of</strong> the older Carolingian style <strong>of</strong> parallel<br />
organum<br />
Text: Domine, labia mea aperies: et os meum annuntiabit laudem tuam / Deus in adjutorium meum<br />
intende.<br />
Translation: O Lord, you will open my lips: and my mouth shall declare your praise. /<br />
For if you had desired sacrifice, I would indeed have given it<br />
44. O primus homo coruit: Originates from Aquitaine region <strong>of</strong> modern France, verses for the<br />
Matins service for Christmas Day, here a 2-voice (organum duplum) florid organum,<br />
single voice over original plainsong (late 12 th century).<br />
Text: O primus homo coruit<br />
Translation: O glittering first among men …<br />
47 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> in the Medieval Catholic Church<br />
45. Magister Leoninus “Leonin” (fl. <strong>115</strong>0-1201), Viderunt Omnes, 2-part free organum (organum<br />
duplum) on the chant <strong>of</strong> the same name, Paris, Notre Dame Cathedral and universitas<br />
magistrorum et scholarium [Université de Paris]. The term <strong>of</strong> Notre Dame School is applied<br />
to the music originating from the Cathedral masters for the hundred years <strong>115</strong>0 – 1250<br />
CE.<br />
46. Magister Perotinus, “Perotin” (fl. 1200), Viderunt Omnes 4-part free organum (organum<br />
quadruplum) on the plainchant by the same name, Paris, Notre Dame Cathedral and universitas<br />
magistrorum et scholarium [Université de Paris].<br />
<strong>Music</strong>al Terms in association with this time period (consult glossary <strong>of</strong> text for further elaboration):<br />
Plainchant<br />
Cantus firmus<br />
Consonance<br />
Dissonance<br />
Interval<br />
Cadence<br />
Counterpoint<br />
Organum<br />
Parallel Organum<br />
Free or Florid Organum<br />
Discant<br />
Polyphony<br />
Staff<br />
Clef<br />
Guido d’Arezzo<br />
Guidonian Hand<br />
Neumes (notation)<br />
Rhythmic modes<br />
Trivium<br />
Quadrivium<br />
48 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Ars Antiqua<br />
PERSONAL EXPRESSIONS: SACRED AND SECULAR<br />
(<strong>115</strong>0 CE – 1300 CE)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
… Ars Antiqua<br />
47. Anonymous, La Chanson de Roland (9 th century). This epic poem in the minstral tradition<br />
is amongst the first to extant sources <strong>of</strong> song texts from middle ages Europe. The poetry<br />
describes the exploits <strong>of</strong> Charlesmagne against the Moors <strong>of</strong> Islamic Spain.<br />
48. Hildegard von Bingen (1098-1179), O virgo ac diadema : an example <strong>of</strong> a Da Sancta Maria<br />
Sequentia, or a hymn (sung poetry) to the Virgin <strong>Mary</strong>. Such hymns are usually in<br />
rhyming poetic couplets.<br />
English Translation <strong>of</strong> Latin Text<br />
Green branch and imperial diadem, in your virginity enclosed as in shining armour,<br />
You branched, blossoming, in a fashion changed from that by which Adam produced<br />
the whole human race. hail, from your womb came forth another life which Adam<br />
had stripped from his sons.<br />
O flower, it was not the dew that made you bud, nor drops <strong>of</strong> rain, nor did the wind<br />
waft over you, but the divine radiance brought you forth from the most noble<br />
branch.<br />
O branch, God foresaw your flowering on the first day <strong>of</strong> creation. And he made you,<br />
o virgin most worthy <strong>of</strong> praise, as a golden matrix for his Word<br />
O how great in its strength is the side <strong>of</strong> Man from which God brought forth Woman,<br />
whom he made the the mirror <strong>of</strong> all his beauty and the embrace <strong>of</strong> all his creation.<br />
And so all heaven's instruments make music together, and all the earth admires you,<br />
<strong>Mary</strong> most worthy <strong>of</strong> praise, whom God has loved so deeply.<br />
A very great cause it was for lamenting and mourning, That through the counsel <strong>of</strong><br />
the serpent, sorrow and guilt flowed into woman.<br />
For that woman, whom God had set to be the mother <strong>of</strong> us all, she destroyed her own<br />
womb with the wounds <strong>of</strong> ignorance and gave birth to all pain for her children.<br />
But, o dawn, from your womb a new Sun rises, which has cleansed all Eve's sins, and<br />
through you a blessing flows greater than the harm Eve did to men.<br />
And thus you have saved us, you who bore the New Light for humankind. Gather<br />
then the members <strong>of</strong> your Son into celestial harmony.<br />
49 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Ars Antiqua<br />
49. Hildegarde von Bingen, O viridissimi virgo : an example <strong>of</strong> a sequence to the Virgin <strong>Mary</strong> (Da<br />
Sancta Maria Sequentia)<br />
O greenest branch, I greet you, you who budded in the winds <strong>of</strong> the questioning <strong>of</strong><br />
the saints.<br />
The time came for you to blossom in your branches, I salute you! The sun's heat<br />
distilled in you the fragrance <strong>of</strong> balsam.<br />
For in you bloomed the beautiful flower which gave fragrance to all the dried out<br />
spices.<br />
And they all burgeoned in their strength and greenness. And because <strong>of</strong> this, the<br />
heavens dropped their dew upon the grass,<br />
And all the earth was made glad, for her womb brought forth wheat, and the birds <strong>of</strong><br />
heaven made their nests in her.<br />
From this, humankind is nourished, which brings great joy to the feasters. And hence,<br />
o sweet virgin, in you no joy is lacking.<br />
All <strong>of</strong> this, Eve rejected. Indeed, let us praise the Most High.<br />
50. Hildegard von Bingen (1098-1179), Ordo Virtutum (c. <strong>115</strong>1): Earliest known morality play,<br />
composed in monophonic song except for the single speaking role <strong>of</strong> the devil.<br />
51. Bernart de Ventadorn (b. 12 th century), “Quan vei la lauzeta mover” : unascribed<br />
Troubadour chanson<br />
Text: Quan vei la lauzeta mover …<br />
Translation: When I see the lark move its wings for joy against the sun’s rays and forgets<br />
to fly and allows itself to fall for the sweetness that goes to its heart, alas, such<br />
envy comes over me <strong>of</strong> those I see filled with happiness I marvel that my heart<br />
does not melt from desire.…<br />
52. Alfonso X El Sabio (1221–1284), attributed, Santa Maria Leva, no. 320 from Cantigas de<br />
Santa Maria ("Canticles <strong>of</strong> Holy <strong>Mary</strong>"), a set <strong>of</strong> 420 poems with musical notation, written<br />
in Galician-Portuguese<br />
Text<br />
Santa Maria leva<br />
o ben que perdeu Eva.<br />
O ben que perdeu Eva<br />
pola sa neicidade,<br />
O ben que perdeu Eva<br />
pela sa gran loucura,<br />
cobrou Santa Maria<br />
Translation:<br />
Saint <strong>Mary</strong> restored<br />
the good that Eve lost.<br />
The good that Eve lost<br />
through her ignorance<br />
Saint <strong>Mary</strong> restored<br />
by her humility.<br />
Saint <strong>Mary</strong> restored, etc.<br />
50 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
cona sa gran cordura<br />
Santa Maria leva, etc.<br />
O ben que perdeu Eva<br />
a nossa madr’antiga<br />
cobrou Santa Maria<br />
u foi de Deus amiga.<br />
Santa Maria leva, etc.<br />
O ben que perdeu Eva<br />
du perdeu parayso,<br />
cobrou Santa Maria<br />
pelo seu mui bon siso.<br />
Santa Maria leva, etc.<br />
… Ars Antiqua<br />
The good that Eve lost<br />
through her great folly<br />
Saint <strong>Mary</strong> restored<br />
through her great wisdom.<br />
Saint <strong>Mary</strong> restored, etc.<br />
The good that Eve lost,<br />
our Mother <strong>of</strong> old,<br />
Saint <strong>Mary</strong> recovered,<br />
when she became the friend <strong>of</strong> God.<br />
Saint <strong>Mary</strong> restored, etc.<br />
The good that Eve lost<br />
when she forsook Paradise<br />
Saint <strong>Mary</strong> recovered<br />
by her holy judgment.<br />
Saint <strong>Mary</strong> restored, etc.<br />
53. Pierre de la Croix, “On doit fin (e) amor / la beaute / In speculum” : Motet from the Montpelier<br />
Codex<br />
Text 1: On doit fin(e) Amor anourer nuit et jour [old French] … ; translates to: One should honour<br />
true love night and day for one can obtain honour and esteem and gain courtesy and worth<br />
through him. But one must serve loyally and with ones entire heart as best he can. This is why<br />
I want to serve true Love loyally, without regret …<br />
Text 2: La biauté ma dame le cuer m’esjoi(s)t, quant je pens a li. [old French] … translates to: The<br />
beauty <strong>of</strong> my lady makes my heart rejoice when I think <strong>of</strong> her ture, loving, tender heart in who<br />
all good flourishes…<br />
Text 3: In Speculum [plainchant]<br />
54. Adam de la Halle (1237-1288), “Robins m’aime” : Rondeau or chanson drawn from musical<br />
drama, “Le Jeu de Robin et de Marion:<br />
Text [old French] sung by character Marion: Robins m’aime Robins m’a …<br />
Translation: Robin loves me, I am his<br />
55. Adam de la Halle, “Mout / Robins m’aime / PORTARE” : Motet combining a new<br />
melody on the text “Mout me fu grief …” and the existing melody on the text <strong>of</strong><br />
“Robins m’aime,” all spun over top <strong>of</strong> the plaintchant accompanying the word<br />
PORTARE.<br />
51 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Ars Antiqua<br />
Text (top voice): Mout me fu grief li departir de m’amiete ,,,<br />
Translation (top voice): The departure <strong>of</strong> my dear sweetheart grieved me deeply /<br />
the pretty one with the bright face / as white and vermillion as the rose set against<br />
the lily / or so it seems to me / her ever so sweet laughter makes e tremble and<br />
her gray-blue eyes languish. / O God, woe that I left her! Little white lily flower<br />
when will I see you? Worthy lady, red as a rose in May / on your account I suffer<br />
from grief.<br />
Text (middle voice): Robin m’aime. Robin m’a …<br />
Translation (middle voice): Robin loves me. Robin has me. Robin asked for me and<br />
he will have me. Robin bought me a belt and a little purse <strong>of</strong> silk / Why they<br />
would I not love him / Halleluia!<br />
<strong>Music</strong>al Terms in association with this time<br />
Mode<br />
Counterpoint<br />
Consonance<br />
Dissonance<br />
Interval<br />
Cadence<br />
Cantus firmus<br />
Polyphony<br />
Rhythmic modes<br />
Motet<br />
Minstral<br />
Jongleur<br />
In addition, textbook pages 6-13 may be used for further reference on this period.<br />
Troubadour<br />
Trouvere<br />
Minnesinger<br />
Cantigas.<br />
Chanson<br />
52 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Numerology, Letter, and Circles for Muscians<br />
Rhythm, Pitch, Scales, Mores,<br />
Intervals, and Keys<br />
NUMEROLOGY, LETTERS, AND CIRCLES FOR <strong>MUS</strong>ICIANS<br />
SOME OF THE MYTHOLOGY BEHIND THE THEORY AND ART OF <strong>MUS</strong>IC<br />
~ RHYTHM~<br />
Current music has a preference for 2’s and 4’s, and the multiples <strong>of</strong> these numbers. For example:<br />
Row, row, row boat gently down stream. Merrily, merrily, merrily, merrily, life but dream<br />
your<br />
the<br />
is a<br />
beats<br />
accents,<br />
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16<br />
bar,<br />
measure,<br />
meter<br />
sub<br />
1 2 3 4 5 6 7 8<br />
phrase<br />
1<br />
2<br />
full<br />
phrase<br />
or<br />
melody<br />
For each FULL PHRASE/MELODY: whether there are 8, 16, 24, 32, 40, or 48 BEATS, there will usually still be only 8<br />
big ACCENTs. There will usually be two SUB-PHRASEs– one rising and needing to “continue”, one falling and<br />
coming to conclusion. So much <strong>of</strong> our music fits this model that we feel somewhat uncomfortable when a piece <strong>of</strong> music<br />
departs from this plan … <strong>of</strong> course good composers know how to both work within this plan giving much that is new<br />
and meaningful AND to break these rules <strong>of</strong> thumb for interest and gentle (or deep) provocation.<br />
1<br />
If we took this one step further, you would probably find that either 2 or 4 full phrases make a VERSE<br />
One significant pattern which differs from this practice is the “12-Bar Blues”: its pattern is 48 beats, 12 bars, 3<br />
sub-phrases, 1 full phrase.<br />
Movie soundtracks will also <strong>of</strong>ten depart from this pattern because <strong>of</strong> the need to align music with action – and<br />
movie action rarely has patience for something so predictable as 2’s and 4’s.<br />
If we looked the other direction – a SUBDIVISION <strong>of</strong> each beat – we find that “square-ish” division <strong>of</strong> the beat into 2’s<br />
and 4’s is popular, but so is “rounded” lilting division into 3’s. These patterns are very common to European-based<br />
music, but less so for non-European music.If we consider music with Eastern European and African influence, we see<br />
that ACCENT patterns may easily be groups <strong>of</strong> 5 or 7 beats. Ultimately, this produces a peg-legged effect with irregular<br />
accent patterns. Many western composers and performers have picked up on this enticing sound and used it to great<br />
effect. Notable here are the 5 beat marching pattern <strong>of</strong> Middle Earth’s Uruk hai written by Howard Shore in the film<br />
score <strong>of</strong> Two Towers, and the 7-beat pattern <strong>of</strong> Danny Elfman’s theme song for The Simpson’s or Hans Zimmer’s Angels<br />
and Demons soundtrack. Calypso music usually has a peg-legged 8-beat pattern. 8-beat patterns <strong>of</strong>ten divide into<br />
PULSEs <strong>of</strong> 3+3+2 beats instead <strong>of</strong> the more predictable 2+2+2+2 beats.<br />
Older forms <strong>of</strong> music had definite preference for ACCENT patterns <strong>of</strong> 3 beats. In addition to the preference for a beat<br />
SUBDIVISION <strong>of</strong> 3, these multiples <strong>of</strong> 3 were considered to be “holy” aligning with the idea <strong>of</strong> the Holy Trinity for<br />
music <strong>of</strong> the Mediaeval and early Renaissance periods. Through the Baroque and early Classical period we had a definite<br />
preference for ACCENT patterns <strong>of</strong> 3 beats, because this made for cool dance steps, since 1-2-3, 1-2-3, 1-2-3, 1-2-3<br />
comes out L-R-L, R-L-R, L-R-L, R-L-R. Evenson all <strong>of</strong> this, the SUB-PHRASE, FULL PHRASE, and VERSE will still<br />
usually be 2’s and 4’s<br />
Taken all together, we humans tend to feel BEATS and ACCENTS <strong>of</strong> 2’s, 4’s and their multiples as strong; 3’s<br />
and its multiples as gentle; and 5’s, 7’s and irregular groupings as exotic.<br />
53 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
~ PITCH, SCALE, and MODES ~<br />
Numerology, Letter, and Circles for Muscians<br />
Rhythm, Pitch, Scales, Mores,<br />
Intervals, and Keys<br />
The notes which make up our music are named by letters <strong>of</strong> the alphabet (at least in English and German).<br />
A B C D E F G A … our minor scale!<br />
C D E F G A B C …our major scale!<br />
Today these letters DO designate specific pitches, described by exact frequencies <strong>of</strong> vibration; however, early on – in the<br />
days <strong>of</strong> ancient Greece – the letters represented something more like proportions <strong>of</strong> vibration frequency. If you would<br />
like to read into this further, may I highly recommend the book Temperament: How <strong>Music</strong> Became the Battleground for the<br />
Greatest Minds <strong>of</strong> History by Stuart Isac<strong>of</strong>f<br />
The same Greek mathematician, Pythagoras, who gave us X 2 + Y 2 = Z 2 also made pioneering strides into the<br />
understanding <strong>of</strong> the scientific physics behind musical tones. He discovered that dividing a string (like on a violin or on a<br />
guitar) into perfect fractional proportions would produce most <strong>of</strong> the notes <strong>of</strong> today’s major or minor scale.<br />
A B “C” D E F G A. Full length<br />
1:1 (8:9) 4:5 3:4 2:3 3:5 9:16 1:2<br />
Proportions <strong>of</strong> a string<br />
Pythagoras focussed only on proportions using only 1, 2, 3, 4, and 5; and so the proportions <strong>of</strong> B and G are worked out<br />
mathematically, and therefore, are considered somewhat less pure. However, here, even in ancient Greece, the seeds <strong>of</strong><br />
our modern scales were sown!<br />
In ancient Greece, scales were called tonoi. These tonoi used the very pitches described above. Tonoi had interesting<br />
names like Dorian, Phrygian, Lydian, Mixolydian, which referred to regions <strong>of</strong> the Grecian world where the patterns <strong>of</strong><br />
notes, the tonoi, were prevalent: Lydia and Phrygia on Asia Minor, Dorian referring to a region on the Peloponnesian<br />
Peninsula.<br />
Some 1000 years later, mediaeval musicians adopted these same names for the scales then being used by music in the<br />
Roman Church liturgy. Mediaeval musicians called their scales “modes,” and even though the mediaeval modes had the<br />
same names as the Greek tonoi they did not have the same notes (or as near as we can figure today, the same manner <strong>of</strong><br />
working).<br />
The principal mediaeval church modes looked something like this:<br />
D E F G A B C D Dorian<br />
E F G A B C D E Phrygian<br />
F G A B C D E F Lydian<br />
G A B C D E F G Mixolydian<br />
There were also three theoretical modes:<br />
A B C D E F G A Aeolian<br />
B C D E F G A B Locrian<br />
C D E F G A B C Ionian<br />
54 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Numerology, Letter, and Circles for Muscians<br />
Rhythm, Pitch, Scales, Mores,<br />
Intervals, and Keys<br />
You may notice that this theoretical group includes our present major and minor scales. It is hard to say why musicians<br />
began to prefer the sound <strong>of</strong> the present major and minor scales, but it probably had something to do with the beauty <strong>of</strong><br />
the harmonies that could be created with major/minor scales and the satisfying movement from harmony to harmony<br />
that could be achieved within major/minor. One way or the other, the shift toward the major-minor system seems to<br />
have begun in the 13 th and 14 th centuries, was in full swing by the mid 16 th century, and had finally settled by the<br />
beginning <strong>of</strong> the 18 th century.<br />
Allow me to return to the mediaeval modes for a moment: it is interesting to note that while, for example, the Dorian<br />
mode stretches from D to D, it is important to note that music in the Dorian mode actually revolves around the one <strong>of</strong><br />
the middle notes, usually the fifth one but sometimes the third. The note at the center <strong>of</strong> the mode was actually<br />
considered the most important note, and so was called the dominant note. This terminology becomes important again<br />
with major and minor scales, although in major/minor it means something a little bit different – still it is interesting that<br />
the term returns in our modern system. It perhaps seems odd to us that the strongest, most dominant note <strong>of</strong> the mode<br />
might be somewhere in the middle rather than on the end: after all, we tend to practice our scales end-to-end now-adays.<br />
If you think about it, however, many tunes begin higher or lower than, or swirl around the final pitch before<br />
settling on it: prove this to yourself by humming “Happy Birthday.”.. In mediaeval theory, “Happy Birthday” would be<br />
in the Mixolydian mode – using the full range <strong>of</strong> G to G – with a dominant (finishing note) <strong>of</strong> C. In tonal scale theory<br />
“Happy Birthday” would be said to be in C major. Same tune, different theory. This is one <strong>of</strong> the difficulties<br />
musicologists encounter when studying centuries <strong>of</strong> music: the theory changes over time!<br />
In today’s usage we give each note <strong>of</strong> a scale both a number (“scale degree”) and a specific name/title based on where<br />
the note falls within the scale. Glance back to the top <strong>of</strong> this section and follow the notes/pitches <strong>of</strong> A minor through<br />
from left to right: you see that A is the first note, B the second, C the third, E the fourth, etc. Here is the list <strong>of</strong> scale<br />
degrees and names for A minor:<br />
A first note scale degree 1 (tonic)<br />
B second note scale degree 2 (supertonic)<br />
C third note scale degree 3 (mediant)<br />
D fourth note scale degree 4 (subdominant)<br />
E fifth note scale degree 5 (dominant)<br />
F sixth note scale degree 6 (submediant)<br />
G seventh note scale degree 7 (subtonic or leading tone)<br />
Take particular notice <strong>of</strong> scale degree 5, dominant; scale degree 3, mediant; scale degree 4, subdominant; scale degree 7,<br />
leading tone. Amongst other things, here is our significant return <strong>of</strong> the term dominant: remember this as we take on<br />
the next concepts.<br />
~ CIRCLES and INTERVALS ~<br />
<strong>Music</strong>ians like to use circles to help demonstrate certain principles <strong>of</strong> music construction. A simple circle showing the<br />
alphabetical notes <strong>of</strong> music can help demonstrate the principle <strong>of</strong> musical intervals: the musical space between pitches<br />
(notes). We begin by placing the seven alphabet letters <strong>of</strong> our notation around a circle:<br />
A<br />
G B<br />
F C<br />
E D<br />
If you start on A and travel clockwise around the circle, you identify the notes <strong>of</strong> the “a minor” scale. If you start on C<br />
and travel clockwise around the circle, you identify the notes <strong>of</strong> the “C major” scale. “A minor” is not the only minor<br />
55 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Numerology, Letter, and Circles for Muscians<br />
Rhythm, Pitch, Scales, Mores,<br />
Intervals, and Keys<br />
scale we use – there are 14 others – but it is the easiest to work with just in letters. Likewise, C major is not the only<br />
major scale – there are also 14 others – but again it is the easiest to work with using simple letters.<br />
We can now use this circle to help demonstrate the “musical intervals.” For musicians, intervals are identified<br />
numerically, giving the distance around the circle between two pitches. In a way, it’s like playing a musical game <strong>of</strong> “One<br />
potato, two potato.” For example, if you were to go from A to B clockwise around the circle, then A would be “one<br />
potato” – or one – and B would be “two potato” – or two. Since the count is one-two, we would call this interval the<br />
interval <strong>of</strong> a second. In fact any two adjacent notes around the circle gives the interval <strong>of</strong> a second: for example, AB,<br />
CD, EF, GA.<br />
A<br />
G B<br />
F C<br />
E D<br />
Expand this process! Go from A to C clockwise around the circle: A would be “one potato” – or one – and B would be<br />
“two potato” – or two – C would be “three potato” – or three. Since the count is one-two-three, we would call this<br />
interval the interval <strong>of</strong> a third. In fact skipping one note as you move around the circle gives the interval <strong>of</strong> a third: for<br />
example AC, DF, GB<br />
A<br />
G B<br />
F C<br />
E D<br />
By the time you add the “fourth potato” you are describing the interval <strong>of</strong> the fourth: for example AD, DG<br />
A<br />
G B<br />
F C<br />
E D<br />
The process can be continued: find the interval <strong>of</strong> a fifth by skipping 3 notes; a sixth by skipping 4 notes; a seventh by<br />
skipping 5 notes; and finally an octave (an eighth) by going full circle back to the starting note.<br />
The idea <strong>of</strong> intervals may seem very abstract and unnecessary to enjoying music. However, as we chat about the music<br />
different time periods, as we attempt to describe why music <strong>of</strong> different times sounds different, we <strong>of</strong>ten find that we are<br />
turning to intervals to try to illuminate the workings <strong>of</strong> the music. As we move into and through “The Common Practice<br />
Period,” it is not only the space between individual notes, but the space between chords (groups <strong>of</strong> simultaneous notes)<br />
that comes to define many <strong>of</strong> the qualities <strong>of</strong> the music.<br />
56 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
~ CIRCLES and KEYS ~<br />
Numerology, Letter, and Circles for Muscians<br />
Rhythm, Pitch, Scales, Mores,<br />
Intervals, and Keys<br />
We will now encounter the “greatest” and most befuddling circle in music study: The Circle <strong>of</strong> Fifths. The reason that<br />
this is so difficult for so many people, even experienced musicians, is because many concepts have to come together to<br />
make the whole work. If the understanding <strong>of</strong> this Circle is elusive for you, don’t worry: we can still get much <strong>of</strong> the<br />
information that we ultimately need from this circle just by looking at it.<br />
If you will indulge me, take the next thing I say on faith … because, honestly, I’m skipping past a LOT <strong>of</strong> learning and<br />
experience here.<br />
To create a Circle <strong>of</strong> Fifths, we need to first identify our fifths.<br />
Beginning with C, find the note a fifth higher – G (also the dominant <strong>of</strong> the C scale). From G we find the next fifth up –<br />
D (also the dominant <strong>of</strong> the G scale). From D we again find the next fifth note up – A (again the dominant <strong>of</strong> the D<br />
scale). If we continue this process for a full seven times, each time finding the dominant <strong>of</strong> the previous scale, we get the<br />
series: C, G, D, A, E, B, F# (F-sharp), and C#. We wrap these notes clockwise around a circle from C at the top.<br />
C<br />
C# B<br />
F#<br />
We then carry out a similar process, moving counter-clockwise around the interval circle from C to find the fifth below C<br />
– here we find F (the subdominant <strong>of</strong> the C scale). From F we again seek the fifth below – Bb (B-flat), again the<br />
subdominant <strong>of</strong> the F scale. Doing this seven full times, we get the series: F, Bb, Eb, Ab, Db, Gb, and Cb. These we<br />
wrap counter-clockwise around the circle above: complete with overlap <strong>of</strong> notes (enharmonic notes – sounding the same<br />
in modern usage, but given different names).<br />
G<br />
C<br />
F G<br />
D<br />
E<br />
A<br />
Bb D<br />
Eb A<br />
Ab E<br />
Db/C# Cb/B<br />
Gb/F#<br />
And … behold! The Circe <strong>of</strong> Fifths!<br />
It may not seem like much, but ultimately it is a very useful little circle. We will come back to it just as a visual reference<br />
as we move through the class material.<br />
~ AND … To Pursue Topics <strong>of</strong> <strong>Music</strong>Theory Further, Search These <strong>Music</strong> Theory Links ~<br />
http://www.musictheory.net/ -- Ricci Adams <strong>Music</strong> Theory, an interactive romp through the basics.<br />
http://www.soundadvicedirect.com/about.html -- Sound Advice is Camosun’s entry-level theory programme and is<br />
home-grown here in Victori<br />
57 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ARS NOVA<br />
TRECENTO IN FRANCE, ITALY, AND ENGLAND<br />
(1300 - 1400 CE)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
…Ars Nova<br />
56. Philippe de Vetry (fl. 1310-1316), “In mari miserie” chanson from the satire play Le Roman<br />
de Fauvel. The tale <strong>of</strong> Roman de Fauvel is an satrical allegory about a horse named<br />
Fauvel. The name Fauvel is an acronym <strong>of</strong> the French words for six <strong>of</strong> the seven deadly<br />
sins <strong>of</strong> the church : Flattery, Averice, Villany, Fickleness (varieté), Envy, and<br />
Cowardness (lacheté). The original poem was written in 1310 by Gervais de Bus<br />
Text :<br />
In mort miserie, maris stella<br />
Ervantes cotidie a frocella<br />
Defende now et precare dominem fie<br />
Ut at portas glorie now trahat per hoc mare<br />
nos<br />
Que Fauvel faciat superare<br />
Translation :<br />
In the ocean <strong>of</strong> misery, star <strong>of</strong> teh sea<br />
Protect us from the storm, we who mislead<br />
Ourselves daily, and affectionately call on<br />
The Lord who drags us by this sea right up<br />
To the gates <strong>of</strong> glory, and who causes us to<br />
overcome Fauvel<br />
57. Guillaume de Machaut [pronounce Ma-show] (1300-1371), “Credo” from “Misse de Notre<br />
Dame,” first full setting <strong>of</strong> the mass ordinary by a single composer. Machaut’s biography<br />
may be found in the textbook, but is somewhat erroneously under “Middle Ages.”<br />
Text<br />
Credo in unum Deum, Patrem<br />
omnipoténtem, factorem cæli et terræ,<br />
visibílium ómnium et invisibílium.<br />
Et in unum Dóminum Iesum Christum,<br />
Fílium Dei unigénitum, et ex Patre<br />
natum, ante ómnia sæcula. Deum de<br />
Deo, lumen de lumine, Deum verum de<br />
Deo vero. Genitum, non factum,<br />
consubstantialem Patri, per quem omnia<br />
facta sunt.<br />
Translation<br />
I believe in one God, almighty<br />
Father, maker <strong>of</strong> heaven and earth,<br />
all things visible and invisible.<br />
And in Jesus Christ His only son,<br />
born <strong>of</strong> the Father before all<br />
things, God from God, light from<br />
light, God true from God true.<br />
Begotten, not made; <strong>of</strong> one<br />
substance with the Father by<br />
whom all things made were.<br />
58 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Qui propter nos homines, et propter<br />
nostram salutem descendit de caelis.<br />
Et incarnatus est de Spiritu Sancto<br />
ex Maria Virgine.<br />
Et homo factus est. Crucifixus etiam<br />
pro nobis sub Pontio Pilato, passus, et<br />
sepultus est. Et resurrexit tertia die,<br />
secundus Et interum venturus est cum<br />
gloria, judicare vivos et mortuos, cujus<br />
regni non erit finis. Scripturas. Et<br />
ascendit in caelum, sedet ad dexteram<br />
Patris.<br />
Et in Spiritum Sanctum Dominum, et<br />
vivificantem, qui ex Patre Filioque<br />
procedit. Qui cum Patre, et Filio simul<br />
adoratur et conglorificatur, qui locutus est<br />
per Prophetas.<br />
Et unam, sanctam, catholicam, et<br />
apostolicam Ecclesiam. Confiteor unum<br />
baptisma in remissionem peccatorum.<br />
Et expecto resurrectionem mortuorum.<br />
Et vitam venturi saeculi. Amen<br />
…Ars Nova<br />
Who for us and for our salvation<br />
descended from heavens.<br />
Made flesh was <strong>of</strong> Spirit Holy<br />
<strong>of</strong> <strong>Mary</strong> Virgin.<br />
Was crucified also for us under<br />
Pontius Pilate, suffered, and was<br />
buried. He rose third day,<br />
according to Scriptures, and he<br />
ascended into heaven. He sits at<br />
right hand <strong>of</strong> the Father, and will<br />
come again in glory to judge living<br />
and dead, <strong>of</strong> whose kingdom will<br />
be no end.<br />
And in Spirit Holy Lord, and<br />
lifegiver, who from the Father and<br />
the Son proceeds. Who with the<br />
Father, and the Son together is<br />
adored and glorified, who spoke<br />
through Prophets.<br />
And one, holy, catholic, and<br />
Apostolic Church. I confess one<br />
baptism for remission <strong>of</strong> sins.<br />
And I expect resurrection <strong>of</strong> dead,<br />
and life to come <strong>of</strong> age. Amen.<br />
58. Guillaume de Machart (1300-1371), “Puis qu'en oubli” Le Voir Dit. Rondeau 18:<br />
One <strong>of</strong> Machaut’s most famous songs, it originates as a simple poetic rondeau <strong>of</strong> simple<br />
rhymed meter, but displays musical and rhythmic sophistication.<br />
Text<br />
Puis qu'en oubli sui de vous, dous amis,<br />
Vie amoureuse et joie à Dieu commant.<br />
Mar vi le jour que m'amour en vous mis,<br />
Puis qu'en oubli sui de vous, dous amis.<br />
Mais ce tenray que je vous ay promis,<br />
C'est que jamais n'aray nul autre amant.<br />
Puis qu'en oubli sui de vous, dous amis,<br />
Vie amoureuse et joie à Dieu commant.<br />
Translation<br />
Since I am forgotten by you, sweet friend,<br />
I bid farewell to a life <strong>of</strong> love and joy.<br />
Unlucky was the day I placed my love in<br />
you;<br />
Since I am forgotten by you, sweet friend.<br />
But what was promised you I will sustain:<br />
That I shall never have any other love.<br />
Since I am forgotten by you, sweet friend,<br />
I bid farewell to a life <strong>of</strong> love and joy.<br />
59 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
59. Guillaume de Machart (1300-1371), De toutes flours: Ballade<br />
Text<br />
De toutes flours n'avoit et de tous fruis<br />
En mon vergier fors une seule rose:<br />
Gastes estoit li seurplus et destruis<br />
Par Fortune qui durement s'oppose<br />
Contre ceste doulce flour<br />
Pour amatir sa colour et s'odour.<br />
Mais se cueillir la voy ou trebuchier.<br />
Autre apres li ja mais avoir ne quier.<br />
Mais vraiement ymaginer ne puis<br />
Que la vertus, ou ma rose est enclose.<br />
Viengne par toy et par tes faus conduis.<br />
Ains est drois dons natureus; si suppose<br />
Que tu n'avras ja vigour<br />
D'amanrir son pris et sa valour.<br />
Lay la moy donc, qu'ailleurs n'en mon vergier<br />
Autre apres li ja mais avoir ne quier.<br />
He! Fortune, qui es gouffres et puis<br />
Pour engloutir tout homme qui croire ose.<br />
Ta fausse loy, ou riens de biens ne truis<br />
Ne de seur, trop est decevans chose;<br />
Ton ris, ta joie, t'onnour<br />
Ne sont que plour, tristesse et deshonnour.<br />
Se ty faus tour font ma rose sechier.<br />
Autre apres li ja mais avoir ne quier.<br />
…Ars Nova<br />
Translation<br />
Of all flowers and all fruits there were none<br />
In my orchard except a single rose:<br />
The rest was laid waste and destroyed<br />
By Fortune who harshly makes war<br />
Against this sweet flower<br />
To crush its colour and perfume.<br />
But if I see it picked or fallen.<br />
After it I never seek to have another.<br />
But truly I cannot imagine<br />
That the virtue which surrounds my rose<br />
Should come from you and by your false deeds.<br />
Rather it is a true gift <strong>of</strong> nature; and I believe<br />
That you will never have the strength<br />
To abase its value and worth.<br />
Leave it to me then, for elsewhere than in my<br />
orchard<br />
After it I never seek to have another.<br />
Ah! Fortune, who are a gulf and pit<br />
To swallow up any man who dares believe<br />
Your false law, in which I find nothing good<br />
And nothing sure, is too deceptive a thing;<br />
Your smile, your joy, your honour<br />
Are only tears, sadness and dishonour.<br />
If your false turns make my rose wither.<br />
After it I never seek to have another.<br />
Translation: Jennifer Garnham<br />
http://www.lib.latrobe.edu.au/MMDB/composer/H0031031.HTM<br />
accessed Aug. 4. 2012<br />
60. Francesco Landini (1325/35-1397), Che pena è quest'al cor [c. 1350]: ballata<br />
Text<br />
Che pena F questa al cor, che s8 non posso<br />
usar cortesemente<br />
con questa mala gente.<br />
ch'i' non sia pur da l'invidia percosso!<br />
Ma veramente ma' non mi torrano<br />
dal proposito mio quest'invidiosi.<br />
Ben potranno dir mal, se dir vorrano.<br />
ch'i' non seguiti quel ch'io mi disposi<br />
gia lungo tempo; e farogli dogliosi<br />
non gia con villania.<br />
Translation<br />
What pain is this in my heart.<br />
that I cannot deal politely<br />
with these evil people<br />
without being smitten by their envy.<br />
And yet, truly, they will not keep me<br />
from my purpose, these envious people.<br />
Let them speak evil if they want to:<br />
I will still pursue what I decided to do<br />
a long time ago, and I will make them feel<br />
sorry.<br />
60 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ma per tener tal via.<br />
che far non mi potran diventar rosso.<br />
not by being discourteous.<br />
…Ars Nova<br />
but by treading such a path<br />
