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5-1955 Meet Music Marvel LaBrie

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Recommended Citation LaBrie, Marvel, "Meet Music" (1955). SDSU Extension Circulars. 687. http://openprairie.sdstate.edu/extension_circ/687

This Circular is brought to you for free and open access by the SDSU Extension at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in SDSU Extension Circulars by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. . EXTENSION CIRCULAR 522 • MAY 1955

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AGRICULTURAL EXTENSION SERVICE SOUTH DAKOTA STATE COLLEGE • U. S. DEPARTMENT OF AGRICULTURE • getting HEP on ·music• MARVEL LABRIE Extension Music Specialist

"Confidentially, this long-haired wouldn't be caught dead in a dress stuff is not for me. I don't really which your neighbor considers her know a thing about music, and I "very best," but that doesn't make can't carry a tune in a bushel bas- you dislike all dresses, does it? So ket." With this pessimistic state- with music. Highly-trained musi- ment, many of us close the door to cians do not have the same tastes in a whole new world of enjoyment. music, themselves. One may prefer It does seem confusing when we the strict-form classical music, an- hear people conversing in long- other the flowery, romantic style. handled terms about symphonies, That depends upon personalities, sonatas, oratorios, writing styles, tastes and emotio~s. Now you can and the like. Immediately, we be- feel better about not being "sent" come frightened by their apparent by a certain composition or com.. knowledge of music. Don't be mis- poser. led by that big talk, which may even There Is a Difference-Let us look be done just to impress you. Knowl- at the various kinds of music heard edge of those terms doesn't mean in our world of today, and make a that they enjoy music any more few comparisons. It is impossible to than you do, or than you can ( if completely cover the music field, you have, at present, a musically but we'll deal with the most impor- uneventful life). tant classifications that are com- With a little pluck, a few facts, monly used. We'll begin with the and an ambition to widen life's in- basic question of ~

"These music terms are for the guished because of perfect form ac- birds"-I do hope you mean song- cording to certain standards or ac- birds. cepted patterns. In composition, the Sometimes terminology becomes form rules the inspiration or emo- so involved we become discour- tions. It may be compared to poetry, aged; but we must remember that in which certain lines must rhyme. everything must have some manner The poet chooses words that rhyme of classification, music included. and the skill lies in being able to The terms do not affect the music; speak the original thoughts while but it does help to know the impor- abiding by the strict rules. tant ones, for nothing more than The composer of romantic ( not want of confidence. Besides, they love as we think of it) music consid- really. aren't so hard. ers expression of his thoughts and Music may be put into two gen- emotions first, then the rules. If he eral groups: classical or romantic. cannot stay within the rules, he Classical is the serious, "good mu- merely breaks a few. This does not sic." Specifically, it is music of cer- mean that he has no form or organi- tain composers (Haydn, Mozart) of zation whatsoever to his writing; it the 16th-18th centuries, distin- is free-style composition and highly • 6 South Dakota Extension Service Circular 522 • reject new mu_sical ideas. Bee- acceptable in the music world. R?- thoven, Brahms and Debussy are manticism in music and art arose m only a few of the many composers the early 1800's, along with the who were regarded as radicals in French and American Revolutions. their day. The general course is for Form in music refers to organiza- popularity and fame to follow death tion of music expression so that it makes sense to the composer and the listener. Repetition of melodies, contrast and association are de- vices used. Repetition consists of · stating a musical melody_ theme and returning to it later. Contrast may be achieved by tempo changes- fast, slow, fast. Association may in- clude the theme and some varia- tions of it or a new melody resem- bling it. In one sense, our popular songs are like classical music, for they have a certain form-a chorus of 32 bars ( measures ) , a melody line J. S Bach which is stated twice at the begin- and a poverty-stricken life on the ning of the chorus, a