A Study of the Development of Musicality in the Junior High School and the Contribution of Musical Composition to This Development

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ED 01532 24 EA 000 938 A STUDY OF THE DEVELOPMENT OF MUSICALITY th THE JUNIOR HIGH )5 SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT. FINAL REPORT. BY- KYME, GEORGE CALIFORNIA UNIV., BERKELEY REPORT NUMBER CO-H-254 PUB DATE JUL 67 REPORT NUMBER BR-5-0247 CONTRACT OEC-6-10-164 ECRS PRICE MF-$1.25 HC-$11.88 295P.

DESCRIPTORS- *MUSIC EDUCATION, *JUNIOR HIGH SCHOOLS. *MUSIC READING, INSTRUCTIONAL MATERIALS, *CURRICULUM DEVELOPMENT, CREATIVE ACTIVITIES, EVALUATION, TESTS,*LISTENING SKILLS, FILMS, TAPE RECORDINGS, PERFORMANCE, TEACHING PROCEDURES, TEST CONSTRUCTION, TEST RELIABILITY, HUMANITIES, BIBLIOGRAPHIES, MUSIC ACTIVITIES, BERKELEY,

DEFINING MUSICALITY AS THE ABILITY TO GRASP A MUSICAL IDEA IN ITS TOTALITY, THIS RESEARCH INVESTIGATED THE RELATIVE EFFECTIVENESS OF MUSICAL PERFORMANCE (BOTH ORCHESTRAL AND CHORAL), GUIDED LISTENING, MUSIC READING, AND MUSICAL COMPOSITION AS MEANS OF DEVELOPING SUCH MUSICALITY. THE INSTRUMENT OF EVALUATION WAS A TEST OF AESTHETIC JUDGMENTS IN MUSIC DERIVED FROM THE WING, HEVNER, GORDON, AND KYME TESTS OF MUSICALITY WHICH ARE EMPIRICALLY VALIDATED WITH TEACHER RATINGS OF PUPILS. NINE JUNIOR HIGH SCHOOLS COMPRISED THE SAMPLE. THE 3,083 STUDENTS PARTICIPATING INCLUDED A ZERO CONTROL SAMPLE OF 671 STUDENTS WHO TOOK NO MUSIC CLASSES DURING THE TIME OF EXPERIMENT, AN EXPERIMENTAL SAMPLE OF 555 WHO WERE TAUGHT COMPOSITION, 645 ORCHESTRA STUDENTS, 737 CHORAL STUDENTS, 405 WHO PARTICIPATED IN GUIDED LISTENING, AND 70 STUDENTS CLASSED AS A MUSIC READING CONTROL. THE STATISTICAL TREATMENT OF THE DATA (PRE- AND POST-INSTRUCTION TEST SCORES) UTILIZED AN ANALYSIS OF COVARIANCE. THE EXPERIMENTAL SAMPLE SHOWED SIGNIFICANT GAINS COMPARED TO THE

ZERO CONTROL (F VALUE=54.47), THE CHORAL SAMPLE (F=29.42), . AND THE LISTENING CONTROL (F=11.78). THE GAINS OF THE ORCHESTRAL AND CHORIC READING SAMPLES WERE NOT SIGNIFICANTLY DIFFERENT FROM THOSE OF THE EXPERIMENTAL. ANALYSIS OF DATA.

SCHOOL BY SCHOOL, REVEALED THAT MUSICAL COMPOSITION IS MOST , EFFECTIVE AT HIGHER SOCIOECONOMIC LEVELS, THOUGH INSTRUMENTAL PERFORMANCE IS THE MOST UNIVERSAL EFFECTOR. THE GUIDED LISTENING PROGRAM WAS NOT PRODUCTIVE FOR SCHOOLS CLASSED AS CULTURALLY DEPRIVED. MUSIC READING WAS THE MOST EFFECTIVE LEARNING TOOL FOR THE LOWER SOCIOECONOMIC SCHOOLS. (HM) A STUDY OF THE DEVELOPMENT OF MUSICALITY IN THE JUNIOR HIGH SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT

BY GEORGE ICYME

UNIVERSITY OF CALIFORNIA BERKELEY, CALIFORNIA JULY 1.967

U.S. Department of Healithi Education, and Welfare

Office of Education

Bureau of Research

Contract No. 0E.4-10-164 Project No. H-254 FINAL REPORT Project No.H-254 Contract No.0E-6-10-164

MUSICALITY IN TEE JUNIORHIGH SCHOOL A STUDY OF TIEDEVELOPMENT OF COMPOSITION TO THISDEVELOPMENT AND THE CONTRIBUTIONOF MUSICAL

July 1967

U.S. DEPARTMENTOF HEALTH, EDUCATION,AND WELFARE

Office of Education Bureau ofResearch

U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE

OFFICE OF EDUCATION

TH1' DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS

STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION

POSITION OR POLICY. A STUDY OF THE DEVELOPMENT OFMUSICALITY IN THE JUNIORHIGH SCHOOL AND THE CONTRIBUTION OF MUSICALCOMPOSITION TO THIS DEVELOPMENT

Project No. H-254 Contract No. OE-6-10-164

George Kyme

July 1967

The research reportedherein was performed pursuant to a contract with the Office ofEducation, U.S. Department of Health,Education,and Welfare. Contractors undertaking such projects under Governmentsponsorship are encouraged to express freely theirprofessional judgment in 'the conduct of the project. Points of view oropinionsstated do not, therefore, necessarilyrepresent official Office of Education position, or policy.

UniVersity of California

Berkeley, California `." "noomMAMIli. VAIIIMBA

CONTENTS Page

INTRODUCTION 1

Statement of the Problem 3 Hypothesis Background 4 Proposed Instrument of Evaluation 8 Literature Related to the' Experiment 8 Literature Related to the Proposed Evaluation 13

METHOD 20

Time of the Experiment 20 Make-up of the Population 20 Brief Description of the Experimental Curriculum 21 Music Reading Curriculum 22 The Composition Curriculum 40 Description of the Listening Curriculum 41 Performance Curriculum 46 Developing the Instrument of Evaluation 47 Description of the Tests Used as a Preliminary Battery . . 47 Item Statistics of the Test of Aesthetic Judgments inMusic 68 Difficulty of the Items and Their Variation 68 Reliability Indices of the Items 68 Validity Indices of the Items 69 Test Reliability and the Error of Measurement 69 An Empirical Analysis of Item Clusters 71

75 RESULTS _

DISCUSSION 86

CONCLUSIONS AND IMPLICATIONS 90

SUMMARY 92

REFERENCES

APPENDIXES 103

A. Exemplary Lessons in Musical Composition . . A-1 to A-80 B. The Music Reading Curriculum B-I to B-51 C. The Listening Program: Music as a Humanity'C-1 to C-53

Eric Document Resume

iii ACKNCMLEDGMENTS

This research project was conceived and carried out in the main by graduate students in Music Education at the University of California. These students, some working as teachers in the junior high schools while working toward the doctorate or master's degree, have generated an enthusiasm which has carried over into the public school music class- rooms in the San Francisco Bay Area to the betterment of themselves as well as music education in general.

Without intentionally underestimating the contribution of the practice teachers who assisted in carrying out the curriculum innovations, we should like to express our deepest appreciation to Mack Crooks and Richard Letts, two gifted young composers who have worked diligently in developing the compositional techniques, to Tom Haynes and Jewel Lord, who have given direction to the "Humanities" Listening Lessons, and to Seong Soo Lee, whose knowledge and skills in computer programming have been most helpful.

Finally, we should like to express our appreciation to Nancy Coons, whose patience in preparing the various manuscripts has established her as the secretary par excellence for musical research projects.

iv INTRODUCTION

The purpose of this study has been to develop and redesign instructional materials and methods in the field of elementary musical composition that would contribute to the development of musicality in students at the junior high school level. Concomitantly, it has been anticipated that this study would lead to the development ofa much- needed instrument of evaluation in musical growth, and that it might add to our knowledge of the underlying factors which contribute to musicality. The impetus for this study was provided by certain recommendations suggested by the Seminar on Music Education held at Yale University from June 17 to June 28, 1963. Since this research was based on the Palisca report of the Yale Seminar (46),a review of that report would suggest the underlying rationale of this study.

The twelve-day seminar represented a new departure in, several respects. It was probably the first time in recent history that such a cross section of professional interests in music was achieved in an extended conference in music teaching. The participants did not come as representatives, but as individuals. In spite of their diversity, the participants had much in common. Each was concerned about music education, but few had participated before in curriculum development. Most, therefore, could view the problems set before them with interested detachment. They could also appraise current practices in music education from a certain distance combined with an intimate knowledge of the musical issues. Most had grown up within the educational system that they wanted to revise. Some felt grateful to this system for providing them with what they considered to be a good foundation; others looked back and wondered if they had not acquired musical com- petence in spite of it. The following statements, taken verbatim from the report of that seminar, indicate the need for this study:

Dissatisfaction with the condition of music in our schools is not a recent phenomenon. Various. organizations of music teachers have long been concerned with improvement of method and scope. The realization that elements of challenging intellectual and aesthetic substance are too often lacking in the music curriculum led the Music Educators National Conference, for example, to focus attention in its national meeting in 1962 on "The Study of Music, An Academic Discipline." Two professional societies outside the immediate field of elementary and secondary education, The Ameri- can Musicological Society and the College Music Society, have also been actively exploring means for strengthening teaching at these levels through their committees on local music, both appointed in 1948.

Musicality:

Thn development of musicality is the primary aim of music education from kindergarten through the twelfth grade. Musicality

1 is universally understood. by musicians, but it is a.quality difficult to define. The analogous quality with respect to language would be verbal ability. Essentially it is the capacity, to express accurately through pitch and time the mental image of a musical idea. Conversely, it is the capacity to grasp in its completeness and detail a musical idea heard. It can be assumed that a degree of musicality is a natural attribute of everyone. For each pupil there is a way his particular share of it can be tapped and developed.

Curriculum Basis:

Musicality is developed through vocal and instrumental performance, bodily- movement, attentive listening and ear-training, and vocal and instrumental creation, both improvised andwritten. These must be understood as components of asimultaneous and continuous process. .

Bold. new approaches in music teaching that would. bring about a maximum of reading proficiencyshould be tried, it was said, and research should be concentrated on this objective.

Repeatedly the obligation of professional musicians, drawn from the community, was advocated as an extension of theschool's resources.

Methods:

The student should be guided to think of music in the waythe finest musicians do.Within the limitations of his skills--and to the highest degree practical--the student then operates on all fronts as if he were a totally experienced, all-aroundmusician.

Creative Activities:

A correlative of prime importande to performing is creating music. It should accompany the other activities from the outset. Improvisation, inventing fixed music not written down, inventing music recorded on tape, composing in normal notation;these must be continuously cultivated from the earliestgrades. Composing is an important learning tool, a sure developer ofmusicality in students at all levels of talent and age. Indispensable and integral to composing is the rehearsing and performing of allstudent work. Compositions, for this reason, should be written for the forces at hand and for the skills available.

The young child is encouraged to invent his ownsystem of communicating his compositions to cthers in writing.At first the student finds simple symbols for up and down,loud and soft, slow and fast, and for other ingredients in hiscreations. The desire to have others play his work accurately awakens hisinterest

2 in a more precise notation.Be is thus led to learn the standard notation.

Among the kinds of musical creationappealing to children and beneficial to them are those which link musicto dramatic performances. Classes should improvise fragments of dramawith music and dance. Miniature operas or musical plays can beexciting collec- tive class projects.

Evaluation:

Because classroom courses have been theexception in music, testing has not progressed at the rate it haswith other fields. There are few standardized tests for talentand achievement, and these have not won any widespread. acceptance. Preparation of tests should be under the direction ofsubject-matter specialists, with psychologists used as consultants.

This research set itself the task of establishingthe basis for a curriculum in which musicality would be the mainobjective to which the development of various musical skills wouldconstantly refer.

Statement of the Problem

The development of musicality is theprimary aim of music education. Development of musical sensitivity and theability to make aesthetic judgments in music is of great concernto music educators. Most teachers, however, are not in agreement on how tobring about growth in musical sensitivity.Some believe that performance--theego-involvement of participation in music groups--isrequired if sensitivity to music is to be developed. Others suggest that a music literature courseis required, and they scorn those whose soleknowledge of music is that which is at their awn fingertips. Still others seriously believe thatmusical composition, admittedly at a primitive level, isessential if one would relive the creative processes of themusic composer and thus be in the best position to appreciate his music.

It is the purpose of thisinvestigation to study the development of musicality at the junior highschool level and to ascertain the contribution of creativityi.e., thecomposition of music--to this development. Musicality, as an operational term, isdefined as the capacity to express accurately, through pitchand time, the mental images of a musical idea. Conversely, it is the capacity to graspin.its completeness and detail amusical idea heard.

Since it is the intent of this studyto develop instructional materials and methods in the area ofelementary musical composition that, hopefully, will contribute to thedevelopment of musicality in students at the junior high school level, alimitation needs to be placed on the definition of musicality as proposed by theYale Seminar. The term

3 "musicality" will be defined for this experiment asthe capacity to grasp in its completenessand detail a musical idea heard.The necessity of the delimitation is obvious.The inclusion of the term"the ability to express a musical idea" demandsconsideration of such varied means of expression as to makethe testing of a hypothesistotally dependent upon the interpretation based onthe means of expressing musical ideas. On the other hand, the abilityto understand music is a major outcome of the various facets ofmusic education and more readily lends itself to measurement. The stringent measure ofthis latter capacity will be a measure of aestheticsensitivity in music. The word "aesthetic" is thus used as in its Greek origin,aesthetikos, which means"perceptive."

Hypothesis

The following hypothesis becomesfeasible. Aesthetic sensitivity in music, a term used to describethe organizing factor of the elements of auditory imagery, is dependent uponthe capacity to grasp in its completeness and detail a musical idea heard. It is hypothesized, therefore, that instruction in musicalcomposition, implying knowledge of musical structure, design, balance, unityand variety, given to an experimental sample of seventh grade students,will be reflected significantly in the scores of these students on atest of aesthetic sensitivity in music, when compared to the scores,first, of those seventh grade students who have received instruction ininstrumental and vocal music nerformance classes; second, of those whohave received instruction limited to guided music listeningand rote singing; and, finally, of a zero control groupwhich has received no school musicinstruction.

Background

Mankind views with awe the explosionof knowledge in the scientific world during this last decade,and the.extreme interest in theearly identification and nurture of creativeminds in any field which has been promoted by educators anddefended in terms of the nation's needs is also reflected in the trendsin music education. To teach music creatively and to teach for creativity inmusic has become the battle cry.

Strang (60), writing in a NationalEducation Association pamphlet on creativity,succinctly observes:

In a school whose lockers arealike, the gym suit is a uniform, the school cafeteria serves aone-plate lunch, and whose children leave school for houses which arealike, row after row, with streets full of cars alike frombumper to bumper, sameness seems to surround them.The school must use increasingcaution to avoid the pressures that couldmake each classroom a mold which would produce sameness in thinking andperformance.Awareness of creativity in the arts, with its urgetoward originality and its freedom of experimentation, can preserve the uniqueness of the individual, which is so precious to a democracy. If students are encouraged and given helpful criticism in their creative endeavors, they will continue to exercise initiative and independent thinking in many areas of learning.

The tarm "creativity" has had varied connotations in the junior high school clussroom. Yet the conscientious teacher, in her attempt to teach for creativity, has examined the multi-facets of music education from almost every viewpoint except one, namely, musical composition.

"Creativity in music implies much more than the idea of composing music," Strang ammarizes:

As you choose the right instrument to play in the rhythm band. to express a given mood effect, you're being creative.As you decide how fast the music ought to go in order to express the meaning of the words, you're being creative. When an individual takes part in the performance of music, he has a direqt and very personal experience in making something beautiful. The elements of judgment and evaluation as well as that of imagination are involved in interpreting music. The performer must decide what the composer means and relate that meaning to his own background of experiences. This very act is its own motivation for further adventures inmusic. The concept of active doing implies participation on the parts of the teacher and the students.

Except for recent and rare exceptions, musical composition has not entered the junior high school classroom for obvious reasons. "How can anyone be taught to compose who has little or no command of the musical language?" the teacher asks. It would appear that to use composition as a means of teaching this control of the language would be a sacri- lege--a travesty on the work of mature music creators.As one consultant for this project stated, "This is similar to calling the book report my son is making on Asia a piece of research simply because he has searched out the information in the Book of Knowledge." With this recognition of the obvious redefining of the word "composition" in the eyes of the accomplished musical composer to mean teaching basic musicianship through the writing of music, we propose basically to provide the student with a means of access to music through his awn efforts with his pen.