that they will be unable to make me blush.<br />
Translation, Giovanni Carsanigaa<br />
http://www.lib.latrobe.edu.au/MMDB/composer/H0045020.htm<br />
Accessed Aug. 4, 2012<br />
61. John Dunstaple [Dunstable] (1390-1453), Veni Sancte Spiritus/Veni Creator. Isorhythmic<br />
motet combining two <strong>of</strong> the great hymn texts <strong>of</strong> the Church: Veni Sancte Spiritus, “the<br />
Golden Sequence”for Pentacost, and Veni Creator Spiritus, an invocation <strong>of</strong> the Holy<br />
Spirit<br />
Translation<br />
Veni, Sancte Spiritus<br />
Come, Holy Spirit,<br />
send forth the heavenly<br />
radiance <strong>of</strong> your light.<br />
Come, father <strong>of</strong> the poor,<br />
come, giver <strong>of</strong> gifts,<br />
come, light <strong>of</strong> the heart.<br />
….<br />
Give to your faithful,<br />
those who trust in you,<br />
the sevenfold gifts.<br />
Grant the reward <strong>of</strong> virtue,<br />
grant the deliverance <strong>of</strong> salvation,<br />
grant eternal joy.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Polyphony<br />
Homophony<br />
Mode<br />
Cadence<br />
Leading Tone<br />
Perfect consonance<br />
Imperfect consonance<br />
<strong>Music</strong>a Ficta<br />
Time Signature<br />
Mensural notation<br />
Chanson<br />
Translation<br />
Veni, creator Spiritus<br />
Come, Holy Ghost, Creator blest,<br />
and in our hearts take up Thy rest;<br />
come with Thy grace and heav'nly aid,<br />
To fill the hearts which Thou hast<br />
made.<br />
…<br />
Praise we the Father and the Son<br />
and Holy Spirit with them One;<br />
and may the Son on us bestow<br />
the gifts that from the Spirit flow.<br />
Amen.<br />
Rondeau<br />
Ballatta<br />
Motet (medieval)<br />
Catholic Mass<br />
Kyrie (Mass)<br />
Gloria (Mass)<br />
Credo (Mass)<br />
Sanctus (Mass)<br />
Agnus Dei (Mass)<br />
61 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Humanism and the Renaissance<br />
HUMANISM AND THE RENAISSANCE<br />
QUATTROCENTO IN ITALY, BURGUNDY, AND THE NETHERLANDS<br />
(1400-1600)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
62. Guillaume Dufay [pronounced Do<strong>of</strong>-I] (1397-1474), Adieu ces bons vins de lannoys (1426), a very<br />
secular 3-voice rondeau from the young Dufay<br />
Text<br />
Adieu ces bons vins de Lannoys.<br />
Adieu dames, adieu bourgeois,<br />
Adieu celle que tant amoye,<br />
Adieu toute playssante joye,<br />
Adieu tout compagnons gallois.<br />
Je m’en vois tout arquant des nois,<br />
Car je ne truis feve ne pois,<br />
Dont bien souvent au cuer m’ennoye.<br />
De moy serés par plusiers fois,<br />
Regrets par dedans les bois,<br />
Ou il n’y a sentier ne voye;<br />
Puis ne scaray que faire doye<br />
Se je ne crie a haute vois:<br />
Adieu ces bons vins de Lannoys...<br />
Translation<br />
Farewell those good wines <strong>of</strong> the Lannoys<br />
Farewell ladies, farewell burghers,<br />
Farewell to her whom I so loved.<br />
Farewell all pleasure and joy.<br />
Farewell all boon companions,<br />
I depart all bent over by my load <strong>of</strong> nuts,<br />
For I cannot find beans nor peas,<br />
At which my heart feels constant annoyance.<br />
I shall miss you frequently<br />
Within the woods<br />
Where there is neither path nor way.<br />
And I shall not know what I ought to do,<br />
But to cry aloud:<br />
Farewell those good wines <strong>of</strong> the Lannoys…<br />
63. Guillaume Dufay (1397-1474), Nuper Rosarum Flores / Terribilis est locus iste (1436),<br />
isorhythmic motet for the dedication <strong>of</strong> Brunelleschi’s dome completing the Duomo<br />
(Cathedral) at Florence Italy. The lengthy anonymous text proclaims the glories <strong>of</strong><br />
Florence over a cantus firmus “terribilis est locus iste” used for the consecration <strong>of</strong><br />
churches: the English translation <strong>of</strong> the cantus may be paraphrased as “This place is<br />
awesome!” Terribilis est locus iste<br />
Text<br />
Nuper rosarum flores<br />
Ex dono pontificis<br />
Hieme licet horrida<br />
Tibi, virgo coelica,<br />
Pie et sancte deditum<br />
Grandis templum machinae<br />
Condecorarunt perpetim.<br />
Hodie vicarius<br />
Jesu Christe et Petri<br />
Successor Eugenius<br />
Hoc idem amplissimum<br />
Translation<br />
Recently garlands <strong>of</strong> roses<br />
were given by the Pope—<br />
despite a terrible winter—<br />
to you, heavenly Virgin,<br />
dedicated in a pious and holy fashion,<br />
a temple <strong>of</strong> great ingenuity,<br />
to be a perpetual adornment.<br />
Today the vicar<br />
<strong>of</strong> Jesus Christ and <strong>of</strong> Peter<br />
a successor, Eugenius,<br />
has to this vast<br />
62 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Sacris templum manibus<br />
Sanctisque liquoribus \Consecrare dignatus est.<br />
Igitur, alma parens<br />
Nati tui et filia<br />
Virgo decus virginum,<br />
Tuus te Florentiae<br />
Devotus erat populus,<br />
Ut qui mente et corpore<br />
Mundo quicquam exorarit.<br />
Oratione tua<br />
Cruciatus et meritis<br />
Tui secundum carnem<br />
Nati Domini sui<br />
Grata beneficia<br />
Veniamque reatum<br />
Accipere meraeatur. Amen<br />
… Humanism and the Renaissance<br />
temple with his hands<br />
and holy liquors<br />
deigned to consecrate.<br />
Therefore, sweet parent<br />
<strong>of</strong> your son, and daughter,<br />
virgin <strong>of</strong> virgins,<br />
to you the Florentines<br />
devoted as a people,<br />
together in mind and body<br />
on earth, pray to you.<br />
By your prayer<br />
to the crucified and worthy,<br />
your second flesh,<br />
their Lord,<br />
grant us benefit<br />
and receive pardons<br />
for their transgression. Amen.<br />
64. Guillaume Dufay (1397-1474), Missa L’homme armé (c. 1460), one <strong>of</strong> the first examples <strong>of</strong> a<br />
cyclical mass, where all the sections <strong>of</strong> the mass use the same tune – in this case the<br />
thoroughly secular popular tune “L’homme armé” which has a lightly engaging rhythm<br />
and elegant melodic shape – as cantus firmus.<br />
Agnus Dei :<br />
Agnus Dei, qui tollis peccata mundi, miserere nobis (repeat)<br />
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.<br />
Translation<br />
Lamb <strong>of</strong> God, you who take away the sins <strong>of</strong> the world, have mercy upon us. (repeat)<br />
Lamb <strong>of</strong> God, you who take away the sins <strong>of</strong> the world, grant us peace.<br />
65. Josquin des Prez (c. 1450-1521), Absolom, fili mi (c. 1497), 4-voice motet based on the<br />
Biblical text <strong>of</strong> King David, Samuel 18:33. Josquin’s biography may be found in the<br />
textbook<br />
Text<br />
Translation<br />
Absalon fili mi,<br />
quis det ut moriar pro te, Absalon?<br />
Non vivam ultra,<br />
sed descendam in infernum plorans.<br />
Absalon my son,<br />
if only I had died instead <strong>of</strong> you,<br />
Absalon!<br />
I shall live no more,<br />
but go down to hell, weeping.<br />
63 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
66. Josquin des Prez (c. 1450-1521), Tu solus qui facis mirabilia (c. 1500), motet.<br />
Text<br />
Tu solus qui facis mirabilia,<br />
Tu solus Creator, qui creasti nos,<br />
Tu solus Redemptor, qui redemisti nos<br />
sanguine tuo pretiosissimo.<br />
Ad te solum confugimus,<br />
in te solum confidimus<br />
nec alium adoramus,<br />
Jesu Christe.<br />
Ad te preces effundimus<br />
exaudi quod supplicamus,<br />
et concede quod petimus,<br />
Rex benigne.<br />
D'ung aultre amer,<br />
Nobis esset fallacia:Magna esset<br />
stultitia<br />
et peccatum.<br />
Audi nostra suspiria,<br />
Replenos tua gratia,<br />
O rex regum,<br />
Ut ad tua servitia<br />
Sistamus cum laetitia<br />
in aeternum.<br />
… Humanism and the Renaissance<br />
Translation<br />
You alone can do wonders,<br />
You alone are the Creator, and created us;<br />
You alone are the Redeemer, and redeemed<br />
us<br />
With your most precious blood.<br />
In you alone we find refuge,<br />
In you alone we trust,<br />
None other do we worship,<br />
Jesus Christ.<br />
To you we pour out our prayers,<br />
Hear our supplication, and grant us our<br />
request,<br />
O King <strong>of</strong> kindness!<br />
To love another would be deceitful;<br />
To love another would be great madness and<br />
sin.<br />
Hear our sighing, fill us with your grace,<br />
O King <strong>of</strong> kings!<br />
So we may remain in your service<br />
With joy for ever.<br />
67. Josquin des Prez (c. 1450-1521), El Grillo (c. 1505), secular madrigal for unaccompanied<br />
voices<br />
Text<br />
Translation<br />
El grillo è buon cantore<br />
Che tiene longo verso.<br />
Dalle beve grillo canta.<br />
Ma non fa come gli altri uccelli<br />
Come li han cantato un poco,<br />
Van de fatto in altro loco<br />
Sempre el grillo sta pur saldo,<br />
Quando la maggior el caldo<br />
Alhor canta sol per amore.<br />
The cricket is a good singer<br />
He can sing very long<br />
He sings all the time.<br />
But he isn't like the other birds.<br />
If they've sung a little bit<br />
They go somewhere else<br />
The cricket remains where he is<br />
When the heat is very fierce<br />
Then he sings only for love.<br />
64 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Humanism and the Renaissance<br />
68. Josquin des Prez (c. 1450-1521), Mille Regretz (first published 1549 posthumus), secular<br />
chanson for 4 unaccompanied voices:<br />
Text<br />
Translation<br />
Mille regretz de vous abandonner<br />
Et d'eslonger vostre fache amoureuse,<br />
Jay si grand dueil et paine douloureuse,<br />
Quon me verra brief mes jours definer.<br />
A thousand regrets at deserting you<br />
and leaving behind your loving face,<br />
I feel so much sadness and such painful distress,<br />
that it seems to me my days will soon dwindle away.<br />
69. Anonymous, Pavana le Bataglia: example <strong>of</strong> Florentine (Florence, Italy) dance music<br />
70. Anonymous, Pavana la monina paried with Gagliard la mafroline: example <strong>of</strong> Florentine<br />
(Florence, Italy) dance music<br />
71. Anonymous, Canto de lanzi vinturieri: example <strong>of</strong> Florentine (Florence, Italy) canto. The<br />
anonymous poet <strong>of</strong> this text recounts the story <strong>of</strong> perpetually war-ready troops whose<br />
custom it is to always carry which them their arms and armour.<br />
72. Carlo Gesualdo (1556-1613), Beltà, poi che t’assenti (1611) for 5 voices from Book 6 <strong>of</strong><br />
Madrigals, a madrigal in a most extravagant expression <strong>of</strong> mannerism:<br />
Text<br />
Translation<br />
Beltà poi che t’assenti<br />
Come ne porti il cor<br />
Porta i tormenti.<br />
Ché tormentato cor<br />
può ben sentire<br />
La doglia del morire,<br />
E un alma senza core,<br />
Non può sentir dolore.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Polyphony<br />
Imitation<br />
Counterpoint<br />
Popular instruments <strong>of</strong> the period<br />
Shawm<br />
Crumhorn<br />
Recorder<br />
Cornemuse<br />
Isorhythm<br />
Cyclical<br />
Mass<br />
Racket<br />
Pibgorn<br />
Sackbut<br />
Musette<br />
Beauty, since you depart,<br />
take, as you do my heart, also my<br />
torments.<br />
For a tormented heart can feel<br />
indeed<br />
the pain <strong>of</strong> death,<br />
but a soul without its heart<br />
can feel no grief.<br />
Motet (Renaissance)<br />
Madrigal<br />
Chanson<br />
Cornetto<br />
Lute or archlute<br />
Organ<br />
Calvicembalom<br />
65 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…Reformation and Counter Reformation<br />
REFORMATION AND COUNTEREFORMATION<br />
(1500-1600)<br />
73. Thomas Tallis (1505-1585), Spem in Alium (1570), 40-voice motet (8 choirs <strong>of</strong> 5 voices<br />
each) written for the Matin (morning) service; the text comes from the Sarum Rite<br />
(Salisbury, Wiltshire, ENGLAND) and is adapted from the Book <strong>of</strong> Judith. The work<br />
survies for us in a manuscript used for the investiture <strong>of</strong> Henry Frederich, son <strong>of</strong> King<br />
James I, as Prince <strong>of</strong> Wales in 1610. While Tallis’ biography is not found in the<br />
textbook, the section “English Madrigalists” is applicable to his time and music.<br />
Text: Spem in alium numquam habui praeter in te/ Deus Israelqui irasceris/ et propitius eris / et<br />
omnia peccata hominum in tribulatione dimittis / Domine Deus / Creator coeli et terrae /<br />
respice humilitatem nostrum<br />
Translation: Sing and glorify heaven's high Majesty, / Author <strong>of</strong> this blessed harmony; /<br />
Sound divine praises / With melodious graces; / This is the day, holy / day,<br />
happy day, / For ever give it greeting, / Love and joy, heart and voice meeting: /<br />
Live Henry princely and mighty, / Harry live in thy creation happy.<br />
74. Michael Praetorius (1571-1621), Es ist ein Ros ensprungen: 1599 hymn tune (Speyer Hymnal,<br />
Cologne), here sung by choir in Praetorius’ 1609 harmonization<br />
Text: anonymous<br />
Es ist ein Ros' entsprungen<br />
Aus einer Wurzel zart.<br />
Wie uns die Alten sungen,<br />
Aus Jesse kam die Art<br />
Und hat ein Blümlein bracht,<br />
Mitten im kalten Winter,<br />
Wohl zu der halben Nacht.<br />
Das Röslein das ich meine,<br />
Davon Jesaias sagt:<br />
Maria ist's, die Reine,<br />
Die uns das Blümlein bracht:<br />
Aus Gottes ewigem Rat<br />
Hat sie ein Kindlein g'boren<br />
Bleibend ein reine Magd.<br />
Translation: Theodore Baker (1894)<br />
Lo, how a rose e'er blooming<br />
From tender stem hath sprung!<br />
Of Jesse's lineage coming,<br />
As men <strong>of</strong> old have sung.<br />
It came, a flow'ret bright,<br />
Amid the cold <strong>of</strong> winter,<br />
When half-spent was the night.<br />
Isaiah 'twas foretold it,<br />
The rose I have in mind,<br />
With <strong>Mary</strong> we behold it.<br />
The Virgin mother kind.<br />
To show God's love aright<br />
She bore to them a Savior,<br />
When half-spent was the night<br />
66 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…Reformation and Counter Reformation<br />
75. William Byrd (1540-1623), Ave Verum Corpus, motet for Festival <strong>of</strong> Corpus Christe, c. 1600.<br />
The short Eucharistic hymn text is from the 14 th century and is attributed to Pope<br />
Innocent VI. A very brief mention <strong>of</strong> Byrd and this music is made in the textbook under<br />
“English Madrigalists.”<br />
Text: Ave verum corpus, natum / de Maria Virgine, / vere passum, immolatum / in cruce pro<br />
homine, / cuius latus perforatum / fluxit aqua et sanguine / esto nobis praegustatum / in<br />
mortis examine<br />
Translation: Hail, true Body, born / <strong>of</strong> the Virgin <strong>Mary</strong>, / truly suffered, sacrificed / on<br />
the cross for man, / whose pierced side / flowed with water and blood: / May it<br />
be for us a foretaste / in the trial <strong>of</strong> death.<br />
76. Michael Praetorius (1571-1621), In Dulci Jubilo: 1607 setting by Praetorius. The original<br />
hymn poem was written by Heinrich Seuse in 1328 in a macaronic mix <strong>of</strong> medieval<br />
German and Latin, a poem which was sung to him by angels in a vision. The poem has<br />
several modern English translations, and the tune has been set numerous times by many<br />
composers <strong>of</strong> repute.<br />
Text<br />
In dulci jubilo,<br />
Nun singet und seid froh!<br />
Unsers Herzens Wonne<br />
Leit in praesepio;<br />
Translation<br />
In sweet rejoicing,<br />
now sing and be glad!<br />
Our hearts' joy<br />
lies in the manger;<br />
Und leuchtet wie die Sonne<br />
Matris in gremio.<br />
Alpha es et O!<br />
And it shines like the sun<br />
in the mother's lap.<br />
You are the alpha and omega!<br />
77. Giovannini Pierluigi da Palestrina (1525-1594), Lamentationes Ieremiah [Hieremiae]<br />
Prophetae (1588). The loarge-scale work comprises settings <strong>of</strong> the Tenebrae (Maundy<br />
Thursday) litury as drawn from the Book <strong>of</strong> Lamentations from the Hebrew Bible. The<br />
settings are all for 4 or 5 voices are are set in full, but clear polyphonic style.<br />
78. Giovannini Pierluigi da Palestrina (1525-1594), Missa Papae Marcelli. This mass is one the<br />
earliest examples <strong>of</strong> the fully composed mass which does not have a single unifying<br />
musical element such as a cantus firmus. While written some years after his death (1562),<br />
the mass was written in honour <strong>of</strong> Pope Marcellus who reigned a mere 3 weeks in 1555.<br />
Kyrie: God have mercy; Christ have mercy; God have mercy<br />
67 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
…Reformation and Counter Reformation<br />
79. Traditional, Tu scendi dalle stelle (You descend from the stars), Pifferi (pipes or shawms), and<br />
zampagna (cornemuse or bagpipes)<br />
80. Giovanni Francesco Anerio, Nell’apperir del sempiterno sole (2 soprano, tenor).<br />
81. Tomas Luis de Victoria (1548-1611, known as the Spanish Palestrina), O Magnum Mysterium,<br />
Motet<br />
82. Giovannini Pierluigi da Palestrina (1525-1594), Missa “Hodie Christus natus est”. The 8-voice<br />
mass for Christmas is built upon a cantus firmus from the motet “Hodie Christus natus<br />
est.” Palestrina’s biography may be found in the textbook.<br />
Kyrie: God have mercy; Christ have mercy; God have mercy<br />
Gloria: Glory to God in the highest …<br />
Cantus for all parts <strong>of</strong> this mass: Hodie Christus natus est: Christ is born today.<br />
83. Girlamo Frescobaldi (1583-1643) Canzona detta la Biachina , Violin, cornett, chitarrone, harp,<br />
and organ<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Polyphony<br />
Imitation<br />
Counterpoint<br />
Homophony<br />
Chorale<br />
Hymn<br />
Popular instruments <strong>of</strong> the period<br />
Shawm<br />
Crumhorn<br />
Recorder<br />
Cornemuse<br />
Racket<br />
Pibgorn<br />
Mass<br />
Motet (Renaissance)<br />
Madrigal<br />
Chanson<br />
Canzona<br />
Canso<br />
Sackbut<br />
Musette<br />
Cornetto<br />
Lute or archlute<br />
Organ<br />
Calvicembalom<br />
In addition to the pages cited above, textbook pages 18-33 may be used for further reference on this<br />
period.<br />
68 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Making the Terminology a<br />
Bit Easier to Understand<br />
MAKING THE TERMINOLOGY A BIT EASIER TO UNDERSTAND<br />
MORE INFORMATION THAN YOU MAY NEED TO KNOW,<br />
BUT WHICH MIGHT BE INTERESTING TO THE CURIOUS OR HELPFUL TO THE CONFUSED<br />
Much musical terminology comes from languages other than English. Sometimes just recognizing<br />
the roots <strong>of</strong> the musical words and their non-English counterparts makes remembering them much<br />
easier.<br />
Words beginning with …<br />
“Cant…” or “chan…” derive from the Latin word meaning “to sing or recite.” and so nearly<br />
always refer to use <strong>of</strong> the human voice: cantabile (singing style), cantata (large work for<br />
voice), canto (song or verse), chant (singing or song in speech rhythm), chanson (song),<br />
chanteur (singer), cantor (lead singer), etc.<br />
“Son…” derive from the Latin word meaning “to sound” and so nearly always refer to use <strong>of</strong><br />
instruments: Sonata (a large work for instruments); sonatina (a small sonata)<br />
“Sym…,” “Sim…,” “Sin…” derive from words meaning “to sound together” and so nearly<br />
always refer to music by larger ensembles (usually instruments): Symphony, Sinfonia (large<br />
orchestral forms <strong>of</strong> music or a orcestras)<br />
“Concert…” derive from the Latin word meaning “to harmonzie or rehearse” and so nearly<br />
always refer to music played together: concert, concerto (solo playing with orchestra),<br />
concertino (solo instrument <strong>of</strong> a concerto, a small accordion, or a small concerto). There is<br />
an older association with the Latin word meaning “to contest or to fight,” implying in its<br />
meaning a good natured fight between “warring” virtuoso soloist and virtuoso orchestra.<br />
Words ending in …<br />
“…phony” or “…phonic” derive from the Greek word meaning “voice, utterance,” and so<br />
nearly always refers to how many different kinds <strong>of</strong> sounds (utterances) make up the music:<br />
Monophony (single [mono] melody without any accompaniment), polyphony (multiple [poly]<br />
melodies at the same time); antiphony (two or more melodies one after the other [call and<br />
response] or performed by musicians separated significantly in space); homophony (multiple<br />
melodies [or melody and accompaniment] all using the same rhythm); dodecaphony (music<br />
freely using all possible pitches); heterophony (music with extreme complexity <strong>of</strong><br />
simultaneous rhythms); even symphony (multiple instruments coming together).<br />
“…tonic” derive from the word for “tone or pitch” and so nearly always refer to a type <strong>of</strong><br />
scale and the kinds <strong>of</strong> pitches which make up the scales: pentatonic (five-note Asian, East<br />
European, or Celtic scales), diatonic (our modern major and minor scales), and even the term<br />
“tonic” itself (the name-note or central pitch <strong>of</strong> a scale)<br />
Unlikely relations …<br />
“Organ” and “organum” both derive from the same root word in Ancient Greek meaning<br />
“tool or instrument.” In the earliest days <strong>of</strong> the first millineum CE “organum” meant any<br />
instrument, but rather specifically the organ. How “organum” came to be applied to the style<br />
<strong>of</strong> polyphonic music <strong>of</strong> the Notre Dame School and beyond is unkonwn, but prosumably is<br />
so named because in this style voices produce a sound similar to an organ or to a the type <strong>of</strong><br />
musical sound produced instrumentally.<br />
69 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Making the Terminology a<br />
Bit Easier to Understand<br />
“Monody” and “Monophony” both have their roots in the prefix “mono” meaning “single.”<br />
“Monody” is the oldest <strong>of</strong> the two terms dating back to the 16 th century and signifies a single<br />
melody (voice or instrument) lightly supported by a simple accompaniment. “Monophony”<br />
as a term did not appear until the 18 th century when historians <strong>of</strong> music began to attempt to<br />
classify music into categories: here it was used to designate music <strong>of</strong> a single unaccompanied<br />
melody<br />
“Symphony” has two distinct meanings, one being a large orchestra including strings,<br />
woodwinds, brasses, and percussion (sometines singers); and the other being a formal<br />
composition (usually in four specific movements) for orchestra.<br />
“Opera” is the plural <strong>of</strong> the Latin word “opus” meaning “work” and so an opera may be<br />
considered a large sung theatre piece consisting <strong>of</strong> many individual works. In later usage,<br />
beginning in the late 18 th century the word “opus” came to be applied by publishers to<br />
designate the order <strong>of</strong> published works by a composer, and so a work given the designation<br />
opus 42 is the 42 nd published work by that particular composer.<br />
70 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
PERFORMANCE PRACTICE<br />
Performance Practice …<br />
It is no mystery that styles <strong>of</strong> music change over time: we enjoy this, expect this, and usually delight<br />
in this; however, even today, the art <strong>of</strong> music performance is taught and learned principally as a part<br />
<strong>of</strong> an oral tradition. Certainly today we have recordings, audio and video – what I marvellous asset!<br />
In days past we had books, treatises, teaching methods, personal logs, and the writings <strong>of</strong> music<br />
critics that tell us today what music performance was like in long ago days. Sometimes we get lucky<br />
and have a source <strong>of</strong> notated music with verbal text saying essentially “play this passage this way” –<br />
Telemann’s Methodical Sonatas for violin and/or flute leap to mind. We even have ancient<br />
“recording devices” like music boxes, musical clocks, or player pianos which can give us a hint as to<br />
how notation might be interpreted – a series <strong>of</strong> small compositions for “musical clocks” by Franz<br />
Joseph Haydn are particularly fascinating. Frequently we are even lucky enough to have the older<br />
instruments themselves, which even if not playable in present condition (like our 9000-year-old bone<br />
flute), can be scanned using MRI and other imaging techniques and from there, be replicated and<br />
played to hear what they sound like – consider the work done by paleoarcheologists reproducing<br />
dinosaur calls from reconstructions <strong>of</strong> skulls. We even have pioneering technologies which enable us<br />
to scan and read electronically old recordings on wax cylinder or shellac disc, making these devices<br />
“playable’ without risking then damage inflicted by mechanical needles and spinning parts.<br />
Still the fact remains: no matter how deep our resources and how rich our clues, we find it tricky to<br />
know exactly how much music would have been performed and how it would have sounded when<br />
first written. The art <strong>of</strong> attempting to recreate original performance as closely as possible is what we<br />
call performance practice. Our quest to discover and put into practice original performance techniques is<br />
a little bit archaeology, a little bit anthropology, a great deal <strong>of</strong> artistic reasoning, and a whole lot <strong>of</strong><br />
luck! What I learned as a young flute student in the late 1970s about performance <strong>of</strong> 17 th - and 18 th -<br />
century music is entirely different from what I teach my own students now in the second decade <strong>of</strong><br />
the 21 st century.<br />
A practical starting point for discovering “original sound” is to think on the actual instrument or<br />
instrument type likely to have been used. Even this can be difficult! For example, words meaning<br />
“flute” today certainly meant “recorder” in the 16 th century, most likely meant “recorder” in the 17 th<br />
century, probably meant “recorder” in early 18 th -century Germany but “flute” in France, and at all<br />
times in Scandinavian and Iberian countries all bets are <strong>of</strong>f! Et cetera, et cetera and so forth. Even<br />
when “flute” is the instrument meant, it isn’t our current keyed silver pipe but something more like a<br />
stick with holes. The general tone quality <strong>of</strong> many <strong>of</strong> these instruments can be mimicked on the<br />
modern flute, but we have to know what we are aiming for. Sometimes performers opt to not play<br />
baroque music on a modern flute, or choose to perform on modern reproductions <strong>of</strong> 17 th -century<br />
style instruments exclusively.<br />
We then consider the performance venues and setting. Choral works from the 15 th century were<br />
mostly likely to be performed in a large cavernous church or cathedral as part <strong>of</strong> a religious service.<br />
A string quartet from the early 19 th century was probably intended for performance in a living room<br />
71 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Performance Practice …<br />
for an intimate group <strong>of</strong> friends or maybe only for the enjoyment <strong>of</strong> the performers. It was assumed<br />
that opera in the 17 th and 18 th centuries would be background music, secondary to dinner, and that<br />
listeners would go and come from the audience chamber to hear only their favourite singers and to<br />
cavort with their favourite consorts in the meanwhile. It is tricky at the best <strong>of</strong> times to move these<br />
works into the modern concert hall: sacred music frequently loses its impact in a secular setting,<br />
chamber music looses its intimacy when performed for 1000s <strong>of</strong> listeners in a huge hall, and opera<br />
can leave something to be desired when audience members are actually sitting still and paying full<br />
attention.<br />
We move on and consider issues <strong>of</strong> the written notation. Some notation can’t be deciphered at all:<br />
we have yet to find a “Rosetta Stone” for 9 th -century (or earlier) notation, for example. Frequently<br />
the notational symbols used are familiar to us but appear to have different meanings in different<br />
locations, different times, or even by different composers working closely in time and location. We<br />
have to concede that some rhythmic notation we have today simply did not exist in earlier times:<br />
does this mean that the rhythms weren’t used at that time or just couldn’t be notated precisely? We<br />
do the best we can with these, studying instructional manuals from the time or place or composer to<br />
attempt to read the notation correctly, or studying what appear to be parallel practices which still<br />
exist in other cultures. It’s a little like trying to make good sense out <strong>of</strong> Shakespeare or Beowulf on the<br />
written page, from the spoken word, and under staged performance!<br />
At this point, we enter the tricky discussion <strong>of</strong> pitch! To a certain extent, we are pretty sure what<br />
those “dots on the page” mean as far as pitch goes, but there are some pretty grisly and controversial<br />
issues which raise their ugly head here. To give you a taste <strong>of</strong> what’s been a-foot, here’s a short list.<br />
Our familiar major and minor scales did not come into common usage until the 17 th century but were<br />
starting to be used in the 14 th century and weren’t worked into firm notation until the late 18 th<br />
century: this means that all you learned for your Conservatory exams can be completely out the<br />
window for about 500 years’ worth <strong>of</strong> music. A practice <strong>of</strong> <strong>Music</strong>a Ficta (false music) existed for<br />
centuries which essentially acknowledged that yes, the notation said to play these pitches but really<br />
you changed it all to these pitches in practice (Raymond Luxury-Yacht = Throatwarbler Mangrove<br />
… don’t worry if you don’t get that!). Our scheme <strong>of</strong> half-steps and whole-steps didn’t exist until<br />
the 18 th century and wasn’t embraced until the 19 th century – this means that how instruments have<br />
been tuned over the last 150 years is completely different than in all previous times: dare I mention<br />
that even today choirs, orchestras, bands, and keyboard instruments actually function within a variety<br />
<strong>of</strong> tuning systems? And lastly – for the short list – the “center <strong>of</strong> pitch” has been getting higher and<br />
lower over the centuries (a kind <strong>of</strong> musical climate change?): the acoustical frequency <strong>of</strong> written<br />
pitches in the 17 th century was any where from one half-step to one full-step lower than the same<br />
written pitch today, but written pitches in the 19 th century might have been one quarter- to one halfstep<br />
higher than the same written pitches today.<br />
These are the big-ticket items, but these are by no means all that needs considering. When all is said<br />
and done, it is a wonder that anyone can cope with music performance. In essence what we<br />
musicians do is attempt to determine the appropriate performance practice <strong>of</strong> general categories <strong>of</strong><br />
compositions, and make the choice to apply or not to apply these practices to our own performance.<br />
For example, some musicians choose to focus on one kind or style <strong>of</strong> performance: a cellist may opt<br />
to perform only on viola da gamba and therefore to play only music from the 15 th to 18 th centuries; a<br />
bass player may opt to play only electric bass and therefore to focus only on music from the mid-20 th<br />
century to today; a male baritone singer may choose to train as a countertenor and thus perform<br />
exclusively music from before the 19 th century; a singer may dedicate herself to the practice <strong>of</strong> Bel<br />
72 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Performance Practice …<br />
Canto singing and therefore perform only roles from 18 th century opera; some string players only<br />
play string quartets and not symphonic works … the list goes on. Other musicians are more<br />
generalist and we attempt to bring elements <strong>of</strong> other styles <strong>of</strong> performance into whatever we play at<br />
the time: for example, I do not play the 17 th -century flute or the recorder but I will bring elements <strong>of</strong><br />
these instruments and their sounds/styles to my performance on modern flute; one <strong>of</strong> our local<br />
singers in internationally renowned for her light early music voice but copes perfectly well with giant<br />
19 th -century romantic repertoire; a good friend <strong>of</strong> mine is an excellent guitar player but is also really<br />
great to work with on both the Renaissance lute or on the Middle eastern Oudh.<br />
When all is said and done, musicians have a sense that the ear is the final arbiter <strong>of</strong> style – either it<br />
sounds good or it doesn’t, to put it in shockingly black and white terms! Each musician finds her or<br />
his own niche, and each attempts “to do right” by the music, and to represent the composer and<br />
music as well as possible.<br />
Does this really make that much <strong>of</strong> a difference? Well, yes and no!<br />
Sometimes a work is so indelibly linked to a particular performer – can we hear Yellow Submarine<br />
without thinking <strong>of</strong> The Beatles, or Over the Rainbow without hearing Judy Garland – that we can’t<br />
separate the piece itself from the performance. I don’t think that we’d find ourselves enriched if<br />
Hannah Montana decided to perform Michael Jackson’s Thriller, and really it takes a Celine Dion<br />
impersonator to sing music from Titanic with any credibility. <strong>Music</strong>, particularly <strong>of</strong> the past century,<br />
is <strong>of</strong>ten allied with a specific performer or performance, and to not duplicate that as closely as<br />
possible makes the piece sound odd! Here the performance practice is EVERYTHING!<br />
On the other hand, some can sustain a lot <strong>of</strong> reinterpretation and still be beautiful. Recorded<br />
performances from the 1950s by the Bach Aria Group (music by Johann Sebastian Bach) are as far in<br />
style from how I would play those same works today as one can get, but my heavens they are<br />
beautiful. Just because a work is performed on original instruments, in the original location, under<br />
original conditions, does not mean that the performance is beautiful … and the opposite is also true.<br />
Recordings I loved in my youth I sometimes fine comical now for the wilful excesses <strong>of</strong> the<br />
performer. Conversely, as a kid I didn’t understand what Haydn and Beethoven were up to and so I<br />
thought the music was just weird and anachronistic, and trust me, I had only limited patience for<br />
opera. Yet after hearing handful <strong>of</strong> enlightened performances <strong>of</strong> each my curiosity was piqued; now<br />
I chuckle at Haydn, shake my head in unabashed awe at Beethoven, and weep through more operas<br />
than I care to admit.<br />
When all the elements <strong>of</strong> a performance come together – whether by talent, or learning, or instinct,<br />
or accident, or intent – when the performance really comes together, something special happens. All<br />
<strong>of</strong> the work performers do attempting to get into the spirit <strong>of</strong> the composer, and to blend ourselves<br />
with the esprit <strong>of</strong> the music, is all done in service <strong>of</strong> the music and in the hope that magic happens.<br />
73 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC AND RATIONALISM<br />
BAROQUE<br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
PART 1:<br />
LE NOUVE <strong>MUS</strong>ICHE AND THE DOCTRINE OF AFFECTIONS<br />
(1600-1700)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