middle part part of the hero. Modem music r~- that contrasts with the original mel- quires several listenings before it ody, followed by a repetition of the grows on us. original theme. Surprised? We like Counterpoint and harmony are familiar patterns, and that's why two terms often used in speaking of our popular tunes find such ready music composition. Sing the rounds fame. Three Blind Mice and Are You Nationalism in music pertains to Sleeping simultaneously and you native f o l k rhythms, melodies, have counterpoint. You also have it myths or history expressing charac- when singing each of these rounds teristics of the people of a nation; separately in the usual manner of a not merely a rousing, patriotic round. Counterpoint consists of march. After Napoleon's defeat, two or more melodies put together, European nations became more in- achieving a pleasant sound. dependent and we find nationalism Bach's fugues are a type of coun- in the music of the Polish Chopin, terpoint, in which he excelled. German Wagner and Russian Rim- Fugue means flight, and melodies sky-Korsakov. chase one another over the key- Our modern music by present board, obeying strict rules as to day composers sounds dissonant where they may go. They become and ineffective to us; this is perfect- very complex, and one is always ly normal, for it is an old custom to amazed when the selection ends • • Meet Music 7 with comparative ease and logic. furniture, so we have them in music. Harmony consists of one melody Sets or series of pieces are com- combined with chords which, in- bined to present a whole unit. Orig- stead of being parts of little melo- inally,suites were contrasting dance dies themselves, serve to "dress up" numbers, but now are written with the main melody. This largely re- a story idea or for a ballet, resem- placed counterpoint and is used to- bling a collection of tone-poems. day in most writing. Ballet Music-has a story, but the choreographer ( dance writer) FULL-ORCHESTRA MUSIC TERMS and composer are more important. Some ballets are based on several Symphony-t}:lis large orchestral compositions written long ago; for work may have from one to five example, Les Sylphides is based on movements ( contrasting t e m p o piano compositions by Chopin. changes ), but most have four. The Modem composers write a great first movement is generally written deal of enjoyable ballet music. in sonata allegro form, which in- Theme and Variations-may not volves stating two separate melo- only be used for orchestral num- dy themes, development and com- bers, but in all music-writing as bination of these themes, and .final- well. It involves taking a theme and ly repetition of the original themes. repeating it in different rhythms, It is usually followed by ( 2) adagio tempo changes, moods, instrument (s 1 ow, songlike ) ( 3) scherzo combinations - it may even be ( dance form ) ( 4) presto (fast) played backwards! movements. Symphonic Ton·e Poems-a·r e full orchestra works usually in one INSTRUMENTAL MUSIC TERMS movement and classed as "pro- This class resembles orchestral, gram" music; for they either tell a except for the fact that it is based story or describe an event, mood or upon smaller groups, soloists and scene. Debussy's La Mer, Rimsky- combinations. Melody, variations, Korsakov's Scheherazade and Si- rhythm and special effects are used belius' Finlandia are examples. Re- for interest rather than reliance gardless of whether we know the upon the full, big qualities of the story or not, the music provides en- large orchestra. joyable listening. Concerto-this work for one or Concert Overtures - resemble more solo instruments accompanied tone-poerris, except for the fact 'that by a fairly large orchestra is usually they were originally written as in- in three movements. Any instru- troductions to operas or musical ment may solo but piano and violin shows. Some of these opening selec- seem to be favorites. Solo passages tions have become popular in them- without the orchestra are called ca- selves, while the operas they pre- denzas. The original concerto gros- ceded may be extinct. so of the 1600's featured small Suite-just as we have suites in groups in solo parts . • 8 South Dakota Extension Service Circular 522 • Chamber Music-as the name Rhapsody - · a fantasy-type of implies, this is music for perform- work, often based on national folk ance by small groups, trios or quar- or dance tunes. · tets, in a small room. There may be Toccata-a "touch-piece" that is from two to 20 players, voices, or rapid, showy and brilliant. Bach both. Individual