DOCSLIB.ORG

Why Was I Not Made of Stone

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Why Was I Not Made of Stone Butler University Digital Commons @ Butler University Graduate Thesis Collection Graduate Scholarship 2020 Why was I not Made of Stone. Ian Callen Butler University Follow this and additional works at: https://digitalcommons.butler.edu/grtheses Part of the Music Commons Recommended Citation Callen, Ian, "Why was I not Made of Stone." (2020). Graduate Thesis Collection. 520. https://digitalcommons.butler.edu/grtheses/520 This Thesis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Graduate Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Why was I not made of Stone. for string orchestra by Ian Callen Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music in Composition in the School of Music Jordan College of the Arts, Butler University, Indianapolis, IN USA COMMITTEE Dr. Michael Schelle, chair/advisor _________________________________________ Dr. Nicholas Johnson (reader) _____________________________________________ Dr. Frank Felice (reader) _________________________________________________ Prof. Richard Clark (reader) _______________________________________________ Date (final approval): _________________Advisor ____________________________ Why was I not made of Stone. For String Orchestra Ian P. Callen 2019 Approximate Duration: 7:30 Program Note The original inspiration for this work came from Victor Hugo’s The Hunchback of Notre ​ Dame when Quasimodo asks the gargoyles on the cathedral “Why was I not made of stone like ​ thee?” as he watches Esmerelda ride off. This piece is an attempt to express the aspect of the human state contained in Quasimodo’s words. I found it to be difficult to describe in words, but Arthur Conan Doyle came close in The Lost World when he wrote: ​ ​ Some believe what separates men from animals is our ability to reason. Others say it’s language or romantic love, or opposable thumbs. Living here in this lost world, I’ve come to believe it is more than our biology. What truly makes us human is our unending search, our abiding desire for immortality. Quasimodo did not desire immortality, but rather invulnerability. I believe that this piece succeeds in communicating both the innate humanity in the futile search for a state of invulnerability and the intrinsic value and beauty of despair. It is neither optimistic or pessimistic but rides a fine line between the two without being nihilistic. The purpose of tragedy is not to provide some test of character, nor is it always the result of someone’s failure. Indeed, just like Quasimodo, sometimes tragedy simply is and one must try to bear it without the armor of the ​ ​ gargoyles of Notre Dame. Performance Notes ● Any ensemble that performs this piece should consist of a minimum of 16 players (4, 4, 3, 3, 2). ● The choral quality of this