It is remarkable that composition in music should find such small usage in music education in the public schools. Teachers are probably of the opinion that composition is for the musical elite--that it takes a special talent to compose music--and therefore hesitate to attempt to teach all children in musical composition. They forget that we have "Sunday painters." Painting is not restricted to the Rembrandts of the world. Teachers do not hesitate to teach children to create poetry, but they stop short when a musical adaptation is called for.Composi- tion in music could very possibly serve as that bold new approach to

5 It is perfectly ob- reading music, soughtafter by the YaleSeminar. but two sides of the vious that reading musicand writing music are both are one and the same coin. The skills andinsights required for same. children can be taughtto There is reason tobelieve that most In the rural South,hymn-tunes compose music ofthe folk-song variety. of persons in thechurch "singingschools." arecomposed by great numbers Bay Area, childrenin the pri- In several schoolsin the San Francisco Most importantly, wemust think mary grades aretaught to create songs. rather than as aspur-of-theof creativity as adevelopmental process moment happening. definition of creation asit In the arts we came asclose to the that only God can is possible to doin this world. It has been said starts with silence, akind of create from nothing,yet the musician tone, he is creating, The minute themusician produces a "nothing." existence and practi- from nothing, asound--a thing thathas physical music struggles with cal meaning for thelistener. The beginner in he tries to make abetter sound. producing a tone. As his skill grows, tells him what As he continuesto mature musically,his imagination moment in a certaincomposi- kind of sound wouldbe best at a certain Isbeing creative. tion, for a certainmood effect. In this way, too, he in each of the artmedia is, The actual workthat the child does talking which the teacher possibly, more meaningfulto him than the painting, a folk dance, or awork does about amusical composition, a Interpreting the partof a character in anoperetta, of literature. The act of do- a poem, or a songis a very real andvital experience. itself. ing is frequently moreimportant than the product creative in their Recognition of the factthat all individuals are This has been said own way isessential in theeducational process.- specialists in music andart education. and confirmed againand again by reinforced by theCarnegie Corporation of This concept hasbeen further MacKinnon (31), directorof the New York, andreported by Donald W. at the Universityof Institute of PersonalityAssessment and Research, California at Berkeley. Clearly, Intelligence alone doesnot guaranteecreativity. and, in general, arather high a certaindegree of intelligence Above that pointthe degree degree, is requiredfor creativity. determine the level ofone's awn. of intelligence doesnot seem to many-faceted thing.'There are creativeness. Intelligence is a intellectual functioning. The aes- many typesof intelligence or creative person's work.He thetic viewpointpermeates all of a seeks not only truth,but also beauty. Association, agree in The Secondary SchoolPrincipals, National School, that the their publication,The Arts in theComprehensivexle whidh emphasize the useof intellect arts are subjectto disciplines

6 as well as the development of sensitivity andcreativity and the capacity to make reasoned aesthetic judgments in extending the range of human experiences. Leonard and House (29)reiterate this view of music education: "Music education should be primarily aesthetic education. An essential correlary to this belief is that music educationshould give primary attention to developing students' ability toperceive musical meanings."

Though it is interesting to know from MhcKinnon's studiesof creative persons that a significant attribute of creative peopleis aesthetic sensitivity, the attitude of this research is much moremundane. Creative endeavor, here restricted to musical composition,is a means to an end--that end being to develop musicalsensitivity in junior high school students. While it is believed that working with music creatively will enhance a student's ability to attend tothe musical stimulus, the real purpose of composition will be toacquaint the student with music. The common termis to "appreciate" music, a word which we have shunned in this research, though perhaps with aprecise definition its use would be more meaningfulto the reader: "To appreciate is to assess at true value." Appreciation does not necessarily meanto like, and thus one may assess a man's fault orappreciate an opposing point of view. To assess music at true value is to make anaesthetic judgment. There is considerable evidence that we likethat music which we know. In order to make judgments of appropriateness,the listener is required to have considerable insight into the structureof music. It is believed, therefore, that by dealing with theelements of music in a sys- tematic way through composition, even at aprimitive level, the student may thus acquire additionalinsights into music which will permit him to make aesthetic judgments in music.

Bennett Reimer (49), in discussing the developmentof aesthetic sensitivity, suggests that the components are(1) perceiving the musical content and (2) responding to it in ameaningful way. It involves three avenues of inquiry:

The first is concerned withdeveloping an understanding of musical concepts or the constituents andexpressive elements of music and factual knowledge about music thatwill serve to increase musical insight.

The second has to do with examining oranalyzing the musical content--its interrelationship or how itis p'ut together. This inquiry is always in terms of its expressivevalues, however.

The third method of inquiry Reimer callsperformance, which includes all possible means through whichstudents can actively explore, experiment with, and manipulatevarious musical concepts.

Although it is the central concern ofthis research to ascertain the value of "creativity " -- definable as thecomposition of music--in developing musicality at the junior high level,it proposes to evaluate

7 be taught the curriculum, not in termsof how well the young composer may understand musical to express himself creatively,but how well he can put to the test ideas which have been expressed. In a word, we shall MacKinnon's description of the creative person: The aesthetic viewpoint truth, but permeates all of a creative person'swork.Be seeks not only also beauty.

Proposed Instrument ofEvaluation

they have taught. It is a truism that teachersshould measure what in composition It might be argued that thebest measurement of a course musical ideas through would be the ability of thestudent to express in the composition; however, in comparing waysof developing musicality junior high schools, it isessential that the evaluationinstrument that a fair test of shall be culturally fair. Thus, it would appear musicality would be theability to understand musicalideas expressed. This conclusion led tothe consideration of atest of musical sensitivity as measured by a testof aesthetic judgmentsin music to evaluate growth in musicality.

Specifically, it is believedthe aesthetic judgmentstest should aspect in mel- be a judgment of musicalappropriateness measuring this sensitivity ody, rhythm, harmony,and form. Such a test of aesthetic in music was to be derivedfrom the Hevner Tests ofMusic Appreciation, Tests of Melodic the Wing Tests of Musicality,the Kwalwasser-Dykema Musical Sensitivity, and Taste and Tonal Movement,the Gordon Tests of The composite test was the Lyme Test of AestheticMoments in Music. test was derived which given as a preliminarytest and from it a final only those items were re- was validatedempirically; that is to say, tained for the final testwhich differentiatedsignificantly between their teachers to be the junior high school studentswho were judged by being least musi- most musical and thosestudents who were assessed as growth in musical. This reconstructed testserved as the measure of cality for the seventhgrade experiment.

Literature Related to theExperiment

An early step inthe formulation of acurriculum leading to com- to survey cur- position of music by thejunior high school student was their focal point the develop- rent methods andmaterials which have as Included in this survey were. ment of creativityin music with children. Tonic.Sol-Fa Books, the the Das Schulwerkof Carl Orff, the Curwen Kodaly HinigarianMhsician- SteinerMusicianship Texts, and the Zoltan staff were privileged topartici- sbi,E. Texts. Members of the research in the summer of1966 in pate in threeworkshops held in California Szonyi acted as clinicians. which Zoltan Kodalyand Madame Elizabeth and Orff trainingschools have Moreover,representatives of the Kodaly They have held in- continued to act asconsultants for the project. and supervisorspartici- service traininginstitutes for the teachers pating in thisinvestigation. 8 This project is especially indebted to theHungarian composer, Zoltan Kodaly, whose advice was sought during hissymposiums held on the University of California campuses as well as on theStanford campus. Kodaly was eminently qualified to serve as a guidinglight for this endeavor for he is universally accepted as one of the mostsig- nificant of twentieth - century compcsers.However, Kodaly was not con tent to serve as a consultant in the role of a"great composer." Be wished to influence those who would in time bring about a newattitude in music education.

Kodaly postulated that good musicianship can onlydevelop from the pure sense of intonation thatunaccomranied singing based upon a solid foundation of sol-fa syllables will ur!ailingly give. In the course of a number of visits to England, Kodalyobserved the highly developed -singing in the schools, a result of the work by John Curwenand his followers. To this he expressed indebtedness for muchstimulation whiCh helped him with his work. with Hungarian children. Kodaly wrote in the preface of one of his books, "I am now very pleased toreturn to the English what I learned from them and was able to adapt to ourneeds in Hungary."It was from Kodaly that information was receivedconcerning texts for guiding the young composer which were publishedby John Curwen Publishing Company in London, ,much of which has beenborrowed unashamed- ly by this .research.

The educational theories of Kodaly have beenrecently expressed in the writings of several American music educators. Richards (50) and Darazs and Jay (10), as exponents of the Kodalymethod in the United States, have published concise interpretations of histheories. Their interpretations can be summarized briefly as follows: The foundation for the Kodaly method, as with Montessori,Coleman, and Orff, is rhythm. Rhythm is introduced through the rhythm syllablesderived from the French time names invented byAbbe Aim41 Paris. Graphic notations, based on the poetic stress marks for long and shoktaccents, are used to reinforce the rhythm syllables which come outof the chanting of traditional rhymes.The instruments of learning here are the voice, and the hands and feet, which are used forclapping and stamping.

Music reading is done with sol-fa syllablesreinforced with hand signs derived from the Curwen system.At first, as in the Orff method, songs are limited tothe pitches so and mi. EventuRlly new pitches are introduced which expand the vocabulary to songsbased upon pentatonic and major and minor diatonic scales. Since the hand signs represent the syllables sung, they act as a reinforcing agentin the learning process.

Pitch notation is taught from the very beginningby placing the sol-fa syllables graphically on a three-linestaff. In this way, the standard five-line staff is graduallyintroduced with each new syllable. Through the movable do system, the studentacquires a facility for, writing and transposing scales andmelodies in various keys and clefs.

9 One essential difference betweenthe Darazs and Jay text and the Richards charts is that the formeremphasizes written composition from the beginning.As new pitches are learned,the student is encouraged to invent original melodies based uponthem. Improvisation, as an as- pectof the compositional approach,is emphasized.Here the techniques of canonic imitation are especiallyeffective through the employment of the pentatonic scale.

The methods and techniquesdeveloped by Carl Orff and hisfollowers Be has are also ofincreasing interest to Americanmusic educators. achieved popularity in this country as aresult of performances of his stage works, such as "Carmine.Burana," "Catulli Carmine.," "The Wise Maiden," and "Der Monde"; but thecomposer's attention has long been divided between such compositionsand his educationalinterest. Orff is probably the favorite livingGerman composer, at leastto the average music lover ofthat country. Be started his experimentsin music for children in the thirties,after years of dissatisfactionwith pre- vailing methods and materials.Be based his system onthe belief that the learning processes ofchildren follow the same pattern asthat of the whole race of mankind. Just as primitive man usedfree body movement in dance and simple rhythmicdrum patterns, Orff startedchildren with drums suited to theirphysical size and skill andcombined bodily movements with the beat ofthe drum.He also added rhythmicchants, synchronizing the spoken rhythmwith the movement.Next came melodic their first musical ut- experimentation. Many primitive peoples start terances by using only one ortwo pitches, and most finally progress in planning musical to a five-tone scale. Orff used this same sequence experiences for children. Be expanded the melodicvocabulary only after the childrenhad had experience with thesimple melody. of all should Carl Orff's philosophyis that music educdtion first develop the child's abilityto improvise. The child must be helped to make his own music which growsout of his own experiencein speaking should and singing and movingand playing. Orff believes that children simple, al- be allowed to discovermusic for themselves, starting on a expression at an elemen- most primitive level. By encouraging creative immediately indoc- tary level of musicalexpression, the child is not expected to trinated into sophisticatedmodern music; neither is he experiences master difficult instruments,such as the violin, before he to music. Instead he is led graduallyfrom natural speech patterns rhythmic patterns and rhythmic activities. Melodies grow out of these lead to a simple harmony.

Rhythm, Orff says, precedesand is stronger than melody,while melody precedes and isstronger than harmony. For the child and for This is primitive man, speakingand singing are intimatelyconnected. imperceptibly from speech pat- a connectionwhich leads naturally and terns to rhythms. In the Orff methods, thespeech patterns progress eventually a second part from the very easy tothe more difficult, and words are carried on by hand is introduced. Rhythmic exercises without Once they are clapping, knee slapping,stamping, and finger snapping.

10 learned they are used to accompanysingle-instrument melodies, speech patterns, and songs. These simple rhythmic patterns repeatedthrough- out several measures or even throughout anentire song are called 1 ostinati.

Nash (38) and Rinderer (52) have developedmusic programs which utilize the principles outlined by Orff's DasSchulwerk series.Al- though neither version is as intensiv3, both varylittle from Orff's basic assumptions.

The Schulwerk begins with pentatonicmelodies, because, as Orff says, music based on afive-tone scale represents a stage of development which closely corresponds to thementality of children.Before using the full five-tone scale, severalmelodies of two tones, and some consisting of three tones, are introduced. The melodies are accompa nied by clapping, stamping, and percussioninstrumental accompaniments such as xylophones, triangles, andtambourines. Concurrently with elementary exercises go the practice of speechpatterns and rhythm exercises. Orff considers rhythm to be the mostbasic study for children.

In recent years a number of articles haveappeared in the Music Ed- ucators Journal that recommend written composition as aneffective and creative means for teaching general music inelementary and secondary schools. Thomas (65) and Mills (35), for example, citevarious techniques which would best bring about desired goalsof music education, but they' do not offer an organized curriculum ormethod of evaluation as such.

Alper (1) discusses twentieth-centurycompositional techniques derived from studies made atBennington College during the six-weekMusic Institute of 1962. The learning concepts for theapplication of these techniques are outlined by Thomas(64), who describes the results of his efforts to incorporate the basicideas of the Bennington study into the music program of NanuetJunior-Senior High School:

Silverman (58), in a studyentitled "Ensemble Improvisation as a Creative Technique in theSecondary Instrumental MusicProgram," explored the possibility that studentsof high school instrumentalmusic could learn and use ensembleimprovisation successfully. The conclusions drawn showed thisactivity to be uniquely successfulin developing the creative potentialof gifted high school musicstudents.

In the spring and summer of1964 three pilot projects were spon- sored by the ContemporaryMusic Project under thechairmanship of Norman Dello Joio. These experimental projects weredesigned to study effective methods of presentingcontemporary music through creative experiences, improvisation, andcomposition. Each project focused on a specific area of study. The Contemporary Music Projecthas recently launched a broadly conceived andintensive program designed toimprove "comprehensive musicianship" at thecollege level. Comprehensive musicianship is definedin the Project's brochure asincorporating con- ceptual knowledge with technicalskills to develop the capacity to

11 experience fully, and the abilityto communicate thecontent of, a musi- composition, cal work.The "technicalskills" include aural training, understand the and performance, where auraltraining is the ability to notation, and to structure of sound, to conceivemusical sound fram its musical nota- demonstrate the understanding ofmusical structure through script tion, verbal report, andperformance. While the importance of is maintained, aural proficiencyand a focus on themusical utterance are paramount. Projects (11), The Baltimore, Maryland,and can Diego, California, for example, were organized toprovide in-serviceseminars for music teachers in conjunction withpilot classes at selectedgrade levels in various types of schools. The seminars involvedthe analysis of contemporary music and assignmentsin composition based onthe techniques these materials in the* and styles studied. The teachers then tested to identify con- pilot classes.Another aspect of these projects was temporary music suitable for usein the public schools.

dif- The Farmingdale, New York,Projects(11) was organized somewhat tal- ferently. In this study, a selected groupof thirty-one musically ented students from the sixththrough eighth grades wastaught by two to demonstrate types of creative teaching. The first method attempted experimental techniques in musiccomposition using twentieth-century development of musical idioms; the second attemptedto demonstrate the and composition. resources throughrhythmics, singing, improvisation,

Since all three projects weredesigned to explore creative ap- results were 'not to proaches rather than todevelop a curriculum, the be construed to implythat creative experiencesshould necessarily beof these at- gin with contemporarymusic. However, from the success the area tempts, further investigation wasrecommended, particularly in methods over a of comparing the creativeapproach and the traditional long period of time. is not necessarily The emphasis uponcreativity in music education Montessori (36) a new one. The philosophies andmethods outlined by music creatively. However, and Coleman(7) deal directly with teaching two criticisms may beleveled at these methods: (1) Their use of creativity does not involve orsequentially lead to thestandard litera- and the ture of music. Because of this,objectives appear ambiguous "innate" ex- discovery process is solelydependent upon the previous meth- periences of each learner. (2) Creativity, as employed in these writing ods, focuses primarily uponimprovisation with little or no creativity is considereda*problem- involved. In the present study, composition in the styles solving process whichemphasizes written music Composition should be utilized of various composersthroughout history. experience -- singing, in conjunction with theother areas of musical transfer of learn- reading, playing, andlistening. If a firm basis for education, developing ing is provided, thebroader objective of music musicality, maybeachieved.