parts are impor- used this often to introduce his tant, and ingenuity must be exer- fugues. cised by the composer who has no Etude-a "little study" in melody huge orchestra to give rousing cres- patterns or music problems. Cho- cendos and build-ups to the music. pin's melodious and delightful Sonata-a specific three or four etudes have become favorite pro- movement form for one or a few in- gram pieces. struments. It is to one instrument as Prelude-like an overture, it may a symphony is to an orchestra. Both introduce a large work or stand the first movement of a sonata and a alone as a program number. Fre- symphony may have a special form quently it has a story element. called sonata allegro ( see sym- phony). Dance Forms-waltz, polka, ma- VOCAL MUSIC TERMS zurka, chaconne, passacaglia, pol- Voices may be classified as to onaise and other dance forms used range and quality. In opera, most as a basis for short, free-styled solos and lead roles are for tenor works by composers are not really and soprano voices, the alto ~nd dances as we think of them. The bass having secondary parts. rhythm is borrowed and dressed Soprano - highest woman's or with frills and trills to become an boy's voice impressive concert number instead. Lyric soprano-light, gentle, mel- The stately, slow, three-beat passa- odic voice caglia and chaconne are often con- Dramatic soprano-heavy, large cert numbers; they are distin- soprano voice guished by a constant repetition used in the bass or low-voiced in- Coloratura soprano-very flexible struments, with variations per- high voice capable of sustaining formed by the treble (high) voices. and of soaring, of Howery trills and frills, it is the glory of the opera. Other Terms-Short, Free Forms Tenor or baritone voices with this Serenade-an "evening song," as- quality are called "bel canto." sociated with a lover singing to his Mezzo soprano-a middle so- lady fair on the balcony above him. prano, between alto and high so- Caprice-a lively, happy, showy prano. number, usually for one instrument. Alto-between soprano and con- Fantasy-similar to a small sym- tralto phonic tone-poem. It may be a com- Contralto-lowest woman's voice, bination of melodies from an opera. lower than alto. • • Meet JUusic 9 Tenor-highest adult male voice. enjoyable. Be sure to read the story Lyric, Dramatic tenors-refer to of the opera first, even if you have a lyric, dramatic soprano. chance to see one on the stage; lib- Baritone-male voice between rettos ( like a play book) are sold tenor and bass range-high bass. before the performance of live op- Bass-lowest male voice. era, and one gets the story, word for Opera-a drama set to music, of- word. ten tragic in nature, in which virtu- Song · . oso voices and vocal abilities are Folk and popular song has al- displayed and the hero sings for 20 ways existed; it has no known com- minutes after ~eing fatally stabbed. poser or origin and is an expression These arias, as such solos are called of the people. Repetition of melo- may become famous in themselve~ dy is a distinguishing feature. Pop- ular song writers of today write tunes, some of which might be called folk songs. Art songs are composed; they may have the qualities of love, hate and other emotions of folk song, but not the repetition of melody. Texts of poems are frequently used as a base. Brahms and Schubert wrote numerous art songs. A cappella - literally, "as in a C h a p e l," unaccompanied choral singing. Motets (religious) and madrigals ( secular) were earlv JecharJ Strau33 forms of this in 1500. · Liturgical Music-religious mu- as separate numbers. The recitative, sic such as Masses and hymns. a half-sung, half-spoken part of Oratorio-basically, a large work opera. keeps the story moving, sets for soloists, chorus, and orchestra the mood for a coming aria, or fills for concert or church. It is opera gaps between arias. se- Ensemble without action, scenery or cos- lections are for quartets, sextets, tumes. duets, or the like. As mo~t operas are not in English, Cantata-may be religious, based a good understanding of the story on gospel texts or prayers. It may action is necessary. Mozart, Wag- be occasional, too, as Bach's Coffee ner, and Verdi wrote many operas; Cantata. In form, it resembles a Mozart's are classical, Wagner's short oratorio. are heavy, heroic drama, and Ver- di's are emotional with true Italian JAZZ BITS FOR CRAZY CATS qualities. As a starter, Italian and Let's face it. Jazz is here to stay, French operas are probably most for it is very important as a music • 10 South Dakota Extension