84. Giulio Caccini (1545-1618), Amor, io parto (Le Nuovo <strong>Music</strong>he, 1601): Setting <strong>of</strong> an elevenline<br />
madrigal text by an unknown author; it is<strong>of</strong>ten described as “the plaint <strong>of</strong> the hapless<br />
lover” for voice, plucked chordal string instrument (lute/harp), and plucked viola da<br />
gamba. The text roughly translates as “I leave and my heart breaks, but the one I leave<br />
feels nothing for me.”<br />
Al penar, al morire,<br />
Ch'io parto da colei ch'è la mia vita,<br />
Se ben ella gioisce<br />
Quand'il mio cor languisce.<br />
O durezza incredibil'e infinita<br />
D'anima ch'l suo core<br />
Può restar morto, e non sentir dolore!<br />
Ben mi trafigge amore<br />
L'aspra mia pen', il mio dolor pungente,<br />
Ma più mi duol il duol ch'ella non<br />
sente.<br />
85. Giulio Caccini (1545-1618), Dolcissimo sospiro (Le Nuove <strong>Music</strong>he, 1601): set to a 9-line<br />
madrigal text by Ottavio Rinuccini is set with great affectation (Affekt in German): voice<br />
and viola da gamba alone. The text roughly translates as “I hear your sighs and <strong>of</strong>fer my<br />
heart. Ease my grief! But perhaps you sigh for someone else.”<br />
Dolcissimo sospiro<br />
Ch'esci da quella bocca<br />
Ove d'amor ogni dolcezza fiocca;<br />
Deh, vieni a raddolcire<br />
L'amaro mio dolore.<br />
Ecco, ch'io t'apro il core,<br />
Ma, folle, a chi ridico il mio martire?<br />
Ad'un sospiro errante<br />
Che forse vola in sen ad altro amante.<br />
74 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
86. Giulio Caccini (1545-1618), Belle rose porporine (Le Nuove <strong>Music</strong>he, 1601): a setting <strong>of</strong> this<br />
most famous canzonetta text by Gabrielo Chiabrera, set with great energy, which is added<br />
to by the performers. In the cansonette an urequited observer tries to decipher the<br />
inscrutability <strong>of</strong> a laugh and a smile, whose secrets are guarded by rosy cheeks.<br />
Belle rose porporine<br />
Che tra spine<br />
Sull'aurora non aprite;<br />
Ma, ministri degl'amori,<br />
Bei tesori<br />
Di bei denti custodite.<br />
Dite, rose preziose,<br />
Amorose;<br />
Dit'ond'è, che s'io m'affiso<br />
Nel bel guardo acceso ardente<br />
Voi repente<br />
Disciogliete un bel sorriso?<br />
E ciò forse per aita<br />
Di mia vita,<br />
Che non regge alle vostr'ire?<br />
O pur è perchè voi siete<br />
Tutte liete,<br />
Me mirando'n su'l morire?<br />
Belle rose, ò feritate,<br />
O pietate<br />
Del si far la cagion sia<br />
Io vo dir in nuovi modi<br />
Vostri lodi;<br />
Ma ridete tuttavia.<br />
Se bel rio, bell'auretta<br />
Tra l'erbetta<br />
Su'l mattin mormorando erra;<br />
Se di fiori un praticello<br />
Si fa bello;<br />
Noi diciam: Ride la terra.<br />
Quando avvien, ch'un zeffiretto<br />
Per diletto<br />
Muova'l piè sull'onde chiare,<br />
Si che l'acqua in sull'arena<br />
Scherzi appena;<br />
Noi diciam, che ride il mare.<br />
Se già mai tra fior vermigli,<br />
Se tra gigli<br />
Veste l'alba un'aureo velo,<br />
E sù rote di zaffiro<br />
Muove in giro;<br />
Noi diciam, che ride il cielo.<br />
Ben è ver, quand'è giocondo<br />
Rid'il mondo,<br />
Rid'il ciel quand'è gioioso;<br />
Ben è ver; ma non san poi<br />
Come voi<br />
Far un riso grazioso.<br />
87. Claudio Monteverdi (1567-1643), L’Orfeo favola in musica [The Legend <strong>of</strong> Orpheus in <strong>Music</strong>], SV<br />
318 (1607): An example <strong>of</strong> early opera, attempting to recreate the style <strong>of</strong> ancient Greek<br />
drama in sung recitation on a libretto by Alessandro Striggio treating the musicallyrelevant<br />
Greek myth <strong>of</strong> Orpheus and Euridice. Monody in its purest conceptual form:<br />
fully inflected text adhering to word and poetry rhythm; music, while not unmelodic and<br />
certainly singable, is not necessarily memorable and not readily transferable to alternate<br />
text. Monteverdi’s biography may be found in the textbook.<br />
Act 1, “Ritornello -- Dal mio permesso amato”<br />
Act 3, “Possente Spirto e formidabil Nume”<br />
Act 4, “Ritornello – Qual honor di te fia degno”:<br />
75 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
88. Claudio Monteverdi (1567-1643), Vespero della Beata Virgine or simply Vespers (1610)<br />
Versicle and Response (Movement 1): “Deus in adjutorium / Domine ad adjuvandum”:<br />
Note here the wild change <strong>of</strong> style after the initial chant. Focus on the voices in their<br />
role as “chant” under the brilliant brass. (Psalm 69:1)<br />
Verse: Deus in adjutorium meum intende<br />
Response: Domine ad adjuvandum me festina<br />
Translation: O God make speed to save me. // O Lord make haste to help me. /<br />
Glory be to the Father and to the Son/ and to the Holy ghost. / As it was in the<br />
beginning, now and for ever, / world without end.<br />
Antiphon and Psalm (Movement 2): “Domine Dixit” -- set for 6 voices and 6<br />
instruments in motet-style. (Psalm 110)<br />
Translation: <strong>Mary</strong> has been received into heaven. / The angels rejoice; they bless the<br />
Lord with Praise.<br />
The Lord said unto my Lord: / sit thou at my right hand, until I make / thine<br />
enemies my footstool.<br />
The Lord shall send the rod <strong>of</strong> thy strength out <strong>of</strong> / Sion: rule thou in the midst<br />
<strong>of</strong> thine enemies. / thine is the foundation in the day <strong>of</strong> thy power;/ in the<br />
beauties <strong>of</strong> holiness/ I have born thee fron the womb before the morning star.<br />
The Lord hath sworn, and will not repent/ Thou art a priest for ever, after the<br />
order <strong>of</strong> Melchiz'edek<br />
The Lord at thy right hand shall strike through kings in the day <strong>of</strong> his wrath.<br />
He shall judge among the heathen he shall fill the places with the dead bodies;,<br />
he shall wound the heads over many countries<br />
He shall drink <strong>of</strong> the brook in the way: therefore shall he lift up the head<br />
Motet (Movement 3): “Nigra sum” – Set for solo voice in monodic style (Psalm 112)<br />
Translation: I am black but beautiful, daughters <strong>of</strong> Jerusalem,/ so the King loved<br />
me, and led me in / to his chamber and said unto me: / Arise, my love, and<br />
come away. / Now winter has passed, the rain has gone / and the flowers have<br />
appeared in our land; / the time <strong>of</strong> pruning has come.<br />
89. Claudio Monteverdi (1567-1643), L'incoronazione di Poppea [The Coronation <strong>of</strong> Poppea], SV 308,<br />
(1642-43). Monteverdi’s last opera is set on a libretto by Giovanni Francesco Busenello.<br />
The opera is one <strong>of</strong> the first be based upon historical people and events (Roman<br />
Emperor Nero and his mistress Poppea), drawing on the writings <strong>of</strong> Tacitus, Suetonius,<br />
among others.<br />
76 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
90. Heinrich Schütz (1583-1643), “Singet dem Herrn ein neues Lied,” SWV 35 from Symphoniae<br />
Sacrae (Book II, 1647) – Psalm 98 and Doxology are set for soprano and ensemble; note<br />
conversational style between singer and instrument, and the way each vers is set to<br />
different music. A small note regarding Schütz and his music may be found in the<br />
textbook, pages 50-51.<br />
Text<br />
Singet dem Herrn ein neues Lied,<br />
denn er tut Wunder.<br />
Er sieget mit seiner Rechten<br />
und mit seinem heilgen Arm.<br />
Der Herr lässet sein Heil verkündigen<br />
Vor den Völkern<br />
läßt er seine Gerechtigkeit <strong>of</strong>fenbaren.<br />
Er gedenket an seine Gnade und Wahrheit<br />
dem Hause Israel.<br />
Aller Welt Enden sehen<br />
das Heil unsers Gottes.<br />
Jauchzet dem Herren,<br />
alle Welt;<br />
singet, rühmet und lobet!<br />
Lobet den Herren mit Harfen,<br />
mit Harfen und Psalmen!<br />
Mit Drompeten und Posaunen<br />
jauchzet vor dem Herrn,<br />
dem Könige!<br />
Das Meer brause und was drinnen ist,<br />
der Erdboden und die drauf wohnen.<br />
Die Wasserströme frohlocken,<br />
und alle Berge sind fröhlich<br />
für vor dem Herrn;<br />
denn er kömmt, das Erdreich zu richten.<br />
Er wird den Erdboden richten<br />
mit Gerechtigkeit<br />
und die Völker mit Recht.<br />
Ehre sei dem Vater und dem Sohn<br />
und auch dem Heiligen Geiste,<br />
wie es war im Anfang,<br />
jetzt und immerdar<br />
und von Ewigkeit zu Ewigkeit. Amen.<br />
Translation<br />
Sing to Yahweh a new song,<br />
for he has done marvelous things!<br />
His right hand, and his holy arm, have worked<br />
salvation for him.<br />
Yahweh has made known his salvation.<br />
He has openly shown his righteousness in the<br />
sight <strong>of</strong> the nations. He has remembered his<br />
loving kindness and his faithfulness toward<br />
the house <strong>of</strong> Israel.<br />
All the ends <strong>of</strong> the earth have seen the<br />
salvation <strong>of</strong> our God.<br />
Make a joyful noise to Yahweh, all the earth!<br />
Burst out and sing for joy, yes, sing praises!<br />
Sing praises to Yahweh with the harp,<br />
with the harp and the voice <strong>of</strong> melody.<br />
With trumpets and sound <strong>of</strong> the ram’s horn,<br />
make a joyful noise before the King, Yahweh.<br />
Let the sea roar with its fullness;<br />
the world, and those who dwell therein.<br />
Let the rivers clap their hands.<br />
Let the mountains sing for joy together.<br />
Let them sing before Yahweh,<br />
for he comes to judge the earth.<br />
He will judge the world with righteousness,<br />
and the peoples with equity.<br />
Glory be to the Father and to the Son<br />
and to the Holy Ghost,<br />
as it was in the beginning,<br />
is now and ever shall be,<br />
from eternity to eternity. Amen.<br />
http://ebible.org/bible/web/Psalms.ht<br />
maccessed 14 November 201<br />
77 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
91. Heinrich Schütz, “Es steh Gott auf” from Symphoniae Sacrae (Book II, 1647); Psalm 68 is set<br />
for male duet with instruments; note use <strong>of</strong> the instruments with the rhythm to establish<br />
an overall mood for this work.<br />
Text<br />
Es steh Gott auf,<br />
daß seine Feind plotzlich zerstreuet werden,<br />
und all, die ihm zuwider seind,<br />
für ihm fliehen auf Erden.<br />
Der Gottlos verschwindt<br />
gleichwie Rauch von Wind,<br />
mit Feuersgewalt das Wachs<br />
zerschmelzet bald,<br />
für Gott muß er umkommen.<br />
Der Grechte muß des freuen sich,<br />
fröhlich allzeit im Herren,<br />
von Herzengrund ganz inniglich<br />
singt er seim Namen Ehre,<br />
macht Bahn, lieben Leut,<br />
der Weg sei bereit,<br />
der Herr fährt herein<br />
und kehrt sanft bei uns ein,<br />
sein Zukunft uns erfreuet.<br />
Er ist der Weisen Vater frumm,<br />
der Witwen Richter treue,<br />
er ist Gott in seim Heiligtum,<br />
die Einsam Gott erfreuet,<br />
gibt Kinder im Haus,<br />
führt die Gfange aus,<br />
Tuts zu rechter Zeit,<br />
die abtrünnigen Leut<br />
müssen zu Grund verdorren<br />
Translation<br />
Let God arise!<br />
Let his enemies be scattered!<br />
Let them who hate him also flee before<br />
him.<br />
As smoke is driven away,<br />
so drive them away.<br />
As wax melts before the fire,<br />
so let the wicked perish at the presence <strong>of</strong><br />
God.<br />
But let the righteous be glad.<br />
Let them rejoice before God.<br />
Yes, let them rejoice with gladness.<br />
Sing to God! Sing praises to his name!<br />
Extol him who rides on the clouds:<br />
to Yah, his name!<br />
Rejoice before him!<br />
A father <strong>of</strong> the fatherless, and a defender<br />
<strong>of</strong> the widows,<br />
is God in his holy habitation.<br />
God sets the lonely in families.<br />
He brings out the prisoners with singing,<br />
but the rebellious dwell in a sun-scorched<br />
land.<br />
http://ebible.org/bible/web/Psalms.ht<br />
maccessed 14 November 201<br />
92. Henry Purcell [pronounced Purse-l] (1659-1695), Dido and Aeneas, S. 626 (ante 1688). Here<br />
Purcell demonstrates his usual uncommon ease and unfailing precision at setting the<br />
English language. Purcell sets Nahum Tate’s libretto as a beautiful opera in three scenes<br />
and a prologue <strong>of</strong> great dramatic power with brilliant text painting. A small note<br />
regarding Purcell and his musis may be found in the textbook page 53-54.<br />
Sinfonia (Instrumental)<br />
Shake the Clouds (Aria)<br />
When I Am Laid in Earth (Aria)<br />
78 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>Music</strong>al Terms in association with this time period (see textbook for further elaboration):<br />
Florentine Camerata: see previous.<br />
Doctrine <strong>of</strong> Affections or Affekt:<br />
Word painting<br />
Monody<br />
Basso Continuo, Basso, or Continuo<br />
Figured Bass<br />
Free Ornamentation<br />
Opera<br />
Libretto<br />
Number<br />
Castrato<br />
Countertenor (vocal range)<br />
Aria<br />
Recitative<br />
Sinfonia (Italian Overture, Prologue)<br />
Incidental <strong>Music</strong><br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 1<br />
In addition to the pages cited above, textbook pages 36-111 may be used for further reference on<br />
this period and its principal composers.<br />
79 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC AND RATIONALISM<br />
BAROQUE<br />
PART 2:<br />
INSTRUMENTS FIND THEIR VOICES<br />
(1600-1700)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 2<br />
93. Giovanni Gabrieli (1554-1612), Canzon septimi toni no.2, from Sacrae Symphoniae (1597): as a<br />
very loose definition <strong>of</strong> canzon, the form <strong>of</strong> this work is free and changing section by<br />
section as if imitating in instruments the type <strong>of</strong> music which might be set to very<br />
expressive poetry (for example, the 13th-14th-century Italian Canzona). A small note<br />
regarding Gabrieli and his music may be found in the textbook, pages 40-41.<br />
94. Giovanni, Gabrieli, Canzon duodecimi toni á 10, from Sacrae Symphoniae (1597): unlike the<br />
previous which is performed on modern brass instruments, this more closely adheres to<br />
original conception <strong>of</strong> instrumentation using period instruments such as organ, cornetts,<br />
violins, and the ever-popular sackbutt. Note how the change <strong>of</strong> instrumentation changes<br />
the whole quality and edge <strong>of</strong> the music.<br />
95. Matthias Weckmann (c. 1616-1674), “4 verses from Magnificat secondi toni” (composition<br />
date unknown). Weckmann was student <strong>of</strong> the far more well-known Jan Pieterszoon<br />
Sweeklinck. The contrapuntal compositional style is self-evident to the ears and visually<br />
engaging in video presentation.<br />
96. Girlamo Frescobaldi (1583-1643), “Toccata Prima” from Toccate d’Involuntura de cimbalo del<br />
Primo Libro (1615): performed on harpsichord.<br />
80 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 2<br />
97. François Couperin (1668-1733), “Sixiême ordre: les barricades mistérieuses” from Livres de<br />
Clavecin in 22 Ordres (1713-1730), performed on harpsichord. A small note regarding<br />
Couperin and his music may be found in the textbook, page 54.<br />
98. François Couperin [pronounced cooper-an] (1668-1733), “Premiere ordre: l’enchantresse” from<br />
Livres de Clavecin in 22 Ordres (1713-1730), performed on harpsichord<br />
99. Philippe Rameau [ponounced Ram-o] (1683-1764), “Allemande” from “Suite in e minor” from<br />
Pièces de Clavecin (1724), performed on harpsichord. A small note regarding Rameau and<br />
his music may be found in the textbook on page 54.<br />
100. Philippe Rameau, “Les niais de Sologne de deux doubles” from “Suite in D major” from<br />
Pièces de Clavecin (1724), performed on harpsichord<br />
101. Marin Marais (1656-1728), 32 Couplets des Folies d'Espagne from Deuxième livre de pièces de viole<br />
for viola da gamba and figured bass (1701): while written simply as a variation set on this<br />
famous 17th-century sarabande, the variety <strong>of</strong> spirit and mood shown in the couplet<br />
variations lends themselves to dance both on the origianl sarabande dance tune and on<br />
the subsequent variations.<br />
102. Archangelo Corelli (1653-1715), Concerto Grosso, op. 6, no. 1 (1708). A small note regarding<br />
Corelli and his music may be found in the textbook on pages 52-53.<br />
103. Antonio Vivaldi (1678-1741), Concerto in D major “Il Gardellino” for flute/recorder and<br />
orchestra, RV 428, mvt. 1. Vivaldi’s biography may be found in the textbook.<br />
81 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 2<br />
104. Antonio Vivaldi (1678-1741), Le Quattro Stagioni (1723), The accompanying sonnets – the<br />
basis <strong>of</strong> the composition – are anonymous but are presummed to be <strong>of</strong> Vivaldi’s<br />
authorship (Translation from http://www.baroquemusic.org/vivaldiseasons.html, accessed 15 May 2010)<br />
Concerto No.1 in E Major, RV 269, "SPRING"<br />
Allegro / Largo / Allegro (Pastorale dance)<br />
Allegro<br />
Springtime is upon us.<br />
The birds celebrate her return with festive song,<br />
and murmuring streams are s<strong>of</strong>tly caressed by the breezes.<br />
Thunderstorms, those heralds <strong>of</strong> Spring, roar, casting their dark mantle over heaven,<br />
Then they die away to silence, and the birds take up their charming songs once more.<br />
Largo<br />
On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps,<br />
his faithful dog beside him.<br />
Allegro<br />
Led by the festive sound <strong>of</strong> rustic bagpipes, nymphs and shepherds lightly dance beneath the<br />
brilliant canopy <strong>of</strong> spring.<br />
Concerto No.2 in g minor, RV 315, "SUMMER"<br />
Allegro non molto - Allegro / Adagio – Presto – Adagio / Presto (Summer Storm)<br />
Allegro non molto<br />
Beneath the blazing sun's relentless heat<br />
men and flocks are sweltering,<br />
pines are scorched.<br />
We hear the cuckoo's voice; then sweet songs <strong>of</strong> the turtle dove and finch are heard.<br />
S<strong>of</strong>t breezes stir the air….but threatening north wind sweeps them suddenly aside. The<br />
shepherd trembles, fearful <strong>of</strong> violent storm and what may lie ahead.<br />
Adagio e piano - Presto e forte<br />
His limbs are now awakened from their repose by fear <strong>of</strong> lightning's flash and thunder's roar,<br />
as gnats and flies buzz furiously around.<br />
Presto<br />
Alas, his worst fears were justified, as the heavens roar and great hailstones beat down upon<br />
the proudly standing corn.<br />
Concerto No.3 in F Major, RV 293, "AUTUMN"<br />
Allegro (Peasant Dance and Song) / Adagio molto (Sleeping Drunkards) / Allegro (The Hunt)<br />
Allegro<br />
The peasant celebrates with song and dance the harvest safely gathered in.<br />
The cup <strong>of</strong> Bacchus flows freely, and many find their relief in deep slumber.<br />
82 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Adagio molto<br />
The singing and the dancing die away<br />
as cooling breezes fan the pleasant air,<br />
inviting all to sleep<br />
without a care.<br />
Allegro<br />
The hunters emerge at dawn,<br />
ready for the chase,<br />
with horns and dogs and cries.<br />
Their quarry flees while they give chase.<br />
Terrified and wounded, the prey struggles on,<br />
but, harried, dies.<br />
Concerto No.4 in f minor, RV 297, "WINTER"<br />
Allegro non molto / Largo / Allegro<br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 2<br />
Allegro non molto<br />
Shivering, frozen mid the frosty snow in biting, stinging winds;<br />
running to and fro to stamp one's icy feet, teeth chattering in the bitter chill.<br />
Largo<br />
To rest contentedly beside the hearth, while those outside are drenched by pouring<br />
rain.<br />
Allegro<br />
We tread the icy path slowly and cautiously, for fear <strong>of</strong> tripping and falling.<br />
Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest<br />
it cracks up.<br />
We feel the chill north winds coarse through the home despite the locked and bolted<br />
doors…<br />
this is winter, which nonetheless brings its own delights.<br />
<strong>Music</strong>al Terms in association with this time period (see textbook for further elaboration):<br />
Text Painting<br />
Movement<br />
Concerto<br />
Concerto Grosso<br />
Instruments <strong>of</strong> this period:<br />
Harpsichord<br />
Viol and Violin families<br />
Unkeyed (simple system) woodwinds<br />
[no clarinet or saxophone]<br />
Concertino<br />
Sonata (Baroque)<br />
Chaconne<br />
Passacaglia<br />
Unvalved brass<br />
Organ<br />
Toccata<br />
Suite<br />
Fugue<br />
Canon<br />
83 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC AND RATIONALISM<br />
BAROQUE<br />
PART 3:<br />
SYNTHESIS AND THE MASTERS<br />
(1700-1750)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 3<br />
105. Georg Friedrich Handel (1685-1759), Messiah, HWV 56 (1741): on a libretto by Charles<br />
Jennens, adapted from Hebrew Bible and the Christian New Testiment. A full biography<br />
<strong>of</strong> Handel and notes on selected well-known compositions may be found in the<br />
textbook.<br />
#1 Sinfonia (Part 1, Scene1)<br />
#18 Aria, Soprano (Part 1, Scene 5), „Rejoice Greatly, O Daughter <strong>of</strong> Zion”<br />
#44 Chorus (Part 2, Scene 7) “Halleluia!” Arguably the most famous <strong>of</strong><br />
choruses from the most famous <strong>of</strong> all oratorios, the “Halleluiah Chorus” is a<br />
staple <strong>of</strong> the Christmas season despite the fact that only the first <strong>of</strong> the oratorios<br />
three parts is linked to Christmas (specifically “The Annunciation”), the other<br />
two parts covering “The Passion” (events leading to Easter) and “The<br />
Aftermath.” (including Judgement Day). The “Halleluia Chorus” closes part 2.<br />
#45 Aria, Soprano (Part 3, Scene 1), “I Know That My Redemer Liveth”<br />
#48 Aria, Bass (Part 3, Scene 2), “The Trumpet Shall Sound”<br />
106. Georg Friedrich Handel (1685-1759), Water <strong>Music</strong>, HWV 348 and 349 (1717), selections:<br />
Water <strong>Music</strong> is comprised entirely <strong>of</strong> stylized dances (in two suites) which were intended<br />
as concert music, not dance music, and was composed with the knowledge that the<br />
performers (a 50-piece orchestra) would play from barge near the King’s barge as both<br />
travelled down the Thames River. This event was captured on canvas by the<br />
contemporary painters Edouard Jean Conrad Hamman and Giovanni Antonio Canal<br />
“Canaletto.<br />
84 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
From Suite 1, HWV 348<br />
1. Overture (Largo – Allegro)<br />
2. Adagio e staccato<br />
3. Allegro – Andante – Allegro da capo<br />
4. Minuet<br />
5. Air<br />
6. Minuet<br />
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 3<br />
7. Bourrée<br />
8. Hornpipe<br />
9. Allegro (no actual tempo marking)<br />
10. Allegro (variant)<br />
11. Alla Hornpipe (variant)<br />
107. Georg Friedrich Handel (1685-1759), <strong>Music</strong> for the Royal Fireworks, HWV 351 (1749),<br />
selections: A suite <strong>of</strong> stylized dances (Handel preferred the title “overture” but was overruled<br />
by the King) to accompany the fireworks in celebration <strong>of</strong> the Treaty <strong>of</strong> Aix-lachapelle,<br />
ending the War <strong>of</strong> Austrian Succession and, amongst other things, guaranteed<br />
the Hanoverian succession to the British throne. The fireworks themselves were<br />
disasterous, setting the launching barge on fire. The events <strong>of</strong> this exciting day are<br />
captured in contemporary etchings.<br />
1. Ouverture: Adagio, Allegro, Lentement, Allegro<br />
2. Bourrée<br />
3. La Paix: Largo alla siciliana<br />
4. La Réjouissance: Allegro<br />
5. Menuets I and II<br />
108. Georg Friedrich Handel (1685-1759), Sonata in g minor for Recorder and Basso Continuo, HWV<br />
360 (ante 1710), “Adagio” and “Presto” movements: in these small intimate sonatas, the<br />
work <strong>of</strong> the basso continuo is clearly audible (and completely enjoyable).<br />
109. Georg Phillip Telemann (1681-1767), “Methodical” Sonata in d minor for Flute and Basso<br />
Continuo (1728-1735), Andante and Allegro: in this impressive set <strong>of</strong> sonatas, Telemann<br />
composed possible solutions and options for improvised ornamentation which the<br />
performers were required to add in order to complete the effect <strong>of</strong> the music.<br />
110. Georg Phillip Telemann (1681-1767), Fantasia no. 1 in A major for solo instrument (c. 1727/8,<br />
pub. 1735): during the Baroque period, instruments were not considered capable <strong>of</strong><br />
sustaining expression single-handedly; however, Telemann and others <strong>of</strong> his generation<br />
demonstrated otherwise. In this class we will hear these on a variety <strong>of</strong> instruments<br />
including flute, viola, and oboe.<br />
111. Johann Sebastian Bach [pronounced BAHK or even BAHhh] (1685-1750), Suite no. 1 in G major<br />
for Solo Cello (1717-1723), “Prelude”: A full biography <strong>of</strong> Bach and notes on selected<br />
well-known compositions may be found in the textbook.<br />
85 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 3<br />
112. Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 2, BWV 1047 (1708-1717),<br />
Allegro: solo instruments (the concertino) are flute,<br />
trumpet, violin, and oboe.<br />
Gottfried Reiche was by reputation the finest trumpeter <strong>of</strong> the "Bach<br />
Era". It is believed that he performed the Brandenburg Concerto No. 2<br />
on a Jager (coiled) trumpet such as in the above portrait. Here is an<br />
account <strong>of</strong> his death from a newspaper <strong>of</strong> 1734:<br />
"...Herr Gottfried Reiche, the Leucopetra-Misnicus and senior member<br />
<strong>of</strong> the municipal company <strong>of</strong> musicians in this place, suffered a stroke as<br />
he was travelling home and dropped dead in the Stadtpfeifer-Allee not<br />
far from his house where he was taken. The reason for this was on<br />
account <strong>of</strong> the enormous strain he suffered the night before while<br />
blowing [the trumpet] for the royal music, his condition having been<br />
greatly aggravated from the smoke given <strong>of</strong>f by the torch-lights."<br />
Johann S. Riemer's Manuscript Chronik preserved in the Stadtarchiv, Leipzig for Wednesday, Oct. 6, 1734<br />
http://www.peakviewmusic.com/Brandenburg%20C<br />
oncerto%20No.%202%20Piccolo%20Trumpet%20pa<br />
rt.2.html, accessed 28 June 2010<br />
113. Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 4, BWV 1049 (1708-1717),<br />
Allegro and Air; the concertino group is two recorders and violin – usually now the<br />
recorders are replaced by flutes, but “period” performances, such as this one, are also<br />
popular<br />
May I suggest an excellent read: Stuart<br />
Isac<strong>of</strong>f’s 2003 non-fiction book:<br />
Temperment: How <strong>Music</strong> Became the<br />
Battleground for the Greatest Minds <strong>of</strong><br />
<strong>Western</strong> Civilization<br />
114. Johann Sebastian Bach (1685-1750), The Well-Tempered Clavier, BWV 846–893, Book 1<br />
(1722), Prelude and Fugue in C major: at this time Clavier referred to any keyboard<br />
instrument, and is performed today on all variety <strong>of</strong> keyboard instruments; in class we<br />
will hear this performed on piano.<br />
<strong>115</strong>. Johann Sebastian Bach (1685-1750), Christ lag in Todes Banden, BWV 4 (Easter, 1707), text<br />
by Martin Luther.<br />
i. Sinfonia: strings and continuo<br />
ii. Verse I: "Christ lag in Todes Banden" - The alto, tenor, and bass voices sing free<br />
counterpoint, while the cantus firmus is sung by the soprano in unadorned, long notes.<br />
iii. Verse II: "Den Tod niemand zwingen kunnt" ("Nobody could overcome death") -<br />
for soprano, alto and continuo.<br />
iv. Verse III: "Jesus Christus, Gottes Sohn" ("Jesus Christ, Son <strong>of</strong> God") - for tenor and<br />
continuo with 2 violins obbligato.<br />
v. Verse IV: "Es war ein wunderlicher Krieg" ("There was a wondrous war") - for<br />
soprano, alto, tenor, bass and continuo.<br />
86 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… <strong>Music</strong> and Rationalism<br />
(Baroque)<br />
Part 3<br />
vi. Verse V: "Hier ist das rechte Osterlamm" ("Here is the true Easter Lamb") - for bass,<br />
strings and continuo.<br />
vii. Verse VI: "So feiern wir das hohe Fest" ("So we celebrate the high feast") - for<br />
soprano, tenor and continuo.<br />
viii. Verse VII: "Wir essen und leben wohl" ("We eat and live well") - A chorale, sung and<br />
played by the whole ensemble.<br />
116. Johann Sebastian Bach (1685-1750), Wachet Auf, ruft uns die Stimme, BWV 140 (Advent,<br />
1731), selections: text is from the Christian Bible, Gospel <strong>of</strong> Matthew, Chapter 25.<br />
(Chorus) Wachet auf, ruft uns die Stimme … [Wake up, a voice is calling …]<br />
(Chorale) Zion hört die Wächter singen … [Zion hears the watchmen singing …]<br />
(Chorale) Gloria sei dir gesungen … [May “Gloria” be sung to you …]<br />
117. Johann Sebastian Bach (1685-1750), Magnificat, BWV 243 (Christmas Vespers, 1723), “Quia<br />
Respexit”: text is from the Roman Rite, drawn directly from the Christian Bible, Gospel<br />
<strong>of</strong> Luke, chapter 2.<br />
Quia Respexit … [Because he hath regarded the humility <strong>of</strong> his handmaid; for behold<br />
from henceforth all generations shall call me blessed.]<br />
118. Johann Sebastian Bach (1685-1750), Mass in b minor (1749, assembled from earlier<br />
compositions), selections<br />
Kyrie: (Chorus) Kýrie, eléison [Lord, have mercy]<br />
Credo: (Chorus) Gratia agimus tibi … [We give Thee thanks …]<br />
Credo: (Duet) Domine Deus … [O Lord God, heavenly King …]<br />
Credo: (Chorus) Qui tollis peccata mundi … [Thou takest away the sins <strong>of</strong> the world]<br />
<strong>Music</strong>al Terms in association with this time period (see textbook for further elaboration):<br />
Tonality<br />
Major scale or tonality<br />
Minor scale or tonality<br />
Scale<br />
Cadence<br />
Cantata<br />
Oratorio<br />
Obbligato<br />
Text Painting<br />
Movement<br />
Concerto<br />
Concerto Grosso<br />
Concertino<br />
Sonata (Baroque period)<br />
Chaconne<br />
Passacaglia<br />
Toccata<br />
Suite<br />
Fugue<br />
Canon<br />
87 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
DECIPHERING THE CODES<br />
STILL MORE THAN YOU MAY WANT TO KNOW, BUT WHICH CAN BE VERY HELPFUL AS YOU LISTEN TO <strong>MUS</strong>IC<br />
PATTERNS IN MULTIMOVEMENTS WORKS<br />
Deciphering the Codes<br />
Patterns in multimovement works<br />
Mass in the Roman Catholic and related Christian Traditions<br />
“Ordinary” Kyrie (God have mercy)<br />
Gloria (Glory to God in the highest …)<br />
Credo (I believe …)<br />
Sanctus (Holy, holy, holy) and Benedictus (Blessed is he who comes …)<br />
Agnus Dei (Lamb <strong>of</strong> God)<br />
These are the oldest set pieces <strong>of</strong> the Roman Catholic liturgy, and are the<br />
“movements” usually committed to music. A handy acronym for<br />
remembering the order <strong>of</strong> these movements is: Kiss Geese Crossiing<br />
SouthBound Avenues.<br />
Other “movements” may be added from the “Porper” <strong>of</strong> the Mass:<br />
Introit (Call to worship); Gradual, Tract, Sequence (hymns or responses);<br />
Psalms (Song <strong>of</strong> praise); Alleluia (response).<br />
A useful way to remember “Ordinary” and “Proper” is: sections <strong>of</strong> the<br />
Ordinary are what is expected to be included, but it is Proper to add extra<br />
Requiem<br />
17 th and 18 th centuries<br />
Bel canto<br />
opera seria<br />
opera buffa<br />
musical elements.<br />
Mass for the dead: these include the non-joyful elements <strong>of</strong> the Ordinary,<br />
and broad inclusions from the Proper.<br />
Introit: Requiem aeternam (Grant eternal rest).<br />
Gradual: Requiem aeternam … lux perpetua (light eternal)<br />
Tract: Absolve, Domine (Forgive, O Lord)<br />
Sequence: Dies irae, dies illa (Day <strong>of</strong> wrath)<br />
Offertory (Free the souls <strong>of</strong> all the departed)<br />
Pie Jesu (O sweet Jesus)<br />
Libera me (Free me)<br />
In Paradisum (In paradise)<br />
Composers take particular light in dramatically setting the emotional extra<br />
sections <strong>of</strong> the Requiem Mass.<br />
Opera<br />
Up to 5 Acts: each act usually opens with an instrumental work, usually<br />
called sinfonia, and later in the period sometimes overture or entr’acte.<br />
By 18 th century – Italian opera seria or semiseria is characterized by 3 Acts,<br />
opera buffa by 2 Acts.<br />
Drama proceeds through a series <strong>of</strong> paired vocal selections for individual<br />
88 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
See also pages<br />
58-63 in the<br />
text book<br />
(lower article)<br />
tragedie lyrique<br />
Singspiel<br />
19 th century<br />
Grand Opera<br />
Operetta<br />
<strong>Music</strong> Drama<br />
See also<br />
pages 204-7<br />
<strong>of</strong> the<br />
textbook<br />
Late 19 th century on<br />
Verismo/realisme<br />
Deciphering the Codes<br />
Patterns in multimovement works<br />
(and sometimes small groups <strong>of</strong>) characters. The pair is comprised <strong>of</strong> a<br />
recitative – which gives the narration – and an aria – which provides<br />
commentary. This pattern <strong>of</strong> play and the need to have more time on<br />
stage for main characters than supporting characters, but also more time<br />
<strong>of</strong>f-stage for main characters to rest their voices is part <strong>of</strong> what<br />
contributes to the complex plot <strong>of</strong> the traditional opera.<br />
Dances or scene-shaping music may be interspersed (Incidental or Banda<br />
music). French operas always have a formal ballet in the middle act<br />
Choruses are used for crowd scenes and are usually confined to beginning<br />
and ends <strong>of</strong> acts (unless otherwise indicated by the drama)<br />
Each <strong>of</strong> these sections is known as a NUMBER, hence the colloquial use<br />
<strong>of</strong> the term “number opera”<br />
NOTE: The above is very typical for Italian opera (both in Italy and in<br />
Germany). During this time, opera in France is called tragedie lyrique and is<br />
gives great importance to spectacle, mob scenes, instrumental music,<br />
dance, short and snappy arias. Opera in England is more theatrical and<br />
light-hearted even so, but failed to develop a strong tradition owing to the<br />
English prejudice against staged works during the 17 th century.<br />
Singspiel in Germany is essentially a drama with music, essentially what<br />
we would now equate with <strong>Music</strong>al Theatre.<br />
All <strong>of</strong> the above parts are still present and the general shape <strong>of</strong> the opera<br />
remains the same (except for <strong>Music</strong> Drama); however, divisions between<br />
sections are increasingly blurred and begin to run more seamlessly<br />
between each other. Ultimately there is less distinction between<br />
recitative and aria, and by late in the century it may be difficult to<br />
determine where one ends and the other begins.<br />
French operas retain more <strong>of</strong> the older sections longer – adding much<br />
spectacle. Smaller casts <strong>of</strong> characters means more focus on main<br />
characters and less involved plots – plots become more play-like.<br />
Small operas <strong>of</strong> light quality (or light opera) focus on spoken drama<br />
interspersed with music: these are the precursors <strong>of</strong> our modern <strong>Music</strong>al<br />
Theatre<br />
Organization <strong>of</strong> a <strong>Music</strong> Drama is different from a traditional opera.<br />
Quoting from the Harvard Dictionary <strong>of</strong> <strong>Music</strong> (1979): “[Here] all the<br />
constituent arts are transfigured, sacrificing their individuality and some<br />
<strong>of</strong> their special characteristics for the larger possibilitieis <strong>of</strong> development<br />