12 Of the music educators directly concerned with the problem of musical literacy, Hartshorn (23) proposes a pedagogy based on the premise that what music communicates and how it communicates are one and the same thing. He insists. that learning concepts of tone is thefirst order of business in teaching children music. In a paper advocating the teaching of musical concepts in elementary grades, Asahel Woodruff,of the University of Utah, warns that elementary school curricula that rely exclusively on "spontaneous expression" in music, visual art, and dance neglect the discipline essential to every artisticstatement.He outlines a procedure for teaching concepts that progresses frompercept to concept to testing the concept in practice.

For a project on experimentation in school musiceducation, Ronald Thomas (64) collected descriptions of 92 innovative programsfrom 132. schools in 36 states.He defines four categories of innovation: Content (structure, sequence, or form of the study), Strategies(techniques, organization, or procedures), Media(instructional aids), and Performance and Literature.

Innovative approaches to content include activitiesencouraging individual exploration of the musical process, the stressingof group composition of vocal and instrumental pieces, and theacquisition of vocal skills as a logical outgrowth of creative activities.

New and imaginative strategies have been devised assolutions for traditional problems. Dictation is used to develop musical memory so that pitch perception becomes an aural as well as avisual experience. Students conducting their own laboratoryclasses learn from group evaluation, the teacher serving as a"resource" person. Curriculum planning is revolutionized through flexiblescheduling and programming that allow for group or individual instruction,and for ensembles.

In studying an approach tomusical understanding for secondary school students, Wendrichts project(7L.) has as its objective the development of musical understandingthrough listening, performance, and the study of music literature as anacademic discipline. The objective is to be attained through thedesigning and testing of a one-year curriculum consisting of a number of relatedunits. Each unit deals with a particularmusical genre and is to be built around a corework representative of that genre.

Literature Related to the ProposedEvaluation.

Taba (61), in discussingevaluation of the outcomes of curricula, is of the opinion that thevalidity of evaluation instruments tendsto improve to the degree thatthe tests (1) are consistent withcurriculum objectives, (2) are based on asufficiently careful analysis of the be- haviors to be evaluated,and (3) are addressed to what thestudents have had an opportunity tolearn. In a word, a test should measure whatthe teacher has taught. Achievement testing thus becomes animportant aspect

13 of a broader, continuing process of education thatbegins with a concern about objectives and ends with an assessment oftheir attainment.

Since this study has as its central concernthe contributions that a compositionally orientedcurriculum can make toward increasing sensitivity to music, some consideration must be givento the meaning of the phrase "to express and understand a musicalidea," in order to ensure that an appropriate instrument of evaluation isselected. The criteria of evaluation will therefore evolve from adiscussion of several bases and what sensitivity to thementails.

Sessions (57), speaking as a listener, performer,and composer, believes that a musical idea is simply thatfragment of music which forms the composer's point of departure,either for a whole composition or for an episode or even a singleaspect of a composition--a startingpoint of a vital "musical trainof thought." It would appear that a measurement of musical sensitivity does notnecessarily require hearing a composition in its entirety.

Although the essence of a musicalcomposition lies in the composer's treatment of a musical idea, ofequal importance is the listener's relationship to the music. Sessions distinguishes four stages inthe listener's development. First, the listener must hear themusic. He must open his ears to the soundand discover whatever point ofcontact he can find and follow themusic as well as he can in itscontinuity. Be must identify with the musicwithout preconceived ideas or strained efforts. Secondly, he must enjoy the music. By this enjoyment, Sessions means listening tomusic so attentively that conscious response(communi- cation) is experienced only afterwards. Thirdly, the listener must experience musical understanding. Be must develop the ability toreceive the "full message" of the musicby taking the music into hisconscious- ness and re-makingit actually or imaginatively(in terms of sensations and impressionsremembered) for his own uses.And fourthly, he must discriminate on all levels of hismusical experience. In this way, he is able to cultivate a senseof values to which he may refer inhis later judgment. He will in fact become acritic--a listener who has become articulate, and whohas acquired an ability to puthis judgments and values into words. This stage, Sessions feels, isthe end-product of the listening process. Here, the aesthetic judgmentbecomes the natural, full-grown by-productof a total artistic experience.

Greene (17) is in agreementwith Sessions and believesthat there historical, the re-crea- are threeaspects of aesthetic criticism--the tive, and the judicial. Historical criticism, he says,involves the determining of the nature andexpressive intent of works of artin their within its historical context--theappropriateness of the work of art historical style and therefore anunderstanding of the vital stylistic imaginative apprehen- implications. Re-creative criticism involves the sion of what the artisthas succeeded in expressingin his work of art. value of a work of Judicial criticism pertainsto the estimation of the These art in relation toother works of art and to otherhuman values. three aspects of aesthetic criticism, however, are interrelated and are, in fact, aspects of the same .process.

According to Sessions and Greene, then, art is an expression of values. The artist in his creation of a work of art makes value judgments in terms of what he wishes to express.His process of selection is influenced and determined by his personal values, his cultural milieu, and the historical environment and its aesthetic norms. The apprecia- tor, in responding to the work of art, reciprocates through a similar process. He observes, becomes involved, and reacts emotionally andin- tellectually by making value judgments concerning the appropriateness of the work of art in terms of its uniqueness, historical style, and artistic merit.

Kyme (27) believes that aesthetic judgments indicate ageneral quality of adjustment to the demands of the musical culture. Aesthetic judgment, he feels, is centered on a pattern of organizedperception; that it goes beyond mere sensation; and that aestheticfeeling lies in the relationship between sensation and judgment.

An important consideration imposed upon thosestudying aesthetic judgment lies in the definition of, or assumption of,absolute standards of goodness. Hevner (24) assumes that the creation of anartist, whose work is generally acclaimed for its merit, isbeautiful, and that it is more beautiful than the same creationaltered by a deliberate attempt to mutilate its various beautiful qualities.She believes beautiful music is that music which is played and enjoyed by thebest of professional musicians and that, obviously, the selection of"good" music on the basis of the majority vote would be a serious error. She argues that one might as well decide that a four-room,frame house is the ideal place to live because the majority of Americanfamilies live in houses of that type. The judgment of the man on the street isnot the measure of musical values. Music is kept alive, rather, by the passionatefew.

Schoen (55) defines a musics-71y"good" melody as one that creates a complete: impression just as does a properlyconstructed sentence. There are rulez,, of course,but a musical-minded person has a feeling forto- tal sequences that is active beforeknowledge of laws or reasons is obtained, just as a child grows up with afeeling for the fitness or appropriateness of the words of his nativelanguage long before he is taught grammar.

Although recognizing a need for theempirical method of validating the items in his test of musicalability, Wing (75) presupposed certain immutable standards in choosing his musicalmaterial, as evidenced by this statement: "If a piece of music (a) were taken from.the best work of expert composers,(b) were thought good by the consensus of musicians, (c) had survived the test of time,(d) was from a standard edition, it was assumedthat it would be representative of goodart." 4""-.

Farnsworth (14) points out thathistory discloses change in musical standt.rds. The taste of Western culture haschanged appreciably from

15 time to time. Leading composers have beennonconformists.Although they study the musical traditionsof their period, they almostinvari- ably adapt the rules to fit their ownneeds. Thus the rules as ex- pounded in the manuals do notremain static, but, rather, arefrequently recodified.As an illustration of ourchanging preferences, let us take the situation of the definitekeynote. Although there existed from early days the "final" of the Ambrosianand Gregorian modes, the true key tone, or tonic, apparently did notenter European music until thethir- teenth century. It later achieved such a stranglehole on musical practice that in 1893, one authoritycould say that without a clearly defined tonality, music is impossible. Yet during this same period of the tonic's extreme popularity,people of other cultures wereenjoying keyless music, and now polytonal andatonal compositions are almost com- monplace in our own cultural area. For another example of taste change, attention can be called to parallelmovement, which was so much relished at one time, am then wassternly banned.. Now it hasreappeared and has achieved a desirable status.

The hypothesis that contemporarytaste in music is in a large meas- of anthro- ureculturally derived can be demonstrated through the data pology. It has been shown that theOccidental love for simple rhythms, careful tuning, sized tonalsteps, harmonies, and the toniceffect is not shared the world over. The African's sensitivityfor complicated rhythmic patterns was so faxbeyond the taste and perceptualabilities of many of the early missionariesthat they commonly reported theAfri- can to be arhythmical. The Chinese often appearoblivious to mIstunings; they love music which has noharmony in the Occidental senseof the word. Yet Orientals can learn tolove Western music, and,indeed, with continued residence in America, cometo appreciate our musicalprinciples and gradually to developfacility in the perception ofsmall auditory differences. When constantly subjeJtedto poor tuning, the American loses his need for, andsensitivity to, pitch exactitude.

Seashore (56) proposed arigid and, verifiable basefrom which all measurement of aesthetics in music maybegin through the measurementof artistic deviations in thevarious attributes of sound.Be indicated the sound wave, and that all musical expressionis conveyed in terms of certain physical charac- that the psychologicalattributes correspond to teristics of sound. In his analysis of themusical mind, major atten- In tion was given to thequantitative treatment of sensorycapacities. correlate with some insisting that everyaesthetic effect in music must variation in the sound wave, Seashorebased his case upon an atomistic Fechner (15) tra- associationist psychologythat stems directly from the this theory have beenpointed out by dition. The fallacies inherent in Prall (48), Dewey(12), and Mursell (37). not first in the To hold that thereis nothing in music which was sound wave is to explain anexpressive medium in termsof its physical the sensation of sound, butmental cause. Further, since we do not hear patterns created bythe mind through selectionand organization, aesthetic judgment implies asensitivity to values thatcannot be measured by a simple sensorytest.

16 In defining the attitute in respect to standards of merit for this investigation, it is believed with Corwin Taylor(62) that the science of aesthetics is not an exact science, but rather a normativediscipline dealing with values, and that efforts to base an exact science of aesthetics upon the physics of formalism, ignore the connotative element in art, and hence are inadequate.The investigator is indebted to Mainwar- ing (32) for this concept of the aesthetic experience'.Aesthetic experience he defines as:

That experience which tends to evoke an aesthetic judgment, that is, a proposition that something is or is not beautiful. One of the most valuable assumptions accepted as a basis for experimentation is that the developed judgment, or taste, is a cultural deri- vative from innate aesthetic tendencies.

Perhaps some relationship needs to be established between music appreciation and musical ability. Wing (75), in his study of measure- . ment in music, divides musical ability and appreciation tests into two categories. He also makes a distinction between those tests drawn up by musicians, and those drawn up by psychologists. Tests falling into the first category, he points out, are generally based upon the prag- matic point of view of those who are responsible for music education. Psychological music tests, on the other hand, focus on the more theoret- ical issues. Although both musicians and psychologists have contrib- uted to our present knowledge of music testing, Wing feels that they have tended to disregard each other. In particular, psychologists, in constructing their music tests, have neglected to involve the assessment of "musical appreciation," which refers to the ability to recognize or evaluate artistic merit in music; i.e., making aesthetic judgments about music as they actually exist-in the compositions. Instead, they have emphasized only the "musical abilities," which include speed in learning to perform, ability to perform aural tests (recognition of intervals, chords, cadences, and so forth), and ability to compose. Two conclusions may be drawn that apply directly to the selection of a test of musicality for the present study.

The instrument will necessarily be in the nature of a listening- type test; that is, the ability tested will be that of grasping in its completcaess and detail a musical statement heard, rather than of expressing a musical idea. This is of, particular importance to this study inasmuch as the majority of the students participating in the sample will spend the duration of their lives involved with the listening experience. While it is through the expressing of musical ideas that this study has attempted to implement this development, its purpose is not to produce more composers, but to develop musicality.

The second assumption is that an effective musicality testshould cover a wide range of musical genres. The attitude taken in this research has been one of involving the students directly in theritual of the composer by emphasizing the composition of music inthe styles of representative composers throughout music history.Because awareness

17 of style is a key factor in the student'slearning situation, the test must be comprehensive enough in this area topermit the effectiveness of transfer.

In developing the tests of aesthetic judgment,the attitude of the investigator was that aesthetic judgments are culturallyderived. It was recognized that tastes changeand that .a performance which is thought to be highly suitable in terms of harmony, phrasing, ormelodic line at one age may well be entirelyscorned at another. Moreover, it was evident that in varied socioeconomic classes, onecould not declare a priori the specific levels each specific populationought to have reached. The test, therefore, as constructed, depended upon anempirical validation. That is to say, those items were utilizedwhich employed aesthetic judgments in music to discover how the mostmusical children would respond. If such items differentiated betweenthose students rated as most musical by their teachers, and those studentsrated least musical, then the item was suitable for use in thisexperiment. The researchers were prepared to accept as correct any responsemade by those persons identified as most musical. Fortunately, the most musical seventhgraders did choose the original versions for all of theitems which significantly differentiated between high and lowachievers.

Wing outlined several criteriawhich he considered important in developing musical tests. Four of the criteria are felt tobe relevant to this study and are therefore listedbelow.

1. The test should fulfill certainstatistical criteria of reliability. Reliability Should be determined by testand retest procedure. Unfortunately, this technique isscarcely suitable for a listeningtest in music, for the mere takingof the test has brought about achange in the individual which will bereflected positively or negativelyin the second taking of the test. Since music exists in time, a musictest is subject to the changing conditionsconcomitant with the testing situation. As Wing observed, tests concernedwith the aesthetics of music are more subject toindividual day-to-day variations inexternal conditions--the passing of a car; or thehowling of the wind--than those concerned with other cognitive abilities.

The measure of reliability which weemployed for this study is a measure of internalconsistency. It is obtained by determiningthe correlation of each item to the total score.An important step in developing the proposed test was to discardthose items which did not differentiate significantly between the lowestand highest achievers on thetest. Each item must correlate significantlywith the total test Score.

2. The test should correlate well with anexternal. criterion. Validity may be expressed in two ways:TiThow well a test measures what it purports to measure, and(b) how well we know what it really does measure regardless of what thetest claims to measure. The proposed test will be empiricallyvalidated in that, from thepreliminary batteries, only those items will beretained which significantly

1 differentiate between the upper and lower quartiles ofmusic students Who have been rated by theirteacher6 as to musicality.

Another measure that should bereported is construct validity, or face validity. In the proposed test, items will bedeveloped by taking short melodies whose essential beautylies in the realm of melody, rhythm, harmony, or form, which willthen be compared to items which have been deliberately mutilated in some oneof these aspects.An estimate of construct validity can then bemade by determining how well .melody items correlate with othermelody items, how well rhythmic items correlate with other rhythmic items, and so onfor harmonic and form items.A cluster analysis will be made in orderto learn more precisely what is being measured.

3. The test should be acceptableto the profession. The "profession" is defined here as the music teachersinvolved in this study. It is quite important that they believein the ability of the test to discriminate between students rated as leastmusical and most musical. Since the test was empirically validated onprecisely this criterion, and since the teachers, by ratingtheir pupils, identified the musical, teachers are not likely to object to thefindings of this research even though the findings may reveal theshortcomings of their own teaching.

4. The administration of the test shouldbe standardized. It is assumed that any test used in anexperimental situation is standardized. The present test should be constructedin such a manner that it they be administered identicany to all samplesinvolved. Length of the test is of particular importance. The duration ought to be adjusted tofit the school period.

In summary, the following criteria wereused for the development of a test of musicality:

1. The test should be constructed ofcomplete musical ideas.

2. The test Should measure a student'sability to make aesthetic judgments concerning the musical ideasheard.

3. The test should fulfill certainstatistical criteria of reliability.

Ii. The test should correlate well with anexternal criterion.