work is one of its central characteristics. The treatment of the ensemble as a choir of strings should be considered and reinforced at every level. ● The entire bow should be used for the final chord. If a player runs out of bow prematurely, they should not re-enter. Instead they should freeze in place and wait for the piece to end. Why was I not made of Stone. For String Orchestra Ian P. Callen b. 1995 Solemn. Defeated. A bit more settled. q=80 q=60 Violin I % 1 ∑ 34 ∑ ∑ 12 ∑ 1 ∑ 12 Violin II % 1 ∑ 34 ∑ ∑ 12 ∑ 1 ∑ 12 Viola 1 4 2 1 2 Α 1 ∑ 3 ∑ ∑ 1 ∑ 1 ∑ 1 Cello > 1 4 ≥ 2 1 2 1 ϖ 3 ϖ Œ ˙ ˙− 1 ϖ ˙ 1 ϖ 1 ο Ο Ε Contrabass > 1 4 ≥ 2 1 ˙ ˙ 2 1 ˙ ∀˙ 3 ϖ Œ ˙ ∀˙− 1 ϖ ˙ 1 1 ο Ο Ε 6 Vln. I 2 1 ≤ 2 % 1 ∑ 1 ∑ ∑ ∑ Ó ˙ w 1 p Vln. II 2 1 2 % 1 ∑ 1 ∑ ∑ ∑ ∑ Ó 1 Div. ˙ p Vla. N˙ Α 12 ∑ 1 Ó w 12 ˙ w ˙ #˙ ˙ ˙ w p P p Div. Vc. > 2 1 w 2 1 ϖ− 1 w w w w w 1 p P p Cb. > 2 œ ∀œ ˙ œ œ 1 ˙ œ œ w w w 2 1 1 #w 1 p P p © Ian Callen Music, 2019 2 Why was I not made of Stone. 14 12 b˙, œ ≥ ˙. Vln. I 2 5 2 ˙. #˙. 3 #˙. #œ Nœ 2 % 1 w. 3 Ó 3 3 1 P F f Vln. II 2 5 2 ≥˙. ˙. 3 2 % 1 3 3 3 #w w 1 #w. N˙ ˙. f Ptutti F Vla. ≥˙. ˙. w B 12 w. 35 ˙ ˙. 32 3 w 12 P F f (tutti) w≥ Vc. ? 2 w. 5 ˙ ˙. 2 3 2 1 ˙ ˙ b˙ 3 ˙ ˙. 3 ∑ ∑ 3 ∑ 1 F f P Cb. ? 2 5 2 ∑ ∑ 3 ∑ ∑ 2 1 #w. 3 ˙ ˙. 3 3 1 P F 21 18 Vln. I 2 w ˙ w w 5 1 2 % 1 . 3 ∑ Ó #˙. 1 #w 1 F P π Vln. II % 12 ˙ œ œ ˙ w b˙ ˙ w 35 Ó 1 12 ˙ œ œ ˙ ˙ w F P p π Vla. 2 bw. w. w 5 ˙. ˙ w œ 1 #w 2 B 1 Ó 3 1 1 F P p π ˙ w. ˙. ˙ w œ #w Vc. ? 2 w w. 5 1 2 1 3 1 1 F P p π Cb. ≥ ? 2 ∑ ∑ Ó 5 1 2 1 w 3 ˙. ˙ w œ 1 ˙ œ #œ 1 p π Why was I not made of Stone. 3 25 Moving. 24 q=80 ≥ Vln. I 2 ˙ 1 ˙ 2 1 2 Ó 5 % 1 #w 1 ˙ 1 w ˙ 1 w 1 w 3 F P p Vln. II 2 1 ≥ 2 1 2 5 % 1 1 w 1 w 1 1 #˙ 3 w ˙ ˙ w w , F P p Vla. ≥ B 12 w ˙ 1 w 12 w. 1 ˙ ˙ 12 w. 35 F Div. P ptutti #w ˙, w Vc. ? 2 1 ≥ 2 ˙ 1 ˙ ˙ 2 5 1 1 w 1 w. 1 w 1 w ˙ 3 F P p Cb. ≥ ? 2 #˙ ˙ 1 ˙ ˙ 2 1 2 ˙ 5 1 ˙ 1 1 w. 1 w 1 w 3 F P p rit. 33 Full. 29 q=60 Vln. I ˙ ≥ % 35 Œ 12 œ œ 1 w 12 #w 35 ˙ œ #œ 32 #œ ˙ œ #w #œ P f Vln. II ≥ 5 2 1 2 #˙ 5 ˙. #œ 2 % 3 #˙ ˙. 1 #w. 1 #w 1 œ œ œ œ 3 #œ 3 f P ≥ Vla. 5 2 1 2 ˙ 5 ˙. ˙ 2 B 3 1 1 1 3 3 #˙ ˙. w. w w tutti f ≥ PDiv. #˙ ˙ #˙. ˙ Vc. ? 5 ˙ ˙. 2 w 1 w 2 w 5 ˙. ˙ 2 3 ˙ ˙. 1 w 1 1 3 3 P f ≥ Cb. ? 5 2 ˙ 1 w 2 ˙ œ œ œ 5 ˙ œ 2 3 ˙ ˙. 1 w 1 1 #œ 3 ˙ 3 P f 4 Why was I not made of Stone. 37 34 Vln. I 2 2 1 % 3 ˙. 1 ˙ œ œ œ bœ œ 1 œ ˙. œ w non dim. bw non dim. w w p F P p Vln. II 2 2 1 % 3 ˙. 1 ˙ 1 w ˙ b˙ w non dim. w non dim. bw w ˙ P p F p Vla. ˙. #˙ œ B 32 12 œ ˙ ˙ w 1 w bw non dim. non dim. w w ≤ tutti p F P p ˙. ˙ Vc. ˙. ˙ w w , ? 2 2 . 1 w w bw 3 1 1 w non dim. non dim. bring out p F P p Cb. œ , ? 2 b˙ 2 w ˙ . 1 w w bw 3 1 bw 1 w non dim. non dim. p F P p 43 Solemn. Chant-like. 41 q=80 U Vln. I ∑ ∑ 5 ∑ 1 ∑ ∑ ∑ % w w 3 1 F π Vln. II U % ∑ ∑ 35 ∑ 1 ∑ ∑ ∑ w Nw, F π Vla. U 5 1 B w w ∑ ∑ 3 ∑ 1 ∑ ∑ ∑ F π Vc. ? U 5 1 w w Ó ˙ 3 ˙ œ Œ 1 Ó ˙ w (˙ ) ˙ . ˙ ˙ F π π P Cb. U . ˙ ? w w w ˙ ˙ 35 ˙ œ Œ 1 w ˙ ˙ ˙ F π P Why was I not made of Stone. 