opened up by the new association.”<br />
Construction is <strong>of</strong> continuous music with no formal stops except at ends<br />
<strong>of</strong> acts. No distinction between aria and recitative – all is dialogue with<br />
emotion incorporated as is in normal speech.<br />
Drama is coordinated through use <strong>of</strong> leitmotivs – musical identifiers for<br />
characters, moods, events, objects, etc.<br />
Late century reactions to <strong>Music</strong> Drama resulted in development <strong>of</strong> topics<br />
and plots <strong>of</strong> extreme, even difficult realism.<br />
Opera may be shaped according to traditional principles and divisions, or<br />
<strong>Music</strong> Drama, or a combination <strong>of</strong> both.<br />
American-style <strong>Music</strong>al Theatre: <strong>of</strong>ficially described as operetta<br />
89 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Deciphering the Codes<br />
Patterns in multimovement works<br />
<br />
Oratorio<br />
Virtually always treating a religious topic, and as such is historically NOT<br />
staged. <strong>Music</strong>, form, and movements, however, will usually be identical<br />
to that <strong>of</strong> opera (although “never” <strong>Music</strong> Drama, opera buffa, or light opera<br />
varieties) <strong>of</strong> the parallel period.<br />
Usually a full dramatic telling <strong>of</strong> a large scale Christian Biblical story<br />
Magnificat Setting <strong>of</strong> each line <strong>of</strong> text <strong>of</strong> the Song <strong>of</strong> <strong>Mary</strong> (Luke 1: 46-55) – My<br />
soul doth magnify the Lord<br />
Associated with Advent (four weeks preceding Christmas)<br />
Stabat mater Setting <strong>of</strong> each line <strong>of</strong> text <strong>of</strong> the 13 th century sequence relating the<br />
suffering <strong>of</strong> <strong>Mary</strong>, mother <strong>of</strong> Jesus, at Jesus’ crucifiction.<br />
Associated with Holy Week (the week preceding Easter) and Good Friday<br />
(day <strong>of</strong> Jesus’ crucifiction)<br />
Passion Setting <strong>of</strong> the Biblical gospel texts (either literally or dramatically<br />
interpreted) relating the story <strong>of</strong> Jesus’ crucifiction and the time leading<br />
up to that event.<br />
Gloria Setting <strong>of</strong> each line <strong>of</strong> the text <strong>of</strong> the Greater (Gloria in excelsis Deo) or<br />
Lesser (Gloria patri) Doxology – hymn <strong>of</strong> thanks and praise<br />
Cantata<br />
As a miniature Oratorio – narrating either a sacred or secular story –<br />
conventions will be the same as the oratorio <strong>of</strong> the day, except that the<br />
performance forces are much smaller, there are usually many fewer<br />
movements, and there are no division into Acts.<br />
Suite<br />
Baroque/Classical A set <strong>of</strong> instrumental dances, possibly introduced by an overture: dances<br />
are most <strong>of</strong>ten typical <strong>of</strong> the period (usually those found at royal courts),<br />
but are stylized, i.e. not intended to be actually danced.<br />
May be performed by one instrument, a chamber ensemble, or larger<br />
orchestra.<br />
Bach’s Suite Identified by the famous acronym ACSOG<br />
Allemande – processional dance <strong>of</strong> German origin<br />
Courante (slow French dance) or Corrente (running Italian dance)<br />
Sarabande – sultry slow dance <strong>of</strong> Sapnish origin<br />
Optional – free selection <strong>of</strong> dances<br />
Gigue – quick-step dance <strong>of</strong> British origin<br />
French Overture A pompous instrumental movement <strong>of</strong> two sections – an entry<br />
procession and snappy quick step – followed by a series <strong>of</strong> typically<br />
French dances and songs (might actuallyt be set for dance or drawn from<br />
previous theatrical work)<br />
Sonata da camera Italian suite consisting <strong>of</strong> a prelude and a following free dances<br />
Set for chamber ensemble (just a few instruments), hence the name:<br />
camera means chamber.<br />
Classical Period A set <strong>of</strong> light works usually in a dance style but not intended to be<br />
danced, or lyric style but not intended to be sung. These suite-like works<br />
were used prinicipally as background music for events – <strong>of</strong>ten found in<br />
what we know today as the traditional “50 minute set” still used as<br />
industry standard for “club music,” “garden music, “ or “reception<br />
90 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Deciphering the Codes<br />
Patterns in multimovement works<br />
music.” These suite-like works come by many names: Divertimento,<br />
Cassation, Notturno, Serenades<br />
Romantic and beyond A selection <strong>of</strong> individual dances and songs from a larger, usually<br />
theatrical, work, i.e. selections from …<br />
A set <strong>of</strong> national-style dances <strong>of</strong> no set format<br />
Sonata<br />
Pre-Baroque single-movement instrumental work in contrasting sections: variously<br />
Baroque<br />
Sonata da chiesa<br />
Classical<br />
Solo Sonata<br />
See also<br />
pages 160-<br />
174 <strong>of</strong> the<br />
textbook<br />
Chamber Sonata<br />
Orchestral Sonata<br />
duo<br />
trio<br />
quartet<br />
quintet<br />
Symphony<br />
named canzona, canzone a sonar, ricercar, or sonata<br />
multi-movement instrumental work, usually for small groups <strong>of</strong><br />
instruments<br />
Literally, Sonata in church style (chiesa means church), which implies now<br />
secular elements such as lowly dances<br />
Four movements: Slow (Adagio) – Fast (Allegro) – Slow (Adagio) – Fast<br />
(Allegro)<br />
Sonata a due or duo sonata – is in two “voices/lines,” treble and bass but<br />
requires THREE players: remember bass in this period means basso<br />
continuo, or bass instrument with harmonic-fill instrument.<br />
Sonata a tre or trio sonata – is in three “voices/lines,” two treble and one<br />
bass but requires FOUR players: remember bass means basso continuo<br />
Sonata a quattro or a cinque – is in four or five “voices/lines” respectively,<br />
and was mostly likely performed by small orchestra.<br />
Sonatas were also sometimes written for solo keyboard instrument.<br />
A multi-movement instrumental work, for single instrument or for small<br />
groups <strong>of</strong> instruments – but a completely different type <strong>of</strong> work than the<br />
baroque sonata.<br />
Solo keyboard sonata<br />
Solo sonata: melody instrument with keyboard – flute and piano, violin<br />
and piano, etc.<br />
chamber sonata – trio, quartet, or quintet <strong>of</strong> instruments<br />
orchestral sonata – symphony<br />
Three movements: Fast (allegro) – Slow (Adagio) – Fast (allegro or<br />
dance)<br />
Four movements: Fast (allegro or sonata form) – Slow (Adagio or songstyle)<br />
– Minuet or Scherzo (dance-style) – Fast (Allegro or rondo)<br />
string duo: violin and cello<br />
piano (flute, clarinet) trio: piano (flute, clarinet) plus string duo<br />
string trio: violin, viola, and cello<br />
piano (flute, oboe) quartet: piano (flute, oboe) plus string trio<br />
string quartet: two violins, viola, and cello<br />
flute (clarinet, oboe) quintet: flute (clarinet, oboe) plus string quartet<br />
larger groups <strong>of</strong> stringed instruments, with or without wind, brass, or<br />
percussion instruments<br />
Romantic and beyond Base forms nd structures remain essentially the same as in the classical<br />
period, except that composers made conscious decisions to accept and<br />
work within these practices or to intentionally press, expand, contract,<br />
and challenge these. Each composer and work must be encountered<br />
individually.<br />
91 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Deciphering the Codes<br />
Patterns in multimovement works<br />
Concerto<br />
Baroque Generally in three movements: Fast (allegro) – Slow (Adagio) – Fast<br />
(allegro)<br />
Usually the soloist and the orchestra are featured in alternating blocks<br />
Classical and<br />
Romantic<br />
Late Romantic and<br />
beyond<br />
Generally in three movements: Fast (allegro or sonata form) – Slow<br />
(Adagio or song) – Fast (Allegro or rondo)<br />
The soloist is usually featured as musical leader accompanied by the<br />
orchestra, while the orchestra is periodically featured in a leadership<br />
position.<br />
Generally in the same three movements as the previous style<br />
Increasingly the soloist comes to be integrated as a dominant solo voice<br />
within the orchestra, sometimes featured, sometimes absorbed.<br />
92 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Numbering and Identifying Comositions<br />
NUMBERING AND IDENTIFYING COMPOSITIONS<br />
It is hard to know how many works have been composed through history: I would consider it safe<br />
to say millions. With this many compositions in existance, it is important to have identifiable names.<br />
Composers and their publishers must create distinct names for compositions, and where those<br />
distinct names do not really exist then to add more qualifiers to clarify meaning.<br />
If a work carries a very distinctive title – Scheherazade, Also sprach Zarathustra, Four Seasons – we really<br />
don’t need any further information once we know the composer’s name (and sometimes it is clear<br />
even without the composer’s name).<br />
Since the advent <strong>of</strong> publishing, however, most composers choose to apply “opus numbers”<br />
to their works.<br />
Opus is the Latin word for work, and when used in a musical title is abbreviated “op.” A<br />
composer will usually apply the designation opus 1 to her/his first published work. In such<br />
a case, the note “op. 1” will be placed after the title proper, for example in Violin<br />
Concerto, op. 1.<br />
If the concerto had been published after the composer’s death the abbreviation is “op.<br />
posth.,” meaning opus pothumous – this indicates that the composer did not make the<br />
decision as to whether the composition should be published: Violin Concerto, op. posth.<br />
If a work is published without the composer’s blessing, the composition might carry the<br />
notation <strong>of</strong> WoO, meaning “without opus”: Violin Concerto, WoO<br />
Sometimes compositions are published as sets such as Chopin did with many <strong>of</strong> his opus 64<br />
waltzes. In this case, the whole set has an opus number, and then each individual waltz has a<br />
number. For example Chopin’s Trois Valses is his opus 64; the first waltz <strong>of</strong> this set is<br />
number (no.) 1, the second is no. 2, and the third no. 3. And so … the first waltz would be:<br />
Waltz, op. 64, no. 1<br />
Many works are written in a specific key. Often this key is given in the title. For this very<br />
same waltz, written in the key <strong>of</strong> D-flat major, the title reads:<br />
Waltz in D-flat major, op. 64, no 1<br />
Sometimes it happens that an additional number appears in title. This would be the case if<br />
Chopin chose to number just his waltzes. For this waltz, Chopin’s 6 th waltz, a fuller title<br />
might read:<br />
Waltz no. 6 in D-flat major, op. 64, no. 1<br />
Lastly, if a publisher feels that a nickname applied to a work with an otherwise plain name<br />
would help sales, then the nickname is added to the end <strong>of</strong> the title. A nickname sometimes<br />
comes from the composer her or himself, sometimes from the publisher trying to boost<br />
sales, and sometimes from popular usage by performers themselves. Therefore with our<br />
waltz – the famous “Minute Waltz” – our final title is:<br />
Waltz no. 6 in D-flat major, op. 64, no. 1, “Minute”<br />
93 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Numbering and Identifying Comositions<br />
In the days prior to composers publishing within their lifetimes, we cannot rely on this complex<br />
<strong>of</strong> opus numbers. Here we have to rely on later musicologists to gather up and catalogue the<br />
works <strong>of</strong> these older composers. You will recognize this fact by seemingly odd collections <strong>of</strong><br />
letters and numbers after titles. For example the works <strong>of</strong> J. S. Bach are catalogued in the Bach<br />
Werke Verzeichnes, and so Bach’s titles are followed by BWV 1034 – this is the Sonata no. 5 in e<br />
minor for flute and continuo. Here is a short list <strong>of</strong> composer catalogues:<br />
J.S. Bach: Bach Werke Verzeichnes – BWV<br />
W.A. Mozart: Koechel (named for the cataloguer) – K. or sometimes KV<br />
Franz Schubert: Deutsch (named for the cataloguer, Otto Erich Deutsch) – D.<br />
F. J. Haydn: Hoboken Verzeichnes – H (followed by a complex <strong>of</strong> Roman numerals)<br />
G. P. Telemann: Telemann Werke Verzeichnes – TWV<br />
G. F. Handel: Handel Werke Verzeichnes – HWV<br />
Unlike “opus numbers” which usually indicate some kind <strong>of</strong> loose chronology <strong>of</strong> composition,<br />
composer catalogues usually group like-works together. Therefore, all the operas might be<br />
numbered together, followed by all the symphonies, followed by all the sonatas. For example all<br />
<strong>of</strong> J.S. Bach’s sonatas for flute are numbered together: the three flute sonatas with klavier are<br />
BWV. 1030-1032, and the three with continuo are BWV 1033-1035, even though almost 15 years<br />
separate the composition <strong>of</strong> the earliest (BWV 1032) and the latest (BWV 1035).<br />
These catalogues will also contain incomplete and doubtful works. For example BWV 1032 was<br />
not actually finished (or so it appears form the manuscript), and both BWV 1031 and BWV 1033<br />
are thought to be by composers other than Johann Sebastian (the first by his some Carl Phillip<br />
Emanuel, and the latter by an unknown composer but perhaps harmonized by J.Sebastian – or<br />
possibly the other way around.<br />
94 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
What You Would Expect to See on a<br />
Concert programme …<br />
What You Would Expect to See on a Concert Programme<br />
Date and Place <strong>of</strong><br />
the conder,<br />
including YEAR<br />
Full title <strong>of</strong> each work to be<br />
played is given to the left<br />
Pirating and Plagiarism Permitted<br />
February 21, 2011<br />
Old School House @ Qualicum Beach<br />
<strong>Mary</strong> <strong>Byrne</strong>, flutes<br />
Wendy St<strong>of</strong>er, piano<br />
Title includes opus or catalogue numbers ig<br />
included on the on the title pages<br />
Programme<br />
Sonata in F major, KV 376, ............................................................. Wolfgang Amadeus Mozart<br />
from Die Aurnhammer-Sonaten (1781)<br />
composed for Piano and Violin<br />
Fantaisie Brillante sur “La Déesse et le Berger de DUPRATO” ............... Jules Demersseman<br />
Titles which are Forms are NOT italicized,<br />
titles which are “poetic” are italicized; opus<br />
and catalogue numbers are not italicized. Intermission<br />
Comic opera by Jules Duprato (Paris, 1863)<br />
Sonatina ............................................................................................................ Lennox Berkeley<br />
composed for Treble Recorder and Piano (1940)<br />
Moderato<br />
Adagio<br />
Allegro moderato<br />
Performers<br />
Tirana: Homenaje a Sarasate ................................................................................. Jesús Guridi<br />
posthumous dedication (1971)<br />
Sonatina in G major, op. 100 ............................................................................. Antonín Dvořák<br />
composed for Violin and Piano (1893)<br />
Allegro risoluto<br />
Larghetto<br />
Scherzo: Molto vivace<br />
Finale: Allegro<br />
Concert title, if there is one<br />
Instruments or voices for<br />
each performer or soloist<br />
Allegro<br />
Andante<br />
Rondeau: Allegretto grazioso<br />
Title includes key, if<br />
composer includes it on<br />
the title page<br />
“from …” may appear on the title line or<br />
in this position under the conposer’s name;<br />
Six Metamorphoses after Ovid, op. 40 ............................................................ date is optional.<br />
Benjamin Britten<br />
composed for Oboe solo (1952)<br />
performed on Alto Flute<br />
Pan who played upon the reed pipe which was Syrinx, his beloved<br />
Phaeton who rode upon the chariot <strong>of</strong> the sun for one day and was hurled into the river Padus by a thunderbolt<br />
Niobe who, lamenting the death <strong>of</strong> her fourteen children, was turned Sometimes into a mountain the composer’s birth [and death] dates are given<br />
Bacchus at whose feasts is heard the noise <strong>of</strong> gaggling women’s tattling below tongues her/his and name. shouting Usually out <strong>of</strong> boys the date <strong>of</strong> the composition is<br />
Narcissus who fell in love with his own image and became a flower not given unless it is an identifier as part <strong>of</strong> the title, and then<br />
Arethusa who, flying from the love <strong>of</strong> Alpheus the river god, was turned it is given into a fountain on the title line.<br />
If there are movements to the work, these will be listed below<br />
the title, <strong>of</strong>ten just the Italian tempo marking <strong>of</strong> the movement.<br />
Usually a title such as this includes the instruments as a<br />
part <strong>of</strong> the title, and these should be included if on the<br />
title page <strong>of</strong> the work. Because this programme has<br />
special circumstances, the original instrumentation is<br />
given below th composer’s name<br />
Composer’s name is given in full to<br />
the right, with arranger or adapter<br />
given below<br />
95 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Programmes may include programme notes<br />
to share information about works to be<br />
heard or curatorial choices made with<br />
regards to the selection <strong>of</strong> the works; and<br />
may include texts and English translations<br />
<strong>of</strong> songs to be performed.<br />
Pirating and Plagiarism Permitted<br />
<strong>Mary</strong> <strong>Byrne</strong>, flutes<br />
Wendy St<strong>of</strong>er, piano<br />
What You Would Expect to See on a<br />
Concert programme …<br />
"… A daring romp which at every turn challenges us to reconsider our beliefs<br />
<strong>of</strong> what is appropriate music for the flute!”<br />
It is no mystery that in the last four centuries composers have tended to be either highly discerning<br />
In a flute-o-centric world it is easy to indict composers who sometimes have shockingly shunned the<br />
flute in favour <strong>of</strong> instruments considered more capable, more beautiful, or more expressive – recall<br />
Mozart's famous, alleged aversion to the flute! With this programme flutist <strong>Mary</strong> <strong>Byrne</strong> along with<br />
pianist Wendy St<strong>of</strong>er will fearlessly assume the guise <strong>of</strong> the Hungarian violin, the Spanish recorder,<br />
and the "mythological" oboe; press the limits <strong>of</strong> 19th-century operatic repertoire and broaden the<br />
scope <strong>of</strong> the 20th century recorder; and, yes ... even gently suggest that Mozart might like to<br />
reconsider his opinion on the flute.<br />
Biographies <strong>of</strong> the featured performers are<br />
<strong>of</strong>ten included. Presenters, sponsors, and<br />
donors may be mentioned; other words <strong>of</strong><br />
<strong>Mary</strong> <strong>Byrne</strong> – Flutist – teaches flute and flute pedagogy at the thanks Victoria may Conservatory be included.<br />
<strong>of</strong> <strong>Music</strong>,<br />
where she also serves on the Artistic Directorate and as Head <strong>of</strong> the Woodwinds, Brass and<br />
Percussion Department. She performs regularly with the Victoria Symphony, Aurora Trio (Flute,<br />
Viola and Harp), Fairwinds Quintet (Woodwind Quintet) and the Island Chamber Player, in addition<br />
to appearing as solo and chamber recitalist with the many concert series events <strong>of</strong> Vancouver Island.<br />
She is an active lecturer on diverse topics <strong>of</strong> musicological interest and an avid adjudicator at music<br />
festivals and competitions throughout Canada and the United States. Dr. <strong>Byrne</strong> holds a Ph. D. in<br />
<strong>Music</strong>ology from the University <strong>of</strong> Victoria, as well as B. Mus. in Wind Performance and <strong>Music</strong><br />
Education, and M. Mus. in Flute Performance degrees from the University <strong>of</strong> Michigan. Her major<br />
flute studies have been undertaken with Keith Bryan, Lois Wynn, and Carol Kniebusch Noe, with<br />
great influence from Bonita Boyd.<br />
Wendy St<strong>of</strong>er – pianist – began piano studies at the age <strong>of</strong> four. She received a Bachelor <strong>of</strong> <strong>Music</strong><br />
degree from the University <strong>of</strong> Washington studying with the renowned pianist Bela Siki, and a<br />
Master <strong>of</strong> <strong>Music</strong> in accompanying and chamber music from the University <strong>of</strong> Michigan under<br />
Eugene Bossart. While pursuing doctoral studies with Martin Katz at the University <strong>of</strong> Michigan,<br />
Ms. St<strong>of</strong>er was appointed as visiting instructor/faculty accompanist to the University <strong>of</strong> Alaska<br />
Fairbanks where she subsequently taught for five years. Ms. St<strong>of</strong>er has performed in recitals with<br />
flutists Trevor Wye, Susan Hoeppner, Fiona Wilkinson, Amy Hamilton and Carol Kniebusch Noe,<br />
violinist Benny Kim, soprano Paulina Stark, as well as other performers <strong>of</strong> international reputation.<br />
Since returning to her native Victoria in 1991, she has been much in demand as accompanist and<br />
chamber musician, and has been pianist for the Victoria Choral Society for the past eighteen years.<br />
96 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
FORMS AND SHAPES IN <strong>MUS</strong>IC<br />
Forms and Shapes I n <strong>Music</strong> …<br />
<strong>Music</strong>ologists have identified a certain predictability to the shapes <strong>of</strong> some kinds <strong>of</strong> movements. It is<br />
entirely possible to enjoy listening without knowing these forms; however, there are three compelling<br />
reasons you might want to take on the challenge <strong>of</strong> wrapping your mind around this.<br />
First, music moves through time. When you understand the general shapes <strong>of</strong> some <strong>of</strong> these<br />
longer movements, it may be possible for you to begin to predict what will happen next, and<br />
how much longer there is to go – it’s like reading a map, only hearing a map in sound.<br />
Second, composers really expect that listeners can do this, and have great fun playing with<br />
your sense <strong>of</strong> expectation.<br />
Third, since the form <strong>of</strong> the music is like the skeleton upon which the composer hangs the<br />
clothes <strong>of</strong> the music, you can enjoy the play and variation <strong>of</strong> the detail <strong>of</strong> the melody,<br />
harmony, and rhythmic pulse.<br />
Does this make or break your sense <strong>of</strong> the beauty <strong>of</strong> the work? No! Does it deprive you <strong>of</strong> getting<br />
the meaning or the story? No! Does it allow you to delight in the hidden mysteries <strong>of</strong> the music?<br />
Perhaps! Mostly, it brings you closer to engaging the genius <strong>of</strong> some composers. If it’s not for you,<br />
don’t worry about it – it may just be too much information to clutter an otherwise perfect listening<br />
experience. If you’re curious, read on.<br />
SONGS<br />
Songs themselves are driven by text, words, lyrics. The music which underlays the text is expected to<br />
be singable and hopefully memorable. The shape <strong>of</strong> the melody <strong>of</strong> a well-composed song fits the<br />
nuances <strong>of</strong> the poetry, the rhyme and the word stress. We know instinctively when this works and<br />
when it doesn’t. Even with the emphasis on words, the pattern <strong>of</strong> the music is what we musicians<br />
characterize in letters, almost as if poetry.<br />
Much Pop music and/or songs we encounter daily are in what we might call AABA form. By this<br />
we mean that the tune takes place once (A), it repeats with new words (A), there is a contrasting<br />
section (B), and then the first tune comes back with new or old words (A). The letters indicate<br />
repetition (or newness) <strong>of</strong> melody or musical theme.<br />
Some tunes – our traditional Christmas carols or national folk tunes – have only one tune but many<br />
verses <strong>of</strong> words: this is called strophic and might be represented by AAAA… how ever many we<br />
need. Some tunes have these same verses, but the verses are separated by a short refrain or what we<br />
might call the chorus – this doesn’t really change the form<br />
Most old songs – particularly earlier operas – are in a simple ABA form. This would represent a<br />
main section (A), a contrasting center section (B), and a repeat <strong>of</strong> the main section (A). Sometimes<br />
we call this “aria form,” or “song form.” We even expect to find this form in the song-like<br />
movements <strong>of</strong> instrumental works. We also sometimes call these arias “Da Capo” arias – da capo<br />
97 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Forms and Shapes I n <strong>Music</strong> …<br />
means “from the top” in Italian and indicates a straight repeat <strong>of</strong> the first section (although in some<br />
practice the repeat is not really straight, but highly ornamented and almost imporvised).<br />
Some song movements in instrumental works are actually variation movements. This means that the<br />
same tune repeats over and over, but with increasing variations applied each time to fancy up the<br />
tune. Usually instrumentalists are asked to perform at the height <strong>of</strong> their technical capabilities by the<br />
end <strong>of</strong> a variation movement. This is really another take on AAAAA.<br />
DANCES<br />
Dances are always shaped according to the expected sense <strong>of</strong> motion – slow or fast, smooth or leapy<br />
– and always give exactly enough beats to complete the required step sequence (unless the<br />
choreography is done later, as in most modern dance): old dances (Minuets, sarabandes, even polkas<br />
and waltzes) have specific step patterns which must be completed. Again, however, it is the music<br />
which we characterize in letters.<br />
Most old dances – both courtly and popular – are in binary form: AABB … one short tune<br />
repeated, and a second short tune repeated.<br />
Usually in suites, symphonies, and and other “sonata-type” works, dances are paired: for example<br />
Minuet and Trio (essentially two minuets, the second one played by a smaller group [a trio]), or<br />
Passpied 1 and 2. Essentially the pair <strong>of</strong> dances makes for a single movement. The first <strong>of</strong> the two<br />
dances would be AABB, the second CCDD, but we always go back and play the first dance again<br />
without the repeats AB. Therefore, the whole movement would be AABB CCDD AB. As a side<br />
note, this is a pattern and practice that all musicians learn as a part <strong>of</strong> their first year <strong>of</strong> music history<br />
study; therefore when experienced musicians sit down to play a dance movement, no one ever asks<br />
“do we take the repeats?” – we just know this is the game plan and this is how we play.<br />
ALLEGRO movements<br />
Allegro is the Italian word for “happy, fast.” Generally, we expect first and last movements <strong>of</strong><br />
multimovement instrumental works to be fast, therefore allegro movements.<br />
Last movements <strong>of</strong> instrumental works are <strong>of</strong>ten what is termed Rondo form – an old word deriving<br />
from “round dances” and poetic rondeaux. In a rondo, there is a single identifiable, recognizable tune<br />
– this is the rondo theme and we call it A. We hear (A), then we have a different tune (B) followed<br />
by a return <strong>of</strong> (A), then there is another tune (C) followed again by (A). This pattern continues,<br />
alternating familiar (rondo theme) and new for a pattern like ABACADAEA…<br />
First movements <strong>of</strong> sonata-type works are usually cast in a very complex but elegant form which has<br />
come to be known to us as Sonata-Allegro Form, or sometimes simply Sonata Form or Firstmovement<br />
Form: all <strong>of</strong> these names clearly betray the strong association <strong>of</strong> this form with this type<br />
<strong>of</strong> work. Sonata-Allegro is particular to the Classical period and beyond, and variations <strong>of</strong> this form<br />
will be found throughout the symphonies, chamber music, concertos, and even solo sonatas <strong>of</strong> this<br />
period and beyond. Here’s how this works!<br />
98 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
There is one musical form that you really<br />
should try to get your mind around as it is<br />
the form <strong>of</strong> choice for composers for most<br />
<strong>of</strong> the past two-and-a-half centuries ⁄. . .<br />
Sonata-Allegro Movement Form<br />
Forms and Shapes I n <strong>Music</strong> …<br />
The whole philosophical idea behind the Sonata-Allegro Form is to take the listener on a journey,<br />
beginning in the home key, moving away though different keys, and then returning home. Along the<br />
way we experience a variety <strong>of</strong> musical ideas, at first given plainly, then quickly related to each other;<br />
when the return home is made the intention is for the listener to hear what is now familiar in a new<br />
light. The journey is complete and the listener has been changed.<br />
Exposition: the first section <strong>of</strong> the sonata-allegro movement. This section accounts for fully half <strong>of</strong><br />
the movement. In the exposition, the composer will give a series <strong>of</strong> contrasting themes, always in<br />
two groups. The first group <strong>of</strong> themes will always be in the home key, the tonic key (usually the titlekey<br />
<strong>of</strong> the piece): the first group themes are usually perky. The second group <strong>of</strong> themes will be<br />
contrasting in style (usually lyrical) and will NOT be in the home key but will be in a related key: this<br />
group <strong>of</strong> themes will always conclude in the dominant key, the most propulsive key available.<br />
Honestly, this is where we lose most people! If you’re still with me, however, then keep going it gets<br />
easier from here. The exposition now repeats! After the repeat <strong>of</strong> the exposition, we are roughly<br />
halfway through the movement.<br />
Development: Now the composer will take many or all the themes presented and mix them up: a<br />
bit here, a bit there, different combinations, some exaggeration here and there. In this section the<br />
composer will usually weave through different keys, searching for the home key. Suddenly … the<br />
Recapitulation arrives!<br />
Recapitulation: Here the exposition is “repeated” but not exactly! Unlike the exposition, here in the<br />
Recapitulation, all the themes stay in the home key.<br />
If not totally put <strong>of</strong>f at this time, turn the page for a potentially useful comparison to one <strong>of</strong> the great<br />
stories <strong>of</strong> our time! If you haven’t yet seen The Wizard <strong>of</strong> Oz, add this to your “To-Do” list.<br />
99 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Forms and Shapes I n <strong>Music</strong> …<br />
IF SONATA ALLEGRO FORM WERE A STORY, IT WOULD BE THE WIZARD OF OZ (MOVIE)<br />
Introduction (optional)<br />
Suspenseful or exciting opening music The opening music and credits set scene<br />
Exposition<br />
First set <strong>of</strong> themes ............................... Tonic key (I) Dorothy (our principal character) and Toto<br />
Tunes are similar are home in Kansas<br />
Key stays home and dream <strong>of</strong> going Over the Rainbow<br />
With Dorothy we meet the friendly farm hands<br />
Second set <strong>of</strong> themes .......................... related keys Suddenly her world changes<br />
Tunes are new The evil neighbour takes Toto away\<br />
Key is close but not home Dorothy runs away from home<br />
Section concludes: we meet the traveller who sends her home<br />
It has moved away from home key .. Dominant key (V) but she isn’t home safely, all are gone!<br />
REPEATS! Pretend that all this repeats in the story!<br />
First set <strong>of</strong> themes ............................... Tonic key (I) Dorothy (our principal character) and Toto<br />
Tunes are similar are home in Kansas<br />
Key stays home and dream <strong>of</strong> going Over the Rainbow<br />
With Dorothy we meet the friendly farm hands<br />
Second set <strong>of</strong> themes .......................... related keys Suddenly her world changes<br />
Tunes are new The evil neighbour takes Toto away\<br />
Key is close but not home Dorothy runs away from home<br />
Section concludes: we meet the traveller who sends her home<br />
It has moved away from home key .. Dominant key (V) but she isn’t home safely, all are gone!<br />
Development<br />
Many <strong>of</strong> the themes are reheard ........ Mixture <strong>of</strong> wild keys Suddenly there is a great storm<br />
but differently presented Remote keys Dorothy (injured) “sees” snips <strong>of</strong> familiar folks<br />
fragmented The neighbour transforms into a wicked witch<br />
unstable Dorothy “awakes” and the world is in colour<br />
recognizable but hidden Familiar people are there but in new roles<br />
relationships are different Many new things and characters are there too.<br />
but elements <strong>of</strong> characters remain After a great journey and difficulty she realizes:<br />
Themes are experienced in new light There is no place like home!<br />
Recapitulation<br />
First set <strong>of</strong> themes ............................... Tonic key (I) So home she goes!<br />
in full She is home, but things are a bit different.<br />
We see Dorothy and her friends<br />
but she no longer wants to leave.<br />
She “knows” her friends journeyed with her<br />
Second set <strong>of</strong> themes .......................... Tonic key (I) This time, her world does not change<br />
There is no place like home She is home, her friends are there<br />
All is heard in new light She was “away” but never really left.<br />
Section ends on home base ................ Tonic key (I) Now she sees everything with new eyes.<br />
Coda (optional)<br />
Closing music to affirm spirit <strong>of</strong> music closing credits and music, story done<br />
100 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Fresh Ideals Leading to Enlightenment …<br />
FRESH IDEALS LEADING TO ENLIGHTENMENT<br />
THE BACH BROTHERS ON THE LEADING EDGE<br />
(1720 - 1770 CE)<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
119. Johann Christian Bach (1735-1782), Overture; Adriano in Siria (1765): the lighter gallant<br />
style and the work <strong>of</strong> this son <strong>of</strong> the great J. S. Bach, as well as the older styled works <strong>of</strong><br />
“Papa” Bach were highly influential on the style <strong>of</strong> Wolfgang Amadeus Mozart.<br />
120. Wilhelm Freidmann Bach (1710-1784) Concerto in F minor for harpsichord (c. 1767):<br />
Harpsichord moves alternately between being a driving member <strong>of</strong> the orchestra and<br />
taking on a soloist’s role.<br />
http://commons.wikimedia.org/wiki/File:HarpsichordMechanism-EN.svg, accessed 1 July 2010<br />
121. Wilhelm Freidmann Bach (1710-1784) Concerto in F major, F10 for two harpsichords (c.<br />
1740): Here only the two harpsichords, no orchestra. While not fitting our standard<br />
assumption <strong>of</strong> what makes a concerto, it is completely within keeping for the full<br />