5. The test should be acceptable to theprofession.

6. The administration of the testshould be standardized.

7. The length of the test should beappropriate for school use. METHOD

The work on the project proceeded along two lines simultaneously: (1) developing and implementing the curriculum, and (2) developing the measure of growth in aesthetic sensitivity tomusic.Each of these major areas will be treated separately.

In the summer of 1965, fourteen cooperating junior high school teachers and three supervisors were brought to the University of Cali- fornia's Berkeley campus for the purpose of gaining intensive workshop experience with the teaching techniques of Zoltan Kodaly and Carl Orff. These workshops were consummated in August 1966, when members of the project staff participated in workshops with Zoltan Kodaly and Madame. Elizabeth Szonyi, Director of Teacher, Education in &isic at the Budapest Conservatory. Video-tapes were made of these demonstrations for use as teachers' guides for the experiment.

Time of the Experiment

The experiment proper took place in the spring semester of1966, was repeated with some variationin the fall of 1966, and was replicated in the spring semester of 1967. In each semester, two classes comprised the experimental sample. One class was taught in part by a student teacher and one class was taught solely by the regular juniorhigh school music teacher. In each school the instrumental groups were taught by the regular instrumental music teacher.

Make -up of the Population

In choosing schools to participate in the research,considerable thought was given to the possible samples. This research was directed toward the junior high school level, and the seventh grade inparticu- lar. Moreover, its emphasis was on a music education curriculum that would be suitable for urban centers, particularly those whosetransient population rendered them least effective in establishing foundation courses in musianship for the elementarygrades.

In this endeavor we were most successful. Children generally reach the seventh grade in the immediate San Francisco BayArea without a great deal of knowledge of the mechanics ofmusic, and only. those trained in instrumental music have even the slightestskill in reading or notating music. It was necessary, therefore, to seek a"bold and daring new approach to the reading of music" as prescribed bythe Yale Seminar. What was needed was a "visual solfeg"--a concrete representation of the abstract ideas of music. The answer to this problem was the use of "shaped notes" to represent the sol-fasyllables used for reading and writing music. This procedure was eminently successful with the Negro children in the experiment, as it was with ourearly colonial

20 forefathers who used it in the SingingSchools of the early nineteenth century.

As Riessman (51) states in his book,The Culturally Deprived Child, abstract thinking is ultimatelyrooted in concrete sensory phenomena. Deprived children need to have theabstract constantly and intimately pinned to the immediate, the sensory, thetopical. Since the deprived child approaches abstractions from the concrete,the teacher must do likewise. The population choice also affected thekind and length of the test. Deprived children are not accustomed tobeing evaluated and are therefore not very testconscious, they have poor auditory habits, and do not concentrate sufficiently onthe examiner's illustrations. Sometimes they hurry through the test just to get it over'with and to remove themselves from thesituation, Riessman observes.

The research was not limited tothe culturally deprived, however. In one of the participatingjunior high schools, musical composition has been taught as an honors course forthe most accomplished of the instrumental performers. In the same schocil, for thisexperiment, a composition class was instituted for a group ofseventh grade students who were below reading level scholasticallyand who were musically illiterate. Of the nine schools participating in theexperiment, three were chosen from the lowest socioeconomic strata. On the other hand, three schools were chosen from the uppermiddle-class neighborhoods. The remaining three represented a balanced populationof Caucasian and minority groups commensurate with the population of thecities as a whole.

Brief Description of the Experimental Curriculum

The first and primary task facing thejunior high school teachers in each of the nine experimental schools, preparatoryto carrying out the research which was to determine thevalue of the curriculum and compositional experience, was to develop sufficient basicmusicianship; that is, command of the language, which wouldpermit such a curriculum to be attempted. The participating teachers and the researchstaff were in agreement that composition should not be defined as mereimprovisa- tion on tone bells and rhythm instruments, but thatthe purpose of compositional experience was, in the final analysis, merely to offeranother avenue to the music itself.

Some of the teachers emphasized the valueof music reading as the requisite skill to acquaintanceship with goodmusic and, in effect, preferred to use the writing of music as the meansof teaching music reading. It would be fair to say that the majorityof teachers and researchers alike were of theopinion that acquaintanceship with'representative master works, preferably through performance, wasthe chief goal of the experiment in writing music.There were two notable exceptions tothis attitude, however. In two schools in each of the twosemesters, the experimental class was devoted solely tocomposition. 5.1aldan in a public school situation can such unadulteratedresearch be instituted. In

21 another school the creative work was almost totally improvisational, for the teacher was strongly influenced by the Kodaly techniques.

Music Reading Curriculum

A crucial problem faced by the junior high school:music educators was how to teach successfully the core skill of reading music at sight. It is generally believed that in order to compose, some basic skills must be assumed. Music literacy would be a prerequisite. The opposing point of view is that the writing of music is another avenue to teaching music reading. Teaching a basic command of the language was indeed a major problem in this evaluation.

Despite the universal recognition of the value of music reading as the axis upon which part-singing, creation of original songs, and broad- ening of repertoire depends, evidence is strong that in the San Francis- co Bay Area it was conspicuous by its absence in the junior high schools. Apparently teachers were convinced that efforts to teach children to read music were not compatible with those aims of education which stress a lasting love for, and appreciation of, music by every child. It was said that the early efforts of school teachers to teach (as they were taught) the mechanics of singing music divorced from music itself quite likely created a generation of music haters in our schools and accounted for this hesitancy on the part of our present-day teachers to teach anything that smacks of pedantic drill.As a result, Otto Messner (34) wrote that every conscientious music educator should be concerned about the law degree of music literacy in America today: "Can we.honestly claim to have made progress when most college music education courses still require a full year or more of ear-training and sight-singing because music majors have not mastered the art of tonal thinking and sight-reading?"

Music reading, a performance-response to symbols, is a perennial problem - child, yet comparatively little has bem done in research to define the nature of the reading process.Some work has been done in describing the eye movements and some work has been done with the effect of "grouping" of the symbols, the use of beams versus individual notes for each syllable of the lyrics. SOW experiments have been done with the use.of colors and shaped notes to aid the development of the "vocabulary" of numbers or sol-fa syllables. A number of independent studies have been concerned with the development of methods for teaching rhythmic reading, most of which show quite clearly that neither a non- musical approach nor an arithmetical approach is the key to the problem. Work is still needed to determine how to better organize our perception in terms of the beat or pulsation of the music.How to teach music reading is the crux of the problem and is worth considerable attention here.

The debate which started with the birth of the Music Educators Con- ference in Keokuk, Iowa, in 1907, still rages strongly today concerning

22 the question of 'whether to use numbers or sol-fa syllables in reading music. Added to this debate is the instrumental space frame promoted by piano playing teachers Who note that pianists are often able to estimate the distances in pitch as the notes fall underneath their fin- gers. Using this kinesthetic feeling for intervals, children may learn to read music with the use of an instrument.

Not all teachers use sol-fa syllables to estimate pitch. Ifivtead of labeling the degrees of the scale with those initial syllables to the Hymn of Saint John, many prefer to use numbers to designate the scale degrees. They remember that children already know the numbers, and ap- plying them to music makes ready sense to the young child..

There are several difficulties, however, which numbers present: the difficulty of singing numbers, their inadequacy in chromatic, alterations, the fact that numbers present a stretchable ruler which measures the distance from one to three as four semi-tones in the major mode but measures three semi -tones in the minor mode with the same numbersbeing used.Actually the difference between the use of numbers and the use of sol-fa syllables is superficial. It matters but little 'whether one calls the first note of the scale one, or do, or ut, as Guido the Monk originally called it, just as long as one always calls the first degree of the scale one, or do, but not two or re, or'anything else.

The teachers in this experiment believe the sol-fa system has a great advantage over the number system in that both the diatonic and chromatic notes are easily sung. However, both numbers and the movable do are designed to facilitate the development of tonality; i.e., the sense of tonal relationships within an accepted tonalsystem. This they do within the key, but when the key changes, the change must be recognized in advance and the names changed accordingly. Both systems, number and syllable, are fundamentally aural systems. Their advantage is that identical melodical configurations are consistently associated with the same set of syllables or numbers; thus, amajor tonic triad is always some configuration of do, mil soil or 1, 3, 5.

In reviewing recent publications for additional ideas for teaching basic command of the musical language, the following methods were found to be representative.

Sight and Sound by Darazs and Jay (10) uses word syllables, hand signs, and a graphic method to teach pitch and temporal values. It begins with a rote song based on the pitches by so and mi. In order for students to sense visually what they have learned, the song is presented graphically:

23 WHAT'S -YOUR NAME?

"What's' name?" "Pud tame."

your .7din' .

"Askme a- tellyou the e" gain and I'll ISa

The same song is transferred into hand signs:

4 h

"What's name."

your SO

"Pud - .tame."

din'

The song is then transferred into the actual syllablenames, ab- breviated S for so and M for mi:

SMS SMS SSSMMMSSSM

After the pitches, do and la, have been added, thede syllablesare placed on a 3-line staff-Tas an introduction to the 5-line standard staff):

C etc. M 14

211. With the addition of re, a total of five tones have been introduced which make up the pentatonic scale. This scale is the basic scale used for the entire book but it is transposed through the use of a movable do system. That is, do, as the tonic of the scale, may occur on any line or space that uses the sign,D = 0. (The 2 indicates the meter; i.e., two quarter notes per measure.)

a) D=$

c) D..2 r rit r it rir

r 19 r

Rhythm is introduced through the use of rhythm syllables based on the French time names invented by AbbeAims. Two graphic notations are used to accompany these syllables, probably derived from the poetic stress marks, / and(1:

(where TAH= 2 TEE's withinthe TAH TAH TEE TEE TAH same durationalperiod)

This later transfers directly over to the standard symbols:

1 =J andn In Sing a Song to Sight Read, Rinderer(52) presents a method that has been derived from the Orff musicalphilosophy which emphasizes rhythm and melody as the basic units of musical understanding. At first, these are studied separately through exercises constructedof melodic and rhythmic motives. These motives are taken from the elementary song literature or are improvisatorially constructed upon afamiliar text:

25 1. The calling third. 2. DOas approachtone. 3.Ring-a4ciund-the-rosi motive. 'tr r

Alr Combination of 2 and 3 5. RE as passing tone.

6. RE as Minortone to LA 7. FA. as passingIone.. 8. Five tossseries.

.1111111 I=B 1 AI=OM1 11 711...YW M1111111= 1 MEN" MIMO1 1M ..111 1

Ibrougl the above concepts., the pentatonic, major, and church modes are eventually introduced, beginning with so and mi of the sol-fa syllables. Curwen's hand-sign system is also used to reinforce the syllables. Although a standard key signature is used, the clefs are not introduced until much later. In the following example, theBfigure represents a "movable do" system where do is the tonic of the scale and may occur on any line or space in the staff.

The students are taught note-writing through the use of drawings. A Glockenspiel tower, a bird, and a bird cage represent the pitch sounded the equivalent written note, and the musical staff, respectively (S = so).

Floor 4 Floor 3 Floor 2 Floor 1

Later, "building blocks" are used as a visual idea of how a song can be put together.

r . Ju -dy see me Li - ly, Li - ly, come and catch me.

Ru -'dp find me

26 Accidentals are intro'iuced in the traditional manner.'

The texts of Hardy(22) and Venables (73) are based on the Curwen System, which uses sol-fa syllables, handsigns, the movable do system, a modulator chart, and aunique rhythmic notation, which also usesdyl- lablos.

Pitches are learned by singing do and soat first and then correlat- ing these with a visual graph oftheir relationship. Other tones are then added:

soh soh soh . doh doh doh, doh

These may also be sung fromabbreviated syllables:

d d. s

Once all of the pitch and syllable names arelearned, a 3-line staff is superimposed to illustrate a moreexact representation of the pitch relations:

d d d d 3. 5, I mi

Do, in the example above, isthus a movable do and may appear on any line or space, making that thetonic of the key. This transfers easily into standard note notationand then into the standard5-line staff.

titC.

[di 1C12-11--7-dilnqeS)-1

IIIA.

27 To reinfoice pitch learning, the followinghand-sign system is used:

SOH- The GRAND or bright tone. TE The PIERCING or sensitive tone

ME The STEADY or calm tone

DOH The STRONG or firm tone RAY The ROUSING or hopeful tone; sometimes prayerful and reflective

FAH LAH The DESOLATE or awe-inspiring The SAD or weeping tone tone

To introduce modulation, or do transition, as it is called here, a modulator chart is used. For instance, the simplebt transition consists of turning so into a new do, By writing the new do on the right-hand side of so and then adding the rest of the notes above and below as shown in the example below, a comparison can be made. In order to find out the equivalent pitch by vertical distance, fa must be lifted or raised a half step to make the new ti. The new note is called fi.Fa is thus given an appropriate accidental on the staff to compensate for the transition. The example below shows a modulator for turning fa into do (ti is lowered to te), and changing so to do(fi becomes ti in the new key). Thus, this modulator becomes a kind of formula for simple transitions.

28 DOH' TE ta 18 ILAH la se SOH ft. FAH TIE ris re RAY rs,

(Pitches to be raised are indicated on the right, insmall letters; pitches to be lowered are indicated onthe left, in small letters.)

Use is made of Curwen's systemof time, which is based upon two-, three-, and four-pulse measures andcompound two- and three-pulse measures which refer to themeter involved. Examples of the various note lengths with the staff equivalents are:

)1d :d .d Id id Id

)Id t Id ,d .d ,d :d

F-j 121-- 41( )Id 3 Id .d,d:d .d :diLd . :(1,d4 :d or-7544i-7d-7 1 er,--1Fie; kJ.

)Id pd .d sd .d :d II

[ a

. . Id 3d :d )Id :d :did :d id I .

Et Ilk M-1

)Id :-.d:d Id :- :- I- :

29 To reinforce learning here, word syllables are also used. These are based on the French time names invented by AbbeAime.

Simple Time:

r crotchet ta

quavers =to -te Compound Time:

semiquavers = ta fi tE fi ta4,41

-- ta tefi ta-E-ti

tafite ta fitefitifi

ta i-fi

RE ta ate m=ta-a

O ta*1-1141

The text by Cooper and Kuersteiner (8) begins with rote-singing, simple-part songs. By using a "rote-diagram" (graph-type) for each part, a pitch-picture is represented.

Fe+

e6 MIR Al,

Since sol-fa syllables are recommended, the same approach would employ the following:

m_ =1101111 r dr d.11M d 4=11 t, MOO =IMO 1, ti t, s,

Hand signs are recommended also to save the teacher's voice and to impart a strong visual stimulus to the reading of music notation. This transfer eventually encompasses the diatonic major and natural minor scales.

30 Continuing the sol-fa, a line is drawn connecting all of the do syllables.

The do syllables are replaced with a black square and this sign indicates do from that point on. This process is gradually expanded until all five lines of the standard musical staff have been introduced..

-0

Facility in note-reading is then achieved by reading through transposed major and natural minor exercises (movable do).

Quarter-, half-, and then whole-note values, with various combinations of ties and dots, are introduced through a clapping method:

Each quarter-note value receives one hand clap; a half note (two quarters tied together) receives a hand. clap and a hand shake or grip; a whole note becomes clap-shake-shake-shake.

Nelson's (41) method concentrates entirely upon pitch-learning through sol-fa syllables, leaving the problem of rhythm to be taken up at a later date. Only the major scale is used here and is learned by rote from the very beginning. It is presented in a graphic way:

Do, Do Ti Ti La La So So Fa Fa Mi Mi Re Re Do Do

Each exercise is a drill in a different technique.For instance, the following example develops skill in stepwise syllables moving between the tonic triad:

31 So Fa Mi Mi Mi Ni Mi, Re Re Re Re Do Do Do, Do

The syllables are then presented onthe, standard musical staff.

Key of: Eb nfl '14 1,,a, teafie So_Fa Mi RPMi

Next, the syllables are replacedby quarter-note values, and the drill process is continued in variouskeys.

Steiner(59)presents a. very useful approach. It is'based on listening--that is, silent recognition of melodicdictation--clapping, singing, and writing what has been'dictated.

The solLfa syllables are used insinging and in writing. For instance, the following would be listenedto, clapped, then written and clapped:

3 beats per measure

411) = I beat

Listen Clap (M.M. J = 72 144) Write - Clap

1. ) 1.