5 51 49 Vln. I ∑ ∑ 5 ∑ 1 ∑ ∑ Ó 5 % 3 1 ˙ w 3 p Vln. II 5 1 5 % ∑ Ó 3 1 Ó Ó 3 b˙ b˙. ˙ n b˙ w n b˙ bw P P p Vla. 5 1 5 B ∑ ∑ 3 1 œ 3 ˙. ˙ w w w œ ˙ P Vc. ? 5 ∑ 1 Ó 5 3 1 ˙ ˙ ˙ w bw 3 w w (P) Cb. ? w w 5 w 1 5 3 œ 1 w w ˙ ˙ w 3 (P) rit. a tempo 56 Vln. I ≥ % 35 Ó 1 Ó 35 œ 3 ˙. w n ˙ ˙. œ w #w P P F π Vln. II ≥ % 35 Ó 1 Ó 35 3 b˙. bw n b˙ b˙. ˙ bw ˙ n˙ P P F π Vla. ≥ B 5 1 5 3 ∑ 3 ˙ ˙. 1 œ œ ˙ w 3 b˙. b˙ 3 w F F Vc. ? 5 1 ≤ 5 ≥ 3 3 ˙ ˙. 1 bw bw 3 b˙. ˙ 3 bw Ó œ bœ F F π Cb. ≤ ≥ ? 5 1 5 3 ∑ 3 ˙ ˙. 1 w w 3 ˙. ˙ 3 w F F 6 Why was I not made of Stone. 63 62 Vln. I ≥ ˙ œ ˙ œ ˙ 2 . Œ % w 3 ˙. b˙ ˙ P F Vln. II ≥ 2 bœ % 3 ˙ œ bœ b˙ œ ˙. œ ˙. b˙ ˙ bœ ˙ = P F Vla. ≥ ≤ œ≥ . œ œ. ˙ œ œ œbœ œ œ B Ó œ œbœ bœ 32 œ J bœ œ b˙ œ ˙ œ bœ bœ œ œ P F ≥ . ≤ bœ bœ œ œ. œ œ bœ. ˙ Vc. ? œ œ ≥ œ œ œ œ 2 J œ b˙. ˙. ˙. bœ bœ œ 3 F ≥ Cb. ? 2 . ∑ 3 ˙. ˙. ˙ ˙ ˙. ˙. P rit. 69 bw œ, Vln. I œ b˙ ˙. ˙ ˙ w 5 Ó. ˙ 1 5 3 % 3 1 cresc. 3 3 P bring out Vln. II % ˙ œ œ 35 b˙ 1 b˙ ˙ bw 35 bœ 3 = cresc. b˙ œ ˙ P b˙, ˙, F Vla.
Load more

Recommended publications
  • The Journey of a Hero: Musical Evocations of the Hero's Experience in the Legend of Zelda Jillian Wyatt in Fulfillment Of
    The Journey of a Hero: Musical Evocations of the Hero’s Experience in The Legend of Zelda Jillian Wyatt In fulfillment of M.M. in Music Theory Supervised by Dr. Benjamin Graf, Dr Graham Hunt, and Micah Hayes May 2019 The University of Texas at Arlington ii ABSTRACT Jillian Wyatt: The Journey of a Hero Musical Evocations of the Hero’s Experience in The Legend of Zelda Under the supervision of Dr. Graham Hunt The research in this study explores concepts in the music from select games in The Legend of Zelda franchise. The paper utilizes topic theory and Schenkerian analysis to form connections between concepts such as adventure in the overworld, the fight or flight response in an enemy encounter, lament at the loss of a companion, and heroism by overcoming evil. This thesis identifies and discusses how Koji Kondo’s compositions evoke these concepts, and briefly questions the reasoning. The musical excerpts consist of (but are not limited to): The Great Sea (Windwaker; adventure), Ganondorf Battle (Ocarina of Time; fight or flight), Midna’s Lament (Twilight Princess; lament), and Hyrule Field (Twilight Princess; heroism). The article aims to encourage readers to explore music of different genres and acknowledge that conventional analysis tools prove useful to video game music. Additionally, the results in this study find patterns in Koji Kondo’s work such as (to identify a select few) modal mixture, military topic, and lament bass to perpetuate an in-game concept. The most significant aspect of this study suggests that the music in The Legend of Zelda reflects in-game ideas and pushes a musical concept to correspond with what happens on screen while in gameplay.