definition <strong>of</strong> the genre.<br />
122. Carl Philip Emanuel Bach (1714-1788), Sonata in g minor, Wq 65/17 (1746): The stormy<br />
and irrational perspectives <strong>of</strong> this son <strong>of</strong> the great J. S. Bach were highly influential on the<br />
style <strong>of</strong> Franz Joseph Haydn and a hallmark <strong>of</strong> the empfindsamerstil (highly affected style).<br />
Clavichord Mechanism<br />
http://en.wikipedia.org/wiki/File:Clavichord_gebunden_Funktion.JPG<br />
101 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Pian<strong>of</strong>orte (Piano) Mechanism<br />
http://www.concertpitchpiano.com/GrandActionModel.html<br />
Fresh Ideals Leading to Enlightenment …<br />
For fun, go to this site! http://www.concertpitchpiano.com/AnimatedUprightAction.html<br />
123. Christoph Willibald von Gluck [pronounced GLUE-k] (1714-1787), Orfeo ed Euridice (1762<br />
Vienna/1774 Paris): the libretto by Ranieri de' Calzabigi is based on the myth <strong>of</strong><br />
Orpheus. The opera was first performed at Vienna and is the first <strong>of</strong> Gluck's "reform"<br />
operas where he got moved past the expected convoluted plots and complex music with<br />
tuneful easy-going simplicity <strong>of</strong> plot and music.<br />
Overture<br />
Opening Chorus: “Ah, se intorno”/“Ah! Dans ce bois”<br />
Orfeo’s Aria, Act 1: "Chiamo il mio ben"/“Objet de mon amour”<br />
Act 2 Ballet and Scene <strong>of</strong> the Elysium Fields<br />
Orfeo’s Aria, Act 3: "Che farò senza Euridice?”/“J’ai perdu mon Eurydice”<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Gallant style<br />
Empfindsamerstil<br />
Sturm und Drang<br />
Roccoco style<br />
Instruments now changing:<br />
Harpsichord to clavichord<br />
Clavichord to fortepiano<br />
Viol to violin and viola<br />
Concerto (late Baroque)<br />
Sonata (new classical)<br />
Overture<br />
Reform Opera<br />
Bass Gamba to cello and bass<br />
Lute to keyboards<br />
Basso Continuo to full string section<br />
In addition to the pages cited above, textbook pages 112-193 may be used for further reference on<br />
this period.<br />
102 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC OF THE ENLIGHTENMENT<br />
(1770 - 1820 CE)<br />
PART I: CLASSICAL IDEALS AND SONATA FORM<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
<strong>Music</strong> <strong>of</strong> the Enlightenment …<br />
124. Wolfgang Amadeus Mozart [pronounced MOAT-sart] (1756-1791), Serenade no. 13 for Strings<br />
in G major, K. 525 (1787), Eine Kleine Nachtmusik: musicians regard this very popular<br />
work as a supreme and perfect example <strong>of</strong> Sonata form. An extemsive section on<br />
Mozart and his music may be found in the textbook.<br />
125. Franz Joseph Haydn [pronounced HIDE-n] (1732-1809), String Quartet no. 30 in E b major,<br />
op. 33, no. 2, “Joke,” Hob. III:38 (1781): the string quartet did not exist as a form or as<br />
an entity prior to Haydn’s time – early, contemporary biographers suggest that the<br />
selection <strong>of</strong> thses instruments was purely circumstantial, but it worked. Even though this<br />
is the thirtieth <strong>of</strong> Haydn’s string quartets is it amongst the oldest string quartets in the<br />
current repertoire. An extensive section on Haydn and his music may be found in the<br />
textbook.<br />
126. Franz Joseph Haydn (1732-1809), String Quartet no. 63 in B b major, op. 76, no. 4,<br />
“Sunrise,” Hob. III:78 (1797): here the substantial change in writing for string quartet<br />
from the op. 33 Quartets from 16 years earlier is eveident in the independence <strong>of</strong> the part<br />
and the broad range <strong>of</strong> expresson.<br />
127. Franz Jospeh Haydn (1732-1809), Symphony No. 29 in E major, Hoboken I/29 (1765):<br />
this early symphony <strong>of</strong> Haydn is lightly socred for two oboes, two bassoons, two horns,<br />
strings and continuo. For the time being the basso continuo continues to provide a<br />
foundation for most orchestral ensembles, even though it has effectively disappeared<br />
from chamber music forms such as the string quartet. Tiny gems such as these were<br />
custom-composed for intimate spaces such as the public rooms at Eserhazy palace.<br />
128. Franz Joseph Haydn, Symphony no. 83 in g minor, “Le Poule” [“The Hen”] Hoboken<br />
I/83, (1787): Haydn is credited with being “The Father <strong>of</strong> the Symphony” largely<br />
because devoted so much creative energy to developing this implrtant sonata-form (itself<br />
only just coming into existance at the time <strong>of</strong> Haydn’s birth). More than 35 years<br />
103 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>Music</strong> <strong>of</strong> the Enlightenment …<br />
separate the composition <strong>of</strong> Haydn’s first and last symphonies. In that time Haydn<br />
defined the symphonic form, established the workings <strong>of</strong> what would become the<br />
symphony orchestra, and created more than 100 delightful gems <strong>of</strong> the modern<br />
repertoire.<br />
129. Franz Joseph Haydn (1732-1809), Symphony no. 94 in G major, “Surprise,” Hoboken I/94<br />
(1791): the nicknames <strong>of</strong> most works by Haydn are not assigned by Haydn, but are added<br />
by later publishers, performers, or critics. A quick glance at the following site will<br />
illuminate the many colourful names given to Haydn symphonies over the years:<br />
http://en.wikipedia.org/wiki/List_<strong>of</strong>_symphonies_with_names<br />
130. Wolfgang Amadeus Mozart (1756-1791), Symphony no. 40 in g minor, K. 550 (1788): this<br />
is one <strong>of</strong> only two minor-key symphonies Mozart wrote. Its urgent and stormy<br />
disposition makes it absolutely characteristic <strong>of</strong> the intoxicating sturm-und-drang<br />
movement sweeping German-speaking countries in the late 18 th century.<br />
131. Wolfgang Amadeus Mozart (1756-1791), Symphony No. 41 in C major, K. 551, “Jupiter”<br />
(1788). This last symphony <strong>of</strong> Mozart is scored for a full classical orchestra: flute, two<br />
each oboes, bassoons, horns, trumpets, strings and timpani – no continuo! The<br />
symphony’s nickname derives apparently from impresario Johann Peter Salomon who<br />
coined the term and appended it to an early arrangement for piano. The symphony was<br />
Mozart’s last symphony.<br />
132. Wolfgang Amadeus Mozart (1756-1791), Piano Sonata no. 11 in A major, K. 331 (1778<br />
Paris or 1783 Vienna): the move to write sonatas for single instrument without basso<br />
continuo took place essentially in Mozart’s lifetime. Sonatas for instruments without<br />
harmonic capability – woodwinds and strings – continued to include keyboard (usually<br />
now piano); however, the enormous flexibility and powerful expression <strong>of</strong> the new<br />
pian<strong>of</strong>orte (or simply piano) made it an instrument capable <strong>of</strong> standing on its own.<br />
133. Wolfgang Amadeus Mozart (1756-1791), Quartet for Flute and Strings in D major, K. 285<br />
(1777/1778): Here the flute takes the role usually assumed by the first violin <strong>of</strong> a string<br />
quartet.<br />
134. Wolfgang Amadeus Mozart (1756-1791), Quintet for Clarinet and Strings in A major, K.<br />
581 “Stadler”: the newly invented clarinet was made a serious instrument by the<br />
104 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>Music</strong> <strong>of</strong> the Enlightenment …<br />
clarinetist Anton Stadler. Composers <strong>of</strong> the day began to recognize its enormous<br />
expressive capabilities, its huge range, and its extraordinary capacity for intimacy.<br />
135. Wolfgang Amadeus Mozart (1756-1791), Concerto for clarinet and orchestra, K. 622<br />
(1791): the capabilities <strong>of</strong> the newly invented clarinet and its particular brand <strong>of</strong><br />
expression – broader than all other wind instruments <strong>of</strong> the day – are heightened and<br />
featured throughout.<br />
136. Wolfgang Amadeus Mozart (1756-1791), Concerto for Bassoon and Orchestra in Bb<br />
major, K. 191<br />
137. Mauro Giuliani (1781-1829), Sei Rondo, op. 14 (1811), no. 1, Presto<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Functional Tonality<br />
Key<br />
Tonic<br />
Dominant<br />
Cadence<br />
Sonata form (movement)<br />
Movif or Motive<br />
Sonata form (full work)<br />
String Quartet (ensemble)<br />
String Quartet (work)<br />
Symphony (ensemble)<br />
Symphony (work)<br />
Concerto<br />
Cadenza<br />
Sonata<br />
Minuet<br />
Scherzo<br />
Rondo<br />
Overture<br />
Divertimento<br />
Chamber music<br />
105 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC OF THE ENLIGHTENMENT<br />
(1770 - 1820 CE)<br />
<strong>Music</strong> <strong>of</strong> the Enlightenment …<br />
PART 2 : CHALLENGING ARISTOCRACY THROUGH OPERA<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
138. Wolfgang Amadeus Mozart (1756-1791), Le nozze di Figaro, ossia la folle giornata, [The Marriage<br />
<strong>of</strong> Figaro or the Day <strong>of</strong> Madness], K. 492 (1786) on a libretto by Lorenzo Da Ponte setting<br />
the 1784 play La folle journée, ou le Mariage de Figaro by Pierre Beaumarchais. The play was<br />
second <strong>of</strong> a scandalous trilogy which was banned in Vienna at the time owing to its<br />
unflattering representation <strong>of</strong> the aristocracy.<br />
Sinfonia<br />
Act 1, Duet: Cinque, dieci, venti, trenta (Five, ten, twenty, thirty) …<br />
Act 1, Cavatina: Se vuol ballare, signor contino<br />
Act 2, Cavatina: Porgi, amor, qualche ristoro al mio duolo<br />
139. Wolfgang Amadeus Mozart (1756-1791), Il dissoluto punito, ossia il Don Giovanni, (The Rake<br />
Punished or Don Giovanni) K. 527 (1787, Prague) on a libretto by Lorenzo Da Ponte, and<br />
based upon Alexander Pushkin’s theater comedy The Stone Guest. Despite the dark finale,<br />
the opera – in the same spirit as the play – is a buffa opera.<br />
Act 1, Aria: Madamina, il catalogo è questo (My little lady, this is the catalogue)<br />
Act 2, Finale: Giá la mensa preparata<br />
140. Wolfgang Amadeus Mozart (1756-1791), Die Zauberflöte (The Magic Flute), K. 620<br />
Act 1, Sinfonia-Overture<br />
Act 1, Scene 1, Quintet: Hm hm hm hm<br />
Act 2, Scene 6, Aria: Der Hölle Rache kocht in meinem Herzen (Hell's vengeance boileth in<br />
mine heart)<br />
Act 2, Scene 10, Duet: Papageno! Papagena!<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Italian opera, German<br />
opera, French opera,<br />
English opera, etc.<br />
Opera seria<br />
Opera buffa<br />
Singspiel<br />
Number (opera)<br />
Recitative<br />
Aria<br />
Bel canto<br />
106 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
<strong>MUS</strong>IC OF THE ENLIGHTENMENT<br />
(1770 - 1820 CE)<br />
PART 3: ROMANTICISM THREATHENS CLASSICISM<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
<strong>Music</strong> <strong>of</strong> the Enlightenment …<br />
141. Ludwig von Beethoven [pronounced BAY-toe-ven] (1770-1827), Sonata no. 8 in c minor, op.<br />
13, “Pathetique” (1798-99): the power and expression <strong>of</strong> the piano is exploited in this<br />
early work by Beethoven, a fine example <strong>of</strong> his early-period style. A substantial account<br />
<strong>of</strong> Beethoven and his music may be found in the textbook.<br />
142. Ludwig von Beethoven (1770-1827), Sonata no. 14 in c# minor “quasi una fantasia,” op.<br />
27, no. 2, “Moonlight” (1801): as Beethoven wrestles the restrictions <strong>of</strong> Classical period<br />
form, he explores the possiblity <strong>of</strong> creating moods and tearing down formal boundaries<br />
as necessary to gain his desired effect.<br />
143. Ludwig von Beethoven (1770-1827), Symphony no. 3 in E b major, op. 55, “Eroica” (1803):<br />
many musicians point to this symphony and declare this to be the arrival <strong>of</strong> the Romantic<br />
period; however over-stated this may be, certainly this work turns the tide <strong>of</strong> Beethoven’s<br />
craft and puts music on an irreversable course toward romanticism.<br />
144. Ludwig von Beethoven (1770-1827), “Razumovsky” String Quartet no. 1, op. 59., no. 1<br />
(1806)<br />
145. Ludwig von Beethoven (1770-1827), Symphony no. 5 in c minor, op, 67 (1808); when<br />
musicians speak <strong>of</strong> “The 5 th ” this is the work we speak <strong>of</strong>; it is difficult to argue that any<br />
other work in the repertoire embodies a more perfect working <strong>of</strong> the smallest <strong>of</strong> motifs.<br />
May I suggest an excellent read – an<br />
entwined triparte non-fiction tale:<br />
Russell Marti’s 2001 book Beethoven’s<br />
Hair<br />
107 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Classical Orchestra<br />
Woodwinds<br />
2 Flutes<br />
2 Oboes<br />
2 Clarinets (in C, Bflat,<br />
or A)<br />
2 Bassoons<br />
Brass<br />
2 or 4 Horns (in any<br />
key)<br />
2 Trumpets (in any<br />
key)<br />
Percussion<br />
Timpani<br />
Strings<br />
6 Violins I<br />
6 Violins II<br />
4 Violas<br />
3 Violoncellos<br />
2 Double basses<br />
ORCHESTRAL INSTRUMENTATION<br />
Early Romantic<br />
Orchestra<br />
Woodwinds<br />
(Piccolo)<br />
2 Flutes<br />
2 Oboes<br />
(English horn)<br />
2 Clarinets in B-flat, A<br />
(Bass Clarinet in B-flat,<br />
A)<br />
2 Bassoons<br />
(Contrabassoon)<br />
Brass<br />
4 French Horns in F<br />
2 Trumpets in F<br />
(2 Cornets in B-flat)<br />
3 Trombones (2<br />
Tenors, 1 Bass)<br />
(Tuba)<br />
Percussion<br />
Timpani<br />
Snare Drum<br />
Bass Drum<br />
Cymbals<br />
Triangle<br />
Tambourine<br />
Glockenspiel<br />
Strings<br />
Harp<br />
14 Violins I<br />
12 Violins II<br />
10 Violas<br />
8 Violoncellos<br />
6 Double basses<br />
Late Romantic<br />
Orchestra<br />
Woodwinds<br />
Piccolo<br />
3 Flutes<br />
3 Oboes<br />
English horn<br />
Clarinet in E-flat<br />
3 Clarinets in B-flat, A<br />
Bass Clarinet<br />
3 Bassoons<br />
Contrabassoon<br />
Brass<br />
8 French Horns in F<br />
4 Trumpets in F, C, Bflat<br />
4 Trombones (3<br />
Tenors, 1 Bass)<br />
(Euphonium)<br />
(Wagner Tubas (2<br />
Tenor, 2 Bass))<br />
Tuba<br />
Percussion<br />
Timpani<br />
Snare drum<br />
Bass drum<br />
Cymbals<br />
Tam-tam<br />
Triangle<br />
Tambourine<br />
Glockenspiel<br />
Xylophone<br />
Chimes<br />
Keyboards<br />
Celesta<br />
Organ<br />
Strings<br />
2 Harps<br />
16 Violins I<br />
16 Violins II<br />
12 Violas<br />
12 Violoncellos<br />
12 Double basses<br />
Orchestral Instrumentation<br />
Modern Orchestra<br />
Woodwinds<br />
Piccolo<br />
2 Flutes<br />
2 Oboes<br />
English horn<br />
2 Clarinets in B-flat, A<br />
Bass Clarinet (and/or<br />
Clarinet in E-flat)<br />
2 Bassoons<br />
Contrabassoon<br />
Brass<br />
4 French Horns in F<br />
3 Trumpets in B-flat<br />
3 Trombones (2<br />
Tenors, 1 Bass)<br />
Tuba<br />
Euphonium<br />
Percussion<br />
Timpani<br />
Snare Drum<br />
Tenor Drum<br />
Bass Drum<br />
Cymbals<br />
Tam-tam<br />
Triangle<br />
Wood block<br />
Tambourine<br />
Glockenspiel<br />
Xylophone<br />
Vibraphone<br />
Tubular bells<br />
Keyboards<br />
Celesta<br />
Piano<br />
Strings<br />
Harp<br />
16 Violins I<br />
14 Violins II<br />
12 Violas<br />
10 Cellos<br />
8 Double basses<br />
108 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
The Personality and Hidden<br />
Language <strong>of</strong> Key …<br />
The Personality and Hidden Language <strong>of</strong> Key<br />
From Christian Schubart, Ideen zu einer Aesthetik der Tonkunst (1806)<br />
Translated by Rita Steblin, A History <strong>of</strong> Key Characteristics in the 18th and Early 19th Centuries. (Ann Arbor, MI: UMI Research Press, 1983)<br />
http://www.wmich.edu/mus-theo/courses/keys.html, accessed 1 July 2010<br />
C Major<br />
Completely Pure. Its character is: innocence, simplicity,<br />
naïvety, children's talk.<br />
C Minor<br />
Declaration <strong>of</strong> love and at the same time the lament <strong>of</strong><br />
unhappy love. All languishing, longing, sighing <strong>of</strong> the<br />
love-sick soul lies in this key.<br />
D b Major<br />
A leering key, degenerating into grief and rapture. It<br />
cannot laugh, but it can smile; it cannot howl, but it can<br />
at least grimace its crying.--Consequently only unusual<br />
characters and feelings can be brought out in this key.<br />
C # Minor<br />
Penitential lamentation, intimate conversation with God,<br />
the friend and help-meet <strong>of</strong> life; sighs <strong>of</strong> disappointed<br />
friendship and love lie in its radius.<br />
D Major<br />
The key <strong>of</strong> triumph, <strong>of</strong> Hallejuahs, <strong>of</strong> war-cries, <strong>of</strong><br />
victory-rejoicing. Thus, the inviting symphonies, the<br />
marches, holiday songs and heaven-rejoicing choruses<br />
are set in this key.<br />
D Minor<br />
Melancholy womanliness, the spleen and humours<br />
brood.<br />
E b Major<br />
The key <strong>of</strong> love, <strong>of</strong> devotion, <strong>of</strong> intimate conversation<br />
with God.<br />
D # Minor<br />
Feelings <strong>of</strong> the anxiety <strong>of</strong> the soul's deepest distress, <strong>of</strong><br />
brooding despair, <strong>of</strong> blackest depresssion, <strong>of</strong> the most<br />
gloomy condition <strong>of</strong> the soul. Every fear, every<br />
hesitation <strong>of</strong> the shuddering heart, breathes out <strong>of</strong><br />
horrible D# minor. If ghosts could speak, their speech<br />
would approximate this key.<br />
E Major<br />
Noisy shouts <strong>of</strong> joy, laughing pleasure and not yet<br />
complete, full delight lies in E Major.<br />
E minor<br />
Naïve, womanly innocent declaration <strong>of</strong> love, lament<br />
without grumbling; sighs accompanied by few tears; this<br />
key speaks <strong>of</strong> the imminent hope <strong>of</strong> resolving in the<br />
pure happiness <strong>of</strong> C major.<br />
F Major<br />
Complaisance & Calm.<br />
F Minor<br />
Deep depression, funereal lament, groans <strong>of</strong> misery and<br />
longing for the grave.<br />
F # Major<br />
Triumph over difficulty, free sigh <strong>of</strong> relief utered when<br />
hurdles are surmounted; echo <strong>of</strong> a soul which has<br />
fiercely struggled and finally conquered lies in all uses <strong>of</strong><br />
this key.<br />
F # Minor<br />
A gloomy key: it tugs at passion as a dog biting a dress.<br />
Resentment and discontent are its language.<br />
G Major<br />
Everything rustic, idyllic and lyrical, every calm and<br />
satisfied passion, every tender gratitude for true<br />
friendship and faithful love,--in a word every gentle and<br />
peaceful emotion <strong>of</strong> the heart is correctly expressed by<br />
this key.<br />
G Minor<br />
Discontent, uneasiness, worry about a failed scheme;<br />
bad-tempered gnashing <strong>of</strong> teeth; in a word: resentment<br />
and dislike.<br />
A b Major<br />
Key <strong>of</strong> the grave. Death, grave, putrefaction, judgment,<br />
eternity lie in its radius.<br />
109 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
A b Minor<br />
Grumbler, heart squeezed until it suffocates; wailing<br />
lament, difficult struggle; in a word, the color <strong>of</strong> this key<br />
is everything struggling with difficulty.<br />
A Major<br />
This key includes declarations <strong>of</strong> innocent love,<br />
satisfaction with one's state <strong>of</strong> affairs; hope <strong>of</strong> seeing<br />
one's beloved again when parting; youthful cheerfulness<br />
and trust in God.<br />
A minor<br />
Pious womanliness and tenderness <strong>of</strong> character.<br />
B b Major<br />
Cheerful love, clear conscience, hope aspiration for a<br />
better world.<br />
The Personality and Hidden<br />
Language <strong>of</strong> Key …<br />
B b minor<br />
A quaint creature, <strong>of</strong>ten dressed in the garment <strong>of</strong> night.<br />
It is somewhat surly and very seldom takes on a pleasant<br />
countenance. Mocking God and the world; discontented<br />
with itself and with everything; preparation for suicide<br />
sounds in this key.<br />
B Major<br />
Strongly coloured, announcing wild passions, composed<br />
from the most glaring coulors. Anger, rage, jealousy,<br />
fury, despair and every burden <strong>of</strong> the heart lies in its<br />
sphere.<br />
B Minor<br />
This is as it were the key <strong>of</strong> patience, <strong>of</strong> calm awaiting<br />
ones's fate and <strong>of</strong> submission to divine dispensation.<br />
From Marc-Andres Charpentier Régles de Composition (Paris: ca. 1682), translator unknown<br />
http://biteyourownelbow.com/keychar.htm, accessed 1 July 2010<br />
C major:<br />
C minor:<br />
D major:<br />
D minor:<br />
E b major:<br />
E major:<br />
E minor:<br />
F major:<br />
F minor:<br />
G major:<br />
G minor:<br />
A major:<br />
A minor:<br />
B major:<br />
B minor:<br />
B b major:<br />
B b minor:<br />
gay and warlike<br />
obscure and sad<br />
joyous and very warlike<br />
serious and pious<br />
cruel and hard<br />
quarrelsome and boisterous<br />
effeminate, amorous, plaintive<br />
furious and quick-tempered subjects<br />
obscure and plaintive<br />
serious and magnificent<br />
serious and magnificent<br />
joyful and pastoral<br />
tender and plaintive<br />
harsh and plaintive<br />
solitary and melancholic<br />
magnificent and joyful<br />
obscure and terrible<br />
110 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ROMANTICISM IN <strong>MUS</strong>IC<br />
(1820-1900 CE)<br />
PART 1: CLASSICISM COMES APART<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Romanticism in <strong>Music</strong> …<br />
146. Ludwig von Beethoven (1770-1827), Piano Concerto no. 5 in E b , op. 73 “Emperor” (1811)<br />
147. Ludwig von Beethoven (1770-1827), Piano Trio no. 7 in B b major, op. 97 “Archduke”<br />
(1811)<br />
148. Ludwig von Beethoven (1770-1827), Symphony no. 9 in d minor, op. 125 “Choral” (1824).<br />
While chronologically the completion <strong>of</strong> this work dates from Beethoven’s last years, the<br />
ideas which lead to its final form began in Beethoven’s mind as early as 1793 when he<br />
first became acquainted with the essays <strong>of</strong> Schiller. A setting <strong>of</strong> An die Freunde was<br />
contemplated as a cantata in 1811. The original fourth movement <strong>of</strong> this symphony was<br />
planned to be purely instrumental – this movement eventually became the last movement<br />
<strong>of</strong> the Op. 132 String Quartet. The idea <strong>of</strong> including voice in the symphony, with this<br />
poem only came to Beethoven the year before the work was completed.<br />
“An die Freude”<br />
Johann Christoph Friedrich von Schiller<br />
O Freunde, nicht diese Töne!<br />
Sondern laßt uns angenehmere anstimmen,<br />
und freudenvollere.<br />
Freude! Freude!<br />
Freude, schöner Götterfunken*<br />
Tochter aus Elysium,<br />
Wir betreten feuertrunken,<br />
Himmlische, dein Heiligtum!<br />
Deine Zauber binden wieder<br />
Was die Mode streng geteilt;<br />
Alle Menschen werden Brüder,<br />
Wo dein sanfter Flügel weilt.<br />
Wem der große Wurf gelungen,<br />
Eines Freundes Freund zu sein;<br />
Wer ein holdes Weib errungen,<br />
Mische seinen Jubel ein!<br />
Ja, wer auch nur eine Seele<br />
Sein nennt auf dem Erdenrund!<br />
Und wer's nie gekonnt, der stehle<br />
Weinend sich aus diesem Bund!<br />
Freude trinken alle Wesen<br />
An den Brüsten der Natur;<br />
Alle Guten, alle Bösen<br />
Folgen ihrer Rosenspur.<br />
Küße gab sie uns und Reben,<br />
Einen Freund, geprüft im Tod;<br />
“Ode to Joy”<br />
Johann Christoph Friedrich von Schiller<br />
Oh friends, not these tones!<br />
Rather, let us raise our voices in more pleasing<br />
And more joyful sounds!<br />
Joy! Joy!<br />
Joy, beautiful spark <strong>of</strong> divinity*<br />
Daughter <strong>of</strong> Elysium,<br />
We enter, drunk with fire,<br />
Into your sanctuary, heavenly (daughter)!<br />
Your magic reunites<br />
What custom strictly divided.<br />
All men become brothers,<br />
Whoever has had the great fortune<br />
To be a friend's friend,<br />
Whoever has won a devoted wife,<br />
Join in our jubilation!<br />
Indeed, whoever can call even one soul,<br />
Where your gentle wing rests.<br />
His own on this earth!<br />
And whoever was never able to, must creep<br />
Tearfully away from this band!<br />
Joy all creatures drink<br />
At the breasts <strong>of</strong> nature;<br />
All good, all bad<br />
Follow her trail <strong>of</strong> roses.<br />
Kisses she gave us, and wine,<br />
A friend, proved in death;<br />
111 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Wollust ward dem Wurm gegeben,<br />
Und der Cherub steht vor Gott.<br />
Vor Gott!<br />
Froh, wie seine Sonnen fliegen<br />
Durch des Himmels prächt'gen Plan,<br />
Laufet, Brüder, eure Bahn,<br />
Freudig, wie ein Held zum Siegen.<br />
Seid umschlungen, Millionen!<br />
Diesen Kuß der ganzen Welt!<br />
Brüder, über'm Sternenzelt<br />
Muss ein lieber Vater wohnen.<br />
Ihr stürzt nieder, Millionen?<br />
Ahnest du den Schöpfer, Welt?<br />
Such' ihn über'm Sternenzelt!<br />
Über Sternen muss er wohnen.<br />
Finale repeats the words:<br />
Seid umschlungen, Millionen!<br />
Diesen Kuß der ganzen Welt!<br />
Brüder, über'm Sternenzelt<br />
Muss ein lieber Vater wohnen.<br />
Seid umschlungen,<br />
Diesen Kuß der ganzen Welt!<br />
Freude, schöner Götterfunken<br />
Tochter aus Elysium,<br />
Freude, schöner Götterfunken<br />
Götterfunken!<br />
Romanticism in <strong>Music</strong> …<br />
Pleasure was given to the worm,<br />
And the cherub stands before God.<br />
Before God!<br />
Glad, as His suns fly<br />
Through the Heaven's glorious design,<br />
Run, brothers, your path,<br />
Joyful, as a hero to victory.<br />
Be embraced, millions!<br />
This kiss for the whole world!<br />
Brothers, above the starry canopy<br />
Must a loving Father dwell.<br />
Do you bow down, millions?<br />
Do you sense the Creator, world?<br />
Seek Him beyond the starry canopy!<br />
Beyond the stars must He dwell.<br />
Finale repeats the words:<br />
Be embraced, you millions!<br />
This kiss for the whole world!<br />
Brothers, beyond the star-canopy<br />
Must a loving Father dwell.<br />
Be embraced,<br />
This kiss for the whole world!<br />
Joy, beautiful spark <strong>of</strong> divinity,<br />
Daughter <strong>of</strong> Elysium,<br />
Joy, beautiful spark <strong>of</strong> divinity<br />
Divinity!<br />
Text and translation<br />
http://en.wikipedia.org/wiki/Sym<br />
phony_No._9_%28Beethoven%29<br />
accessed 30 June 2010<br />
149. Ludwig von Beethoven (1770-1827), Missa Solemnis in D major, op. 123 (1824): setting <strong>of</strong><br />
the Ordinary <strong>of</strong> the Catholic Latin Mass<br />
150. Ludwig von Beethoven (1770-1827), String Quartet no 13 in B b major, op. 130 (1825)<br />
151. Ludwig von Beethoven (1770-1827), String Quartet no 15 in A major, op. 132 (1825)<br />
152. Ludwig von Beethoven (1770-1827), Grosse Fuge, op. 133 (1826)<br />
153. Franz Schubert, Symphony no. 8 in b minor, D. 759, “Unfinished” (begun 1822): first two<br />
movements are complete, a third movement is roughly complete but was never<br />
orchestrated; it is possible that a 4 th movement may have been composed but ultimately<br />
became the finale for Schubert’s ballet Rosemunde. There are no apparent reasons why<br />
Schubert left this emphony incomplete. Schubert’s 9 th Symphony, the “Great C major”<br />
was composed in 1828 shortly before his death, and published only in 1840 as the 7 th<br />
Symphony.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Cyclic or cyclical.<br />
Cyclical Symphony<br />
Key Relationship<br />
Tonality<br />
Directional Tonality<br />
In addition to the pages cited above, textbook pages 194-334 may be used for further reference on<br />
this period.<br />
112 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ROMANTICISM IN <strong>MUS</strong>IC<br />
(1820-1900 CE)<br />
PART 2: INDIVIDUALISM IN MINAIATURES<br />
Romanticism in <strong>Music</strong> …<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
154. Franz Schubert [pronounced SHOE-bert] (1798-1828), Gretchen am Spinnrade [Gretchen at the<br />
Spinning Wheel], op.2, D 118 (1814): text is excerpted from the play Faust (1808) by<br />
Johann Wolfgang von Goethe, considered one <strong>of</strong> the greatest works <strong>of</strong> German theatre.<br />
In this lied, the piano represents the spinning wheel. The common English translation <strong>of</strong><br />
the text follows. Schubert’s biography and a note on his music may be found in the<br />
textbook.<br />
My peace is gone,<br />
My heart is heavy,<br />
I will find it never<br />
and never more.<br />
Where I do not have him,<br />
That is the grave,<br />
The whole world<br />
Is bitter to me.<br />
My poor head<br />
Is crazy to me,<br />
My poor mind<br />
Is torn apart.<br />
My peace is gone,<br />
My heart is heavy,<br />
I will find it never<br />
and never more.<br />
For him only, I look<br />
Out the window<br />
Only for him do I go<br />
Out <strong>of</strong> the house.<br />
His tall walk,<br />
His noble figure,<br />
His mouth's smile,<br />
His eyes' power,<br />
And his mouth's<br />
Magic flow,<br />
His handclasp,<br />
and ah! his kiss!<br />
My peace is gone,<br />
My heart is heavy,<br />
I will find it never<br />
and never more.<br />
My bosom urges itself<br />
toward him.<br />
Ah, might I grasp<br />
And hold him!<br />
And kiss him,<br />
As I would wish,<br />
At his kisses<br />
I should die!<br />
155. Franz Schubert (1798-1828), Erlkönig [The Erlking, or The Alder King], op. 1, D. 328 (1815):<br />
text is excerpted from the ballad opera entitled Die Fischerin (1782) by Johann Wolfgang<br />
von Goethe. In this lied, the piano represents a galloping horse. The common English<br />
translation <strong>of</strong> the text follows.<br />
113 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Who's riding so late through night, so wild?<br />
It is the father who's holding his child;<br />
He's tucked the boy secure in his arm,<br />
He holds him tight and keeps him warm.<br />
My son, why hide you your face in fear?"<br />
See you not, father, the Erl King near?<br />
The Erl King in his crown and train?"<br />
My son, 'tis but a foggy strain."<br />
Sweet lovely child, come, go with me!<br />
What wonderful games I'll play with thee;<br />
Flowers, most colorful, yours to behold.<br />
My mother for you has garments <strong>of</strong> gold."<br />
My father, my father, and can you not hear<br />
What Erl King is promising into my ear?"<br />
Be calm, stay calm, o child <strong>of</strong> mine;<br />
The wind through dried leaves is rustling so<br />
fine."<br />
Romanticism in <strong>Music</strong> …<br />
Wouldst thou, fine lad, go forth with me?<br />
My daughters should royally wait upon thee;<br />
My daughters conduct each night their song fest<br />
To swing and to dance and to sing thee to rest."<br />
My Father, my father, and can you not see<br />
Erl King's daughters, there by the tree?"<br />
My son, my son, I see it clear;<br />
The ancient willows so grey do appear."<br />
I love thee, I'm aroused by thy beautiful form;<br />
And be thou not willing, I'll take thee by storm."<br />
My father, my father, he's clutching my arm!<br />
Erl King has done me a painful harm!"<br />
The father shudders and onward presses;<br />
The gasping child in his arms he caresses;<br />
He reaches the courtyard, and barely inside,<br />
He holds in his arms the child who has died.<br />
156. Franz Schubert (1798-1828), Die schöne Müllerin, ein Zyklus von Liedern, gedichtet von Wilhelm<br />
Müller [The lovely maid <strong>of</strong> the mill, a song cycle to poems by Wilhelm Müller], op. 25, D. 795 (1823).<br />
Schubert set a selection <strong>of</strong> twenty <strong>of</strong> Müller’s poems as lieder and fashioned them into a<br />
narrative story about a young man, a miller’s daughter, and the journey from youth to<br />
death through the valley <strong>of</strong> unrequited love. The piano drives much <strong>of</strong> the emotional<br />
energy <strong>of</strong> the cycle, assuming throughout the role <strong>of</strong> “the brook” which takes on and<br />
exhibits various anthropomorphized perspectives. The common English translation <strong>of</strong><br />
the first lied’s text follows.<br />
(1) “ Das Wandern” [“The Wandeer”]<br />
(2) "Wohin?" ["Where?”]<br />
(3) "Halt!" ["Stop!"]<br />
(4) "Danksagung an den Bach" ["A Song <strong>of</strong> Thanks to the Brook"]<br />
157. Franz Schubert (1798-1828), Winterreise [Winter Journey], op. 89, D. 911 (1827): song cycle<br />
<strong>of</strong> 24 poems by Wilhelm Müller. The full cycle treats themes <strong>of</strong> death through the<br />
metaphor <strong>of</strong> winter. Schubert himself had famously said that each night he fell asleep<br />
hoping for death to overtake him and that each morning came as a disappointment to<br />
him. While not clearly autobiographical, the literary themes resonated with the<br />
composer.<br />
(1) “Gute Nacht” [“Good Night}<br />
114 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
158. Franz Schubert (1798-1828), String Quartet no. 14 in d minor, D. 810, “Death and the<br />
Maiden” (1824): named after his 1814 lied by the same name, D. 531 the tune (no words)<br />
<strong>of</strong> which forms the basis <strong>of</strong> the second movement. Schubert wrote ths quartet at a time<br />
when he knew that he was dying <strong>of</strong> syphillis. The original lied is on a poem by Matthias<br />
Claudius. Text from http://en.wikipedia.org/wiki/Death_and_the_Maiden_%28song%29, accessed 2 July<br />
Der Tod und das Mädchen<br />
Matthias Claudius<br />
Das Mädchen:<br />
Vorüber! Ach, vorüber!<br />
Geh, wilder Knochenmann!<br />
Ich bin noch jung! Geh, lieber,<br />
Und rühre mich nicht an.<br />
Und rühre mich nicht an.<br />
Der Tod:<br />
Gib deine Hand, du schön und zart Gebild!<br />
Bin Freund, und komme nicht, zu strafen.<br />
Sei gutes Muts! ich bin nicht wild,<br />
Sollst sanft in meinen Armen schlafen!<br />
Death and the Maiden<br />
English Translation<br />
The Maiden:<br />
Pass me by! Oh, pass me by!<br />
Go, fierce man <strong>of</strong> bones!<br />
I am still young! Go, rather,<br />
And do not touch me.<br />
And do not touch me.<br />
Death:<br />
Give me your hand, you beautiful and tender<br />
form!<br />
I am a friend, and come not to punish.<br />
Be <strong>of</strong> good cheer! I am not fierce,<br />
S<strong>of</strong>tly shall you sleep in my arms!<br />
159. Franz Schubert (1798-1828), Piano Quintet in A major, op. posthumos, D. 667 (1819),<br />
“Trout”: again, the nickname comes from the lied “Die Forelle” [“The Trout”] which<br />
gives its tune to the last movement variations <strong>of</strong> the Quintet. The Quintet was written<br />
for a non-standard instrumentation: piano, violin, viola, cello, and string bass.<br />
160. Nicolo Paganini (1782-1840), Caprice for Violin solo in g minor, op. 1, no. 24 (1802-1817,<br />
published in 1819)<br />
161. Robert Schumann (1810-1856), Papillons, op. 2 (1832)<br />
162. Robert Schumann (1810-1856), Carnaval, op. 9 (1834)<br />
163. Robert Schumann (1810-1856), Fantaisiestücke, op. 12 (1837)<br />
164. Robert Schumann (1810-1856), Kreisleriana, op. 16 (1838)<br />
165. Robert Schumann (1810-1856), Myrthen, 26 songs, op. 25 (1845)<br />
<strong>115</strong> <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
166. Frédéric Chopin (1810-1849), Nocturne in c minor, op, 48, no. 1 (1841): One <strong>of</strong> Chopin’s<br />
many nocturnes, a form which barely existed prior to Chopin’s magnificent compositions<br />
under this title.<br />
167. Franz [Ritter von] Liszt (1811-1886), Etude d'execution transcendante, S 139, No.5 “Feux<br />
follets” [Transcendental Etude, no. 5, “Will o’the Wisp”](1852)<br />
168. Franz [Ritter von] Liszt (1811-1886), Mephistro Waltz no. 1, S 514, “Der Tanz in der<br />
Dorfschenke” [“The Dance in the Village Inn”] (1852)<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Lied (singular, pronounced leed) or Lieder (plural, pronounced leader)<br />
Song cycle<br />
Nocturne<br />