Service Circular 522 • interest. It, too, has had stages of borrowed these jazz rhythms for se- development, and will continue to rious music. change in style, just as our serious Swing - Before World War II, music does. Let's take a glance at Count Basie, · Benny Goodman, some of its history. Glenn Miller, and Artie Shaw were Ragtime-In 1900, New Orlean's national swing favorites. Jazz Storyville was a haven for starv- tamed down; bands were larger ing, Negro musicians who played in ( mainly reed, brass and rhythm in- crowded dance halls, saloons, and struments ); boogie-woogie came had cornetist contests on street cor- in; favorite classics were swung; ners to determine the "King." The and arrangers began to plan jazz favorite combo was a comet, clar- music. inet, trombone, violin and guitar. Progressive Jazz-During World Twelfth Street Rag is typical of War II, arrangers became more con- Dixieland ragtime. Serious compos- cerned about effects and instru- ers such as Debussy and Stravinsky mental combinations and began to borrowed the syncopated rhythms borrow ideas from the serious com- used in ragtime for Golliwog's Cake posers, Debussy, Ravel, Stravinsky Walk and Ragtime. and Bartok. Stan Kenton and Blues-Ten years after ragtime, Woody Herman exemplify this pe- the Negro began to sing of sadness, riod of jazz concerts and larger death and unhappiness, using a bands. guitar or rhythm instrument with BeBop-Bop seems to demand a one or two melody instruments to restless spirit, unison octaves, non- accompany. Louis Armstrong and harmonic tones, rhythm patterns vocalist Bessie Smith have been fa- ending with two staccato notes and vorites in blues. Serious composer crazy sound coming from perfectly Carpenter used blues for his ballet, normal instruments. Trumpet, ten- Krazy Kat; Milhaud used Aunt Ha- or sax, piano and drums are Bop gar's Blues as a theme for his ballet, combo favorites. Dizzy Gillespie The Creation of the World; Ravel's and Charlie Parker are top in bop. Sonata for violin and piano has a Cool Jazz-This is the trend to- second movement entitled "Blues." day. Bach, Beethoven, Copland Hot Jazz - Blues and ragtime and Milhaud are influencing com- were combined after World War I posers of jazz today, and we have to express joy and triumph; the Dave Brubeck, Gerry Mulligan, Charleston, Shimmy and Black Bot- Chet Baker, Ella Fitzgerald and tom accompanied this new music hundreds of other "cats." To put the with its many solo improvisations. expression for our word "daring" Stravinsky, Milhaud, Gershwin, into jazz terms, the jazz today is Gould, and Copland (Concerto) "far-out." • Music listening is a very personal tributed much to the modern sym- thing, and selection of your listen- phony which did not exist then. ing music is definitely up to you. Fugue in G Minor; Jesu, Joy of However, we all like a guide in Mans Desiring; Air for G String; making choices; we've become acquainted with kinds of music, so Sleepers, Awake. let's get the "latest scoop" on some Handel (handle) Ger. 1685- composers. Following each descrip- 1759. Unlike his contemporary, tion will be a list of some favorite Bach, he wrote to please the listen- compositions you may wish to er with singable, joyous, dramatic, sample. entertaining music. He is often called an English composer because much of his life was spent in that CLASSICAL COMPOSERS country and his famous oratorio, J. S. Bach (bahk) Ger. 1685- The Messiah, was written there. 1750. This excellent organist, violin- The Harmonious Bwcksmith; Hal- ist and clavichord ( early piano lelujah Chorus from The Messiah; form ) player wrote nearly every Water Music Suite. form of music ( except opera, sym- "Papa" Haydn ( hide'n ) Austria phonies and jazz ) including much 1732-1809. He received his nick- religious music. His music is not name because of being the "Father sensati01;1al with cadenzas anq flow- of Symphony" of today. For 30 ery display, but uses counterpoint years he was employed as court in flawless form, and has spiritual composer for Prince Esterhazy, dur- strength, sincerity, plus a driving ing which time he wrote many sym- quality of precision and regularity. phonies, quartets and chamber mu- His Two-Part Inventions are a must sic selections. His works have a for every piano student. His son, tinkling, bright, folksy quality. C. P. E. Bach, founded the school Toy, Surprise, Farewell, or London of modern piano playing and con- Symphonies; Kaiser Quartet. 