1 2 3 1 2 3 1 3 1 2 OMO@CD(3)400® 0 0 CD 2_

The following would belistened to, sung, then written and sung:

Listen - Sing Write Sing

mi mi mi mi mi mi mi mi mi mi mi ml mi mi mi mimi mi mi mi mi mi mi mi mi re re re re re re re re re re re re re re0re re re rere re re re (r) re do do do do do do do do do do do do do .1 do do do el do dodo do s oa)do (i) 1.. ti ti ti titi ti ti ti ti ti ti ti ti ti ti ti ti ti ti ti ti ti la la la la la la fitla tri la la la la la la la la la la la la la la la la la so so so so so so so so so so SO SO so so so so so so so so so so so so so

32 These texts, mostly withpublication dates in the1960's, are interesting to the music historian,for the first music textbook published in America, in 1721, by JohnTufts (72) employed a technique verysimi- lar to these. Tufts was content to use but foursyllables, fa-so-la-mi, which by repetition can form theoctave, and, since it contains theml- fa half step relationship,could be ordered in major scaleform.Be, too, used letter names torepresent the syllables but with aninteresting deviation to allow for time valuesto be incorporated into thenotation in the form of punctuationmarks.

Among the ingenious notationswhich followed in the wake of the Tufts publication, none was moreremarkable than the shaped -notesystem which made its first appearancein the pages of the tune-book,The Easy Instructor, by William Little andWilliam Fmith. It consisted of a differently shaped note-head torepresent each of the four syllablesof the

M1111.11LI°

scale. These distinct shapes, drawnfrom the initial letter of the sol-fa syllables, were used to representthe syllables on the staff.

The shaped -note idea wasthe kind of inspired solutionto the prob- Thus, a lem which seems perfectlyobvious once it bas been suggested. triangular-shaped note representeddo, a round-haped note, sol, a square-shaped note, la, and adiamond-shaped note, mi. In all other respects, the notation was orthodox.

This system has many advantages overthe use of letters and was incorporated into this researchwith some modification,since seven distinct shapes were used ratherthan four.

An article by Lowens andBritton (30), pUblished inthe Journal of Shaped-note Research in Music Education,contains this critique of the system:

The clear advantages ofthe shape -note system arealmost immediately apparent.An individual shape foreach syllable of the scale enables one, after amodicum of attention to thematter, to name the proix.rsyllable of any piece in anykey almost immediately. syllabization lies in One of the genuinedifficulties in ordinary the fact that keys change,hence do does not remainin the same place on the staff. The student must becontinually making mental computations in order to syllabize. With shape notes, this is coin- pletely avoided, thus one true function of any syllabization system, that of aiding in the automatic identification of scale degrees, is emphasized and capitalized upon through shape notes. These shape notes utilize the standard notation and add it to a graphic, quickly comprehended key to relative scale degrees. No one who has wit- nessed the astonishing sight-singing virtuosity exhibited. by the shape note singers of the rural South today, trained in what is basically the easy instructor method can possibly doubt the effectiveness of the device. Had this pedagogic tool been accepted by the father of singing in the schools, Lowell Mason, and others who shaped the pattern of music education, we might have been more successful in developing skilled music readers and enthusiastic amateur choral singers in the public school. Shape notes were never admitted to the classroom, and as a result the child who learns to read music in our schools today must do so without the aid they might give.

This hypothesis of Lawens and Britton is an interesting one, but receives no universal acclaim from teachers in the field who are imbued with Thorndike's fear of the use of crutches of any tripe. They question the value of symbolizing syllables with various shaped note-heads, because music is not written in this notation normally. They believe that since mature musicians read in the normal notation exclusively, the shaped notes are a visual crutch that would have to be discarded with musical maturity.Never teach a child anything, they observe, that he will have to unlearn as an adult. Practice makes perfect only if we practice perfectly.

A particular the cry of learning which supports this protest is clearly revealed in the arguments cited against the use of crutches in general.According to this theory, learning should proceed smoothly and uninterruptedly from initial status to desired outcome. The adult or the accomplished musician does not use a shaped -note system to determine the pitch relationships. On the contrary, he analyzes the music, deter- mines the key, and ascertains which degree of the staff corresponds to the same degree of the key--all done through logical analysis in his head. The shaped notes wa,"1 deny the necessity of these mental calcu- lations, and would not give practice in the technique which ultimately he must employ. The child should not be given a crutch, but should do exactly as the adult does to the best of his ability, so this theory contends.

The other side of the argument championed by Brownell(5) and others holds that learning need not take itspattern from adult behavior if an alternate pattern gives meaning to thesituation and contributes to understanding. The fear that a crutch once learned might become a permanent habit is minimized if understanding gained by the use of such a crutch is made possible, and if the greatest "transfer" to the understanding of musical notation is accomplished. (Note in the examples how shaped notes make insights into harmonypossible.)

34. This author determined to test Britton's hypothesis and devise an experimental method which would teach children to read music. The ex- perimebt was recorded in the Journal of Research in Music Education (28). The results of the experiment suggest that this historical tool may serve as a means of quickly equipping musically illiterate seventh graders with basic tools for reading and writing music. The essence of the experiment mss the use of seven distinct characters, or shaped notes, which designate the seven sol-fa syllables. These note-heads provided an accurate naming of the syllables that are coincidental with the interval relationships presented in the several songs taught by the note-rote method- - actually familiar songs, in which the melody was known so that the accuracy in melody was guaranteed. This accuracy of pitch- and syllable- naming, due to the help of the shapes, permitted the development of the sol-fa vocabulary, the conditioned response, to be more quickly acquired. This, in turn, permitted an overlearning of the sol-fa association with the scale interval--the vocabulary upon which reading is predicated.

The problem of determining from normal notation which line is do is still another problem and is required of anyone who is to read music from normal notation. This latter skill was developed by having the students transfer into shaped notes the normally printed music in their texts. As the students slowly, careftlly, methodically, and accurately decided that do is on a line, that mi and so are on the lines above, or as they noticed that la would be on the space above the so line, they learned the relationship of the notes to-the tonic tone. When this ability has been demonstrated, the students are ready to discard the shaped notes and read and write music as normally printed.

Mentally hearing sol-fa syllables to each tone as it is written on the staff -- melodically and harmonicallymakes a great contribution to the art of hearing with the eye, the music one chooses to analyze as models for compositional purposes. Moreover, this method assures both the teacher and the pupil that the student is truly wilting the musical idea he holds as an auditory image.

An extension of this pilot experiment was utilized in this research. The materials used comprise Appendix B.A film, "Teaching Children to Read Music with Shaped Aotes," is available as documentary evidence of the efficacy of the method.

35 Pitch Scale Syllables: Names: do C Numbers: lie mire DE 3I2 ili I I 36 sofa F 4 1 1 I THE la GA 65 KEY doti BC 87 II II COF , Those Evening Bells THIMAS MOOR[ OLD NURSERY TUNE

8 7 6 5 4 3 2 I 8 7 6 5 4. 3 2 I C BAGF E 'D C C BAGF C DC do ti la sofa mi re do do ti la so fa mi re do Those eve-ning bells! Thoseeve-ning bells! How man-y a tale their mu - sic tells . 1111101111111111 IA1'11E11111 1111111111r1II mr-extLir im 111 MINIM 1111111411010" r MI4011111111LAII11111111irIN 7 8 1 2 3 4 3 4 5 65 6 7 85 6 C DEP E F G A G ABCG A .B C . do re mi fa mi fa solaso la tido so la .ti do Of youth, and home, and that sweettime When last I heard their sooth-ing chime.

A scale is a series of tones from any given tone tothe next higher or lower tone having the same name,that is, from C to C, or from G to G, from E-flat to E-flat, and soforth. In the major scale, this series is organized by steps andhalfsteps, as follows: half- half- stop step stop step step step step 8 ! 2 3 4 .5 6 ip....7 tA Tryelk playing the major scale on the piano, startingrat differentplaces.You will soondis- cover that different combinationsof white and black keys must be played to make the scale sound right according to the above plan of steps andhalf-steps.

8 8 7 do do 7 ti 6 6

5 5 sot N 4 4 fa 3 3. ml ml 2 2 is is

1 do

ME NM MN MIN INMIll W7T. 10Won.= MIINPLIIIIarr. ral imm miImo ow Ems t Nom m winnows 1 41111W1 MIDI= MI =IIII1 MI NMI IM 11,7f1MI WWLIMI =JEN YI MIL= Mr: rfl MN U I= NMI ME IMO IMO I 81,VIPAL:MI f. AIMP =6.1! MI MI Mil MI mr-Jrue mr.ors Ins Gomm um worm 1111/7. OM IN= OM OM ME

C DE F G ABC CBAOF ED (half step) (half step) (half stop) (half step)

37 . From Heaven Above (Christmas Chorale) Melody by Martin Luther(?) Martin Luther Set by Johann Sebastian Bach Adagio

Students change normally written music intoshaped notes. As they carefully Choose the right shape for the right syllablefor each degree of the staff, they are learning which note isto be called by which syllable. This practice is done it several keys as well as in the bass clef.The purpose, of course, is eventual- j3r to make the shapes unnecessary. ' 38

...J 1.1.=111.111./.7111.11....ronem. From Heaven Above (Christmas Chorale) Melody by Martin Luther (?) Martin Luther Set by Johann Sebastian Bach Adagio f

34M: .1 UMW,

cresc. VAINII=

cresc.

fr-IMMIMIN AnMEW 1=11.4MIE X=I JIM=WWI -- -IN= ..==1 NOMA .4711 =I WPM sei

39 The Composition Curriculum

The unique purpose of this research was to test the value of a curriculum based upon musical composition. The course of study took for its model the educational philosophy and practices of Carl Orff and Zoltan Kodaly. It must be acknowledged, however, that while it was primarily the philosophy of these two European composer-educators that gave direction to this endeavor, the researchers soon discovered that the materials developed by them were indeed intended for a population much different from that of urban, "culturally deprived" seventh graders.

The Orff theory that children can be taught music by following almost the same pattern of development as that of the human race as it progressed through music history was a challengingattitude and gave direction to the experimental curriculum.Furthermore, the course of study followed Orff's strong belief that the foundation of musical development is rhythm, which is followed in turn by melody developmentincidentally growing out of speech, and finally branching outward into polyphonic and harmonic textures. The compositional experiences began with the pentatonic scale encouraged by both Kodaly and Orff. reIodies began with the most primitive of children's chants based upon the"falling minor third," the universal interval of childhood.

The teachers were influenced strongly by the thinking ofKodaly that music education should not deliend strongly uponinstruments in developing musicality but should rely upon that most natural finstruments--the human voice. Because the objectives of the experiment were not expressed in terms of developing composers of music but rather ofdeveloping the ability to comprehend musical ideas, the participating teachersdeter- mined that their efforts should include more than the pentatonic modeand the accompanying devices of instrumental and rhythmic ostinati andborduns which lend themselves so beautifully to the Orff techniques. While they were pleased to start withprimitive music in pentatonic, they moved quickly to major and minor modes because the vast majority of'the music which children should know falls into those categories. In a sense, they traced the history of music. From the primitive chants of the Indian and. Negro, they followed the footsteps of theChristians, composing "Gregori- an" chants, and then imitated the polyphonic music that characterized the Renaissance and Baroque periods. The students next were guided in the writing of music in the classical style of Haydn minuets and endedwith attempts at writing folk opera, somewhat in thestyle of the Romantic period. The sequence of lessons is exemplified inAppendix A. It will suffice at this point to outline the experimentalcurriculum.

The first two weeks of the compositional classes werespent in exploring the improvisational techniques of CarlOrff. Beginning with rhythmic improvisation, echo clapping, and speechpatterns, and moving on to creating rhythmic andmelodic canons and rondos, students were given considerable practice in creating melodieslimited to the pentatonic scale. These melodies were accompanied with improvisedrhythmic and melodic ostinati and the bagpipe-likedrones or borduns so popular

4o with Orff. Primitive songs and chants were composed, simulating primitive music or what students thought would be in the style of primitive people. Thus, they created Indian stomp dances, a Negro spiritual, mad pseudo-Chinese melodies.

The second level of composition began with the writing of Gregorian chants. In so doing, the students developed a feeling for a cadence, they understood the significance of major and minor modes, and they experimented with the earliest form of harmony--the parallelism of organua. The students learned the purpose of clef signs and key signatures, and with the use of a four-line staff began to understand the use of normal notation.

The next step in composition dealt with polyidhon.c writing. Begin- ning with a single chord, canon writing was experienced. Students devised descants and chants to fit pentatonic and major and minor tunes. From experiences in polyphonic writing harmony grew. At this point, the students were given training in the use of the primary chords in major and minor modes.They learned to harmonize simple folk songs and to develop second parts from the harmony. Many classes wrote preludes over a figured bass borrowed from a 'Bach prelude. Other classes created one or another of the classical dances, again over a prescribedharmony. Minor mode was introduced, in turn, and the students were given.practice in harmonizing tunes in the minor, changing major tunes to minor, both relative and parallel, and in using minor imitation to develop a tune which was primarily in the major mode.Among the classical dances which the students wrote, the minuet was popular. Again the students used the harmonic and rhythmic structure of a Haydn or Mozart example. In so doing, they learned the use of the 117 chord, or modulatory chord, which permitted them to modulate into a nearly related key, a technique typical of those classical compositions.

The next step in composition was the putting of words to music, the writing of an art song. This in turn led to the writing of a "folk opera."Some chose the words to Otto Meisner's "Little Red RidingHood," others composed the music to an original libretto entitled"Columbus."

Description of the Listening Curriculum

The listening program is one customary approach to developing musicality in the junior high school student. Junior high school teachers are in agreement concerning its value,but, as many educators have noted, it is an area which has had little observable effect on the musicality of students, particularly those classed as culturally deprived.

For the listening curriculum, this research was particularlyfor- tunate to have available 14 films and 21 taped recordings of the Young People's Concerts by Leonard Bernstein and the New YorkPhilharmoni: Orchestra. W. Bernstein is extremely gifted in his ability tocommuni- cate to his audience both through the spoken word and throughhis on performances of master workswith the New York PhilharmonicOrchestra. He has a genius forinserting precisely the rightcolloquialism to clari- employ the experiences fy a complicated concept. He does not hesitate to of modern youngsters toillustrate his analogies.His contagious enthusiasm makes his lessons avital experience, inspiringhis television audience to listen and togain some grasp of theprinciples which form music of all types.

Here are short descriptionsof the fourteen Bernsteinfilms that were Telephone used. They were borrowed from theFord film library, the Bell film library, and theMcGraw-Hill film library.Each has a running time $275 of approximately one hourand can be purchasedfrom McGraw Hill for per film.

Film No. 1: What Does Music Mean?

A piece of music, says Mr.,Bernstein, should never betied inextri- cably to a specific story ormeaning. Music should stand on its own should never sound. Music may express a mood oremotion but the listener learn to understand search for extra musicalmeanings; rather, he should ranged from Moussorgsky'sPic- the music itself. In this film the music Sixth tures at an Exhibition to excerptsfrom Tschaikovsky's Fifth and Symphonies, and the firstmovement from Beethoven'sSixth Symphony.

Film No. 2:What Is a Melody? Thus Melody is the real meat andpotatoes of music--the main course. theme, a mo- students are taught to recognizethat melody can be a tune, a of many tunes. tive, a long melodic line, abass line, or a counterpoint It's simply a matter of Where there's music therehas to be a melody. film were drawn fromBeethoven's understanding. Musical examples for this Isolde, and Brahms's Fourth Fifth Symphony, Wagner'sPrelude to Tristan and Symphony, the last movementof which summarizes thediscussion.

Film No. 3: What Makes Music Symphonic? These changes To be symphonic,music must change, developand grow. illustrated in the ThirdSymphony of are representedby variation, as sequential development asillus- Beethoven, the Eroica,through the use of imitating development, aug- trated in Tchaikovsky'sRomeo and Juliet by In the film the last mentation, diminution,dynamics, and mode changes. movement of Brahms's SecondSymphony is used toexemplify symphonic development.

Film No. 4:What Is a Concerto?

The concerto in its earlyform was based on theprinciple of imita- From tion between solo, or groupof soloists, andaccompanying body. concerto was modified its baroque Italian origin,the development of the to the form of thevirtuoso concerto resemblingthe symphony--a trend As examples of the which encouraged virtuosityby the solo performer. movement of Concerto Grosso, Vivaldi'sConcerto in C or and the last

IL Bach's Fifth Brandenburg Concerto were played.The Mendelssohn Violin Concerto illustrates the solo performance concerto. The Bartok Concerto for Orchestra exemplifies further evolution that modern composers are using.