    [Show full text]
  • Give Me Something to Sing About": Intertextuality and the Audience in "Once More, with Feeling"
    Chapter 12 "Give Me Something to Sing About": Intertextuality and the Audience in "Once More, with Feeling" Amy Bauer "I love all musicals." (Joss Whedon, audio commentary to "Once More, with Feeling.") Critics hailed "Once More, with Feeling" (6.7) as a brilliant example of the television musical. Its musical numbers flow from the narrative, yet prove integral to the seven-year arc of the series, and its eclectic but unified score was written expressly for the talents of a cast (mostly) new to the genre. Notably, its book, score, and concept all sprang from one mind, that of the Buffyverse's primary architect, Joss Whedon. Although untrained in musical composition, Whedon's affection for and knowledge of the American musical are everywhere evident, even if we did not have John Kenneth Muir's admission that he is a "virtual encyclopedia of musical film history."1 Analogous to the combined cinematic genres-from horror to religious epic-that mark Buf/Y the Vampire Slayer and Angel, "Once More, with Feeling" alludes to Sondheim and Loesser alongside the sardonic charm of 1940s music, 1950s swing jazz, 1970s arena rock, 1980s power ballads, and 1990s soft-rock confessionals, all within a lean, swift-moving structure that performs the dramatic functions of the classic American musical. Much has already been written regarding the novelty, influence, and intertextual richness of the Buf/Y musical.2 My contribution to that literature analyzes the musical structure of the songs themselves and places it in a dialogic relationship to the sources they summon. Such intertextual richness acknowledges fans' devotion to and knowledge of both the show's history and cultural references to the John Kenneth Muir, Singing a New Tune: The Rebirth ofthe Modern Film Musical, from Evita to De-Lovely and Beyond (New York, 2005), p.
    [Show full text]
  • Descending Bass Schemata and Negative Emotion in Western Song
    Descending Bass Schemata and Negative Emotion in Western Song NICHOLAS SHEA Arizona State University [1] ABSTRACT: A descending bass line coordinated with sad lyrics is often described as evoking the “lament” topic—a signal to listeners that grief is being conveyed (Caplin, 2014). In human speech, a similar pattern of pitch declination occurs as air pressure is lost (’t Hart, Collier, & Cohen, 1990) which—coordinated with the premise that sad speech is lower in pitch (Lieberman & Michaels, 1962)—suggests there may be a cognitive-ecological association between descending bass lines and negative emotion more broadly. This study reexamines the relationship between descending bass lines and sadness in songs with lyrics. First, two contrasting repertoires were surveyed: 703 cantata movements by J. S. Bach and 740 popular music songs released ca. 1950–1990. Works featuring descending bass lines were identified and bass lines extracted by computationally parsing scores for bass or the lowest sounding musical line that descends incrementally by step. The corresponding lyrics were then analyzed using the Linguistic Inquiry and Word Count (Pennebaker et al., 2015a, 2015b). Results were not consistent with the hypothesis that descending bass lines are associated with a general negative affect and thus also not specifically with sadness. In a follow-up behavioral study, popular music excerpts featuring a descending bass were evaluated for the features of sad sounds (Huron, Anderson, & Shanahan, 2014) by undergraduate musicians. Here, tempo and articulation, but not interval size as anticipated, were found to be the best predictors of songs with descending bass lines. Submitted 2019 March 5; accepted 2019 October 29.