116 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ROMANTICISM IN <strong>MUS</strong>IC<br />
(1820-1900 CE)<br />
PART 3: VISIONS, STORIES, TALES, AND FANTASY<br />
Romanticism in <strong>Music</strong> …<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
169. Gioachino Rossini (1792-1868), La Cenerentola, ossia La bontà in trionfo [Cinderella, or Goodness<br />
Triumphant] (1817), dramma giocoso in two acts on a libretto was by Jacopo Ferretti. In<br />
an unusual move, Rossini casts the heroine as a contralto, to express her downtrodden<br />
state. Still the role is a coloratura role demanding extreme prowes on the part <strong>of</strong> the<br />
singer.<br />
"Nacqui all'affanno … Non piu mesta" (Angelina’s aria, act 2)<br />
170. Gioachino Rossini (1792-1868), Il barbiere di Siviglia, ossia L'inutile precauzione [The Barber <strong>of</strong><br />
Seville, or The Useless Precaution] (1816), excerpts: opera buffa in two acts based on Pierre<br />
Beaumarchais's comedy Le Barbier de Séville (1775), itself originally an opéra comique with a<br />
mixture <strong>of</strong> spoken play and music.<br />
Sinfonia<br />
Ecco ridente in cielo/There, laughing in the sky: Act 1, scene 1, Serenade (town band)<br />
and Cavatina (Count), under Rossina’s window<br />
Largo al factotum della città/Make way for the factotum <strong>of</strong> the city: Act 1, scene 2,<br />
Figaro’s Cavatina – a patter-song unequalled by many other composers or aria<br />
Una voce poco fa/A voice just now: Act 1, scene 5, Rossina’s pyrotechnic Cavatina<br />
171. Gioachino Rossini (1792-1868), Overture to the Opera “Guillaume Tell” (1829): instrumental<br />
introduction to Rossini’s last opera. As with all Rossini’s operas, and many other operas<br />
from the early 19 th century, the quest for colourful and broad representation in music <strong>of</strong><br />
the drama leads to the introduction <strong>of</strong>new and exotic instrumental sounds into the<br />
orchestra. Rapid developments as a result <strong>of</strong> the incipient Industrial Revolution bring<br />
new capabilities to instrumental performance through sophisticated mechanical changes<br />
to individual instruments. An article on Rossini and his music may be found in the<br />
textbook.<br />
1. Prelude: Dawn<br />
2. Storm<br />
3. Ranz des Vache (“Call to the Cows”)<br />
4. Finale<br />
117 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
172. Felix Mendelssohn (1809-1847), Die Hebriden, op. 26 (1832): a colourful concert overture<br />
which was originally titled The Lonely Island and at one time bore the title Fingal’s Cave:<br />
the latter title is still commonly used today. Mendelssohn’s visit to Fingal’s Cave on<br />
Staffa Island (Hebrides Archipelago, Scotland) was most certainly the inspiration for this<br />
work which he dedicated to Frederich Wilhelm IV <strong>of</strong> Prussia. A biography <strong>of</strong><br />
Mendelssohn and an account <strong>of</strong> his music may be found in the textbook.<br />
173. Felix Mendelssohn (1809-1847), Ein Sommernachtstraum [A Midsummer’s Night Dream]<br />
Overture, op. 21 (1826) and Incidental <strong>Music</strong>, op 61 (1842): written fifteen years apart,<br />
the Overture was written as a concert overture “just because,” while the incidental music<br />
was written at the request <strong>of</strong> King Frederich Wilhelm IV <strong>of</strong> Prussia – Mendelssohn’s<br />
employer – to accompany a stage production <strong>of</strong> Shahespeare’s play by the same name.<br />
For the incidental music, Mendelssohn drew from the earlier ideas <strong>of</strong> his Overture and<br />
completed a full 40 minute suite <strong>of</strong> music.<br />
174. Felix Mendelssohn (1809-1847), Symphony no. 4 in A major “Italian,” op. 90 (1851)<br />
175. Hector Berlioz (1803-1869), Episode de la vie d'un Artiste...en cinq parties: Symphonie Fantastique,<br />
op. 14 (1830, with later revisions): full-out programme symphony with a story line<br />
written by Berlioz, included in the score, and instructed to be distributed to all concert<br />
members so as to fully appreciate the work. The symphony was written to express the<br />
unrequited love Berlioz felt toward the Irish actress Harriette Smithson: Berlioz and<br />
Smithson married and but only lived together a few years before separating. A note<br />
elaborating upon Berlioz and his music may be found in the textbook.<br />
Part one: Daydreams, passions<br />
The author imagines that a young musician, afflicted by the sickness <strong>of</strong> spirit which a famous<br />
writer has called the vagueness <strong>of</strong> passions (le vague des passions), sees for the first time a woman<br />
who unites all the charms <strong>of</strong> the ideal person his imagination was dreaming <strong>of</strong>, and falls<br />
desperately in love with her. By a strange anomaly, the beloved image never presents itself to<br />
the artist’s mind without being associated with a musical idea, in which he recognises a certain<br />
quality <strong>of</strong> passion, but endowed with the nobility and shyness which he credits to the object <strong>of</strong><br />
his love.<br />
This melodic image and its model keep haunting him ceaselessly like a double idée fixe. This<br />
explains the constant recurrence in all the movements <strong>of</strong> the symphony <strong>of</strong> the melody which<br />
launches the first allegro. The transitions from this state <strong>of</strong> dreamy melancholy, interrupted by<br />
occasional upsurges <strong>of</strong> aimless joy, to delirious passion, with its outbursts <strong>of</strong> fury and jealousy,<br />
its returns <strong>of</strong> tenderness, its tears, its religious consolations – all this forms the subject <strong>of</strong> the<br />
first movement.<br />
Part two: A ball<br />
The artist finds himself in the most diverse situations in life, in the tumult <strong>of</strong> a festive party,<br />
in the peaceful contemplation <strong>of</strong> the beautiful sights <strong>of</strong> nature, yet everywhere, whether in town<br />
or in the countryside, the beloved image keeps haunting him and throws his spirit into<br />
confusion.<br />
Part three: Scene in the countryside<br />
One evening in the countryside he hears two shepherds in the distance dialoguing with their<br />
‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling <strong>of</strong> the trees in the wind,<br />
118 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
some causes for hope that he has recently conceived, all conspire to restore to his heart an<br />
unaccustomed feeling <strong>of</strong> calm and to give to his thoughts a happier colouring. He broods on<br />
his loneliness, and hopes that soon he will no longer be on his own… But what if she betrayed<br />
him!… This mingled hope and fear, these ideas <strong>of</strong> happiness, disturbed by dark premonitions,<br />
form the subject <strong>of</strong> the adagio. At the end one <strong>of</strong> the shepherds resumes his ‘ranz des vaches’;<br />
the other one no longer answers. Distant sound <strong>of</strong> thunder… solitude… silence…<br />
Part four: March to the scaffold<br />
Convinced that his love is spurned, the artist poisons himself with opium. The dose <strong>of</strong><br />
narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the<br />
strangest <strong>of</strong> visions. He dreams that he has killed his beloved, that he is condemned, led to the<br />
scaffold and is witnessing his own execution. The procession advances to the sound <strong>of</strong> a march<br />
that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound<br />
<strong>of</strong> heavy footsteps follows without transition the loudest outbursts. At the end <strong>of</strong> the march,<br />
the first four bars <strong>of</strong> the idée fixe reappear like a final thought <strong>of</strong> love interrupted by the fatal<br />
blow.<br />
Part five: Dream <strong>of</strong> a witches’ sabbath<br />
He sees himself at a witches’ sabbath, in the midst <strong>of</strong> a hideous gathering <strong>of</strong> shades,<br />
sorcerers and monsters <strong>of</strong> every kind who have come together for his funeral. Strange sounds,<br />
groans, outbursts <strong>of</strong> laughter; distant shouts which seem to be answered by more shouts. The<br />
beloved melody appears once more, but has now lost its noble and shy character; it is now no<br />
more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath…<br />
Roar <strong>of</strong> delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque<br />
parody <strong>of</strong> the Dies irae, the dance <strong>of</strong> the witches. The dance <strong>of</strong> the witches combined with the Dies<br />
irae.<br />
Romanticism in <strong>Music</strong> …<br />
http://www.hberlioz.com/Scores/fantas.htm, accessed 2 July 2010<br />
176. Franz [Ritter von] Liszt [pronounced LIST], or by his Hungarian birth name Liszt Ferencz or<br />
Ferenc (1811-1886), Les préludes [d'après Lamartine] (1856): symphonic poem based on an<br />
ode by Alphonse de Lamartine, Nouvelles méditations poétiques. Despite the obvious poetic<br />
association with Lamartine, Liszt included the following expression – apparantly<br />
personal, and definitely after the fact – in the front <strong>of</strong> the score to Les préludes, here in<br />
English translation:<br />
What else is our life but a series <strong>of</strong> preludes to that unknown Hymn, the first and solemn note<br />
<strong>of</strong> which is intoned by Death? - Love is the glowing dawn <strong>of</strong> all existence; but what is the fate<br />
where the first delights <strong>of</strong> happiness are not interrupted by some storm, the mortal blast <strong>of</strong><br />
which dissipates its fine illusions, the fatal lightening <strong>of</strong> which consumes its altar; and where in<br />
the cruelly wounded soul which, on issuing from one <strong>of</strong> these tempests, does not endeavour to<br />
rest his recollection in the calm serenity <strong>of</strong> life in the fields? Nevertheless man hardly gives<br />
himself up for long to the enjoyment <strong>of</strong> the beneficent stillness which at first he has shared in<br />
Nature's bosom, and when "the trumpet sounds the alarm", he hastens, to the dangerous post,<br />
whatever the war may be, which calls him to its ranks, in order at last to recover in the combat<br />
full consciousness <strong>of</strong> himself and entire possession <strong>of</strong> his energy.<br />
A note on Liszt and his music may be found in the textbook.<br />
177. Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Capriccio Espanol [Capriccio on Spanish<br />
Themes], op. 34 (1887): This extroverted showpiece for orchestra was originally<br />
conceived as a work for solo violin and orchestra. The solo violin does take a leading<br />
role, but it is the whole <strong>of</strong> a very virtuosic orchestra which takes center stage. Here<br />
Rimsky-Korsakov does not mere assign parts to instruments <strong>of</strong> the orchestra, but rather<br />
119 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
demonstrates his supreme skill at working with full orchestra by composing for orchestra<br />
from the beginning.<br />
In his autobiography, Rimsky-Korsakov wrote <strong>of</strong> the piece and the public reaaction to it:<br />
[I] took it into my head to write another virtuoso piece for violin and orchestra, this<br />
time on Spanish themes. However, after making a sketch <strong>of</strong> it I gave up that idea and<br />
decided instead to compose an orchestral piece with virtuoso instrumentation. [This<br />
piece] was to glitter with dazzling colors. The opinion formed by both critics and<br />
the public, that the Capriccio is a "magnificently orchestrated piece," is wrong. The<br />
Capriccio is a brilliant composition for orchestra. The change <strong>of</strong> timbre, the felicitous choice<br />
<strong>of</strong> melodic design and figuration patterns, exactly suiting each kind <strong>of</strong> instrument,<br />
brief virtuoso cadenzas for solo instruments, the rhythm <strong>of</strong> the percussion<br />
instruments, etc., constitute here the very essence <strong>of</strong> the composition and not its<br />
garb or orchestration. The Spanish themes, <strong>of</strong> dance character, furnished me with<br />
rich material for putting in use multiform orchestral effects. All in all, the Capriccio is<br />
undoubtedly a purely external piece, but vividly brilliant for all that.<br />
178. Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Sheherezada, op. 35 (1888):<br />
Immediately on the heels <strong>of</strong> Capriccio Espagnol, Rimsky-Korsakov was moved by The<br />
Book <strong>of</strong> One Thousand and One Nights [The Arabian Nights]. While he gave the<br />
movements specific titles in the beginning, in later editions he removed the titles so that<br />
the listener would hear “oriental fairy tales” rather than specific events – musicians today<br />
still use the original titles, however. From the first score:<br />
“The Sultan Schariar, convinced that all women are false and faithless, vowed to put<br />
to death each <strong>of</strong> his wives after the first nuptial night. But the Sultana Sheherazade<br />
saved her life by entertaining her lord with fascinating tales, told seriatim, for a<br />
thousand and one nights. The Sultan, consumed with curiosity, postponed from day<br />
to day the execution <strong>of</strong> his wife, and finally repudiated his bloody vow entirely<br />
“The Sea and Sinbad’s Ship”<br />
“The Kalendar Prince”<br />
“The Young Prince and the Young Princess”<br />
“Festival at Bagdad -- The Sea – The Ship Breaks Against a Cliff<br />
Surmounted by Bronze Horsemen”<br />
120 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
179. Arnold Schoenberg (1874-1951), Verklärte Nacht [Transfigured Night], op. 4 (1899): String<br />
sextet loosely based on the poem by the same name by Robert Dehmel. An article<br />
regarding Schoenberg and his music may be found in the textbook.<br />
Zwei Menschen gehn durch kahlen, kalten Hain;<br />
der Mond läuft mit, sie schaun hinein.<br />
Der Mond läuft über hohe Eichen;<br />
kein Wölkchen trübt das Himmelslicht,<br />
in das die schwarzen Zacken reichen.<br />
Die Stimme eines Weibes spricht:<br />
„Ich trag ein Kind, und nit von Dir,<br />
ich geh in Sünde neben Dir.<br />
Ich hab mich schwer an mir vergangen.<br />
Ich glaubte nicht mehr an ein Glück<br />
und hatte doch ein schwer Verlangen<br />
nach Lebensinhalt, nach Mutterglüch<br />
und Pflicht; da hab ich mich erfrecht,<br />
da ließ ich schaudernd mein Geschlecht<br />
von einem fremden Mann umfangen,<br />
und hab mich noch dafür gesegnet.<br />
Nun hat das Leben sich gerächt:<br />
nun bin ich Dir, o Dir, begegnet.“<br />
Sie geht mit ungelenkem Schritt.<br />
Sie schaut empor; der Mond läuft mit.<br />
Ihr dunkler Blick ertrinkt in Licht.<br />
Die Stimme eines Mannes spricht:<br />
„Das Kind, das Du empfangen hast,<br />
sei Deiner Seele keine Last,<br />
o sieh, wie klar das Weltall schimmert!<br />
Es ist ein Glanz um alles her;<br />
Du treibst mit mir auf kaltem Meer,<br />
doch eine eigne Wärme flimmert<br />
von Dir in mich, von mir in Dich.<br />
Die wird das fremde Kind verklären,<br />
Du wirst es mir, von mir gebären;<br />
Du hast den Glanz in mich gebracht,<br />
Du hast mich selbst zum Kind gemacht.“<br />
Er faßt sie um die starken Hüften.<br />
Ihr Atem küßt sich in den Lüften.<br />
Zwei Menschen gehn durch hohe, helle Nacht<br />
English translation by <strong>Mary</strong> Whittall<br />
http://en.wikipedia.org/wiki/Verkl%C3%A4rte_Nacht<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Absolute or Abstract <strong>Music</strong><br />
Programme <strong>Music</strong><br />
Concert Overture<br />
Symphonic Poem<br />
Two people are walking through a bare, cold wood;<br />
the moon keeps pace with them and draws their gaze.<br />
The moon moves along above tall oak trees,<br />
there is no wisp <strong>of</strong> cloud to obscure the radiance<br />
to which the black, jagged tips reach up.<br />
A woman’s voice speaks:<br />
“I am carrying a child, and not by you.<br />
I am walking here with you in a state <strong>of</strong> sin.<br />
I have <strong>of</strong>fended grievously against myself.<br />
I despaired <strong>of</strong> happiness,<br />
and yet I still felt a grievous longing<br />
for life’s fullness, for a mother’s joys<br />
and duties; and so I sinned,<br />
and so I yielded, shuddering, my sex<br />
to the embrace <strong>of</strong> a stranger,<br />
and even thought myself blessed.<br />
Now life has taken its revenge,<br />
and I have met you, met you.”<br />
She walks on, stumbling.<br />
She looks up; the moon keeps pace.<br />
Her dark gaze drowns in light.<br />
A man’s voice speaks:<br />
“Do not let the child you have conceived<br />
be a burden on your soul.<br />
Look, how brightly the universe shines!<br />
Splendour falls on everything around,<br />
you are voyaging with me on a cold sea,<br />
but there is the glow <strong>of</strong> an inner warmth<br />
from you in me, from me in you.<br />
That warmth will transfigure the stranger’s child,<br />
and you bear it me, begot by me.<br />
You have transfused me with splendour,<br />
you have made a child <strong>of</strong> me.”<br />
He puts an arm about her strong hips.<br />
Their breath embraces in the air.<br />
Two people walk on through the high, bright night.<br />
Tone Poem<br />
Leitmotiv<br />
Orchestration<br />
Diatonic<br />
121 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ROMANTICISM IN <strong>MUS</strong>IC<br />
(1820-1900 CE)<br />
PART 4: EMERGING NATIONALISM IN MANY FORMS<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Romanticism in <strong>Music</strong> …<br />
180. Frédéric Chopin [pronounced SHAW-pe(n) in Polish, more usually SHOW-pan in English] (1810-<br />
1849), Mazurka in a minor, op, 67, no. 4 (1834): One <strong>of</strong> Chopin’s many nationalistic<br />
works, drawing on the spirit and rhythms <strong>of</strong> this native Polish dance.<br />
181. Franz [Ritter von] Liszt [pronounced LIST], or by his Hungarian birth name Liszt Ferencz or<br />
Ferenc (1811-1886), Hungarian Rhapsody no. 2, S. 244 (1847)<br />
182. Antonín, Dvořák [pronounced d VOR-jacque] (1841-1904), Slavonic Dances, op. 46 (1878) and<br />
op. 72 (1886): each dance <strong>of</strong> the total sixteen is in the style <strong>of</strong>, but not directly quoting, a<br />
traditional dance <strong>of</strong> Slavic or Slovac origin. These dances were originally written for the<br />
common “parlour” instrumentation <strong>of</strong> “piano four-hands” or two players at the same<br />
piano!<br />
183. Johannes Brahams (1833-1897), Hungarian Dances, Books 1 and 2 (1869), Books 3 and 4<br />
(1880), WoO 1.<br />
184. Aleksandr Borodin (1833-1887), Polovtsian Dances (1880): taken from his unfinished opera<br />
Prince Igor, these dances now constitute one <strong>of</strong> the major showpieces <strong>of</strong> the orchestral<br />
repertoire. In the opera, the dances were danced in sequence accompanied by full<br />
chorus. In an orchestral setting neither choir nor dancers are present, and the missing<br />
choir parts have been redisctributed to instruments within the orchestra, notable the<br />
clarinet, oboe, and English horn. While the dances (and opera) are Borodin’s work, they<br />
were not completed at the time <strong>of</strong> his death, and were subsequently completed by the<br />
great Russian composers <strong>of</strong> the day Nicolai Rimsky-Korsakov and Aleksandr Glazunov<br />
185. Bedřich Smetana (1824-1864), Ma Vlást [My Fatherland] (1874-79), no. 2, Vltava [The<br />
Moldau] (1875): What seems on the surface to be a six movement work, Ma Vlást is<br />
actually a set <strong>of</strong> six independent pieces: the second <strong>of</strong> the set, Vltava, being the most<br />
frequently performed.<br />
122 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
186. Edvard Grieg (Pee1843-1907), Peer Gynt, Op. 23 (1875): Greig’s incidental music to<br />
Henrik Ibsen's 1867 play <strong>of</strong> the same name was later broken into two four-movement<br />
orchestral suites: Suite No. 1, Op. 46 includes the famous “Morning Mood” and “In the<br />
Hall <strong>of</strong> the Mountain King” while Suite No. 2, Op. 55 includes the lovely “Solvieg’s<br />
Song.”<br />
187. Pyotr Illyich Tchaikovsky (1840-1893), Ouverture Solonnelle “1812,” op. 49 (1880):<br />
Tchaikovsky pulls out all the stops, adding to the traditional orchestra 16 military<br />
cannon, a full carillon, and any extra brass players obtainable to bring to life the narrative<br />
<strong>of</strong> the historical Battle <strong>of</strong> Borodino with instrumental forces only, as surely as could any<br />
verbal narrative. Oddly enough, the effects that Tchaikovsky sought were virtually<br />
unattainable with the artillary technology available at the time <strong>of</strong> its composition. A note<br />
on Tchaikovsky and his music may be found in the textbook.<br />
188. Modest Mussorgsky (1839-1881), A Night on Bald Mountain (1867 and 1886): Tone poem<br />
described by Mussorgsky as<br />
My St. John's Night on the Bare Mountain (a far better title than The Witches) is,<br />
in form and character, Russian and original; and I want to feel sure that it is<br />
thoroughly in keeping with historic truth and Russian folk tradition —<br />
otherwise it would not be good enough. I wrote it quickly, straight away in<br />
full score without preliminary rough drafts, in twelve days. It seethed within<br />
me, and I worked day and night, hardly knowing what was happening<br />
within me. And now I see in my wicked prank an independent Russian<br />
product, free from German pr<strong>of</strong>undity and routine, and, like my Savishna,<br />
grown on our country's soil and nurtured on Russian bread." 18<br />
The work’s programme was given in the 1886 score by Nicolai Rimsky-Korsakov who<br />
completed the orchestration for that edition:<br />
“Subterranean sounds <strong>of</strong> unearthly voices. Appearance <strong>of</strong> the Spirits <strong>of</strong><br />
Darkness, followed by that <strong>of</strong> Chornobog. Glorification <strong>of</strong> Chornobog and<br />
celebration <strong>of</strong> the Black Mass. Witches’ Sabbath. At the height <strong>of</strong> the orgy,<br />
the bell <strong>of</strong> the little village church is heard from afar. The Spirits <strong>of</strong><br />
Darkness are dispersed. Daybreak.”<br />
18 Calvocoressi and Abraham, Mussorgsky, 'Master <strong>Music</strong>ians' Series (London: J.M.Dent & Sons, Ltd., 1946/1974), p. 21.<br />
123 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Romanticism in <strong>Music</strong> …<br />
189. Modest Mussorgsky (1839-1881),, Pictures at an Exhibition [Pictures from an Exhibition – A<br />
Remembrance <strong>of</strong> Viktor Hartmann] (1874): Mussorgsky wrote this 10 movements suite for<br />
piano in less than two weeks following the sudden death <strong>of</strong> Russian nationalist artist<br />
Viktor Hartmann. The piano work is a bravura showpiece for pianists, but the work is<br />
best known in its arrangement for orchestra by the French composer Maurice Ravel<br />
190. Nikolai Andreyevich Rimsky-Korsakov (1844-1908), Svetliy prazdnik [Russian Easter Festival<br />
Overture], Op. 36 (1888). The work draws on melodies and chants <strong>of</strong> the Russian<br />
orthodox liturgy. It is dedicated to the memories <strong>of</strong> Modest Mussorgsky and Alexander<br />
Borodin, two fellow members <strong>of</strong> Russia’s "Mighty Handful” or “Russian Five.”<br />
191. [Wilhelm] Richard Wagner (1813-1883), Der Ring des Nibelungen (composed from 1849, first<br />
produced in full 1876): a monumental cycle <strong>of</strong> four operas (music dramas) based upon<br />
the Old Norse sagas –the Icelandic Völsunga saga, the Prose Edda, the Poetic Edda, the<br />
Legend <strong>of</strong> Norna-Gest, and the chivalric Vilking [sic] Saga – and the Nibelungenlied, a Middle<br />
High German epic poem on pre-Christian Germanic heroic motives. For the music<br />
dramas <strong>of</strong> “The Ring,” as we are wont to call it in colloquial practice, Wagner wrote text<br />
and music, and eventually arranged for the building <strong>of</strong> the Festspielhaus in Bayreuth,<br />
Bavaria, GERMANY so that the works could be staged and produced exactly as he had<br />
envisioned them. There is an extensive section on Wagner and his music in the<br />
textbook.<br />
“The Ring” is nearly 16 hours in total and traces an extremely complex plot line<br />
involving numerous characters – god, demi-god, half-human, human, spirit, and races <strong>of</strong><br />
myth such as dwarves and giants – in complex, irrational, and <strong>of</strong>ten incestual<br />
relationships. Literary themes frequently function only n the leve <strong>of</strong> metaphor and do<br />
not gain by literal interpretation. The Los Angeles Times produced the following<br />
interactive website to help direct patrons through the relationships <strong>of</strong> the convoluted<br />
and disfunctional family in advance <strong>of</strong> the LA Opera production <strong>of</strong> “The Ring” in the<br />
summer <strong>of</strong> 2010. http://www.latimes.com/entertainment/news/arts/la-caringfamilytree-html,0,4574276.htmlstory<br />
The great musical comedienne Anna Russell gives a virtually legendary analysis and<br />
synopsis <strong>of</strong> the “Ring Cycle,” encapsulating the highlights in a 20-minute,<br />
musicologically sound monologue viewable on YouTube. Don’t pass this up!<br />
Das Rheingold [The Rhine Gold] (1869): Scene 1 – Rhine Maidens, Rhine Gold, and<br />
Alberich.<br />
Die Walküre [The Valkyrie] (1870): Act 3, Scene 1, “The Ride <strong>of</strong> the Valkyries”<br />
124 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Siegfried (1876): Act 2, Scene 2 – “Siegfried’s Horn”<br />
Romanticism in <strong>Music</strong> …<br />
Götterdömmerung [Twilight <strong>of</strong> the Gods] (1876): Act 3, Scene 2, “Funeral March”;<br />
Act 3, Scene 3, “Brünnhilde’s Immolation”, and “Finale”.<br />
192. [Wilhelm] Richard Wagner (1813-1883), Die Meistersinger von Nürnberg [The Mastersingers <strong>of</strong><br />
Nuremberg] (1868): using the historical setting <strong>of</strong> 16 th -century Nuremberg, Die<br />
Meistersinger is not only Wanger’s only matur comedye, his only work not based on<br />
legend or myth, the only work for which the story is entirely original to Wagner, the<br />
opera holds the distinction <strong>of</strong> being virtually the longest single opera (at 4.5 hours)<br />
which plays regularly in the operatic repertoire. Additionally, it is interesting to note that<br />
for this opera, Wagner returned to the simpler form <strong>of</strong> opera, not composing this stage<br />
work according to the principles <strong>of</strong> <strong>Music</strong> Drama.<br />
Prelude<br />
Act 2, Scene 6: Beckmesser’s Serenade<br />
Act 3, Scene 5: The Feast <strong>of</strong> St. John, and the Singing Competition<br />
193. [Wilhelm] Richard Wagner (1813-1883), Tristan und Isolde [Tristan and Isolda] (1865): This<br />
<strong>Music</strong> Drama represents perhaps Wagner’s most advanced and supreme use <strong>of</strong><br />
chromaticism and harmonic suspension, whereby Wagner coils the tension tight and<br />
refuses to let it relax for the full duration <strong>of</strong> the <strong>Music</strong> Drama until the final moment.<br />
The Prelude includes a particular chord – now traditionally sounding to our ears – which<br />
shocked audiences, musicians, and critics at the time for its unorthodox preparation and<br />
resolution: we know this know at “The Tristan Chord.” For this <strong>Music</strong> Drama Wagner<br />
chose the 12 th century chivalric romance (set in Scotland) <strong>of</strong> Tristan and Isolde – starcrossed<br />
lovers ust like (but ante dating) Romeo and Juilliet.<br />
Prelude<br />
Act 3: Liebestod [“Love Death”]<br />
.<strong>Music</strong>al Terms in association with this time period:<br />
Nationalism<br />
Art <strong>Music</strong><br />
Folk <strong>Music</strong><br />
Chromatic<br />
Modulation<br />
Gesamtkunstwerk<br />
<strong>Music</strong> Drama<br />
WoO<br />
Op. post.<br />
125 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
ROMANTICISM IN <strong>MUS</strong>IC<br />
(1820-1900 CE)<br />
PART 5: NEW EXPRESSIONS IN TRADITIONAL FORMS<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
194. Giuseppe Fortunino Francesco Verdi (1813-1901), Macbeth (1846), on a libretto by by<br />
Francesco Maria Piave and Andrea Maffei, adapted from Shakespeare's <strong>of</strong> the same<br />
name. Ultimately it was the first <strong>of</strong> operas by Verdi to be based on the works <strong>of</strong><br />
Shakespeare. At this position in the first half <strong>of</strong> the 19 th century the dark and tragic<br />
subject matter was unusual at the time. We will see this opera together as a class on<br />
October 2: Class meets at Royal Theatre 6:30-6:40 for check-in prior to start <strong>of</strong><br />
opera at 7:00<br />
195. Giuseppe Fortunino Francesco Verdi (1813-1901), La Traviata [The Fallen Woman] (1853),<br />
libretto by Francesco Maria Piave, adapted from a the La dame aux Camélias (1852), itself<br />
adapted from the novel by Alexandre Dumas, fils. One <strong>of</strong> the most beloved operas <strong>of</strong><br />
all-times, by one <strong>of</strong> the most beloved opera composers <strong>of</strong> all time. While his operas are<br />
far from realistic, none-the-less they somehow transcend the overt perkiness <strong>of</strong> the<br />
much <strong>of</strong> the music to create entirely believable characters. As much as anything, Verdi<br />
and his librettist Francesco Maria Piave were masters <strong>of</strong> dramatic development. Verdi<br />
capped <strong>of</strong>f the drama with an unfailing ability to set scenes <strong>of</strong> incredible intimacy –<br />
monologue or not – with extraordinary sensitivity, as well as to create some <strong>of</strong> the<br />
grandest chorusses <strong>of</strong> all operatic historic. A note <strong>of</strong> Verdi and his music may be found<br />
in the textbook.<br />
Act 1: Brindisi (The Toast): “Libiamo ne’lieti calici”<br />
“Follie! Follie!”<br />
196. Georges Bizet (1838-1875), Carmen (1875), a French opéra comique with libretto by Henri<br />
Meilhac and Ludovic Halévy, based on the short novel <strong>of</strong> the same title by Prosper<br />
Mérimée from 1845. The novel bears strong resemblance to Alexander Pushkin’s poem<br />
“The Gypsies” (1824) which was not only known in France, but translated into French<br />
by Mérimée.<br />
197. Pyotr Illyich Tchaikovsky (1840-1893), The Nutcracker, ballet in 3 acts (1892), based upon<br />
ETA H<strong>of</strong>fmann’s The Nutcracker and the Mouse King.<br />
126 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
198. Pyotr Illyich Tchaikovsky (1840-1893), Romeo i Dzhulietta Fantaisie-Ouverture [Romeo and<br />
Juliet] (1869). Otherwise better known as a composer <strong>of</strong> dance and music with a dance<br />
flair, Tchaikovsky’s sense <strong>of</strong> narrative allows him to achieve some <strong>of</strong> his fullest moments<br />
<strong>of</strong> sweeping melody in his concert overtures.<br />
199. Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 4 in f minor, op. 36 (1878): Mvt. 3<br />
200. Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 5 in e minor, op. 64 (1888): Like<br />
Berlioz’s Symphonie Fantastique, Tchaikovsky’s 5 th is a cyclical symphony where a single<br />
theme – taken from fellow composer Mikhail Glinka’s Life <strong>of</strong> the Tsar as setting for the<br />
words, “turn not into sorrow” – is present in all four movements. Unlike Berlioz’s<br />
symphony where the repeating theme is a tangible recollection, Tchaikovsky’s theme<br />
undergoes intense and deliberate transformation from the distant and down-trodden<br />
perspective <strong>of</strong> the opening to the triumphant march at the close <strong>of</strong> the symphony.<br />
201. Pyotr Illyich Tchaikovsky (1840-1893), Symphony no. 6 in b minor, op. 74 (1893):<br />
Tchaikovsky’s last completed orchestral work, the premiere took place a mere 9 days<br />
before Tchaikovsky’s death. A second performace <strong>of</strong> the work took place after his death<br />
as a memorial service for the composer. Subtitled “Pathétique,” the work is <strong>of</strong>ten (yet<br />
erroneously) considered to be the composer’s testiment to his own mortality. While the<br />
title is Tchaikovsky’s, our understanding <strong>of</strong> the word as “pathetic or arousing pity” is not<br />
what is meant by the original Russian Патетическая (Patetičeskaja) which means<br />
something more akin to “passionate and emotional.”<br />
202. Johannes Brahms (1833-1897), Piano Quintet in f minor, op, 34 (1864): Out <strong>of</strong> the<br />
proliferation <strong>of</strong> overtly romantic, directly programmatic, predominatingly large scale<br />
works emerges a renewed spirit <strong>of</strong> romantic neoclassicism as embodied in the music <strong>of</strong><br />
Johannes Brahms. Even in his lifetime, Brahms and his music were seen as such the<br />
antithesis to Wagner and his music that composers worldwide began to philosophically<br />
allign themselves as either “Brahmsian” or “Wagnerian.” A note regarding Brahms and<br />
his music may be found in the textbook.<br />
203. Johannes Brahms (1833-1897), Variations on a Theme by Haydn [St. Anthony Variations].<br />
Op. 56b (1873).<br />
204. Johannes Brahms (1833-1897), Piano Concerto no. 2, op. 83 (1881): throughout the<br />
concerto the piano and orchestra engage in the most delightful conversation and<br />
collaboration.<br />
205. Johannes Brahms (1833-1897), Symphony no. 1 in c minor, op. 68 ([1854-]1876)<br />
206. Johannes Brahms (1833-1897), Symphony no. 4 in e minor, op. 98 (1885)<br />
127 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
207. Antonín Dvořak (1841-1904), Symphony no. 9 in e minor,op. 95, B. 178, “From the New<br />
World” (1893): mvt. 2 and mvt. 4. This symphony, as a quirk <strong>of</strong> the Dvořak cataloguing<br />
system was long known as the Symphony no. 5, and may still be found noted that way<br />
today.<br />
208. Antonín Dvořak (1841-1904), Concerto for Cello and Orchestra in B minor, Op. 104<br />
(1895). Written for his friend and cellist Hanuš Wihan. Wihan, Dvořak had long refused<br />
his friend’s request on the grounds that he felt celloa fine orchestral instrument but<br />
completely insufficient for a solo concerto despite some earlier notable successes such as<br />
the concerto by Schumann.<br />
128 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
Modernity and New <strong>Music</strong> …<br />
PART 1:<br />
REAL PEOPLE, HARD SUBJECTS, AND CRAZY CHARACTERS ON STAGE<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
209. Giacomo Puccini (1858-1924), Tosca (1900): based on the 1887 play La Tosca by French<br />
playwrite Victorien Sardou for the actress Sarah Bernhardt., the libretto by Luigi Illica<br />
and Giuseppe Giacosa for Puccini’s opera was four years in the making after nearly two<br />
years attempting to get the rights to set the play. A small note on Puccini and his music<br />
may be found in the textbook, pages 487-9.<br />
Act 2, Tosca’s aria, “Visi d’arte”<br />
Act 3, Cavaradossi’s aria, “O dolci mani” and closing scene<br />
210. Alban Berg (1885-1935), Wozzeck, op. 7<br />
(1914-1925): Considered the first opera<br />
to be composed in the style <strong>of</strong> the 20 th -<br />
century avant garde, Berg blends 20 th -<br />
century atonality, Wagnerian leitmotivs,<br />
and Baroque instrumental forms into a<br />
shocking theatre piece dealing with the<br />
brutal, compromised, and exploitive life<br />
<strong>of</strong> “the poor.” Short for an opera a 1.5<br />
hours, the violence <strong>of</strong> the work makes<br />
that more than enough time for a full<br />
experience! The opera now has an<br />
established place in the repertoire. An<br />
article about Berg and his music may be<br />