11 • 12 South Dakota Extension Service Circular 522 • Mozart ( moh-tsart) A u s t r i a sion above form in writing, and his 1756-1791. A natural musical gen- very human music poss_esses great ius, he was on the concert stage and strength. Although his early deaf- composing at the age of five. His ness made him socially misunder- life was poverty-stricken, but he stood, it did not prevent him from gave volumes of music in the form continuing his great work. Minuet of opera, symphonies and chamber in G; Egmont Overture; Leonore music that was polished, bright and Overture No. 3; "Moonlight"' Sona- charming. He loved puns, non- ta No. 14; Symphonies No. 5 in C sense rhymes and crazy words, and Minor and No. 6 in F. this humor is displayed in his work. R. Schumann - Ger. 1810-56. His Ave Verum; Eine Kleine Nachtmu- best music was written after marry- sik ( serenade) ; arias or overtures ing Clara Weick, daughter of his from operas Don Giovanni, The piano teacher, and an accomplished Marriage of Figaro, Casi fan Tutte; pianist herself. It is filled with exub- Jupiter Symphony. erance, melody, and freshness; the piano was his favorite instrument ROMANTIC COMPOSERS and he seems to be at his best when Beethoven ( bay'toh-ven) Ger. writing for it. Carnaval ballet; Pi- 1770-1827. One of the greatest in ano Concerto in A Minor; Kinder- our musical world, he rebelled scenen ( childhood scenes Traume- against social classes that would not rei is from this); Symphony No. 1 in accept or recognize music and in- B-fiat Major. . Franz Schubert - Austria 1797- 1828. Lack of money and influence did not prevent him from writing over 600 songs, most of them art songs with poems as a basis. He was unknown then because Haydn, Beethoven and Mozart were stars. His work is rich in melody, and our popular songs have often been based on his tunes. Unfinished Sym- phony ( Song of Love theme) ;Erl- king; Ave Maria; Serenade; Who is Sylvia? Mendelssohn ( men' del-son) Ger. Beethoven 1809-47. Unlike most composers, he tellectual artists of lower social had a happy, well-travelled, com- classes. His dynamic temperament fortable life. A romantic composer can be discerned in his music; when of sparkling, melodious music, he rules prevented expression of ideas, n~vertheless was a great Bach fan he broke them. He began the roman- and revived the latter's works. Fin- tic movement which placed expres- gal's Cave Overture and Midsum- • • Meet Music 13 song themes, but still shows influ- ence of his own native land. "Goin' Home" is our popular theme from that symphony. His music, serious in mood, has great vitality and po- etic qualities. Songs My Mother Tau~ht Me; Slavonic Dances; Hu- moresque. Grieg-Nor. 1843-1907. Music contains Norse qualities of rugged, heroic nobility in a refined manner. Piano Concerto in A Minar; Peer Gynt Suites; Album Leaf; I Love Thee. Lhopin Rimsky-Korsakov-Russ. 1844 - mer Night's Dream are program 1908. His attempt to put Russian music. 0 Rest in the Lord from Eli- music in its own national theme was jah oratorio; On Wings of Song; a deliberate one. Scheherazade Wedding March. suite; Hymn to the Sun; Flight of the Bumblebee; Song of India. NATIONALISTIC COMPOSERS Sibelius ( see-bail-yus) Fin. 1865. Chopin (show-pan) Poland 1810- Sometimes he is called the Beethov- 49. Though frail and sickly, this en of our -age, for his music contains genius is acclaimed greatest of all great strength and rugged beauty. composers of piano music. His mu- Finlandia; Valse Triste; Berceuse; sic requires expert technique and The Swan of Tvonela. contains much depth of feeling about his native Poland and the op- MORE RECENT COMPOSERS pression of its people. He wrote Liszt (list) Hung. 1811-86. One of many short polonaises, mazurkas, the first great artists to have "box- nocturnes, ballades and impromp- office" quality, he not only put on a tus. His etudes are beautiful, espe- great show musically but personal- cially the "Revolutionary," "But- ly, as well. He was the "swoony" terfly," and "Black Key" Etudes. type who wore green gloves; and Fantaisie - Impromptu in C-sharp was one of the most sensational Minor ( I'm Always Chasing Rain- pianists of all time. Gypsy folk bows theme); Polonaise in A -flat; tunes influenced his beloved Hun- Preludes; Minute Waltz; Les Syl- garian Rhapsodies ( Nos. 1, 2, 6 are phides. good ). You will enjoy the flashy Dvorak ( dvor'shak ) Bohemia brilliance of his music. Les Pre- 1841-1904. His New World Sym- ludes; Liebestraum ( Dream of phony written in America as a Love theme ); La Campanella. "bread and butter" letter home in- Brahms ( brahmz) Ger. 1833-97. cluded American and Negro folk Third of the "three B's"-Bach, Bee-