    [Show full text]
  • Qt5st9c8c4.Pdf
    UC Irvine UC Irvine Previously Published Works Title Give Me Something to Sing About’: intertexuality in Once More With Feeling Permalink https://escholarship.org/uc/item/5st9c8c4 Author Bauer, AM Publication Date 2021-06-27 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Chapter 12 "Give Me Something to Sing About": Intertextuality and the Audience in "Once More, with Feeling" Amy Bauer "I love all musicals." (Joss Whedon, audio commentary to "Once More, with Feeling.") Critics hailed "Once More, with Feeling" (6.7) as a brilliant example of the television musical. Its musical numbers flow from the narrative, yet prove integral to the seven-year arc of the series, and its eclectic but unified score was written expressly for the talents of a cast (mostly) new to the genre. Notably, its book, score, and concept all sprang from one mind, that of the Buffyverse's primary architect, Joss Whedon. Although untrained in musical composition, Whedon's affection for and knowledge of the American musical are everywhere evident, even if we did not have John Kenneth Muir's admission that he is a "virtual encyclopedia of musical film history."1 Analogous to the combined cinematic genres-from horror to religious epic-that mark Buf/Y the Vampire Slayer and Angel, "Once More, with Feeling" alludes to Sondheim and Loesser alongside the sardonic charm of 1940s music, 1950s swing jazz, 1970s arena rock, 1980s power ballads, and 1990s soft-rock confessionals, all within a lean, swift-moving structure that performs the dramatic functions of the classic American musical.
    [Show full text]
  • The Song Style of Antonio Carlos Jobim: an Analysis of Four Songs
    The University of Southern Mississippi The Aquila Digital Community Master's Theses Fall 12-1-2018 The Song Style of Antonio Carlos Jobim: An Analysis of Four Songs Rachel Rogers University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Music Theory Commons Recommended Citation Rogers, Rachel, "The Song Style of Antonio Carlos Jobim: An Analysis of Four Songs" (2018). Master's Theses. 596. https://aquila.usm.edu/masters_theses/596 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE SONG STYLE OF ANTONIO CARLOS JOBIM: AN ANALYSIS OF FOUR SONGS by Rachel Rogers A Thesis Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by: Dr. Douglas Rust, Committee Chair Dr. Danny Beard Dr. Joseph Brumbeloe Dr. Chris Goertzen ____________________ ____________________ ____________________ Dr. Douglas Rust Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY Rachel Rogers 2018 Published by the Graduate School ABSTRACT The songs of Antônio Carlos Jobim are a national treasure of Brazil, beloved around the world. Their beauty and subtle simplicity have enthralled audiences for the last 60 years, yet they often reveal some unusual construction.
    [Show full text]
  • Website Exercises Chapter 14 – the Mediant, the Back-Relating
    Chapter 14: Website Exercises 1 Website Exercises Chapter 14 – The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Har- monic Relationships Exercise 1: Analysis. Below are examples that contain both the mediant and the submediant harmonies. Analyze each carefully. For Exercises A-D provide a second-level analysis. A. B. C. 2 Chapter 14: Website Exercises Exercise 1: Analysis. Cont’d. D. E. Chapter 14: Website Exercises 3 Exercise 1: Analysis. Cont’d. F. G. 4 Chapter 14: Website Exercises Exercise 2: Writing iii and other diatonic harmonies. Below are writing tasks including figured bass, outer-voice counterpoint (without figures) and a roman numeral progression. Complete each in four voices (SATB) and analyze. Exercise 3: Fluency drills. Given here are tasks that involve the terms, harmonic paradigms, and concepts that we have learned so far. Complete each task quickly but carefully on a separate sheet of manuscript paper. A. In A major, expand tonic in three to four chords, move to your choice of PD, and close your phrase with a HC. B. In E minor, write a short chord progression (five to six chords) that includes a typical use of III. C. In C minor, write a progression that includes an EPM and that closes with a PAC. D. In Ab major, write a tonic expansion (c. 4 chords) that includes at least two suspensions. E. In B minor and a meter of your choice, write a four- to six-measure progression that includes the following (not necessarily in the order given): i. a PAC; ii. a typical use of both VI and III; iii.