Film No. 5:What Does Orchestration Mean?

Good orchestration means choosing the right instruments at theright time in the right combination.Wrong instrumentation is demonstrated by the use of Afternoon of a Faun and. Rhapsody in Blue to showhow inept the wrong choice of instruments can sound.Excerpts from compositions by Schubert, Hindemith, Schumann, Mozart, Prokofiev, Stravinsky,and Ralph Vaughan Williams illustrate methods of orchestrationusing instruments in the same family as well as the mixing of familiesto achieve particular effects.

Film No. 6:What Does Classical Music Mean?

By illustrating the interpretive possibilitiesof "I Can't Give You Anything but Love, Baby," Bernstein implants theconcept of classical as exact music in his listeners' minds.Bach and Handel typify the spirit of the classical period and this isdemonstrated in the film by analyzing the precise construction of the openingfugue of Bach's Fourth Branden- burg Concerto. The film closes with a performance of theEgmont Overture as an illustration of Beethoven as aclasSicist who served as a bridge between the Classic and Romantic periods inmusic.

Film No. 7:What Is American Music?

Special sounds and rhythms of music werecognize as truly American are demonstrated by afamiliar theme from Gershwin's An American inParis. American music is traced from those periodsin which our composers progressed from essentia)ly European influencesinto musical styles that are uniquely our own. To exemplify these elements ofAmerican music: syncopation, youth and vitality, pioneer energy,loneliness of the prairie, sentimentality derived from hymns and ballads,the film plays the last movement of Copland's Third Symphony.

Film No. 8:What Is Impressionism?

Just as the impressionist paintersrejected the old "photographic" school of art to evolve daring new waysto depict their subjects, so the impressionist composers, led by Debussy andRavel, cast aside nineteenth- century form and harmony and invented athrilling new style of tone painting. This comparison was strikingly made byshowing Monet's "Rouen Cathedral" and a photographic likeness. The music of Debussy and Ravel created subtle yet pawerfUl musicalimpressions characterized by the use of pentatonic melodies, whole tones, newchords, bitonality, and exotic rhythms including jazz. The music used here was Ravel'sDaphnis et Chloe.

4-3 Film No. 9:What Is Sonata Form?

By analyzing the simple tune "Twinkle, Twinkle, LittleStar" and Micaela's aria from Carmen, the students are led to recognize the expanded A-B-A form found in a sonata. In this film, Mozart's C Major Piano Sonata was analyzed to show the key relationships of the themes and the use of tonic and dominant keys to achieve balance and contrast. The film ended with the identification of the exposition,development, and recapitulation, using Mozart's Jupiterszmosy.

Film No. 10:Humor in Music

This film shows that music can be funny and thatthe world's greatest composers have produced a range of humor that encompasseswit, satire, parody, burlesque, caricature, musical jokes, andjust downright good humor. The orchestra demonstrates how music can bestructured for humorous effects through incongruous.sounds,unexpected cadences, surprising 1 twists of a theme, and other devices. Musical humor is traced in many forms from the Classical to the Modern period.Music included Haydn's Symphony in G Major, No. 88, the Scherzo from Brahams'sFourth flEposit., and excerpts from ghostakavich's Fifth Symphony,Prokofiev's Classical Symphony, Mahler's First Symphony, and Richard Strauss'sopera; Der Rosenkavalier.

Film No. 11: Folk Music in the Concert Hall

Today, young people of America are rediscoveringthe special qualities of folk music long used by people of everynation to express feelings about life, death, love, war, and freedom..Consequently, much of each country's great music reflects its folkmelodies. A fascinating demonstration was given showing how the voices of thepeople have influenced nationalistic melodies through varyinginflections of the different languages such as Hungarian, Italian, French, Spanish,German, English, and that of the American cowboy. The orchestra plays illustrative selections from Bartok's Music for Strings, and SihfoniaIndia by Chavez.

Film No. 12: Jazz in the Concert Hall

Three major modern works were used toillustrate the new movement in American music. It has been christened "the thirdstreaebycomposer- conductor Gunther Schuller, because itfuses the spontaneous improvisation of jazz with the permanence of"seriaus" concert music. Music used was Schuller's A Journeyinto Jazz, Copland's Concerto forPiano and Orchestra, and Larry Austin's Improvisationfor Orchestra and Jazz Solo- ists, which, as the name implies,features the unique demands for improvisation.

Film No. 13: The Sound of an Orchestra

In this film it is observed that agreat orchestra is one that can change from one composer's style toanother--from Haydn to Beethoven to Debussy to Mahler. The orchestra's interpretation must expressthe characteristic musical textures andcolors of different composers, national origins, and periods of musichistory.This film performance by the Philharmonic orchestra offers twointerpretations of the Largo fram Haydn's Symphony in GINE,and illustrates how nationality, era,and the composer's individualityinfluence interpretation. Music played included. Beethoven's Fifth and.Seventh Symphonies) BrAbms's FirstSimiia Debussy's Iberia Juite,Stravinsky's Stony of a Soldier,Gershwin's An American in Faris, and Copland'sRodeo Suite.

Film No. ]A: Shostakovich's Ninth Siff 112syi AnAnalysis

In analyzing the NinthSzEriLsy this film shows howShosta:kovich broke with tradition inwriting his unusual Symphony,which nay be de- inasmuch as he uses scribed. as a parody onBeethoven's monumental Ninth, harmonic twists and unexpectednotes. The orchestra plays three movements of Shostakovichl sNinth §p021-5...v.

included the fol- The Bernstein audio-tapesavailable for this study lowing:

Modern Music Bach's St. Matthew Passion What Is Jazz? Tribute to Copland Beethoven's Fifth Symphony Mahler's Hindemith What Are Intervals? The Venice Concert Variety in Music The West Berlin Concert Romarticimn The Japan Concert Unusual Instruments Christmas Music with Poulenc The Creative Performer Young Soloists Performing Carnival of the Animals Rhythm Stravinsky's Birthday Young People's Guide to the Orchestra Sibelius' 100th Anniversary Beethoven's Ninth Symphony

The listening program forthe first semester waslimited to the Bernstein films and tapes.The following two semesters asupplementary music listening prof: xm wasintroduced into three of theschools which had begun a course attemptingto gain insights intomusical structure called through interrelating theallied arts. The courses were commonly with mu- "Music as a Humanity." For theexperiment, the lessons dealing sic as it relates to otherarts were presented by meansof taped lessons, in as far as is thus standardizing theprocedures in the three schools feasible in public schoolmusic classes. Examples of these lessons are to be found in Appendix C.

45 Performance Curriculum

Another control for this study was performance, both vocal and instrumental. Both avenues are completely familiar to music educators and consequently need but little mention. The choral program pursued by the experimental population maybe unique and worthy of comment, however.

The singing program at the junior high school level in the San Fran- cisco Bay Area is primarily a music reading program.Many of the teachers were content to use folk songs and art songs as material for reading music (see Appendix B for the songs used). In some of the schools where choral music has long been the prime means et music education, the programs from their spring concerts reveal the quality of the literature which was used, at least in the second semester. Following are two representative programs; interestingly enough, one is from a totally Negro school and the other is from a totally integrated school. Little difference will be noted.

School 1: "Adieu Sweet Amaryllis" by Wilbye "Oh Rejoice You Christians Loudly" from the Christmas Cantata by Bach "My Heart Is Offered Still to You" by Lassus "Fa Una Canzoni" by Orazio Vecchi "We Thank Thee Lord" by Bortiansky ''Little White Hen" arranged by Howarton "Gloria" from the Twelfth Mass by Mozart

School 2: "In These Delightful. Pleasant Groves" by Purcell "Ave Verum" by Mozart "0 Bone Jesuit by Palestrini "Like as a Father" by Cherubini

The music chosen for reading purposes by the nine junior high schools served in a way as a supplement to the composition curriculum. Moreover, this music also offered historical examples for the music listening classes. There were several pentatonic melodies included. There were also included plainsongs, early English rounds, two or three madri- gals, music by Bach, Haydn, and Mozart, art songs of Brahms and. Schubert, even excerpts from early operas. These songs were recorded with piano accompaniment where suited and served as a repertory for singing and a source for analysis for the composition classes. Many of these songs will be found in Appendix B.

46 Dave loping the Instrument of Evaluation

In implementing the music program in the schools, the elements of cooperation and good will on the Next of the teachers were most impera- tive. This need was none the less desirable in developing the instrument of evaluation. In order to assure such cooperation, it was apparent that any test of effectiveness of teaching ought to be readily identified as measuring what the teacher was teaching. The teachers involved in this experimentation were in agreement that the central objective of music education is to train discriminating listeners to music. The phrase, aesthetic sensitivity, was used over and over to describe the outcome which they hoped would be the product of their teaching. However, rather than being content with evaluating music education in terms of expressed goals, it seemed prudent also to establish the validity of the instrument of evaluation in terms of actual a.chievement. It was determined: therefore, that the test should correlatesignificantly with teachers' estimates of the. success of each pupil as directed toward the goal of developing a discri-4.nating enjoyment of music. Although recognizing the vagaries of teacners' ratings in estimating musicality, it seemed wise to set about developing a test which would have as its criterion of validity the concurrence that those students who were recognized by their teachers as being "most musical" would be differentiated by the test from those identified as "least musical."

A primary source for materials for such a test was the music "talent" tests which have been validated on teachers' ratings -- particularly those batteries which used aesthetic sensitivity measures to predict success in music. The Wing Test of Musical Intelligence, the Gordon Musical Profile, the Kwalwasser-Dykema Test of Melodic Taste, and the K,vme Test cf Aesthetic Judgments in Music were immediately available as preliminary measures. From these tests, items were to be chosen and empirically validated--that is, the items were chosen solely oh their ability to discriminate between students rated highest and those rated lowest in musicality by they teachers. The Oregon Test of Music Appre- ciation by Hevner and Landsbury, though never used as a talent test, did serve as a prime source for aestheticjudgment items. It follows the design anticipated in that the items require the testee to make a judgment of appropriateness of harmony, rhythm, or melody of the original form of a composition by a recognized composer when compared to a second version which had been mutilated in terms of this essence.

Description of the Tests Used as a Preliminary Battery

The HevnerLandsbury Tests of Musical Appreciation(24) attempts to measure three aspects of music appreciation:music discrimination, musical concepts, and attitude toward music.

The discrimination test was dekigned to measure judgment of beauty and appropriateness in music. It consists of forty-eight items taken

4.7 from various compositions and is presented by means of piano performances on recordings. Each item is presented one time in its original version and once in a mutilated version.Mutilations are achieved in a variety of ways, including the extension, reduction, and alteration of rhythm, melody, harmony, and form. The subject is required first to judge which of the two is the superior version and, secondly, to judge w41,ther the mutilation involved the harmony, melody, or rhythm. Hevner LJed a weighted scoring method inasmuch as no credit is given for the correct identification of the type of mutilation unless the subject has also selected the original version as the better of the two. Correlation with training in Inusic and test scores was .64. correlation with the Seashore battery of tests was .54.

The musical concept test is designed to measure comprehension and understanding of musical composition as a whole. A series of questions and statements, both affective and technical in nature, is given concerning nine classical compositions.True-False answers are scored, based on agreement with expert opinion.

The test of attitude toward music follows the Thurston method of scale construction.Five statements about music are arranged on an eleven-point scale and the subject's score is determined on the basis of the scale values which he has checked.

The Wing Tests of Musical Ability and Appreciation (75). In constructing this test, Wing preferred not to assume that certain given attributes make up musical ability but, rather, preferred to derive items from many tests, particularly those suggested by musicians, and then to delete those which failed to differentiate between persons known to be musical or unmusical. Through statistical analysis, Wing selected the most promising course to follow. The final battery consists of six tests: (1) chord analysis, in which the subject_is required to detect the number of notes played in a single chord; (2) pitch change, wherein the subject is to detect a change of notes in a short pier.; (3) musical memory, in which the subject is to detect and identify by number the note changed in the second playing of short tunes; (4) rhythm accent, wherein the subject is to judge the better rhythmic accent in two performances of the same piece; (5) harmony, in which the subject is to judge the more appropriate of two harmonizations, using the same melody; (6) phrasing, wherein the subject is to judge the more appropriate phrax- ing in two performances of the same music.The complete test is recorded and may be used for subjects eight years old through adulthood,

The results of Wing's analysis disclosed two significant factors: (a) judgment of the appropriate musical arrangement, and (b) perceptive change in melody, chord, or number of notes. The first factor is responsible for more of the total variance than all of the other factors combined.

The Kwalwasser-Dana Tests (26). This test consists of a battery of ten tests given by means of recordings. The tests differ from the

48 Seashore battery in that they use actual musical material. For this reason, the Kwalwasser-Dykema Tests are moreacceptable to musicians. It was chosen for this study because part of the test is concernedwith aesthetic sensitivity in music.

The tonal memory test involves 25 pairs of tonal patternswhich become increasingly complex. The subject must decide whether the two patterns of each pair are the same or different.

The quality discrimination test involves 30 items inwhich a melodic fragment is played twice, either by the sameinstrument or by a different one. The subject must decide whether the tonal quality is the same in each instance.

The intensity discrimination test consists of 30items; 15 pairs of tones, and 15 pairs of chords. Intensity of sound is the only variable. The subject must judge whether the secondis softer or louder than the .first.

The tonal movement test presents 30 melodicpatterns of four tones each. The patterns are incomplete and require afifth tone for satisfac- tory aesthetic completion. The subject must decide whetherthe fifth tone should be below the fourth tone of thepattern or above it.

In the time discrimination test, three tones areheard, with the first and third of equal duration but with thesecond tone variable. The subject must decide whether the threetones are of equal or different duration. There are 25 items in this part of the test.

In the rhythmic discrimination test, 25 pairsof rhythmic patterns are offered in whichdifferences of intensity and duration, orboth, exist. The subject must decide whether the twopatterns are the same or different.

In the pitch discrimination test, fourthtones are heard, each being sustained for three seconds. On some of the tones a fluctuation in pitch takes place. The subject must identify the tonesin which the change has taken place.

In the melodic taste test, 10 items aregiven twice (totaling 20 trials in ail)tTri the first phrase ofeach pair the melodies are the same, but two second phrases areoffered. The subject must decide which of the two second phrases is appropriate onthe basis of congruity with the first phrase.

In the pitch imagery test, 25 tonal patterns aregiven in musical notation. The subject must decide whether thenotation is the same as the pattern heard. on the recording, ordifferent.

The final test, the rhythmic aislim test, duplicates the technique of the pitch imagery test. Twenty-five rhythmic patterns are presented

4.9 in notation and the subject must comparethem with the pattern sounded on the recording.

The Kvme Test or Aesthetic Jtiqaen.....tAin Music (27). Since the Kyme test will constitute a portion of thetest used for this investigation, a review of its development maybe appropriate.

This test consists of 53 paired performancesin which the subject is asked to make judgments about therelative merit of each recorded performance heard. The present test is the pianoversion of a similar test of aesthetic judgments in music whichconsisted of the evaluation of paired performances, some takenfrom commercial recordings and others recorded at the NorthernCalifornia Music Festivals. The Kyme test was empirically validated by retaining onlythose items in the test battery which differentiated between persons adjudgedto be musical or less musical. As a validating sample, the upper andlower quartiles of1,425 high school band and orchestra membersin the San Francisco Bay Area -were employed. The musicality of these students hadbeen rated by their teachers who had observed the subjectsin many musical situations for periods of one year nor more. Those items which 75 percent ofthe most musical students agreed upon but which not morethan 50 percent of the less musical persons were ablesimilarly to assess were retainedfor the final test. The reliability of this test of 53items, determined by the Spearman-Brown formula, was.80.

The Kyme Test of AestheticJudgments was administered to412 ninth grade music students. When the test was scored as atest of aesthetic judgment, which required theorganization of the elements of auditory imagerypitch, intensity, timbre, andduration- -into meaningful wholes, the mean correlation between test scoresand teachers' ratings was computed to be .74. When the test was treated as asimple discrimination test that required the mere detectionof differences between two performances which comprised each item,the correlation between test scores and the same teacher's ratings wasfound to be but .09. These results show that aesthetic judgments maybe of great value in theassessment of musical capacity. It also suggests thelimitations of tests which merely ask for the subject to make"same" or "different" responses, without requiring the organization of theelements of auditory imageryinto meaningful Gestalten.