found in the textbook.<br />
Scene 4, with interlude<br />
Scene 5<br />
Tone Row Matrix, http://www.bearmccreary.com/images/concertmusic/12row1.jpg<br />
129 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
211. Zoltán Kodály (1882-1967), Háry János kalandozásai Nagyabonytul a Burgváráig [János Háry:<br />
his Adventures from Nagyabony to the Vienna Burg ](1926): a folk opera, typical <strong>of</strong> Hungary,<br />
in the style <strong>of</strong> a singspiel on a Hungarian libretto by Béla Paulini and Zsolt Harsányi,<br />
based on the comic tale Az obsitos [The Veteran] by János Garay.<br />
212. Jerome Kern (188501945), Show Boat (1927): libretto by Oscar Hammerstein II based on<br />
the 1926 novel <strong>of</strong> the same name by Edna Ferber. Show Boat is considered the first<br />
musical play (piece <strong>of</strong> musical theatre by our common definition) as different from light<br />
opera or operetta, musical comedy, review, or follies.<br />
Act 1: Ol’ Man River<br />
213. Alban Berg (1885-1935), Lulu (1935): The libretto was adapted by Berg himself from two<br />
plays by Frank Wedekind Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's<br />
Box, 1904). The opera was complete through Act 3, Scene 1 and in “short score” – or<br />
music without full orchestration – to the end at the time <strong>of</strong> his death.<br />
Act 2 Interlude (silent film)<br />
214. George Gershwin (1898-1937), Porgy and Bess (1935), libretto by DuBose Heyward, lyrics<br />
by Ira Gershwin: Gershwin conceived this as an “American Folk Opera.” He shocked<br />
American audiences by casting the opera and its choir-master in its entirety with<br />
European-trained African-American singer/actors. Unfortunately the opera was not<br />
received in the United States as legitimate until staged by the Houston Opera in 1976,<br />
even though, the opera had already had much success in Europe, opening at no less a<br />
house than La Scala in Milan in 1953. Gershwin’s opera, however, has never been free<br />
from concerns <strong>of</strong> racism, with musicians, audiences, and critics from all races noting that<br />
it is difficult to speak with the voice <strong>of</strong> another culture as Gershwiin had prosumed to do<br />
for the communities <strong>of</strong> South Carolina without falling into stereotypes and characatures.<br />
Similarly, the presence <strong>of</strong> strong overtones <strong>of</strong> New York jazz and melodies which smack<br />
<strong>of</strong> Jewish liturgical music are heard as suspect. A small note regarding Gershwin and his<br />
music may be found in the texbook, pages 499-501<br />
Act 1, Scene 1: Summertime (Bess)<br />
Act 2, Scene 2: It ain’t necessarily so (Sportin’ Life)<br />
215. Carl Orff (1895-1982), Carmina Burana: Cantiones pr<strong>of</strong>anæ cantoribus et choris cantandæ<br />
comitantibus instrumentis atque imaginibus magicis [Songs <strong>of</strong> Beuern: Secular songs for singers and<br />
choruses to be sung together with instruments and magic images] (1936): Today the work is treated<br />
as a cantata setting <strong>of</strong> 24 poems from Carmina Burana, a medieval collection <strong>of</strong> very<br />
130 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
secular poems; however, Orff originally composed the work at a piece <strong>of</strong> what he called<br />
“Teatrum Mundi” or theatre uniting music, movement, and word. The work is rarely<br />
given today in choreographed, full-staged productions. A miniscule note regarding Orff<br />
and his music may be found on page 499 <strong>of</strong> the textbook.<br />
Opening and closing segments: Fortuna Imperatrix Mundi<br />
LATIN original<br />
O Fortuna<br />
velut luna<br />
statu variabilis,<br />
semper crescis<br />
aut decrescis;<br />
vita detestabilis<br />
nunc obdurat<br />
et tunc curat<br />
ludo mentis aciem,<br />
egestatem,<br />
potestatem<br />
dissolvit ut glaciem.<br />
Sors immanis<br />
et inanis,<br />
rota tu volubilis,<br />
status malus,<br />
vana salus<br />
semper dissolubilis,<br />
obumbrata<br />
et velata<br />
michi quoque niteris;<br />
nunc per ludum<br />
dorsum nudum<br />
fero tui sceleris.<br />
Sors salutis<br />
et virtutis<br />
michi nunc contraria,<br />
est affectus<br />
et defectus<br />
semper in angaria.<br />
Hac in hora<br />
sine mora<br />
corde pulsum tangite;<br />
quod per sortem<br />
sternit fortem,<br />
mecum omnes plangite!<br />
ENGLISH translation<br />
O Fortune,<br />
just as the moon<br />
Stands constantly changing,<br />
always increasing<br />
or decreasing;<br />
Detestable life<br />
now difficult<br />
and then easy<br />
Deceptive sharp mind;<br />
poverty<br />
power<br />
it melts them like ice.<br />
Fate—monstrous<br />
and empty,<br />
you whirling wheel,<br />
stand malevolent,<br />
well-being is vain<br />
and always fades to nothing,<br />
shadowed<br />
and veiled<br />
you plague me too;<br />
now through the game,<br />
my bare back<br />
I bring to your villainy.<br />
Fate is against me<br />
in health,<br />
and virtue,<br />
driven on<br />
and weighted down,<br />
always enslaved.<br />
So at this hour<br />
without delay<br />
pluck the vibrating string;<br />
since through Fate<br />
strikes down the strong,<br />
everyone weep with me!<br />
131 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
216. Richard Rodgers (1902-1979), Oklahoma! (1943): libretto by Oscar Hammerstein II, based<br />
on Lynn Riggs' 1931 play, Green Grow the Lilacs. Oklahoma! Was the first collaboration<br />
between these two great artists and presents the beginning <strong>of</strong> one <strong>of</strong> the most fruitful<br />
theatrical teams in history.<br />
Act 1: Oh, What a Beautiful Morning<br />
217. Richard Rodgers (1902-1979), South Pacific (1949): lyrics by Oscar Hammerstein II, book<br />
by Hammerstein and Joshua Logan based on James A. Michener's Pulitzer Prize-winning<br />
book Tales <strong>of</strong> the South Pacific.<br />
Act 2: This Nearly Was Mine<br />
218. Richard Rodgers (1902-1979), The King and I (1950): lyrics and book by Oscar<br />
Hammerstein II, based on Margaret Landon’s 1944 novel Anna and the King <strong>of</strong> Siam itself<br />
based upon the memoirs <strong>of</strong> Anna Leonowens.<br />
Act 2: Something Wonderful<br />
219. Frederick Loewe (1901-1988), My Fair Lady (1956): book and lyrics by Alan Jay Lerner,<br />
based upon George Bernard Shaw's Pygmalion, roles <strong>of</strong> many 20 th -century works become<br />
indelibly linked to a specific performance or performer. Such is the case with Rex<br />
Harrison’s role as Pr<strong>of</strong>essor Henry Higgins. Harrison’s performances withstood both<br />
stage and film as he famously spoke rather than sang the songs.<br />
Act 1: Why Can’t the English<br />
Act 1: On the Street Where You Live<br />
Act 2: Why Can’t a Woman Be More Like a Man<br />
220. Leonard Bernstein (1918-1990), Candide (1956 and 1974): the music for this charming<br />
operetta based on Voltaire’s 18 th -century novelette by the same name is fully by Leonard<br />
Bernstein, but like so many 20 th -century music stage works, Bernstein collaborated with<br />
no fewer than six lyricists and “book-writers.” The “book” by Lillian Helman used for<br />
the 1956 premiere was subsequently replaced by one by Hugh Wheeler, which is<br />
considered to be closer to Voltaire’s novelette, in 1974.<br />
Overture<br />
Glitter and Be Gay (No. 15), Cunegonde’s aria:<br />
Glitter and be gay,<br />
That's the part I play:<br />
Here I am in Paris, France,<br />
Forced to bend my soul<br />
To a sordid role,<br />
Victimized by bitter, bitter circumstance.<br />
Alas for me! Had I remained<br />
Beside my lady mother<br />
132 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
My virtue had remained unstained<br />
Until my maiden hand was gained<br />
By some Grand Duke or other.<br />
Ah, 'twas not to be;<br />
Harsh necessity<br />
Brought me to this gilded cage.<br />
Born to higher things,<br />
Here I droop my wings,<br />
Ah! Singing <strong>of</strong> a sorrow nothing can<br />
assuage.<br />
And yet <strong>of</strong> course I rather like to revel,<br />
ha ha!<br />
I have no strong objection to champagne,<br />
ha ha!<br />
My wardrobe is expensive as the devil,<br />
ha ha!<br />
Perhaps it is ignoble to complain...<br />
Enough, enough<br />
Of being basely tearful!<br />
I'll show my noble stuffBy being bright and<br />
cheerful!<br />
Ha ha ha ha ha! Ha!<br />
Pearls and ruby rings...<br />
Ah, how can worldly things<br />
Take the place <strong>of</strong> honor lost?<br />
Can they compensate<br />
Modernity and New <strong>Music</strong> …<br />
For my fallen state,<br />
Purchased as they were at such an awful<br />
cost?<br />
Bracelets... lavalieres...<br />
Can they dry my tears?<br />
Can they blind my eyes to shame?<br />
Can the brightest brooch<br />
Shield me from reproach?<br />
Can the purest diamond purify my name?<br />
And yet <strong>of</strong> course these trinkets are<br />
endearing,<br />
ha ha!<br />
I'm oh, so glad my sapphire is a star,<br />
ha ha!<br />
I rather like a twenty-carat earring,<br />
ha ha!<br />
If I'm not pure, at least my jewels are!<br />
Enough! Enough!<br />
I'll take their diamond necklace<br />
And show my noble stuff<br />
By being gay and reckless!<br />
Ha ha ha ha ha! Ha!<br />
Observe how bravely I conceal<br />
The dreadful, dreadful shame I feel.<br />
Ha ha ha ha!<br />
221. Leonard Bernstein (1918-1990), West Side Story (1957): this book musical is based on<br />
William Shakespeare’s Romeo and Juliet set in immigrant neighbourhoods <strong>of</strong> New York<br />
City – music by Bernstein, song lyrics by Stephen Sondheim, and book by Arthur<br />
Laurents. Bernstein, along with with assistance from Sid Ramin and Irwin Kostal,<br />
orchestrated the full broadway score <strong>of</strong> 75 instrumental parts to be covered by no more<br />
than 31 players: wind players and percussionists being responsible for more than one<br />
instrument – there are 27 percussion instruments to be played! While critical reception<br />
<strong>of</strong> the musical was focussed on Jerome Robinson’s choreography, critics identified<br />
Bernstein’s scores as “…fascinatingly tricky and melodically beguiling, and it marks the<br />
progression <strong>of</strong> an admirable composer” (John Chapman, New York Daily News, 27<br />
September 1957).<br />
Act 1: Prologue (Instrumental)<br />
Act 1: Marie (Tony)<br />
Act 1: America (Puerto Rican Women)<br />
Act 2: A Boy Like That/ I Have a Love (Anita and Maria)<br />
222. Richard Rodgers (1902-1979), The Sound <strong>of</strong> <strong>Music</strong> (1959): lyrics by Oscar Hammerstein II,<br />
book by Howard Lindsay and Russel Crouse, based on the memoir <strong>of</strong> Maria von Trapp,<br />
The Story <strong>of</strong> the Trapp Family Singers.<br />
133 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Act 1: Climb Every Mountain<br />
Modernity and New <strong>Music</strong> …<br />
223. Benjamin Britten, A Midsummer Night's Dream (1960), libretto adapted by the composer and<br />
Peter Pears from A Midsummer Night's Dream by William Shakespeare.<br />
224. Frederick Loewe (1901-1988), Camelot (1960): book and lyrics by Alan Jay Lerner and<br />
Moss Hart, based upon T.H. White’s Once and Future King. For no direct reason other<br />
than timing and a certain enchanted quality, the musical became linked to the Kennedy<br />
White House.<br />
Act 1: The Lusty Month <strong>of</strong> May<br />
225. Stephen Sondheim (b. 1930), Sweeney Todd: The Demon Barber <strong>of</strong> Fleet Street (1979):<br />
music and lyrics by Stephen Sondheim, libretto by Hugh Wheeler, based on the 1973<br />
play by the same name by Christopher Bond. Sweeney Todd as a character descends<br />
from Victorian-period penny Romances.<br />
Act 2: Not While I’m Around<br />
226. Sir Andrew Lloyd Webber, the Baron Lloyd-Webber (b. 1948), Phantom <strong>of</strong> the Opera (1986),<br />
lyrics by Charles Hart based on the 1909 French novel Le Fantôme de l'Opéra by Gaston<br />
Leroux. Considered to be a fully flegded musical, the work demands fully operatic<br />
performances by several <strong>of</strong> the characters, imbeds a number <strong>of</strong> brilliantly conceived<br />
parody operas, and packs in a number <strong>of</strong> ensembles <strong>of</strong> the kind <strong>of</strong> complexity (although<br />
not quality) seen only in Mozart.<br />
Act 1: Notes/Prima Donna (Firmin, André, Raoul, Carlotta, Madame Giry, Meg,<br />
Piangi, and Phantom)<br />
Act 1: Poor Fool, He Makes Me Laugh (Il Muto) (Carlotta and Company)<br />
Act 1: Think <strong>of</strong> Me (Carlotta, Christine)<br />
227. R(aymond) Murray Schafer (b. 1933), Patria (1966-1990). Over the years <strong>of</strong> this<br />
composition, Schafer has modified the scope <strong>of</strong> the work several times, moving from<br />
opera to 12 sectioned staged music event: prologue, epilogue, and 10 intermediate<br />
sections for differing ensemble combinations <strong>of</strong> voices and instruments.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Verismo<br />
Operetta<br />
Book <strong>Music</strong>al<br />
Libretto<br />
Second Viennese School<br />
Dodecaphony or Twelve-Tone<br />
134 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
Modernity and New <strong>Music</strong> …<br />
PART 2:<br />
NEW, OLD, IDEALISED, AND FANTASY WORLDS ON STAGE<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
228. Claude-Achille Debussy [pronounce DEh-bus-ee] (1862-1918), La flûte de Pan: Syrinx<br />
(1907): this little gem <strong>of</strong> the flute repertoire originated as incidental music for a long lost<br />
play Psyché by Gabriel Mourey. An article regarding Debussy and his music may be<br />
found in the textbook.<br />
229. Igor Stravinsky (1882-1971), L’Oiseau de feu [The Firebird] (1910): This is the full ballet score<br />
written specifically for a production organized by the impressario Serge Diagalev and his<br />
troupe the Ballet Russe. The Ballet Russe becam a fixture on the Parisian arts scene for<br />
several decades, and ultimately participated in some <strong>of</strong> the most astonishing and<br />
noteworthy collaborations and productions <strong>of</strong> the 20 th century, if not <strong>of</strong> all time. The<br />
dancers <strong>of</strong> the Ballet Russe were <strong>of</strong>ten exiles in Paris from St. Petersberg as a result <strong>of</strong><br />
the political tensions in Russia. An article on Stravinsky and his music may be found in<br />
the textbook.<br />
Closing dances:<br />
No. 18 – Infernal Dance <strong>of</strong> All Kashchei's Subjects<br />
No. 19 – Lullaby<br />
No. 20 – Kashchei's Awakening<br />
No. 21 – Kashchei's Death<br />
2nd Tableau: No. 23 – Disappearance <strong>of</strong> Kashchei's Palace and Magical Creations, Return<br />
to Life <strong>of</strong> the Petrified Knights, General Rejoicing<br />
230. Igor Stravinsky (1882-1971), Petruchka (1911): The story <strong>of</strong> Petruchka is something <strong>of</strong> a<br />
Pinocchio type story, with Petruchka being a puppet at the Shrovetide Fair who<br />
subsequently comes to life along will his fellow puppets <strong>of</strong> a ballerina (whom he loves<br />
deeply, but who rejects him) and a Moor (who steals the love <strong>of</strong> the ballerina). After the<br />
sumptuous music <strong>of</strong> The Firebird, the brittleness and harshness <strong>of</strong> this score <strong>of</strong>fended<br />
135 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
audiences as did its non-classical choreography (by Mikhail Fokine and The Ballet Russe)<br />
which included gymnastics and exercises in addition to more traditional gestures. It is<br />
said that at an open rehearsal a critic approached Diagalev with, "And it was to hear this<br />
that you invited us?" to which Diaghilev succinctly replied, "Exactly."<br />
Part I: The Shrovetide Fair<br />
Introduction (at the Shrovetide Fair)<br />
The Charlatan's Booth<br />
Russian Dance<br />
231. Maurice Ravel (1875-1937), Daphnes et Chloë (1912): Again composed for the Ballet Russe<br />
their impressario Serge Diagalev. The scenario was adapted by the great choreographer<br />
Michel Fokine to be danced by Vassily Nijinsky the 2 nd century Greek romance by one<br />
Longus. The huge orchestra Ravel used is almost unmatched in size and colour –<br />
including among other forces a textless part for full choir (on and <strong>of</strong>f-stage) – anywhere<br />
in the orchestra repertoire. The size <strong>of</strong> the orchestra and the length <strong>of</strong> the ballet make<br />
the ework virtually impossible to produce in a fully-staged format; however, the music<br />
remains a staple <strong>of</strong> the orchestral repertoire through two suites, the second <strong>of</strong> which<br />
giving the music <strong>of</strong> the ballet’s final scenes is the more popular <strong>of</strong> the two. An article on<br />
Ravel and his music may be found in the textbook.<br />
Closing scenes (Suite no. 2)<br />
Lever du jour<br />
Pantomime<br />
Danse générale<br />
232. Igor Stravinsky (1882-1971), Le sacre du printemps [The Rite <strong>of</strong> Spring] (1913): Another Ballet<br />
Russe production. Now with increased confidence following a string <strong>of</strong> reasonable<br />
successes all collaborators set out to create something very special, something very<br />
shocking.<br />
Part 1: A Kiss <strong>of</strong> the Earth (L'adoration de la Terre)<br />
Introduction<br />
The Augurs <strong>of</strong> Spring: Dances <strong>of</strong> the Young Girls (Les Augures Printaniers:<br />
Danses des Adolescentes)<br />
Part 2: The Exalted Sacrifice (Le Sacrifice)<br />
Sacrificial Dance (The Chosen One) (Danse Sacrale (L'Élue))<br />
233. Erik Satie (1866-1925), Parade (1917): this one-act ballet on a scenario by Jean Cocteau<br />
was yet another collaboration hosted by Serge Diaghilev for his Ballets Russes. The<br />
ballet itself is yet another circus-themed ballet, although Satie’s music is far from the folk<br />
traditions <strong>of</strong> Stravinsky.<br />
136 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
234. Igor Stravinsky (1882-1971), L’Histoire du Soldat [A Soldier’s Tale] (1918): a theatre piece to<br />
be read, played, and danced by a small ensemble <strong>of</strong> instrumental septet (violin, double<br />
bass, clarinet, bassoon, cornet / trumpet), trombone, and percussion), three actors (the<br />
soldier, the devil, and narrator, who also takes on the roles <strong>of</strong> minor characters) and a<br />
single dancer playing the non-speaking role <strong>of</strong> the princess (in some productions there<br />
may also be additional ensemble dancers).<br />
235. Darius Milhaud (1892-1974), Le boeuf sur le toit, Op. 58 [The Ox on the Ro<strong>of</strong>] (1920): a ballet<br />
by the most successful composer from the group Les Six, named after the bar where<br />
Milhaud would soon become a common fixture. The ballet is really a ballet about<br />
nothing, but rather a series <strong>of</strong> scenes inspired by Brazil. It is rumoured that the work<br />
originated as the film score for a Charlie Chaplin silent film.<br />
236. Igor Stravinsky (1882-1971), Pulcinella [pronounced PULL-chin-ella] (1920):<br />
Commissioned by Serge Diaghilev and the Ballet Russe, this ballet proved the<br />
collaboration between some <strong>of</strong> the great artists <strong>of</strong> the day: The dancer Léonide Massine<br />
created both the libretto and choreography, Pablo Picasso designed the original<br />
costumes and sets, in addition to Stravinsky providing the score. Like Petruchka nearly a<br />
decade earlier, Pulcinella drew on the commedia dell’arte tradition, this time “properly” that<br />
<strong>of</strong> 18 th -century Italy. For the ballet Stravinsky reworked music thought at that time to be<br />
by Giovanni Battiste Pergolesi (1710-1736), one <strong>of</strong> the great tragic figures <strong>of</strong> the early<br />
age and mover within the earlier gallant style.<br />
No. 1 – Overture ([1] Sinfonia in Suite)<br />
No. 14 – Tarantella ([4] in Suite)<br />
No. 17 – Gavotta con due variatione ([6] in Suite)<br />
237. Darius Milhaud (1892-1974), La création du Monde [Creation <strong>of</strong> the World], op. 81a (1924]:<br />
Ballet in six sections. Here the story <strong>of</strong> the creation is told through African folktales and<br />
uses elements <strong>of</strong> African-influenced American jazz. A tiny note on Milhaud and his<br />
music may be found in the textbook, pages 496-8<br />
(1) Overture<br />
238. Béla Bartók (1881-1945), A csodálatos mandarin [Der Wunderbare Mandarin, The Miraculous<br />
Mandarin or The Wonderful Mandarin] (1924) is a one-act pantomime ballet based on the<br />
story by Melchior Lengyel. The popular concert suite comporises about two-thirds <strong>of</strong> the<br />
original ballet's music.<br />
137 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
239. Aaron Copland [pronounced COPE-lund] (1900-1990), Quiet City for trumpet, cor anglais, and<br />
string orchestra (1940/41). Copland’s work began life as incidental music for the play Quiet<br />
City by Irwin Shaw. While Copland’s original music was written to parallel the life and<br />
attitutdes <strong>of</strong> the lead character, Copland himself later conceded that the concert version<br />
had takenits rightful place as its own composition.<br />
240. Aaron Copland (1900-1990), Rodeo: the Courting at Burnt Ranch [pronounced roe-DAYoh](1942):<br />
This second “cowboy ballet” by the established and experiences American<br />
composer Aaron Copland was commissioned by the great American choreographer<br />
Anges de Mille, at this time very early in her career, herself commissioned to create the<br />
ballet by the Ballet Russe de Monte Carlo (the reminants <strong>of</strong> Serge Diagilev’s troupe now<br />
exiled in the US by the War in Europe). An article regarding Copland and his music may<br />
be found in the textbook.<br />
Scene 4: Saturday Night Waltz<br />
Scene 5: Hoe-Down<br />
241. Aaron Copland (1900-1990), Appalachian Spring (1944): This ballet, set to Copland’s<br />
fabulously evocative music, was a collaboration between Copland and one <strong>of</strong> America’s<br />
most respected dancer/choreographers, Martha Graham. The work was complete and<br />
choreographed before it received the title Appalachian Spring – Copland had always<br />
called it simply “Martha’s Ballet.” Martha finally suggested the title after a line in Hart<br />
Crane’s poem, “The Bridge” (below). True, the ballet was set in springtime on a farm<br />
Pennsylvania, and so “Appalachian Spring” seems absolutely perfect; however, the<br />
“spring” <strong>of</strong> Crane’s poem actually refers to a fountain or water spring, and a farm most<br />
definitely would not be found on the Appalachian ridge – a conundrum which bemused<br />
Copland throughout his life.<br />
‘O Appalachian Spring! I gained the ledge;<br />
Steep, inaccessible smile that eastward bends<br />
And northward reaches in that violet wedge<br />
Of Adirondacks!”<br />
Scene 7: Variations on “Simple Gifts”<br />
242. Stomp Dance Troupe, Stomp Out Loud! (HBO, 1997)<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Scenario<br />
Polytonality (Bitonality)<br />
Polyrhythm<br />
Impressionism<br />
Primitivism<br />
Jazz<br />
Ballet Russe<br />
Sergei Diaghilev<br />
138 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
The most percussive and the most liquid capabilities <strong>of</strong> orchestral instruments are well demonstrated<br />
through these pieces<br />
139 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
PART 3:<br />
NEW VIRTUOSITY FOR OLD INSTRUMENTS<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
243. Serge Prok<strong>of</strong>iev (1891-1953), Piano Concerto no. 3 n C major, Op. 26 (1921): A virtuosic<br />
piano concerto by one <strong>of</strong> the most esteemed pianists <strong>of</strong> the early 20 th century. An article<br />
on Prok<strong>of</strong>iev and his music may be found in the textbook.<br />
244. George Gershwin (1898-1937), Rhapsody in Blue (1924): One <strong>of</strong> the earliest compositions<br />
to be considered “cross-over” between jazz and classical, its jazz elements tended to be<br />
rejected by traditional jazz musicians as charactures and not authentic enough.<br />
245. Sergei [Vasilievich] Rachmaninov [pronounced Rock-MAN-in-<strong>of</strong>f] (1873-1943), Rhapsody<br />
on a Theme by Paganini, op. 43 (1934): The Caprice no. 24 in a minor, op. 1 for Violin by<br />
the 19th-century violinist Nicolò Paganini (1782-1840) has been a favourite subject for<br />
sets <strong>of</strong> variations by numerous composers. Here Rachmaninov fashions a set <strong>of</strong> 24<br />
variations (the “usual” number) for piano and orchestra to take the shape <strong>of</strong> a traditional<br />
three-movement concerto. A very small note on Rachmaninov and his music may be<br />
found in the textbook, pages 492-3.<br />
246. Alban Berg (1885-1935), Violin Concerto (1935): This beautifully constructed monument<br />
<strong>of</strong> the 20 th -century violin repertoire capably combines 12-tone compositional technique<br />
wth episodes <strong>of</strong> traditional tonality. The tone row itself is packed with tonal elements.<br />
G, B♭, D, F♯, A, C, E, G♯, B, C♯, E♭, F<br />
http://en.wikipedia.org/wiki/File:Berg_vn_conc_tone_row.png<br />
140 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
247. Aaron Copland (1900-1990), Fanfare for the Common Man (1942). This famous work<br />
was composed for the Cincinnati Symphony and was inspired by a then-recent speech by<br />
the US Vice President, Henry Wallace. It was only much later adopted for use in popular<br />
media as the TV opener for sporting events for many decades.<br />
248. Béla [Viktor János] Bartók (1881-1945), Concerto for Orchestra, Sz. 116, BB 123 (1943):<br />
This fabulous showpiece for orchestra could just as well been called a symphony (even<br />
with its five movements); however, Bartók preferred the term concerto because he wrote<br />
for each instrument and instrument family in a virtuoso solo style. An article regarding<br />
Bartók and his music may be found in the textbook.<br />
Mvt. 2 – Game <strong>of</strong> Pairs, or Presentation <strong>of</strong> the Couples<br />
Mvt. 3 – Elegia<br />
Mvt. 4 – Intermezzo<br />
249. Samuel Barber (1910-1981), Piano Concerto, op. 38 (1962): The broadly lyrical concerto<br />
is a full-blooded example <strong>of</strong> post-romanticism, full <strong>of</strong> arching melodies, dense by warm<br />
harmonies, and all the energy expected from a solo concerto. A note regarding Barber<br />
and his music may be found on pages 404 and 405 <strong>of</strong> your text book<br />
Mvt. 2: Canzone: Moderato<br />
Mvt. 3: Allegro molto<br />
250. Nina Rota (1911-1979), Concerto per Trombone (1966)<br />
251. S<strong>of</strong>ia Gubaidulina (b. 1931), Offertorium, Concerto for Violin (1980), relatively sparse and<br />
spare, still there is an underlying romanticism and expressiveness from both soloist and<br />
orchestra.<br />
252. S<strong>of</strong>ia Gubaidulina (b. 1931), Glorious Percussion (2008) is a large-scale concerto grosso<br />
for percussion and orchestra. Here Gubaidulina traces the history <strong>of</strong> percussion in a 40<br />
minute romp.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Polytonality<br />
Atonality<br />
Serialism<br />
Dodecaphony or Twelve-Tone<br />
<strong>Music</strong><br />
Post-Romanticism<br />
141 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
PART 4:<br />
CONTINUING VALIDITY FOR THE SYMPHONY<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
253. Gustav Mahler (1860-1911), Symphony no. 4 (1901): Movement 4. An article regarding<br />
Mahler and his music may be found in the textbook.<br />
Das himmlische Leben<br />
(aus Des Knaben Wunderhorn)<br />
Wir genießen die himmlischen Freuden,<br />
D'rum tun wir das Irdische meiden.<br />
Kein weltlich' Getümmel<br />
Hört man nicht im Himmel!<br />
Lebt alles in sanftester Ruh'.<br />
Wir führen ein englisches Leben,<br />
Sind dennoch ganz lustig daneben;<br />
Wir tanzen und springen,<br />
Wir hüpfen und singen,<br />
Sanct Peter im Himmel sieht zu.<br />
Johannes das Lämmlein auslasset,<br />
Der Metzger Herodes d'rauf passet.<br />
Wir führen ein geduldig's,<br />
Unschuldig's, geduldig's,<br />
Ein liebliches Lämmlein zu Tod.<br />
Sanct Lucas den Ochsen tät schlachten<br />
Ohn' einig's Bedenken und Achten.<br />
Der Wein kost' kein Heller<br />
Im himmlischen Keller;<br />
Die Englein, die backen das Brot.<br />
Gut' Kräuter von allerhand Arten,<br />
Die wachsen im himmlischen Garten,<br />
Gut' Spargel, Fisolen<br />
Und was wir nur wollen.<br />
Ganze Schüsseln voll sind uns bereit!<br />
Gut' Äpfel, gut' Birn' und gut' Trauben;<br />
Die Gärtner, die alles erlauben.<br />
Willst Rehbock, willst Hasen,<br />
Auf <strong>of</strong>fener Straßen<br />
Sie laufen herbei!<br />
Sollt' ein Fasttag etwa kommen,<br />
Alle Fische gleich mit Freuden angeschwommen!<br />
Heaven's Life<br />
(From Des Knaben Wunderhorn)<br />
We enjoy heavenly pleasures<br />
and therefore avoid earthly ones.<br />
No worldly tumult<br />
is to be heard in heaven.<br />
All live in greatest peace.<br />
We lead angelic lives,<br />
yet have a merry time <strong>of</strong> it besides.<br />
We dance and we spring,<br />
We skip and we sing.<br />
Saint Peter in heaven looks on.<br />
John lets the lambkin out,<br />
and Herod the Butcher lies in wait for it.<br />
We lead a patient,<br />
an innocent, patient,<br />
dear little lamb to its death.<br />
Saint Luke slaughters the ox<br />
without any thought or concern.<br />
Wine doesn't cost a penny<br />
in the heavenly cellars;<br />
The angels bake the bread.<br />
Good greens <strong>of</strong> every sort<br />
grow in the heavenly vegetable patch,<br />
good asparagus, string beans,<br />
and whatever we want.<br />
Whole dishfuls are set for us!<br />
Good apples, good pears and good grapes,<br />
and gardeners who allow everything!<br />
If you want roebuck or hare,<br />
on the public streets<br />
they come running right up.<br />
Should a fast day come along,<br />
all the fishes at once come swimming with joy.<br />
142 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Dort läuft schon Sanct Peter<br />
Mit Netz und mit Köder<br />
Zum himmlischen Weiher hinein.<br />
Sanct Martha die Köchin muß sein.<br />
Kein' Musik ist ja nicht auf Erden,<br />
Die unsrer verglichen kann werden.<br />
Elftausend Jungfrauen<br />
Zu tanzen sich trauen.<br />
Sanct Ursula selbst dazu lacht.<br />
Kein' Musik ist ja nicht auf Erden,<br />
Die unsrer verglichen kann werden.<br />
Cäcilia mit ihren Verwandten<br />
Sind treffliche H<strong>of</strong>musikanten!<br />
Die englischen Stimmen<br />
Modernity and New <strong>Music</strong> …<br />
There goes Saint Peter running<br />
with his net and his bait Ermuntern die Sinnen,<br />
Daß alles für Freuden erwacht.<br />
to the heavenly pond.<br />
Saint Martha must be the cook.<br />
There is just no music on earth<br />
that can compare to ours.<br />
Even the eleven thousand virgins<br />
venture to dance,<br />
and Saint Ursula herself has to laugh.<br />
There is just no music on earth<br />
that can compare to ours.<br />
Cecilia and all her relations<br />
make excellent court musicians.<br />
The angelic voices<br />
gladden our senses,<br />
so that all awaken for joy<br />
http://en.wikipedia.org/wiki/Symphony_No._4_%28Mahler%29 , accessed 2 August 2010<br />
254. Jean Sibelius (1865-1957), Symphony no. 2 in D major, op. 43 (1902): mvt. 3 and mvt. 4.<br />
An article regarding Sibelius and his music may be found in the textbook.<br />
255. Gustav Mahler (1860-1911), Symphony no. 5 (1902)<br />
Mvt. 4, Adagietto<br />
256. Gustav Mahler (1860-1911), Das Lied von der Erde [The Song <strong>of</strong> the Earth] (1909)<br />
Mvt 1: Das Trinklied vom Jammer der Erde [The Drinking Song <strong>of</strong> Earth's Misery],<br />
Original poem by Li Po, "Bei Ge Xing" (Chinese:悲歌行) [A Pathetic Song]:<br />
"The wine in the golden cup calls us, but first let me sing you a song <strong>of</strong> sorrow which<br />
shall ring laughingly in your soul. When sorrow comes the gardens <strong>of</strong> the soul lie waste,<br />
joy and song fade and die: Dark is life, dark is death. Master <strong>of</strong> this house! Your cellar is<br />
full <strong>of</strong> golden wine! This lyre I shall call mine, for emptying the glass and sounding the<br />
lyre are things that go together. A full beaker <strong>of</strong> wine at the right time is worth more<br />
than all the riches <strong>of</strong> this world: Dark is life, dark is death. The sky is endlessly blue,<br />
and the earth will long remain, and bloom in Spring. But you, Man, how long will you<br />
remain? Not even a hundred years shall you enjoy all the mouldering trinkets <strong>of</strong> this<br />
earth! A wild, ghostly figure crouches in the moonlight on the tombs - it is an Ape!<br />
Listen, its howling cuts through the sweet scent <strong>of</strong> Life. Now, drink the wine! Now is<br />
the time, comrades! Empty your golden cups to the lees! Dark is life, dark is death."<br />
Mvt. 6: Der Abschied [The Farewell]<br />
"The sun sinks beyond the hills, evening descends into the valleys with its cooling<br />
shade. See, like a silver boat the moon sails up into the lake <strong>of</strong> the sky. I sense a s<strong>of</strong>t<br />
wind blowing beyond the dark fir-trees. The brook sings melodiously through the<br />
dark. The flowers grow pale in the twilight. The earth breathes a deep draught <strong>of</strong> rest<br />
143 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
and sleep. All longing now will dream: tired people go homewards, so that they can<br />
learn forgotten joy and youth again in sleep! Birds sit motionless on their branches.<br />
The world is slumbering! It grows cool in the shade <strong>of</strong> my fir-trees. I stand and await<br />
my friend, I wait for him for our last farewell. O friend, I long to share the beauty <strong>of</strong><br />
this evening at your side. Where do you linger? Long you leave me alone! I wander<br />
here and there with my lyre on s<strong>of</strong>t grassy paths. O Beauty! O endless love-lifedrunken<br />
world!<br />
He dismounted from the horse and handed to him the drink <strong>of</strong> farewell. He asked<br />
him where he was bound and why it must be so. He spoke, and his voice was muffled:<br />
'You, my friend, Fortune was not kind to me in this world! Where do I go? I am<br />
departing, I wander in the mountains. I am seeking rest for my lonely heart. I am<br />
making my way to my home, my abode. I shall never stray far away. My heart is still<br />
and awaits its moment.'<br />
The beloved Earth blooms forth everywhere in Spring, and becomes green anew!<br />
Everywhere and endlessly blue shines the horizon! Endless... endless..."<br />
257. Serge Prok<strong>of</strong>iev (1891-1953), Symphony no. 1 in D major, op. 25 (1917): mvt. 2 and mvt.<br />
4<br />
258. Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 1 in f minor, op. 10 (1925):<br />
mvt. 1. An article on Shostakovich and his music may be found in the textbook.<br />
259. Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 5 in d minor, op. 47 (1937):<br />
complete<br />
260. Dmitri Dmitriyevich Shostakovich (1906-1975), Symphony no. 15 in A major, op. 47<br />
(1971): mvt. 4<br />
261. Serge Prok<strong>of</strong>iev (1891-1953), Symphony no. 5 in B-flat major, op. 100 (1944): mvt. 1 and<br />
mvt. 4<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Polytonality<br />
Atonality<br />
Serialism<br />
Dodecaphony or Twelve-Tone <strong>Music</strong><br />
Post-Romanticism<br />
144 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
Modernity and New <strong>Music</strong> …<br />
PART 5:<br />
DEMANDS AND POSSIBILITY FOR CHAMBER <strong>MUS</strong>ICIANS AND SOLOISTS<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
262. Joseph-Maurice Ravel (1875-1937), Pavane pour l’enfante défunte [Pavane for a Dead<br />