    [Show full text]
  • Music Theory on the Radio:Theme and Temporality in Hans Keller’S First Functional Analysis
    DOI: 10.1111/musa.12129 WILLIAM O’HARA MUSIC THEORY ON THE RADIO:THEME AND TEMPORALITY IN HANS KELLER’S FIRST FUNCTIONAL ANALYSIS On the evening of 7 September 1957, listeners to the BBC Radio’s Third Programme were treated to a unique broadcast of Mozart’s String Quartet in D minor, K. 421. The performance, by the Aeolian String Quartet, was punctuated between movements by several minutes of additional music composed by the critic Hans Keller (1919–1985). The broadcast was the public’s first exposure to what Keller called ‘functional analysis’ (abbreviated FA), or, as he more vividly put it in a magazine article previewing the broadcast, ‘the musical analysis of music’ (Keller 1994, pp. 126–8).1 The wheels that set this event in motion had begun turning nearly a year and a half earlier. On 28 April 1956 Keller sent an unsolicited proposal to Roger Fiske, the producer in charge of music lectures for the BBC. In it he described an idea for a radio broadcast that would build upon the analytical method he had recently sketched in a pair of essays on Mozart’s music: a detailed study of Mozart’s C major Piano Concerto, K. 503, in The Musical Times (Keller 1956a), and a more wide-ranging chapter titled ‘The Chamber Music’ in The Mozart Companion (Keller 1956b). In the letter, Keller describes his project and what the audience might hear: I propose an hour’s broadcast, wordless throughout, which would attempt to analyse a work or movement of your own choice according to my method of analysis.
    [Show full text]
  • Musical Signifiers of Life and Death in Ayreon's the Human Equation by Rebecca Enlow Submitte
    “Bridge to the Other Side”- Musical Signifiers of Life and Death in Ayreon’s The Human Equation by Rebecca Enlow Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the Music Theory and Composition Program Youngstown State University April, 2019 “Bridge to the Other Side”- Musical Signifiers of Life and Death in Ayreon’s The Human Equation Rebecca Enlow I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Rebecca Enlow, Student Date Approvals: Jena Root, Thesis Advisor Date Paul Louth, Committee Member Date Steven Reale, Committee Member Date ____________________________________ Dr. Salvatore A. Sanders, Dean of Graduate Studies Date iii ABSTRACT Arjen Lucassen created the rock opera album The Human Equation, a part of the Ayreon Universe (a series of connected concept albums), to tell the story of a man’s descent into a coma and his ascent back to life. Lucassen uses text, melody, and harmony to create a vision of this journey. This thesis focuses on “Day 2: Isolation” and “Day 20: Confrontation” due to their location as bookends of the album and their distinct tonal markers. This thesis will track the tonal markers, melodic motives, and key relationships, noting their patterns of ascent and descent and their connection to the narrative. iv ACKNOWLEDGEMENTS I would like to acknowledge the many people who have made this thesis possible.
    [Show full text]
  • Song Reconsidered: Words and Music, Music and Poetry
    Fordham University DigitalResearch@Fordham Art History and Music Faculty Publications Art History and Music 2017 Song Reconsidered: Words and Music, Music and Poetry Lawrence Kramer Fordham University, [email protected] Recommended Citation Lawrence Kramer, Song Acts: Writings on Words and Music (Leiden and Boston: Brill Academic Publishers, 2017). Follow this and additional works at: https://fordham.bepress.com/art_hist_facultypubs Part of the Comparative Literature Commons, English Language and Literature Commons, Musicology Commons, and the Other Arts and Humanities Commons This Article is brought to you for free and open access by the Art History and Music at DigitalResearch@Fordham. It has been accepted for inclusion in Art History and Music Faculty Publications by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected], [email protected]. 1 Song Reconsidered: Words and Music, Music and Poetry Lawrence Kramer Sphere-born harmonious sisters, Voice and Verse, Wed your divine sounds, and mixt power employ, Dead things with inbreathd sense able to pierce. (John Milton, "At a Solemn Music”) No carnage, but this single change: Upon the steep floor flung from dawn to dawn The silken skilled transmemberment of song. (Hart Crane, "Voyages III”) This essay is a revised version of the chapter on song in my first book, Music and Poetry: The Nineteenth Century and After (University of California Press, 1984). The chapter aimed to upend the traditional understanding of song, particularly art song, as a harmonious unity of words and music, and it has been fortunate in its reception. Over the years, like many other authors, I have idly mulled over the question of what the chapter would be like if I were to write it “today.” The publication in 2017 of a collection of my writings on the general topic, Song Acts: Writings on Words and Music (Leiden and Boston: Brill Academic Publishers) gave me the opportunity to ask the question seriously.