The Gordon Musical AptitudeProfile (16) is classified intothree main divisions: tonal imagery, rhythm imagery,and musical sensitivity. Each of these divisions isfurther subdivided into sections.

In the tonal imagery(melody) test, the subject is asked to compare The subject a "musicalanswer" to a short selection played on aviolin. must decide whether themusical answer is a melodicvariation of the selection, and thus "like" theselection, or not a melodicvariation, and thus "different."

50 The tonal afiea Oaarmony1 test is much like the tonal imagery (melody) test; however, in the harmony test the violin and cello are utilized as performance media. For each pair of items heard, the subject must decide if the answer is "like" or "different" from the selection, in terms of the variation principle.

In the rhythm inalgery (tempo test, the violin presents paired selections and answers in which both melody and rhythm are represented. The subject must decide whether the ending of the musical answer is "different" (faster or slower) from the selection, or the "same."

In the rhythm imagery (meter) test, the same or new meters are introduced.

In the musical sensitivity (phrasing, balance, andstyle) tests, the subject must make a judgment concerning one of two renditions of a selection in terms of its "better musical sense." If he has no preference, he may make an "in doubt" response.

The complete battery of seven tests, including practice exercises and directions, is recorded on high fidelity magnetic tape. The tests consist of original short selections which were composed for violin and cello and which are performed by professional artists.

The tests are not concerned with historical or technical facts about music. Students are asked only to compare a selection with a musical answer and to decide if the selection and answer aresimilar or different, exactly the same or different, or to decide which of two renditions is indicative of a more musical performance. The student;. was an answer sheet on which to indicate hischoice. If the student is not sure of the answer to a given exercise, he isinstructed to mark in the third column to indicate that he is in doubt. In this way, the student is not forced to make judgments on a31 questions. Be may answer only those questions which he considers himself capable of answering.

Eleven scores are derived from the test battery: one score for each of the seven subtests, a total score for each of the threemain divisions, and a composite score for the complete battery.Electronic test scoring service is available for the battery.

The national standardization involved a representativesample of public school students selected on the basis of proceduresdeveloped for the Project Talent study. Separate norms are provided for each grade from four through twelve. Norms for students participating in school music performance organizations are provided for threelevels: elementary, junior high, and senior high schools.

The reliability coefficients of the tests areabout as high as those generally reported for academic aptitude tests and diagnostic achievement tests. Reliabilities differ somewhat from grade to grade and from test to test, but they are generally in the .70's and.80's for individual

51 subtests, in the .80's and .90's for totaltests, and approximately .94 for the complete test.

In describing the third test, MusicalSensitivity, which contains measures of musicalpreference, Gordon states that this division contributes a more comprehensive appraisal of basicmusical aptitude, since musical creativity and expression are atleast as important to success in music education as the ability toperceive tonal and rhythmic relationships among notes in a musical phrase.

A pilot study was made with204 ninth grade students on the premise that teachers' ratings, which will be used asthe external criterion of validity, would be more reliable if theseratings were based upon a long acquaintanceship with the students in severalmusical situations.As might be expected, there was a rather lowcorrelation between teachers' ratings and test scores because the ninth gradestudents in music represent a stratified sample that is limited tothose who elect to take music as a subject. Naturally, this lack of normal distribution of test scores had a negative effect oncorrelations. Table 1 shows the correlation between teachers' ratings and thevarious test scores.

TABLE 1

Correlation between Teachers' Ratings and TestData

Data Sources .r

Kwalwasser-Dykema .006 Wing Test IVHarmony .097 Wing Test V--Phrasing .034 Kyme Contemporary Music(piano items) .203 Kyme Phrasing(instrumental ensembles) .115° Gordon Melody .128 Gordon Rhythm .051 Gordon Musical Sensitivity .194 Total Gordon Music Profile .164 Hevner Melodic Items .222 Hevner Rhythm Items .180 Hevner Harmony Items .024 Hevner Form Items .141 Total Hevner-Landsbury Test of Music Appreciation .233 Age .390 Sex .170 Years of Private Instruction .327 Student Teacher Ranking of Subjects .640

52 The second step in developing the instrument ofevaluation was to select from the initial battery the mostefficient test items forpre- liminary trial on a seventh grade population,which provided use ofa heterogeneous group .and one similar to theexperimental population for which the test was being developer?. In this testing, 845 studentswere used. Twenty items from the Kyme test, thirty fromthe Bevner-Landebury test, and fifteen from the Gordon NhsicalProfile survived this screen- ing. Table 2 reveals an analysis of the items usedin the preliminary test of aesthetic judgments. The item difficulty is represented by the

TABLE 2

Item Analysis of 65 11;ems ofa Test of Aesthetic Judgments (sample size: N=845)

Proportion Point Biserial Correlation Cri- Item of Correct S.D. of Correlation terion Score-- No. Response Item Total Score Teachers' Ratings

1 .918 .27 .300 .230 2 .714 .45 .295 .235 3 .486 .5o .292 .125 4 .772 .42 .359 .204

5 .338 . .47 .172 .063 6 .301 ., ...5h .225 .005 7 .491 .5o .244 .089 8 .613 .48 .351 .208 9 .373 .48 .261 .115 10 .445 .49 .100 .co6 11 .542 .49 .262 _ .118 co 12 .458 .49 .379 .191 1 H 13 .432 .49 .168 ..064 .. 14 0795 .40 .335 .176 ri.: ,,..: .280 .44 .286 .1112 1.6 .568 .49 .426 .179 I.- 17 .547 .49 k .348 .139 W 18 .555 .49 .437 .234 0 19 ..578 .49 .322 .191 x 20 .676 .46 .397 .206 21 .607 .48 .419 .223 22 .672 .46 .311 .138 23 .605 .48 .36P .262 24 .412 .49 .211 .042 25 .200 .4o .209 .146 26 .450 .49 .275 .091 27 .728 .44 .428 .282 28 .37o .48 . .273 .064 29 .225 .41 .102 .011 30 .633 .48 .426 .266

53 Table 2 (continued)

Proportion Point Biserial Correlation Cri- Item of Correct S.D. of Correlation terion Score- - No. Response Item Total Score Teachers' Ratings

31 .606 .48 .440 .284 32 .576 .49 .388 .196 .49 .270 .148 . 33 579 34 .557 .49 .395 .271 35 .568 .49 .347 .178 0 36 .437 .49 .220 .130 UN 37 .307 .46 .158 .066 A 38 .538 .49 .285 .123 01 39 .348 .47 . .373 .167 4o .354 .47 .291 .121

'cli 41 .478 .50 .265 ,098 N 42 .505 .50 .207 .077 E 43 .323 .46 .391 .172 .547 .49 .332 .188 44 P .298 .078 45 . .520 .50 46 .343 .47 .231 .057 47 .547 .49 .320 .179 48 .585 .49 .294 .162 49 .348 .47 .220 .060 50 .278 .44 .260 .141

51 (G1) .317 .46 ,076 .23o 52 (G3) .354 .299 53 (G4) .646 38.47 .399398 .201 T. 54 (G5) .659 .47 .223 .272 H 55 (G6) .573 .49 .405 334 LC\ 56 (G7) .476 .49 .080 -,140

ii 57 (G8) .634 .48 .274 .315 58 (Gio) .683 .46 .25o .208

-11:1 59 (G13) .720 .44 .476 .217 0 60 (G22) .537 .49 .329 .33o . rg 61 (G25) .537 .49 .277 62 (G29) .329 .47 .418 .297 63 (G32) .817 .38 .396 .403 64 (G42) .683 .46 .604 .227 65 (G52) .634 .48 .257 .223

proportion of correct responses.The point biserial correlation with each item and total score represents its reliability, and thecorrela- tion with the external criterion score represents the validity of each item.

54 These tests take two full 50- minuteperiods to administer.Since it is not practical to givetwo-hour tests in the public schools as pre- and -post-tests, it was necessaryto reduce the length of the test to correspond to a single class period.

In the further consideration ofthese test items, it was decided that preference might be given tothose items which use the piano as the means of expression.The rationale behind this decision wasthreefold: (1) it was hoped that items would not give an unfair advantageto the instrumentalists in the experimental population;(2) it was recognized that the piano allowed for control of manyfactors, such as intonation, tone quality, balance, and precision,which night totally influence aesthetic judgment had the items beenperformed, for example, by a string orchestra; and (3) it was believedthat the use of a piano would aid in standardizing the quality of the recordingof the test.

In shortening the test to alength practical for school use, two possibilities presented themselves ansolutions, each of which was tried in a pilot study in the first yearof the project. One possibility was to delete the Cordon MusicalSensitivity Test. The alternate possibility was to use the Gordon testitems alone as the measure of achieve- action. ment. Many arguments could be presentedfor the latter course of The test correlates well withteachersratings, it is internally consistent, and the items are short,thus permitting more trials in thelimited testing time. Olsen (43) actually did use theGordon test alone.His study compared the use of theBernstein listening lessons presented as films, with their taped version. In each of the four classes tested, the students invariably scoredlower on the test after instructionthan they did on the original testing. It would thus appear that theGordon test is not partiaularly.suitablefor test and retest application. A more proper use wouldbe to compare results withestablished norms.

Table. 3 shows the comparativeresults of the use of the GordonSen- sitivity Test and the Icyme Test ofAesthetic Judgments inMusic. The sample was made up of429 seventh graders for the Gordon test,of 1,048 for the Kyme, and 3)46 for thecombined test.

The Gordon test items werefinally omitted because, among other reasons, they are theleast influenced by schoolmusic training and are performed by stringed instruments,which give an apparent advantage tothe string instrumentalists in thevalidating sample.Another important reason why the Gordcnitems were omitted, thoughthey correlate significantly with teachers' ratings orestimates of success in music, wasthe discovery that studentstend to score lower on thesecond testing than they do on the first. Undoubtedly this is due to thelength of the test, the lack of variety in the stringpresentation, and th probable lackof motivation on the part ofnoninstrumentalists to take the test. By delet- ing the Gordon test items, thereliability of the test, using thesplit half technique, was increasedand there was but slightloss in correlation coefficients with teachers'ratings.

55 TABLE3

A Comparison of the Gordon and Kyme, Tests

Reliability Validity (correlations of odd. (correlations with Test and even item) teachers' ratings)

Gordon Test of Musical Sensitivity .81 .5311 90 items N = 429

Kyme Test of Aesthetic Judgments .87 .481 50 items N = 1,048

Combined test items .77 .315 14 Gordon items .257 36 Kyme items .287 N = 146

The final Test of Aesthetic Judgments in Music was then recorded stereophonically by a professional pianist.While it is observed that the test had as its origin the several music talent tests used as preliminary battery, in its final version it is a unique test.

Instructions given to students on how to marl the test and the test items used, together with a key for scoring them, are presented below.

The test description excludes the Gordon test items but includes65 of the Kyme and Bevner items used in the experiment.For the final year of this research a short form of the test, comprising the first 50 items, was used exclusively.

56 Descriytion of the Test of Aesthetic Judgments in Music

Tape Transcription

This is a test to discover what you hear in music which causes you to enjoy it. You will hear two short pieces which are very muchalike. While you are listening, you are to decide which one of them youlike better. Sometimes the two pieces are exactly alike exceptfor the rhythm. Sometimes it is the harmony that is different; sometimesit is the melody; and sometimes it is the way the musicis played that is different.

You are to listen carefully and mark on your paperwhich of the two performances you prefer: A or B. If the two pieces are exactly alike, or if you cannot tell whichis the better, do not guess but put a mark in the third column under C.

Let us listen to the first pieces together. Find the number on your answer sheet. Listen carefully.

IA 1B

Do you agree that the first performance is thebetter?Most people do, so put a mark through the Aopposite 1.

Now listen to the next example:

2A. 2B

Here the better performance is the second, so youshould make a mark through B opposite 2.

Now listen to number 3:

3A 3B

Did you prefer A or B?The answer is C, for the two performances were exactly alike, so put a mark through C opposite3.

Remember: do not guess. If the two pieces are exactly alike or if you cannot tell which is the better, put amark under C.

Now, if you understand how to mark your paper, weshall go on with the test.

57 Items Used for Illustration

1. Schumann: Kinderscenen, Op. 15, No. 2. Rhythm; A. This is an obvious rhythmic distortion; the notes of the original melody were kept, bit we employed an entirely dif2erent rhythm to accompany it.We began with a triplet figure, while the original used a quarter note.Also we used fewer dotted rhythms. In general, our purpose in the distortion was to remove the emphasis from the places where it properly belonged. In the second measure we in- terpolated a waltz accompaniment.

2. Schumann: Kinde._6cenen, Op. 15, No. 13. Harmony; B. Harsh dissonance employed at random, without any regard for the rules of chord structure, is employed in this harmonic change. Notes are used which have no relation to the chord into vhidh they are inserted. In addition, we break a rule of harmony by using a stationary bass over the measure line.

3. Bach: NkBeart Ever Faithful, from the Pentecost Cantata. Melody; C. In the spoiled version ofthis simple melody irrelevant melody notes are inserted which are foreign to the existing chord structure; for example, we. use "g sharp" in the melody over a simple C major triad. In addition we make the melody more dull by the use of several repeated notes.

Items in the Test andIsmfor Scoring

1. Haydn: Sonatina. Melody; A. In this composition the melody has been distorted in the first, third, fifth, sixth and seventh measures. The changes are obvious, inasmuch as they are contrary to the harmonic_inplications in the bass. In the next to the last measure we have two major seventh skips which are particularly unmelodic, and in the fifth measure we have an "e flat" melody note against a predminatingCmajor harmony.

2. Schumann: Scherzino, Op. 26, No. 3. Rhythm; A. The change here is in the rhythm. The theme of the original is lively, and the rhythm very decided. In the mutilation, the dotted rhythm is removed, except in the last measure where its presence is incongruous, and a lifeless and awkward rhythm is substituted.

3. Liadoff: Prelude in C1,91E,Op.4o,No. 1.Harmony; B. The harmony in the bass of this (Imposition is modified by re- placing the existing chord structure with harsh dissonances out of character with the subdued, soporific suggestiveness of the original; substituting "a flat" and "f sharp" for a C major triad is an example of the type of dhange.

4. Dreyshock: Gavotte. Melody; A. One of the obvious features of Change in this modification is the distance which the melody skips in going from one note to another.

58 We distort the melodic line so that it climbs up to a high"d sharp" while the next note descends an octave and a fifth to"g." Follow- ing this are two measures of tedious repetition and then againsud- denly the melody skips a ninth. This type of change prevails throughout the composition.

5. Moussorgsky: Eall, arranged for piano by Sergej Rachmaninoff. Form; B. CR or M) When one expects in this modification a return to theoriginal theme, he gets instead an uninteresting two note figurerepeated four times. In the last measure where the original has threenotes, repetitions of a previous figure, the mutilation ignores this repetition and closes with one note.

6. Haydn:Andante Grazioso.Harmony; A. The mutilation is in this case relatively unimportantuntil the next to the last measure. Previous to this, there is a slight harmonic change in the second measure, and in the fifth, amelodic change from "e flat" to "e sharp."However, in the seventh measure, we make two startling digressionsfrom the original: first, we change a "d" minor root position chordto an "f" major 6/4 chord; second, we substitute for atonic 6/4, a dominant chord of "f." These sub- stitutions, although not far removed from the restof the composition in key relationship, seem unwarranted becausethey are not inserted in places where they sound well inrelation to the preceding and following chords.

7. Gluck: Caprice. Melody; B. We distort the melody in the spoiled versionof this simple theme in three ways:first, by reducing its range; second, by in- troducing monotonous repetitions; and thi-d, byusing melody tones foreign to the basic harmony.

8. Marpurg: La Voltieme. Rhythm; A. We take the joyousness, the sprightliness,out of this composition by changing the rhythm. The original is in 2/4 tempo, with many sixteenth notes which areall to be lightly or quickly played. We substitute eighth and quarter notesfor these sixteenth notes, in this way dragging out the piece until thevirility of the original is entirely gone.

9. Rameau: Rigaudon. Harmony; B. This Rigaudon has some irrelevant harmony inthe modification. It is glaringly discordant and particularly sowhen inserted into this simple piece of Rameauts; the use of"b flat" in the bass against "b" in the treble is an example of thetype of change.

10. Martini: Gavotte. Form; B. (R or M) In this Gavotte the first four measures ofthe spoiled version remain exactly as Martini wrote them. The following four, of the original have a return comparable to the beginningof the piece, but in the mutilation have nothing butarpeggios.