Spanish Princess] (1899) : solo piano, later for orchestra<br />
263. Claude-Achille Debussy (1862-1918), Preludes (Book 1, 1909 ; Book 2 1910)<br />
La fille aux cheveus de lin, Book 1 no. 8<br />
Brouillards [Mists], Book 2, no. 1<br />
264. Albert Edwin “Eddie” Condon (1905-1973), Wolverine Blues (1920s)<br />
265. Béla Bartók (1881-1945), Mikrokosmos, Sz. 107, BB 105 (1926-1939), an expansive and<br />
musically challenging set <strong>of</strong> 153 progressive piano pieces in six volumes. The set was<br />
intended to be an instructional for even the most beginner players, but now forms a part<br />
<strong>of</strong> the pr<strong>of</strong>essional concert repertoire.<br />
266. Louis Armstrong (1901-1971), West End Blues (1928)<br />
267. Benny Goodman (1909-1986), Body and Soul (1935)<br />
268. John Birks “Dizzy” Gillespie (1917-1993), I Can’t Get Started (1936)<br />
269. Samuel Barber (1910-1981), String Quartet, op. 11 (1936): Mvt. 2, Adagio<br />
145 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
270. Olivier Messiaen [pronounced MESSy-ann] (1908-1992), Quatuor pour la fin du temps [Quartet<br />
for the End <strong>of</strong> Time] (1941): Quartet for violin, cello, clarinet, piano. A small note on<br />
Messiaen and his music may be found on pages 508 and 509 <strong>of</strong> the textbook.<br />
271. John Milton Cage, Jr. (1912-1992), 3 rd construction for 4 percussionists (1941)<br />
Player I: North West Indian rattle (wooden), 5 graduated tin cans, 3 graduated<br />
drums (tom toms), claves, large Chinese cymbal (suspended), maracas, teponaztli<br />
Player II: 3 graduated drums (tom toms), 5 graduated tin cans, claves, 2 cowbells,<br />
Indo-Chinese rattle (wooden, with many separate chambers), lion's roar<br />
Player III: 3 graduated drums (tom toms), tambourine, 5 graduated tin cans,<br />
quijadas, claves, cricket callers (split bamboo), conch shell<br />
Player IV: tin can with tacks (rattle), 5 graduated tin cans, claves, maracas, 3<br />
graduated drums (tom toms), wooden ratchet, bass drum roar<br />
272. John Milton Cage, Jr. (1912-1992), Primitive for String Piano (1942): prepared piano. A small<br />
note on Cage and his music may be found in the textbook, pages 506-8.<br />
273. Béla Bartók (1881-1945), Sonata for Solo Violin Sz. 117, BB 124 (1944) mvt. 1, Tempo di<br />
Ciaccona. This late work was commissioned by the violinist Yehudi Menhuin. Bartok<br />
responded with a gem full <strong>of</strong> Hungarian melodies, rhythms, and harmonies.<br />
274. Charlie “Yardbird” Parker (1920-1955), Oh, Lady Be Good (1944)<br />
275. Isao Matsuhita, Kochi (Eastwind) for 3 clarinets (1951)<br />
276. Benjamin Britten (1913-1976), Metamorphoses after Ovid for oboe alone (1951): also performed<br />
by other melody instruments<br />
277. John Milton Cage, Jr. (1912-1992), 4’33” (1952): for any instrumental combination<br />
278. John Milton Cage, Jr. (1912-1992), In the Name <strong>of</strong> the Holocaust (1942): prepared piano<br />
279. Paule Maurice (1910-67), Tableau de Provence for Saxophone (1954-9)<br />
146 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
280. Marcel Grandjany (1891-1975), Fantasy on a Theme <strong>of</strong> Haydn, op. 31(1958)<br />
281. Ray Charles (1930-2004), What’d I Say (1959)<br />
282. John Leslie “Wes” Montgomery (1923-1968), West Coast Blues (1960)<br />
Modernity and New <strong>Music</strong> …<br />
283. Dmitri Dmitriyevich Shostakovich (1906-1975), String Quartet no. 8 in c minor, op. 110<br />
(1960)<br />
284. George Crumb (b. 1929), Five Pieces (senza misura) for Piano (1962): prepared piano<br />
285. John Coltrane (1926-1967), Alabama (1963)<br />
286. Luciano Berio (1925-2003), Sequenza V for Trombone (1965)<br />
287. Malcolm Arnold (1921-2006), Fantasy for Horn (1966)<br />
288. Zdenek Sestak (b. 1925), Five Virtuoso Inventions for Bassoon (1966). The composer is deeply<br />
involved with study <strong>of</strong> 18 th -century music from his native Bohemia. These inventions<br />
for solo instrument, while being in a toally different musical language, for a logical<br />
continuum in the line <strong>of</strong> works for solo instrument from that time.<br />
289. Julien-François Zbinden (b. 1917), Hommage à J.-S. Bach, op. 44 (1969). This work<br />
brilliantly combines the style <strong>of</strong> J.S.Bach’s unaccompanied cello suites with a thematic<br />
substructure using the pitches B-flat, A, C, B … or in German nomenclature B-A-C-H.<br />
290. George Crumb (b. 1929), Vox Balaenae [Voice <strong>of</strong> the Whale] (1971): trio for electric flute,<br />
electric cello, and electric piano<br />
291. George Crumb (b. 1929), Makrokosmos (1972-1979) is a series <strong>of</strong> four volumes <strong>of</strong> works for<br />
piano alluding to, if not modeled upon the Mikrokosmos by Bela Bartok from earlier in<br />
147 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
the century. Of the full set, the first two volumes, each containing 12 works inspired by<br />
signs <strong>of</strong> the zodiac, are by far the most popular. While complete perforamnces <strong>of</strong> the<br />
one <strong>of</strong> the first two books, and even the first two volumes together, are common, it is<br />
rare for the full set <strong>of</strong> four to be performed.<br />
292. Ryo Noda (b. 1948), Improvisation III for Saxophone (1974): Here the Japanese-born<br />
composer draws on the style <strong>of</strong> traditional shakuhachi performance abd casts it for<br />
saxophone.<br />
293. Miton Babbitt (b. 1916), My Ends are My Beginnings for solo clarinet (1978)<br />
294. Fisher Aubrey Tull (1934-1994), Eight Pr<strong>of</strong>iles for Trumpet Solo (1980). Born, raised, trained,<br />
and careered in Texas, as a trumpeter Tull brings deep and personal understanding to<br />
these Pr<strong>of</strong>iles for Trumpet.<br />
295. Milton Babbitt (b. 1916), Solo e Duettini for 2 Guitars (1989)<br />
296. Ian Clarke (b. 1964), The Great Train Race : The Flute As You Don’t Usually Hear It Played<br />
(2002)<br />
297. Milton Babbitt (b. 1916), Swan Song no. 1 for flute, oboe, violin, cello, and two guitars<br />
(2003)<br />
298. George Hamilton Green and Bob Becker (Nexus), Triplets (c. 2005)<br />
299. George Hamilton Green and Bob Becker (Nexus) , Amazing Space (c. 2005)<br />
300. Vitaly Buyanovsky, Four Inpressions from Travelling for Horn, Espana (2007)<br />
301. Margot Leverett, Doina (2007 in traditional style): This music is from the Ashkenazi Jewish<br />
traditions <strong>of</strong> Eastern Europe. Here the artist records a traditional Doina, a melancholictype<br />
improvisational work typical to Rumania and later associated with the Roma: it is<br />
sometimes called a Rumanian Blues. These works are recorded on Art <strong>of</strong> Klezmer Clarinet<br />
(2007)<br />
148 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
302. William Cahn (b. 1946), Nara for solo percussion (c. 2009) I- Todaiji-The Hall <strong>of</strong> the Great<br />
Buddha<br />
303. William Cahn (b. 1946), The Birds for Percussion (c. 2009)<br />
304. Gabriel Pierne (1863-1937), Impromptu-Caprice in Ab major for harp, op. 9<br />
305. Joaquin Turina (1882-1948), Fandanguillo, op. 36<br />
306. Federico Torroba (1891-1982), Suite castellana for guitar<br />
307. John D. White (1910-1949), Recitative and Presto for Saxophone Alone<br />
308. Tom Bergeron, Saxalone 3, “Rubber Waltz” for Solo Saxophone<br />
309. Roger Bobo (b. 1938), Capriccio for Solo Tuba<br />
310. S<strong>of</strong>ia Gubaidulina (b. 1931), Chaconne for solo piano (1962)<br />
311. R(aymond) Murray Schafer (b. 1933), Wolf Project (on-going)<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Atonality<br />
Post-Romanticism<br />
Neoclassicism<br />
Inspressionism<br />
Symbolism.<br />
Aleatoricism<br />
Environmental <strong>Music</strong><br />
Extended Technique<br />
Prepared Piano<br />
149 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
Modernity and New <strong>Music</strong> …<br />
PART 6:<br />
ABSOLUTE AND PROGRAMMATIC CHALLENGES FOR THE ORCHESTRA<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
312. Richard Strauss (1864-1949), Tod und Verklärung [Death and Transfiguration], Op. 24 (1888–<br />
89). An article regarding Strauss and his music may be found in the textbook.<br />
313. Claude Debussy (1860-1918), Prelude á “L’Après-midi d’un faune” [Prelude to “An Afternoon<br />
<strong>of</strong> a Faune”] (music 1894; ballet production 1913): Inspired by Stephane Mallarmé’s<br />
exotic and intoxicating poem, this scrumptuous orchestral piece – nearly a tone poem,<br />
but not so literally descriptive – for full orchestra is <strong>of</strong>ten considered by musicologists to<br />
mark the beginning <strong>of</strong> modernism in music: "the flute <strong>of</strong> the faun brought new breath<br />
to the art <strong>of</strong> music” (conductor Pierre Boulez). It is reported that Mallarmé, however,<br />
was not pleased with his poem being translated into music feeling his own “music” to be<br />
sufficeint, “that even with the best intentions in the world, it was a veritable crime as far<br />
as poetry was concerned to juxtapose poetry and music, even if it were the finest music<br />
there is" (Paul Valéry).<br />
These nymphs I would perpetuate.<br />
So clear<br />
Their light carnation, that it floats in the air<br />
Heavy with tufted slumbers.<br />
Was it a dream I loved?<br />
My doubt, a heap <strong>of</strong> ancient night, is finishing<br />
In many a subtle branch, which, left the true<br />
Wood itself, proves, alas! that all alone I gave<br />
Myself for triumph the ideal sin <strong>of</strong> roses.<br />
Let me reflect<br />
. . .if the girls <strong>of</strong> which you tell<br />
Figure a wish <strong>of</strong> your fabulous senses!<br />
Faun, the illusion escapes from the blue eyes<br />
And cold, like a spring in tears, <strong>of</strong> the chaster one:<br />
But, the other, all sighs, do you say she contrasts<br />
Like a breeze <strong>of</strong> hot day in your fleece!<br />
But no! through the still, weary faintness<br />
Choking with heat the fresh morn if it strives,<br />
No water murmurs but what my flute pours<br />
On the chord sprinkled thicket; and the sole wind<br />
Prompt to exhale from my two pipes, before<br />
It scatters the sound in a waterless shower,<br />
Is, on the horizon's unwrinkled space,<br />
The visible serene artificial breath<br />
Of inspiration, which regains the sky.<br />
Oh you, Sicilian shores <strong>of</strong> a calm marsh<br />
That more than the suns my vanity havocs,<br />
Silent beneath the flowers <strong>of</strong> sparks, RELATE<br />
"That here I was cutting the hollow reeds tamed<br />
By talent, when on the dull gold <strong>of</strong> the distant<br />
Verdures dedicating their vines to the springs,<br />
There waves an animal whiteness at rest:<br />
And that to the prelude where the pipes first stir<br />
This flight <strong>of</strong> swans, no! Naiads, flies<br />
Or plunges . . ."<br />
Inert, all burns in the fierce hour<br />
Nor marks by what art all at once bolted<br />
Too much hymen desired by who seeks the Ia:<br />
Then shall I awake to the primitive fervour,<br />
Straight and alone, 'neath antique floods <strong>of</strong> light,<br />
Lilies and one <strong>of</strong> you all through my ingenuousness.<br />
As well as this sweet nothing their lips purr,<br />
The kiss, which a hush assures <strong>of</strong> the perfid ones,<br />
My breast, though pro<strong>of</strong>less, still attests a bite<br />
Mysterious, due to some august tooth;<br />
But enough! for confidant such mystery chose<br />
The great double reed which one plays 'neath the blue:<br />
Which, the cheek's trouble turning to itself<br />
Dreams, in a solo long, we might amuse<br />
Surrounding beauties by confusions false<br />
Between themselves and our credulous song;<br />
And to make, just as high as love modulates,<br />
150 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Die out <strong>of</strong> the everyday dream <strong>of</strong> a back<br />
Or a pure flank followed by my curtained eyes,<br />
An empty, sonorous, monotonous line.<br />
Try then, instrument <strong>of</strong> flights, oh malign<br />
Syrinx, to reflower by the lakes where you wait for me!<br />
I, proud <strong>of</strong> my rumour, for long I will talk<br />
Of goddesses; and by picturings idolatrous,<br />
From their shades unloose yet more <strong>of</strong> their girdles:<br />
So when <strong>of</strong> grapes the clearness I've sucked,<br />
To banish regret by my ruse disavowed,<br />
Laughing, I lift the empty bunch to the sky,<br />
Blowing into its luminous skins and athirst<br />
To be drunk, till the evening I keep looking through.<br />
Oh nymphs, we diverse MEMORIES refill.<br />
"My eye, piercing the reeds, shot at each immortal<br />
Neck, which drowned its burning in the wave<br />
With a cry <strong>of</strong> rage to the forest sky;<br />
And the splendid bath <strong>of</strong> their hair disappears<br />
In the shimmer and shuddering, oh diamonds!<br />
I run, when, there at my feet, enlaced. Lie (hurt by the languor they<br />
taste to be two)<br />
Girls sleeping amid their own casual arms; them I seize, and not<br />
disentangling them, fly<br />
To this thicket, hated by the frivilous shade,<br />
Of roses drying up their scent in the sun<br />
Where our delight may be like the day sun-consumed."<br />
I adore it, the anger <strong>of</strong> virgins, the wild<br />
Delight <strong>of</strong> the sacred nude burden which slips<br />
To escape from my hot lips drinking, as lightning<br />
Flashes! the secret terror <strong>of</strong> the flesh:<br />
From the feet <strong>of</strong> the cruel one to the heart <strong>of</strong> the timid<br />
Who together lose an innocence, humid<br />
Translation from French by Roger Fry<br />
http://www.angelfire.com/art/doit/mallarme.html, accessed 2 August 2010<br />
Modernity and New <strong>Music</strong> …<br />
With wild tears or less sorrowful vapours.<br />
"My crime is that I, gay at conquering the treacherous<br />
Fears, the dishevelled tangle divided<br />
Of kisses, the gods kept so well commingled;<br />
For before I could stifle my fiery laughter<br />
In the happy recesses <strong>of</strong> one (while I kept<br />
With a finger alone, that her feathery whiteness<br />
Should be dyed by her sister's kindling desire,<br />
The younger one, naive and without a blush)<br />
When from my arms, undone by vague failing,<br />
This pities the sob wherewith I was still drunk."<br />
Ah well, towards happiness others will lead me<br />
With their tresses knotted to the horns <strong>of</strong> my brow:<br />
You know, my passion, that purple and just ripe,<br />
The pomegranates burst and murmur with bees;<br />
And our blood, aflame for her who will take it,<br />
Flows for all the eternal swarm <strong>of</strong> desire.<br />
At the hour when this wood's dyed with gold and with ashes<br />
A festival glows in the leafage extinguished:<br />
Etna! 'tis amid you, visited by Venus<br />
On your lava fields placing her candid feet,<br />
When a sad stillness thunders wherein the flame dies.<br />
I hold the queen!<br />
O penalty sure . . .<br />
No, but the soul<br />
Void <strong>of</strong> word and my body weighed down<br />
Succumb in the end to midday's proud silence:<br />
No more, I must sleep, forgetting the outrage,<br />
On the thirsty sand lying, and as I delight<br />
Open my mouth to wine's potent star!<br />
Adieu, both! I shall see the shade you became<br />
314. Richard Strauss (1864-1949), Till Eulenspiegels lustige Streiche [Till Eulenspiegel's Merry Pranks],<br />
Op. 28 (1895)<br />
315. Richard Strauss (1864-1949), Also sprach Zarathustra [Thus Spoke Zarathustra], Op. 30 (1896)<br />
316. Claude-Achilles Debussy (1862-1918), La mer, trois esquisses symphoniques pour orchestre [The<br />
sea, three symphonic sketches for orchestra] (1905)<br />
(3) Dialogue du vent et de la mer [Dialogue between the wind and the waves]<br />
317. Sergei [Vasilievich] Rachmaninov (1873-1943), Isle <strong>of</strong> the Dead, op. 29 (1908).<br />
Eventhough written in the 20th century by a fairly young Rachmaninov on a progressive<br />
topic, the work is viewed more as a work <strong>of</strong> late romanticism than a work <strong>of</strong> the modern<br />
era. Rachmaninov was inspired by Arnold Böcklin's painting <strong>of</strong> the same name which he<br />
had seen displayed at the salons in Paris the previous year,<br />
318. Arnold Schoenberg (1874-1951), Fünf Orchesterstücke [5 Pieces for Orchestra], Op. 16 (1909)<br />
(3) "Farben", Mässig. [Colors, moderate]<br />
151 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
319. Charles Ives (1874-1954), Three Places in New England, Orchestral Suite no. 1 (1914). An<br />
article on Ives and his music may be found in the textbook.<br />
II. Putnam’s Camp, Redding, Connecticutt<br />
320. Gustav Holst (1874-1934), The Planets Suite, op. 32 (1916)<br />
321. Maurice Ravel (1875-1937), La valse, un poème chorégraphique (1920)<br />
322. Ottorino Respighi (1879-1936), Fontane di Roma [Fountains <strong>of</strong> Rome] (1916)<br />
323. Arthur Honegger (1892-1955), Pacific 231 (1923): a tone poem, the first <strong>of</strong> a series <strong>of</strong><br />
three Mouvements symphoniques, depicts the action <strong>of</strong> a Pacific 462 locomotive steam<br />
engine travelling between stations. In 1949 the tone poem was used as the backdrop for<br />
an otherwise silent film, a film which was highly acclaimed for its amazing footage <strong>of</strong> the<br />
locomotive engine in action.<br />
324. Ottorino Respighi (1879-1936), Pini di Roma [Pines <strong>of</strong> Rome] (1924)<br />
(4) Pini di Via Appia (Pines <strong>of</strong> the Appian Way)<br />
325. Ottorino Respighi (1879-1936), Trittico Botticelliano (1927)<br />
326. George Gershwin (1898-1937), An American in Paris (1928)<br />
327. Anton Webern (1883-1945), 6 Pieces for Large Orchestra (1928). An article regarding Webern<br />
and his music may be found in the textbook<br />
328. Sergei [Vasilievich] Rachmaninov (1873-1943), Symphonic Dances, op, 45 (1940)<br />
329. John Milton Cage, Jr. (1912-1992), Atlas Eclipticalis (1961): the score for this full<br />
orchestral work was created by overlaying a large sheet <strong>of</strong> staff paper with a star atlas<br />
from the work <strong>of</strong> Czech astronomer Antonín Bečvář. Various views <strong>of</strong> the night sky<br />
across the equator are rendered in sound by full orchestra in untimed performances.<br />
152 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
330. Leonard Bernstein (1918-1990), Halil, nocturne for Solo Flute, Piccolo, Alto Flute, Percussion,<br />
Harp and Strings (1981). The criticially acclaimed work by Bernstein speaks <strong>of</strong> the<br />
destruction <strong>of</strong> the 1973 Yom Kippur War.<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Atonality<br />
Post-Romanticism<br />
Neoclassicism<br />
Inspressionism<br />
Symbolism.<br />
Aleatoricism<br />
Environmental <strong>Music</strong><br />
Extended Technique<br />
Prepared Piano<br />
Polytonality<br />
Klangfarbenmelodie<br />
Pointillism<br />
153 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
PART 7:<br />
CONTEMPORARY VOICE FOR MODERN SONG<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
331. Gustav Mahler, Lieder aus “Das Knaben Wunderhorn” [Songs from “The Youth’s Magic Horn”<br />
(cornucopia)] (1899): a collection (not a cycle) <strong>of</strong> twelve settings for voice and orchestra<br />
<strong>of</strong> poems from the poetic collection by the same name <strong>of</strong> German folk poems edited by<br />
Achim von Arnim and Clemens Brentano (1805-1808).<br />
(1) Der Schildwache Nachtlied [The Sentinel's Nightsong]<br />
(5) Das irdische Leben [The Earthly Life]<br />
(6) Des Antonius von Padua Fischpredigt [St. Anthony <strong>of</strong> Padua's Sermon to the Fish]<br />
332. Arnold Schoenberg (1874-1951), Dreimal sieben Gedichte aus Albert Girauds 'Pierrot lunaire',<br />
[Three Times Seven Poems from Albert Giraud's 'Pierrot lunaire'], op. 21 (1912): Melodrama in<br />
21 movements on selected poems from Otto Erich Hartleben's German translation <strong>of</strong><br />
Albert Giraud's cycle <strong>of</strong> French poems <strong>of</strong> the same name for flute, clarinet, violin, cello,<br />
piano, and singer. The poems are half narrated, half sung using Sprechtstimme.<br />
(1) Mondestrunken (Moon-drunk)<br />
Den Wein, den man mit Augen trinkt,<br />
Gießt Nachts der Mond in Wogen nieder,<br />
Und eine Springflut überschwemmt<br />
Den stillen Horizont.<br />
Gelüste schauerlich und süß,<br />
Durchschwimmen ohne Zahl die Fluten!<br />
Den Wein, den man mit Augen trinkt,<br />
The wine we drink through the eyes<br />
The moon pours down at night in waves,<br />
And a flood tide overflows<br />
The silent horizon.<br />
Longings beyond number, gruesome sweet<br />
frissons, Swim through the flood.<br />
The wine we drink through the eyes<br />
154 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Gießt Nachts der Mond in Wogen nieder.<br />
Der Dichter, den die Andacht treibt,<br />
Berauscht sich an dem heilgen Tranke,<br />
Gen Himmel wendet er verzückt<br />
Das Haupt und taumelnd saugt und schlürft er<br />
Den Wein, den man mit Augen trinkt.<br />
(7) Der kranke Mond (The Sick Moon)<br />
Du nächtig todeskranker Mond<br />
Dort auf des Himmels schwarzem Pfühl,<br />
Dein Blick, so fiebernd übergroß,<br />
Bannt mich wie fremde Melodie.<br />
An unstillbarem Liebesleid<br />
Stirbst du, an Sehnsucht, tief erstickt,<br />
Du nächtig todeskranker Mond<br />
Dort auf des Himmels schwarzem Pfühl.<br />
Den Liebsten, der im Sinnenrausch<br />
Gedankenlos zur Liebsten schleicht,<br />
Belustigt deiner Strahlen Spiel -<br />
Dein bleiches, qualgebornes Blut,<br />
Du nächtig todeskranker Mond.<br />
(19) Der Mondfleck (The Moonfleck)<br />
Einen weißen Fleck des hellen Mondes<br />
Auf dem Rücken seines schwarzen Rockes,<br />
So spaziert Pierrot im lauen Abend,<br />
Aufzusuchen Glück und Abenteuer.<br />
Plötzlich stört ihn was an seinem Anzug,<br />
Er beschaut sich rings und findet richtig -<br />
Einen weißen Fleck des hellen Mondes<br />
Auf dem Rücken seines schwarzen Rockes.<br />
Warte! denkt er: das ist so ein Gipsleck!<br />
Wischt und wischt, doch - bringt ihn nicht herunter!<br />
Und so geht er, giftgeschwollen, weiter,<br />
Reibt und reibt bis an den frühen Morgen -<br />
Einen weißen Fleck des hellen Mondes.<br />
Modernity and New <strong>Music</strong> …<br />
The moon pours down at night in waves.<br />
The poet, slave to devotion,<br />
Drunk on the sacred liquor,<br />
Enraptured, turns his face to Heaven<br />
And staggering sucks and slurps<br />
The wine we drink through the eyes.<br />
You dark moon, deathly ill,<br />
Laid over heaven's sable pillow,<br />
Your fever-swollen gaze<br />
Enchants me like alien melody.<br />
You die <strong>of</strong> insatiable pangs <strong>of</strong> love,<br />
Suffocated in longing,<br />
You dark moon, deathly ill,<br />
Laid over heaven's sable pillow.<br />
The hotblooded lover<br />
Slinking heedless to the tryst<br />
You hearten with your play <strong>of</strong> light,<br />
Your pale blood wrung from torment,<br />
You dark moon, deathly ill.<br />
A white fleck <strong>of</strong> bright moon<br />
On the back <strong>of</strong> his black coat,<br />
Pierrot sets <strong>of</strong>f one balmy evening,<br />
To seek his fortune.<br />
Suddenly something's awry in his toilette;<br />
He casts about until he finds it-<br />
A white fleck <strong>of</strong> bright moon<br />
On the back <strong>of</strong> his black coat.<br />
Drat! he thinks: a fleck <strong>of</strong> plaster!<br />
Wipes and wipes, but-can't get it <strong>of</strong>f!<br />
So on he goes, his pleasure poisoned,<br />
Till break <strong>of</strong> day, rubbing and rbbing<br />
A white fleck <strong>of</strong> bright moon.<br />
http://www.recmusic.org/lieder/get_text.html?TextId=19386 , accessed 2 August 2010<br />
155 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
333. Bessie Smith (1894-1937), St. Louis Blues (1925)<br />
Modernity and New <strong>Music</strong> …<br />
334. Samuel Barber (1910-1981), Knoxville: Summer <strong>of</strong> 1915 (1947): A solo cantata for singer<br />
(usually soprano but may also be tenor) and orchestra setting a portion <strong>of</strong> two texts by<br />
James Agee: his essay "Knoxville" and the introduction to his Pulitzer Prize-winning<br />
posthumous novel, A Death in the Family.<br />
335. Arnold Schoenberg (1874-1951), A Survivor from Warsaw, op. 46 (1947): A singlemovement<br />
work for narrator, men’s chorus, and orchestra no commemorate the Jewish<br />
victims <strong>of</strong> the Holocaust<br />
Shema Yisrael Adonai Eloheinu Adonai Echad (Hear, O Israel: the Lord is our God, the Lord is One)<br />
Impress them on your children. Talk about them when you sit at home and when<br />
you walk along the road, when you lie down and when you get up. (Deuteronomy 6:7)<br />
336. Dmitri Dmitriyevich Shostakovich (1906-1975), From Jewish Folk Poetry, opus 79 (1948), a<br />
song cycle for soprano, mezzo-soprano, tenor and piano setting poetic texts – but not<br />
melodies – in a collection <strong>of</strong> Jewish folk songs compiled by I. Dobrushin and A.<br />
Yupoeticditsky, edited by Y. M. Sokolov (Goslitizdat, 1947). Due to Shostakovich’s<br />
recent sensorship by soviet authorities, the premier was delayed until 1955 and was<br />
controversial at that time.<br />
337. Aaron Copland (1900-1990), Old American Songs (1952): Two sets <strong>of</strong> traditional folk songs<br />
(five songs each) set for baritone and piano, later voice and orchestra<br />
“I Bought Me a Cat”<br />
338. Billie Holiday (1915-1959), The Lady Sings the Blues (1956, Clef MGC 721 / Verve MV<br />
1947): the last <strong>of</strong> her recorded songs which she also wrote<br />
339. John Lennon (1940-1980), A Hard Day’s Night (1964, for soundtrack <strong>of</strong> movie A Hard<br />
Day’s Night)<br />
340. Sir James Paul McCartney, MBE (b. 1942), Yesterday (1965, Help!)<br />
156 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
Modernity and New <strong>Music</strong> …<br />
341. Jimi Hendrix (1942-1970), Purple Haze (1966/67 by The Jimi Hendrix Project, solo release)<br />
342. Lucius Venable “Lucky” Milinder (1910-1966), Trouble In Mind (1941)<br />
343. The Marcels [Cornelius Harp, Fred Johnson, Gene Bricker, Ron Mundy, and Richard<br />
Knauss], Blue Moon (1961)<br />
344. Aretha Franklin (b. 1942), Respect (1967)<br />
345. George Crumb (b. 1929), Ancient Voices <strong>of</strong> Children: A Cycle <strong>of</strong> Songs on Texts by Federico García<br />
Lorca (1970): song cycle for mezzo-soprano who in addition to traditional singing aslos<br />
sings purely phonetic sounds into an amplified piano where the piano’s string<br />
reverberate sympathetically with the singer, boy soprano moving from <strong>of</strong>f- to on-stage,<br />
oboe, mandolin, harp, amplified piano (and toy piano), and percussion (three players)<br />
including prayer stones, Japanese temple bells, and a musical saw, All the performers<br />
are also asked to speak, whisper, or yell at times.<br />
(1) El Niño Busca Su Voz<br />
346. Bob Marley (1945-1981), Is This Love ? (1978, Kaya, with The Wailers)<br />
347. Joseph Schwantner (b. 1943), Black Anemones (1980): A setting for soprano and piano <strong>of</strong><br />
one <strong>of</strong> two poems by the Colombian-American surrealist poet Agueda Pizarro in English<br />
translation by Barbara Stoler Miller.<br />
348. Eric B [Eric Barrier] (b. 1965)., Rakim Allah [William Michael Griffin, Jr.] (b. 1968), Follow<br />
the Leader (1988)<br />
349. Kurt Cobain (1967-1994), Lithium (1991, Nevermind, Nirvana)<br />
<strong>Music</strong>al Terms in association with this time period:<br />
Expressionism<br />
Sprechstimme<br />
157 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
PART 8:<br />
ELECTRONIC REVOLUTION<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
350. Bülent Arel (1919-1990), <strong>Music</strong> for a Sacred Service: Postlude (1961): originally for<br />
composed for electronic tones on magnetic tape.<br />
351. Daria Semegen (b. 1946), Electronic Composition No. 1 (1971): considered by the composer<br />
to have been “realized” rather than “composed” despite the title.<br />
352. Alan Lamb (b. 1944), Journey on the Winds <strong>of</strong> Time (1987/8): here the composer creates a<br />
work <strong>of</strong> music from prerecorded sound. The recorded sounds are those <strong>of</strong> wind singing<br />
through abandoned telegraph wires in the Australian Outback. The original recordings<br />
caught the interest <strong>of</strong> the sound engenieers completing the soundtrack <strong>of</strong> the original<br />
Star Wars movie.<br />
353. Hildegard Westerkamp (b. 1946): Gently Penetrating Beneath the Sounding Surfaces <strong>of</strong> Another<br />
Place (1997) for two-channel tape. The work is both composition and documentary<br />
employing recorded sounds from New Delhi in 1992.<br />
158 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
MODERNITY AND NEW <strong>MUS</strong>IC<br />
(1890 CE-PRESENT)<br />
PART 9:<br />
<strong>MUS</strong>IC FOR MEDIA<br />
<strong>Music</strong> heard in class is drawn from the following:<br />
Modernity and New <strong>Music</strong> …<br />
354. George Antheil (1900-1959), Ballet Mécanique (1924): a collaborative film project from the<br />
filmmakers Fernand Léger and Dudley Murphy. The use <strong>of</strong> the score to accompany the<br />
film was never realized in the composer’s life time. It was not unil 1990 when the two<br />
works, film and score, were experienced together. The ballet <strong>of</strong> the film was <strong>of</strong><br />
mechanical instruments and for this Antheil included parts for player pianos, airplane<br />
propellers, and electric bells. The instrumentation is used to produce a dramatic,<br />
futuristic, percussive score.<br />
355. Harold Arlen (1905-1986), Wizard <strong>of</strong> Oz (1939)<br />
356. Leonard Bernstein (1918-1990), On the Waterfront (1954)<br />
357. Jerry Bock (b. 1928) and John Williams (b. 1932), Fiddler on the Ro<strong>of</strong> (film 1971)<br />
358. John Williams (b. 1932), Close Encounters <strong>of</strong> the Third Kind (1977)<br />
359. John Williams (b. 1932), Star Wars Double Trilogy (1977-1983, 1999-2005)<br />
360. John Williams (b. 1932), Indiana Jones Tetrology (1981, 1984, 1989, 2008)<br />
361. Alan Menken (b. 1949) and Howard Ashman(1950-1991), Beauty and the Beast (1991)<br />
362. Alan Menken (b. 1949) and Stephen Schwartz (b. 1948), Pocahontas (1995)<br />
363. Hans Zimmer (b. 1957), Gladiator (2000)<br />
364. John Williams (b. 1932), Harry Potter and the Philosopher’s Stone (2001)<br />
365. Howard Shore (b. 1946), Lord <strong>of</strong> the Rings Trilogy (2001-2003)<br />
366. Hans Zimmer (b. 1957), Pirates <strong>of</strong> the Caribean: The Curse <strong>of</strong> the Back Pearl (2003)<br />
367. Hans Zimmer (b. 1957), Last Samurai (2003)<br />
368. Harry Gregson-Williams (b. 1961), Kingdon <strong>of</strong> Heaven (2005)<br />
369. Patick Doyle (b. 1953), Harry Potter and the Goblet <strong>of</strong> Fire (2005)<br />
370. Hans Zimmer (b. 1957), Angels and Demons (2009)<br />
371. John Williams (b. 1932), War Horse (2012)<br />
159 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
EXAM REVIEW<br />
<strong>MUS</strong> <strong>115</strong><br />
Exam Review …<br />
Your best course <strong>of</strong> action regarding review for the exams is to stay on top <strong>of</strong> the listening<br />
throughout the term and to take fastidious notes while (or immediately after) your listening – I’ll be<br />
specific in a moment. Likewise – and I really can’t say this enough – your review for the exams (and<br />
your success on the exams) will be much greater if you are attending class regularly, and really doing<br />
all it takes to stay engaged with the class discussion – again, I’ll explain why in a moment!<br />
SEE PAGE 8 FOR DETAILS AND CONTENT OF EXAMINATIONS<br />
The majority <strong>of</strong> the exam will be based on listening. Here is an example <strong>of</strong> the listening-type<br />
questions you might expect to see on the final exam.<br />
~ The following work is composed <strong>of</strong> parallel harmonies and “watercolour” timbres.<br />
This work might be said to belong to which arts-related OR literary movement? _________<br />
For extra marks give the composer and/or title <strong>of</strong> the work: ________________________<br />
~ The following work is in a style popular in Venice in the early Baroque period.<br />
Which most accurately describes the style <strong>of</strong> this work:<br />
monophony, homophony, or antiphony? (please circle)<br />
Name the family <strong>of</strong> instruments featured in this work: _____________________________<br />
For extra marks give the composer and/or title <strong>of</strong> the work: ________________________<br />
What you would expect for each <strong>of</strong> these questions, 1-3 minutes <strong>of</strong> music would be played – the<br />
musical example will always be a work we have discussed in class or based on your weekly study at<br />
home – and from that musical excerpt you would answer the questions. Additionally, if you can give<br />
the exact name <strong>of</strong> the work played or its composer, you would be awarded one bonus point each.<br />
As you can see you will need to have given careful consideration <strong>of</strong> the many aspects <strong>of</strong> each piece<br />
heard in class in order to be very successful on these types <strong>of</strong> questions.<br />
160 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
My recommendation is thus:<br />
Take careful notes on any work discussed in class.<br />
Exam Review …<br />
Listen to any work that is easily found on-line (not all can be found) again at home in the<br />
first few days after class.<br />
Now … I would use index cards, but how you do this is up to you … when you listen to<br />
each work, jot down what you notice about the piece – the kinds <strong>of</strong> instruments, the type <strong>of</strong><br />
motion, the sense <strong>of</strong> the harmony, the emotion, any special technique you think might be<br />
ging on. After listening, put down a few notes about the composer, the time period, the<br />
style, any related arts movements – this might be the “book learning” and “lecture notes”<br />
from class. Make sure you include a note about where you found the piece (the website) so<br />
you can get back there easily. Keep these notes all together for easy review later on – this is<br />
why I LOVE index cards!<br />
Try to listen to each work a second time later in the week so that you can become even more<br />
familiar with it.<br />
I will do my level-best not to throw any curve balls.<br />
We won’t listen to every work on this list in class, so at the end <strong>of</strong> each section, I will tell you<br />
that you can disregard certain numbers for the purposes <strong>of</strong> the final exam (I won’t, however,<br />
repeat this information at later classes, so you have to be there when I give that information<br />
to get it – or buy a friend c<strong>of</strong>fee in exchange for the information).<br />
If I say that you will want to know “this” for the final exam, I mean it and you should take<br />
good notes on that at the time (again, I won’t be repeating that information at a later class,<br />
so again you need to be there to get it).<br />
161 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>
… Wokring Chart <strong>of</strong> Eras and Epochs<br />
Chart <strong>of</strong> Major Epochs, Eras, and Periods <strong>of</strong> <strong>Western</strong> <strong>Music</strong><br />
Approximate<br />
Date Range Known as ⁄ Submovements,<br />
Common Practice Period<br />
Representative Composers, Styles,<br />
Instruments, and Locations<br />
162 <strong>MUS</strong> <strong>115</strong>, Course Handout, Fall 2012<br />
<strong>Mary</strong> C. J. <strong>Byrne</strong>, Ph. D.<br />
Camosun College/Victoria Conservatory <strong>of</strong> <strong>Music</strong>