    [Show full text]
  • MTO 21.2: Heetderks, Hipster Harmony
    Volume 21, Number 2, June 2015 Copyright © 2015 Society for Music Theory Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock David J. Heetderks NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.2/mto.15.21.2.heetderks.php KEYWORDS: chromaticism, rock, art rock, experimental rock, experimental pop, progressive rock, Dirty Projectors, Radiohead, Mew, Grizzly Bear, Deerhunter, musical geometry, seventh chords, transformational theory, chromatic harmony ABSTRACT: This article argues that art-rock groups active since 2000 often use chromatic progressions between seventh chords and other chords of four or more notes in order to differentiate themselves from generic rock styles. These groups introduce chromatic progressions through one of three schemas: altering a recurring diatonic progression (a recurring Roman-numeral progression), exploring the voice-leading possibilities of a recurring chord (a magic chord), and exploring the diatonic and chromatic possibilities of a voice-leading motion (a magic voice leading). When a chromatic progression appears, it functions as a large-scale, tonally undetermined alternation between two chords, or as a substitution for a normative progression. Hybrid syntax occurs where progressions arising from the techniques listed above are juxtaposed with common rock progressions. I analyze instances of hybrid syntax in songs by Dirty Projectors, Deerhunter, Mew, Grizzly Bear, and Radiohead. In these songs, chromatic progressions conspire with lyrics, timbre, and texture to convey otherworldliness or ambiguity, supporting the depictions of unusual personae or situations that art-rock groups favor. Received October 2014 Introduction [0.1] Many rock critics recognize that a broad genre of rock music has emerged since around 2000.
    [Show full text]
  • On the Relation of Musical Topoi to Formal Function
    Eighteenth-Century Music 2/1, 113–124 © 2005 Cambridge University Press doi:10.1017/S1478570605000278 Printed in the United Kingdom essays on the relation of musical topoi to formal function william e. caplin ! The theory of musical topoi (or topics) has emerged in recent decades as a powerful tool for the analysis of musical expression within tonal repertories. Largely originating in Leonard Ratner’s ground-breaking treatise Classic Music from 1980, it has since been considerably developed and extended by some of his students, especially Wye Allanbrook and Kofi Agawu.1 The theory has also stimulated considerable interest from music semioticians such as Robert Hatten, Márta Grabócz and Raymond Monelle, who find it a major resource for the investigation of extra-musical referentiality and meaning.2 Indeed, topical analysis may well be considered one of the success stories of modern musicology. Yet despite its widespread acceptance, one perceives in the musicological literature a certain unease at the limitations of the theory. It is well recognized that topics are highly fluid and that it is often difficult to pin down their range of application. But even where topics are readily identifiable, some of the theory’s strongest advocates have betrayed qualms about the extent to which a topical analysis can transcend such identifica- tion and reveal how topics interact with each other and with other musical processes. As Agawu notes in connection with an analysis of the introduction to Mozart’s ‘Prague’ Symphony, While topics can provide clues to what is being ‘discussed’ in a piece of music . they do not seem to be able to sustain an independent and self-regulating account of a piece; they point to the expressive domain, but they have no syntax.
    [Show full text]
  • Piano Music of Elisenda Fábregas: a Stylistic Analysis JINHA PARK University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 Piano Music of Elisenda FÁbregas: A Stylistic Analysis JINHA PARK University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation PARK, J.(2013). Piano Music of Elisenda FÁbregas: A Stylistic Analysis. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/1654 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PIANO MUSIC OF ELISENDA FÁBREGAS: A STYLISTIC ANALYSIS by Jinha Park Bachelor of Music University of Texas at San Antonio, 2002 Master of Music Seoul National University, 2004 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2013 Accepted by: Marina Lomazov, Major Professor Chairman, Examining Committee Ana Dubnjakovic, Committee Member Charles Fugo, Committee Member Joseph Rackers, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Jinha Park, 2013 All Rights Reserved. ii DEDICATION To my husband, Amos, and two children (Andrew and Jonathan). iii ACKNOWLEDGEMENTS This document could not have been completed without the support of my husband, Dr. Amos Chi, who made years of study and writing possible and who encouraged me. It is with immense gratitude that I acknowledge the help of my Professor, Dr. Marina Lomazov leading me through this entire process.
    [Show full text]