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Malin CU on the Weekend Slides Reflections on Musical Time Yonatan Malin Associate Professor, College of Music CU on the Weekend November 2020 Three parts 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton” Part 1: Musical Periods Bob Dylan, “Mr. Tambourine Man” (1965) Bob Dylan, “Mr. Tambourine Man” (1965) Hey, Mr. Tambourine Man play a song for me phrase a (no resolution) I’m not sleepy and there is no place I’m goin’ to Hey, Mr. Tambourine Man play a song for me phrase a’ (resolution) In the jingle jangle mornin’ I’ll come followin’ you. Musical Period phrase a (no resolution) phrase a’ (resolution) Measuring musical time • Beat = pulse that we feel • Measure = grouping of beats Bob Dylan, “Mr. Tambourine Man” (1965) Hey, Mr. Tambourine Man play a song for me phrase a: four measures I’m not sleepy and there is no place I’m goin’ to Hey, Mr. Tambourine Man play a song for me phrase a’: four measures In the jingle jangle mornin’ I’ll come followin’ you. Beethoven “Ode to Joy,” eight-measure period “Mr. Tambourine Man,” verse 1 Though I know that evenin's empire has returned into sand, Vanished from my hand, phrase a: 5 measures Left me blindly here to stand but still not sleeping. My weariness amazes me, I'm branded on my feet, I have no one to meet phrase a: 5 measures And the ancient empty street's too dead for dreaming. “Mr. Tambourine Man,” verse 4 Listen and count without the printed lyrics … phrase a: 8 measures Reflections on Musical Time 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton” Part 2: Endings and Postscripts Beethoven “Ode to Joy,” full theme Franz Schubert (1797-1828) Franz Schubert (1797-1828) The Winter’s Journey—Winterreise Cycle of 24 songs Last song: “The Hurdy-gurdy Man” (Der Leiermann) Schubert, “The Hurdy-gurdy Man,” verses 1 and 2 Drüben hinter’m Dorfe There beyond the village Steht ein Leiermann, Stands a hurdy-gurdy man, Und mit starren Fingern And with numb fingers Dreht er was er kann. He cranks as best he can. Barfuss auf dem Eise Barefoot on the ice Wankt er hin und her; He totters to and fro; Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty. Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty. Schubert, “The Hurdy-gurdy Man,” form Poem Music Verse 1 A Verse 2 B Verse 3 A Verse 4 B apparent ending Verse 5 C postscript Schubert, “The Hurdy-gurdy Man,” form Poem Music Verse 1 A Verse 2 B Verse 3 A Verse 4 B apparent ending Verse 5 C postscript Drüben hinter’m Dorfe There beyond the village Steht ein Leiermann, Stands a hurdy-gurdy man, 1 Und mit starren Fingern And with numb fingers Dreht er was er kann. He cranks as best he can. Barfuss auf dem Eise Barefoot on the ice Wankt er hin und her; He totters to and fro; 2 Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty. Keiner mag ihn hören, No one wants to listen, Keiner sieht ihn an; No one looks at him; 3 Und die Hunde knurren And the dogs snarl Um den alten Mann. Around the old man. Und er er lässt es gehen And he lets everything go on Alles, wie es will, as it will, 4 Dreht, und seine Leier Turns, and his hurdy-gurdy Steht ihm nimmer still. never stops. Drüben hinter’m Dorfe There beyond the village Steht ein Leiermann, Stands a hurdy-gurdy man, 1 Und mit starren Fingern And with numb fingers Dreht er was er kann. He cranks as best he can. Barfuss auf dem Eise Barefoot on the ice Wankt er hin und her; He totters to and fro; 2 Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty. Keiner mag ihn hören, No one wants to listen, Keiner sieht ihn an; No one looks at him; 3 Und die Hunde knurren And the dogs snarl Um den alten Mann. Around the old man. Und er er lässt es gehen And he lets everything go on Alles, wie es will, as it will, 4 Dreht, und seine Leier Turns, and his hurdy-gurdy Steht ihm nimmer still. never stops. Wunderlicher Alter, Strange old man, Soll ich mit dir gehen? Shall I go with you? 5 Willst zu meinen Liedern Will you grind your hurdy-gurdy Deine Leier drehn? to my songs? … Dreht, und seine Leier … Turns, and his hurdy-gurdy 4 Steht ihm nimmer still. never stops. WunderlicherWillst zu meinen Alter, Liedern StrangeWill you oldgrind man, your hurdy-gurdy Soll ich mit dir gehen? Shall I go with you? 5 Willst zu meinen Liedern Will you grind your hurdy-gurdy Deine Leier drehn? to my songs? Reflections on Musical Time 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton” Part 3: Continuity Free rhythm: Dave Tarras, Klezmer Clarinet Doina recorded in 1939 Available on “Dave Tarras Master of Klezmer Music Volume 1: 1929-49” Global Village CD105 measure: ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Musical Meter: interlocking pulse layers that guide our attention Meter with six pulse layers ● ● ● ● ● ● ● measure: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● HAMILTON by Lin-Manuel Miranda Opening number—verses 1 and 2 Leslie Odom Jr. as Aaron Burr Anthony Ramos Martinez as John Laurens Hamilton opening number: piano line in red cycle: ● ● ● bass line: ● ● ● ● measure: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Hamilton opening number: piano line + tapping pulse ● ● ● bass line: ● ● ● ● measure: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Hamilton opening number: piano line + snapping ● ● ● bass line: ● ● ● ● measure: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Hamilton opening number: piano line + rap ● ● ● bass line: ● ● ● ● measure: ● ● ● ● ● ● ● ● verbal ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● accents: beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Hamilton opening number: piano line + rap, verse 1 ● ● ● bass line: ● ● ● ● measure: ● ● ● ● ● ● ● ● verbal ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● accents: beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● orphan / whore providence / impoverished squalor / scholar Scottsman / dropped / for-gotten spot Hamilton, Opening Number. Original Cast Album. Hamilton’s entrance Hamilton, Opening Number. Original Cast Album. Interview of Lin-Manuel Miranda by Terry Gross On “Fresh Air” (NPR), June 29 2020 Reflections on musical analysis Thanks to Daphne Leong, Keith Waters, and David Meens for their perceptive feedback on an earlier version of this talk. Thanks to Nikolas Hunnicutt for filming..
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