Aab Form in Music
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The Descending Diminished 7Ths in the Brass in the Intro
VCFA TALK ON ELLINGTON COMPOSITION TECHNIQUES FEB.2017 A.JAFFE 1.) Clarinet Lament [1936] (New Orleans references) https://www.youtube.com/watch?v=FS92-mCewJ4 (3:14) Compositional Techniques: ABC ‘dialectical’ Sonata/Allegro type of form; where C = elements of A + B combined; Diminution (the way in which the “Basin St. Blues” chord progression is presented in shorter rhythmic values each time it appears); play chord progression Quoting with a purpose (aka ‘signifying’ – see also Henry Louis Gates) 2.) Lightnin’ [1932] (‘Chorus’ form); reliance on distinctively individual voices (like “Tricky Sam” Nanton on trombone) – importance of the compositional uses of such voices who were acquired by Duke by accretion were an important element of his ‘sonic signature’ – the opposite of classical music where sonic conformity in sound is more the rule in choosing players for ensembles. https://www.youtube.com/watch?v=3XlcWbmQYmA (3:07) Techniques: It’s all about the minor third (see also discussion of “Tone Parallel to Harlem”) Motivic Development (in this case the minor 3rd; both harmonically and melodically pervasive) The descending diminished 7ths in the Brass in the Intro: The ascending minor third motif of the theme: The extended (“b9”) background harmony in the Saxophones, reiterating the diminished 7th chord from the introduction: Harmonic AND melodic implications of the motif Early use of the octatonic scale (implied at the modulation -- @ 2:29): Delay of resolution to the tonic chord until ms. 31 of 32 bar form (prefigures Monk, “Ask Me Now”, among others, but decades earlier). 3.) KoKo [1940]; A tour de force of motivic development, in this case rhythmic; speculated to be related to Beethoven’s 5th (Rattenbury, p. -
Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set). -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
MTO 23.3: De Clercq, Embracing Ambiguity in Pop/Rock Form
Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991 Trevor de Clercq KEYWORDS: Form, popular music, rock music, verse, chorus, bridge ABSTRACT: A central concern for theories of form in pop/rock music is the division of a song into sections and, consequently, the categorization of these sections according to a standard set of section labels. Psychological research on categorization shows that it is inherently a perceptual process, one that involves graded membership and fuzzy boundaries. Thus in contrast to prior theorists, who often a2empt to minimi/e ambiguity in the analysis of form in pop/rock music, I confront ambiguity directly, organi/ing and describing many of the common types encountered. I focus e4clusively on the time period 198 –1991, 1hen verse5chorus form can be considered to have achieved 1idespread currency. After providing an illustrative e4emplar, I discuss three types of ambiguity common to this decade, each based on the main section role involved: 16 verse ambiguity, 1hich typically derives from 1eak section di7erentiation8 6 chorus ambiguity, 1hich usually involves a blend of more than one section role8 and 36 bridge ambiguity, 1hich often results from di7erent hierarchical meanings of the bridge label. Received December 2016 :olume 23, Number 3, September 2017 Copyright © 2017 Society for Music Theory Introduction ?1.1] ,he analysis of form in pop/rock music traditionally involves partitioning a song into various discrete sections, such as verse, chorus, and bridge. Perhaps unsurprisingly, this process is not al1ays straightfor1ard, since t1o di7erent analysts sometimes provide t1o di7erent interpretations of the same song. -
6 Slides Per Page
9/16/2018 Outline • Musical forms Musical Form • Sonata allegro form • Example – Mozart Eine kleine Nachtmusik Module 2 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course September 2018 1 2 Musical Forms Musical Forms • The main point is not the specific form • Most common musical structure – The main point is that the music must be intelligible – Exposition – The listener • Introduce the main musical ideas should not • Tonic key get lost – Development • Explore implications of main ideas • Other keys – Recapitulation • Return to original ideas with sense of closure • Tonic key 3 4 Musical Forms Musical Forms • Some basic forms • Block structure common in “classical” period – Binary – AB • Haydn, Mozart, etc. • Common in dances, pop music (verse-chorus) • Organic development more common in “Baroque” period – Sonata allegro – AABA with B = development – Blocks correspond to keys • Best known form in Western music – Makes for easy listening • Chorus-verse-chorus in pop music • Still the standard today – Rondo – ABACA – Sonata Allegro form – Theme and variations is best known – Passacaglia/chaconne • 121 of Beatles’ 211 songs have more or less this form • Variations over repeating bass • For example, Richard Rogers’ Blue Moon 5 6 1 9/16/2018 Sonata Allegro Form Sonata Allegro Form • AABA structure – AA: Exposition, repeated • Main theme in tonic • Secondary theme in dominant Diagram of sonata allegro form – B: Development • Multiple keys, usually minor – A: Recapitulation • Main theme returns in tonic • Secondary theme in dominant I VV Various I VII – Many variations! keys 7 8 Sonata Allegro Form Example • Basic contradiction? • Mozart’s Eine kleine Nachtmusik (1787) – Secondary theme in recapitulation is in dominant key. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Troubadours NEW GROVE
Troubadours, trouvères. Lyric poets or poet-musicians of France in the 12th and 13th centuries. It is customary to describe as troubadours those poets who worked in the south of France and wrote in Provençal, the langue d’oc , whereas the trouvères worked in the north of France and wrote in French, the langue d’oil . I. Troubadour poetry 1. Introduction. The troubadours were the earliest and most significant exponents of the arts of music and poetry in medieval Western vernacular culture. Their influence spread throughout the Middle Ages and beyond into French (the trouvères, see §II below), German, Italian, Spanish, English and other European languages. The first centre of troubadour song seems to have been Poitiers, but the main area extended from the Atlantic coast south of Bordeaux in the west, to the Alps bordering on Italy in the east. There were also ‘schools’ of troubadours in northern Italy itself and in Catalonia. Their influence, of course, spread much more widely. Pillet and Carstens (1933) named 460 troubadours; about 2600 of their poems survive, with melodies for roughly one in ten. The principal troubadours include AIMERIC DE PEGUILHAN ( c1190–c1221), ARNAUT DANIEL ( fl c1180–95), ARNAUT DE MAREUIL ( fl c1195), BERNART DE VENTADORN ( fl c1147–70), BERTRAN DE BORN ( fl c1159–95; d 1215), Cerveri de Girona ( fl c1259–85), FOLQUET DE MARSEILLE ( fl c1178–95; d 1231), GAUCELM FAIDIT ( fl c1172–1203), GUILLAUME IX , Duke of Aquitaine (1071–1126), GIRAUT DE BORNELH ( fl c1162–99), GUIRAUT RIQUIER ( fl c1254–92), JAUFRE RUDEL ( fl c1125–48), MARCABRU ( fl c1130–49), PEIRE D ’ALVERNHE ( fl c1149–68; d 1215), PEIRE CARDENAL ( fl c1205–72), PEIRE VIDAL ( fl c1183–c1204), PEIROL ( c1188–c1222), RAIMBAUT D ’AURENGA ( c1147–73), RAIMBAUT DE VAQEIRAS ( fl c1180–1205), RAIMON DE MIRAVAL ( fl c1191–c1229) and Sordello ( fl c1220–69; d 1269). -
Classical Music
CONSEJERÍA DE EDUCACIÓN Dirección General de Participación e Innovación Educativa Identificación del material AICLE TÍTULO Classical Music NIVEL LINGÜÍSTICO A2.1 SEGÚN MCER IDIOMA Inglés ÁREA / MATERIA Música NÚCLEO TEMÁTICO Historia de la Música La unidad pretende introducir al alumnado en el conocimiento de la música del GUIÓN TEMÁTICO clasicismo, trabajando sus características principales, los géneros vocales e instrumentales de la época y los compositores más destacados. FORMATO Material didáctico en formato PDF CORRESPONDENCIA 2º de Educación Secundaria CURRICULAR AUTORÍA Almudena Viéitez Roldán TEMPORALIZACIÓN 6 sesiones. APROXIMADA Competencia lingüística: - Adquisición de vocabulario - Elaborar y formular preguntas al compañero - Discusión y puesta en común en voz alta de aspectos concretos del tema - Elaboración de textos - Lectura comprensiva COMPETENCIAS - Fomento de las destrezas orales BÁSICAS Competencia cultural y artística: - Conocimiento de música de otras épocas, inculcando una actitud de respeto hacia la misma Competencia para aprender a aprender: - Extraer características a partir de audiciones - Extraer información de textos y ordenarla cronológicamente - Establecer similitudes y diferencias entre diversos tipos de obras Se recomienda completar la unidad con la interpretación vocal o instrumental de OBSERVACIONES alguna pieza de música del clasicismo; también sería recomendable el visionado de un fragmento de alguna ópera clásica. Material AICLE. 2º de ESO: Classical Music 3 Tabla de programación AICLE - Comprender y expresarse en una o más lenguas extranjeras de manera apropiada - Conocer, valorar y respetar los aspectos básicos de la cultura y la historia propias y OBJETIVOS de los demás, así como el patrimonio artístico y cultural - Apreciar la creación artística y comprender el lenguaje de las distintas manifesta- ciones artísticas, utilizando diversos medios de expresión y representación CONTENIDOS Bloque 4: La música en la cultura y en la sociedad. -
Musical Analysis, Lesson 8: the Compound Forms
© 2010 Thomas Tapper − Reinier Maliepaard: The compound forms Musical analysis, lesson 8: The compound forms The simple song forms (Binary and Ternary) are frequently compounded. A familiar use of this is found in the Minuetto and Trio, the Scherzo and Trio, and like movements of the Sonata, as well as in independent forms. These compound forms are ternary, taken as a whole. This fact is illustrated in the sketch that follows: Minuetto−−−−−−−−−−−−−−−−−−−−−−Trio−−−−−−−−−−−−−−−−−−−−−−Minuetto Part I Part II Part I −−−−−−−−−−−−−−−Part I Part II −−−−−−−−−−−−−−−Part I Part II Part I A simple Ternary −−−−−−−−−−−−−A simple Binary −−−−−−−−−−−−−−−A simple Ternary A B A In this instance, two independent forms are present (Minuetto and Trio), but when played as directed by the D.C. mark at the end of the Trio (Da Capo = from the beginning), the first form is repeated and the effect becomes that of three forms. The fact that Nos. One and Three are alike, and that they are separated by the presence of the second, or middle form, produces the Ternary, or three−part structure. The student should examine all the Minuetto and Trio movements (or their equivalents) in the Sonatas of Beethoven, to gain a clear idea of the total effect of the compound form. Frequently, after the repeat of the first form, for example the Minuetto, a free Coda is added to round out the conclusion and to prevent the identical effect in conclusion that has already been used. In this case, the sequence of the parts becomes, for example: Minuetto − Trio − Minuetto (repeated) − Coda The presence of the Coda does not add a fourth independent part, but merely prolongs, or amplifies, the movement of which it forms an integral portion. -
An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists. Jerome Raymond Markoch Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Markoch, Jerome Raymond Jr, "An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists." (1995). LSU Historical Dissertations and Theses. 6030. https://digitalcommons.lsu.edu/gradschool_disstheses/6030 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality o f the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Musical Form
Musical Form Module 2 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course July 2017 1 Outline • Musical forms • Sonata allegro form • Example – Mozart C major piano sonata 2 Musical Forms • The main point is not the specific form – The main point is that the music must be intelligible – The listener should not get lost 3 Musical Forms • Some basic forms – Binary – AB • Common in dances – Sonata allegro – AABA with development • Best known form in Western music – Rondo – ABACA – Sonata rondo – ABA-C-ABA – Theme and variations – Passacaglia/chaconne • Variations over repeating bass • For example, Richard Rogers’ Blue Moon 4 Musical Forms • Most common musical structure – Exposition • Introduce the main musical ideas • Tonic key – Development • Explore implications of main ideas • Other keys – Recapitulation • Return to original ideas with sense of closure • Tonic key 5 Musical Forms • Block structure common in “classical” period • Haydn, Mozart, etc. • Organic development more common in “Baroque” period – Blocks correspond to keys – Makes for easy listening • Still the standard today – Sonata Allegro form is best known • 121 of Beatles’ 211 songs have AABA structure 6 Sonata Allegro Form • AABA structure – AA: Exposition, repeated • Main theme in tonic • Secondary theme in dominant – B: Development • Multiple keys, usually minor – A: Recapitulation • Main theme returns in tonic • Secondary theme in dominant – Many variations! 7 Sonata Allegro Form Diagram of sonata allegro form I V V Various I V I I keys 8 Sonata Allegro Form • Basic contradiction? – Secondary theme in recapitulation is in dominant key. – How to return to tonic? 9 Example • Mozart’s C major piano sonata (1788) – 1st movement (Allegro) – Learned by all piano students – Unusual solution of basic contradiction 10 Main theme in tonic key (I - C major) Exposition Modulation to V Tonic key, modulating to dominant. -
Musical Form and Analysis Music 160A
Musical Form and Analysis Music 160A General Landon, H.C. Robbins. Essays on the Viennese Classical Style: Gluck, Haydn, Mozart, Beethoven. London: Barrie and Rockliff, 1970. Larsen, Jens Peter. "Sonata Form Problems," Handel, Haydn, and the Viennese Classical Style," trans. Ulrich Krämer. Ann Arbor: UMI Research Press, 1988; 269-80; orig. "Sonatenform-Probleme," Festschrift Friedrich Blume. Kassel: Bärenreiter, 1963, 221-30. Ratner, Leonard. Classic Music. New York: Schirmer, 1980. ______. "Theories of Form: Some Changing Perspectives," Haydn Studies. New York: Norton, 1975, 347-51. Rosen, Charles. Sonata Forms. New York: Norton, 1980. ______. The Classical Style: Haydn, Mozart, Beethoven. New York, Norton, 1972. Webster, James. "Sonata Form," The New Grove's Dictionary of Music and Musicians, vol. 17, 497-508. Historical Theories Baker, Nancy K. "Heinrich Koch and the Theory of Melody," Journal of Music Theory 20 (1976), 1-48. ______. "Heinrich Koch's Description of the Symphony," Studi Musicali 9 (1980), 303-16. ______, trans. ed. Introductory Essay on Compositon: The Mechanical Rules of Melody. New Haven: Yale University Press, 1983. (see below, under Koch) Burnham, Scott. "The Role of Sonata Form in A. B. Marx's Theory of Form," Journal of Music Theory 33.2 (1989), 247-72. Kirnberger, Johann Philipp. The Art of Strict Musical Composition, trans. David Beach and Jurgen Thym. New Haven: Yale University Press, 1982, Volume 1, chapter 6 ("Harmonic Periods and Cadences"), 109-120; Volume 2, Part 1, chapter 4 ("Tempo, Meter, Rhythm"), 403-417. Koch, Heinrich Christoph. Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4, trans. Nancy K.