59 11. Napravnik: Rua Dance. Rhythm; B. The dynamic stirring quality of the Russian dance is completely eradicated in the modification of this composition. The rhythmic changes include the interpolation of a waltz rhythm and theaddition of successions of triplets, sixteenth notes, and dotted rhythms,all of which are not contained in the original. The first part of the piece is spoiled by giving equal length to notes of unequal value, thereby removing any of the points of emphasis.

12. Beethaien: Sonata, Op. 2, No. 1.Form; A. (M) This theme of two measures makes a vigorous ascent to the note "a flat." Immediately following is a repetition over dominant harmony,.cOminating in the note "b flat."For this latter progression we substitute a downward melodic line, obviously out of place in relation to the original theme. Furthermore, Beethoven in the sixth measure repeats part of the theme, but we abandon this al- together and instead use in the treble just one note, a high"e flat."

13. Chopin: Mazurka, Op. 24, No. 3.Melody; B. In this mutilation we keep the melody as far as thesixth measure within a range of five notes ascompared with nine of the original. In ad'ition, the closing two measures of the correctversion include a spread of seven notes while the spoiled item hasonly three. As a result, by comparison the spoiled version isdull because it keeps revolving around the samefew notes, while the original progresses normally and consequently is moresatisfying.

14. Schumann:Papillon2, Op. 2, Finale. Rhythm; A. This theme of Schumann's depends for its interest onits very decided 3/4 rhythm. The mutilation substitutes a combination of 3/4, 4/4, 6/4 which lacks any semblance of form or unity.

15. Dussek: Les Adieux. Form; A. (M) We leave the first four original measuresintact in the spoiled version of this item. In the following four we substitute an entirely different tune for the repetition which the correctversion uses. These four measures have no melodic or rhythmiccompatibil- ity with the previous measures and seem entirelyunwarranted.

16. Grieg:pavotte, from the Suite Aus Halbtrg's Zeit. Harmony; B. The dignity achievedthrough masterful harmonic progressions is ruined by the innovations which weinsert into this spoiled version. We replace the smooth inner voice leading ofthe original by irrelevant notes which have no relation to the harmonyof which they are made a part. Grieg achieves a climax by having the treble and bass progress by contrary motion to a givenpoint; we keep the bass stationary, simplify the harmony, and as aresult there is no climax. Furthermore in certain places we change the harmony in the bass to make it harshly discordant with thetreble.

6o 17. Scarlatti: Sicilano. Form; B. (H or M) It is only in the third measure that we digress from the original in this item. Where Scarlptti repeats his theme in the base, we use a disorganized melody which has a jarring, harsh sound both in itself and in combination with the treble.

18. Mozart: Sonata IV in B Flat Maj6r. Melody; A. This lovely melody of Mozart is spoiled through the insertion of notes which do not carry out the set of the previous structure. Mozart ascends to "g" in the second measure; we remain on "e flat." Be repeats his theme at the beginning of the fourth measure; wesub- stitute the melody note "b flat" for the original "f." In other words the normal expectation is distorted. until the result becomes entirely lacking in form.

19. Raff: Rigaudon, Op. 204. Rhythm; B. This composition digresses from the original rhythm in obvious ways. Two eighth notes become half notes in the spoiled version; in the same manner quarter notes change to eighths, regular rhythms become dotted, grace notes are eliminated, until scarcely a vestige of the sprightly original is left. The accompaniment is made unwieldy by inserting into the fast moving quarter notes of the original occasional triplets, which slow up the vigorous movement of the Rigaudon.

20. Grieg: Sarabande, from the Suite Aus Halberg's Zeit. Harmony; A. The harmony in this item is modified through the insertion of unrelated dissonance.We insert chords at random which have no tonal relation with what precedes or follows. On the other hand in the sixth and seventh measures we have removed Grieg's interesting progressions so that these measures seem particularly incongruous in comparison with the earlier ones.

21. Scriabinet Prelude in B Major. Melody; A. This spoiled melody is made to sound peculiar by making several of the notes clash with the established harmonic structure. The changes made are so pronounced that the melodic line played by itself sounds odd, unusual, as if the notes were chosen simply at random without any thought of a harmonic background for them.

22. Solovyeff: In the Fields. Rhythm; B. The outstanding rhythmic characteristic of this composition whiaa is in 6/8 time is a syncopation on the second and fifth beats of each measure. In the mutilation we remove this feature entirely. In the first place, we substitute for the 6/8 rhythm a combination of 3/4 and 4/4 time.We accompany this changed melody in varied ways: first, by simply using half notes, then by a waltz rhythm, again by triplets, andsoonw.Lth similar variations throughout the whole piece.

23. Scott: Serenatay Op. 67, No. 2. Harmony; A. We spoil the subtle harmonic procedure by using even more dissonance than the original, harsh sounds which are unorganized, which

61 have no place in an ordered system. For example> we will use the "d flat" triad as basic harmony, and, theu in the melody will continue the original melodic fragment, "s," "f sharp," and "g sharp." The result is a conglomeration which has no past association for us, and therefore seems strange andpeculiar.

24. Bach:Partita in B Flat. Form; B. (R) In this Partita, our only change is in the fifth and sixth measures in the bass. We introduce a triplet figure and keep repeating it, instead of using the normal quarter note progression in the original. These triplets seem out of place for two reasons: in the first place, they are stupid melodically in themselves, and secondly, we use them in just these two measures. They occur no- where else in the composition, and consequently have no unity in relation to the rest of the piece.

25. Mozart:Die Entfuhring, aus dem Serail. Kelody; A. This is a change in which the melody is made uninteresting by keeping it within a range of five notes instead of using the com- pass of an octave as does the original. For example, in the third measure the correct version ascends gradually to ahigh "g" while the spoiled version keeps repeating the notes "b" and "c." This obviously makes the tune dull and pointless. In the sixth and seventh measures, through similar repetition, this same effect is achieved again.

.6. Bach: Gavotte, from the Sixth Suite for 'Cello.Form; B. (M) In the modified version of this sprightly gavotte we leave the initial two measure theme as Bach wrote it. In the original version he repeats the theme with slight variants, but we diverge instead to an entirely extraneous musical idea which has no compati- tility with the preceding measures. Throughout the composition we make these sudden digressions until the total result is simply a panoramic view of unrelated ideas.

27. Buchner: Cheerfulness, Op. 12, No. 1. Harmony; A. In this composition the movable bass line provides a sympa- thetic background for the bright character of the originalmelody. It is the harmony of this bass which we mutilate byremoving the unity and flow of its movement. The spoiled version repeats over and over again the same notes; it does not progresscontinuously to any given point, as in the original.

28. Chopin: Mazurka, Op. 7, No. 5. Rhythm; B. This is one of the most obvious mutilations in the test.We remove all trace of therhythmic variation in the original by having in the melody a continuous succession of36 quarter notes.We use in the bass a31 sortsof unrelated accompaniments to support this tedious melody including a waltz rhythm, an eighth note single accompaniment, and then an eighth note chordal structure.We follow this variation by a return to the Mazurka character,and finally close with an arpeggio figure and some simple chords.

62 29. Beethoven:Sonata, Op. 27, No. 1. Form; B. CR or 10 This composition begins with an ascending arpeggio passage over the tonic C major chord; following this in the original is a repetition, a fifth higher over the dominant triad. In the spoiled version we begin the repetition, but after a few notes abandon it and clove with four dull notes, unrelated to the previous strucie tune. The feeling of climax which the original gives is completely eliminated.

30. Beethoven:Allegretto, from Sonata, Op. 27, No. 2. Harmony; A. Beethoven has here a bass line which is excellently constructed; it is interesting in itself and has a complete unity with the rest of the composition. We distort this bass both by unmelodic skips and by changing the harmonic implications; es an example of the former, in going from the fifth to the sixth measures, we progress fran "a flat" to "d flat." In other ways we spoil the harmony: by consecutive fifths in the second and third measures, and by consecutive octaves in the sixth and seventh. In general, all our harmonic progressions are without distinction as compared with those of the original.

31. Auric: Song from Moulin Rouge. Harmony; A. r2he song was played twice. In the second performance thelhar- mony was altered putting the cadence into C minor instead of Er' major.

32. Brahms: Symphszyo. I. Form: B. The consequent phrase was played prior to the antecedent as a contrast to the original arrangement of the chorale theme from the fourth movement of this symphony.

33. Gershwin: Fascinating Rhythm. Harmony; B. As a variant fi.cm the original, the haimony was changed in the sequential fourth, fifth, sixth and seventh measures.

34. Kyme: Minuet. Rhythm; A. This minuet was played in good minuet style and then with mis- placed accents which turned the gracefulness of the dance form into a monotonous 4/4 march.

35. Kern:All the Things You Are. Melody; B. This bealWful t',ougwas marred in the mutilated performance by lowering the third melodic and harmonic sequence one-half step.

36. Dawes: Melody inA. Harmony; B. A tonic harmony was substituted throughout for the colorful harmony originally employed in this composition.

37. Duke and Harburg: April in Portugal. Rhythm; A. As compared to the first performance of this rhythmically interesting piece, the accompaniment of the altered version was one of confused rhythms.

63 38. Kyme: Ostinato.Harmony; B. This piece with its constantlyrepeated bass pattern was performed so that the beauty dueto the consistency of the ostinato was sacrificedin the repeated version for anotherbass pattern that alternated between themelodic and pure forms of the minor scale.

39. Warren and Dubin: I Only Have Eyes for You.Melody: B. In the inferior renditionof this song, the song modulates and returns shakily to thetonic without proper preparation.

40. Gershwin:Rhapsody in Blue. Rhythm; A. In the theme from thiscomposition, the rhythmtlal obbligato in the third throughsixth measures was changed to a six-eight rhythm, thus emasculatingthis interesting figure.

4l. Gross: Tenderly. Harmony; B. The original harmony inthis song was reduced to in the mutilated version.

42. Sweet: Fight On. Harmony; A. This item comprised twoperformances of this college football song. In the second performancethe bass notes were altered by flatting the seventh tone ofthe scale.

43. Whiting:gailLy. Melody; A. In the least preferredversion, an extra measure wasinter- polated at the fourth 'measure,which extended the sequence into the wrong key.

44. Styne and Cohn: I Believe. Form; A. The repetitious firsttwo measures of this song wasextended another half measure thuscarrying the repeated one noteto a point of nausea. This mutilation was comparedto the original edition.

45. Rose: Coca Cola. Harmony; B. This theme song was playedwith two harmonies, the firstof which the theoretician wouldmost likely prefer.

46. Alter:Manhattan Serenade. Harmony; B. As an inferior version,the melody was altered. The octave basso repetition of thethird measure was played amajor second lower than originallyintended.

47. Gershwin:American in Paris. Rhythm; A. The melody was playedlegato and its rhythm alteredin the inferior performance of thisitem.

48. Hagen:Harlem Nocturne. Melody; B. Major thirds were substitutedfor the expected minor thirds in the melody of thispiece, thus presenting aproblem of consistency of mode betweenthe melody and its harmony.

64 49. Schumann: Little March. Rhythm; B. In the mutilated. version the accent isdhanged so that the music appears to start with an anacrusis.

50. Schumann:Happy Farmer. Rhythm; A. (Tempo) The piece is played normally at96 beats per minute, but the mutilated version was played at 136 beats per minute.

51. Hindemith : Piano Sonata 'J'gb. 2, First Movement, last page . Harmony; A. In the mutilation, rhythms are left asis, but Hindemith's atonal harmonies with their quick color shifts arereplaced by an innocuous version which sticks closely to thediatonic harmonies of C minor and E-flat major.

52. Milhaud: Saudades do Brazil, No. 7: "Corcovado," opening. Har- mony; B. In the mutilation,the tango (habanera) rhythm has been left intact, but the melody, in D major, has beenharmonized in that key throughout, instead of in G major, asMilhaud wrote it.At the place where Milhaud shifts to A-flatmajor (with appropriate bi-chordal harmonies above), a version stickingto D major is provided. The purpose of themutilation is to substitute straight diatonic harmonies for, the bi-chordal andbi-tonal original.

53. Schoenberg: Six Little. Piano Pieces, Op. 19, No.4 (entire). Mel- ody; B. The mutilation retains the rhythmicscheme in general, but uses diatonic F majorinstead of Schoenberg's atonal procedures. This example stands midway betweenSchoenberg's early romanticism and his later 12-tone style.

54. Joplin:Maple Leaf Rag, second section.Rhythm; A. The mutilation retains the left-hand two-step alternating bass, but all syn.copations andcycles-of-3 are removed from the right hand, substituting square,on-the-beat melody notes with straight quarters and eighths.

Har- 55. Griffes: The White Peacock(from "Roman Sketches"), opening. mony: B. Again, the mutilation retains therhythmics and general melodic contour of the original,but innocent basic chords in F major are substitutedfor Griffes' rich ninths, augmentedllthsI and chromatic melody.

56. Bartok: arian Rhphra No. 1(No. 113 in Vol. IV of the "Mikro- kosmos"), entire without therepeat).Rhythm; A. The mutilation does severalthings: in the first place it substitutes regular4/4 time for Bartok's 7/8 (a routine signature for Bulgarian, Yugoslavian, andGreek folk music). Next, Bartok's eccentric 5-measure phrases arereplaced by balanced4-measure phrases. The continuous ostinatoofBartok's left hand (which lacks

65 chordal feeling in its bagpipe dronefifth) is replaced by shifting simple common chords in D minor, while Bartok'swildly chromatic and atonal melody is replaced by aroutine, dull conjunct D minor tune, harmonized in trite thirds andsixths like 19th century cafe gypsy style. Bartok's introduction and cods(each an odd 3 measures featuring the dissonant interval of a majorsecond) are replaced by a symmetrical 2 measuresrelying on a consonant full minor triad.

57. Casella: Eleven Children 's Pieces, No. 6("Siciliana"), opening. Melody; A. Casella makes consistent use of the Dorian Lode inboth melody and harmony; the mutilation changes this inboth respects to plain D minor, harmonic form. The mutilatioil also avoids the dotted rhythm in the melody(characteristic of the siciliana; other niceties are omitted, such as the grace notes in measures6 and 8, and the slight melodic variation in measure8 as compared with measure6). The colorful Neapolitan6/4 in measures 10 and 12 is replaced by an ordinary dominant, and the cadenceis plain D minor, instead of Casella's Picardy third.

58. Casella: Eleven Children's Pieces, No.8 ("Minuetto"), opening. Melody; B. Casella's melody and harmony are both extremelymodal; the intervals featured in the chords are ands,4ths, 7ths, and 9ths, plus superimposed 4ths and 5ths; the major7th is particularly favored. All this gives a cool, non-tonal feeling tothe whole. The mutilation interprets theentire melody in straight C major, with primary triads, substituting a tonalimpression for a modal.

59. Grieg: Bell Ringing, Op. 54, No.6 ("Lyric Pieces, Book IT"), opening. Melody; A.. This is perhaps Grieg's most unusualpiece, and is frankly impressionistic in the new manner of his day. The blurred ostinato of open 5ths in the bass, plus thesuperimposed sandwiched sets of three 5ths in the treble(all moving in continuous consecutive 5ths), constitute a piece no one would dream wasGrieg unless he actually knew the composition.Each piled up 2-measure group contains at least 5 (and sometimes 6 or7) pitches, so that 9ths, llths, and various cluster chords predominate. The mutilation is in a clear C Major, with primary triads,and a simple modulation to G. It removes the ostinato andpedal point technique of the original, uses pure triads and dominant7ths, and substitutes a sweet and insipid chordal melodyfor the original blurs of color.

60. Shostakovich: Three Fantastic Dances, Op. 1, No. 1,opening. Melody; B. The mutilation removes the dottedcharacter of the original in favor of a smooth 8th and tripletmovement; in place of Shostako- vich's far-ranging and swiftlymoving right-hand part in the 3rd and 7th measures, a gentle, narrow,and sweetly chordal melody is substituted. In the original, the harmonybegins darkly on the

66 dissonant half-diminished chord on the tonic and shifts to a major 11th with flatted 9th on the stibdominant, not to mention the Neopol. itan major seventh in the 3rel bar which moves to a dominant aug- mented triad. The mutilation uses conventional, non-dissonant harmony in C major.

61. Debussy: Preludes, Book I (No. 2, 'Voiles"), 3rd page.Harmony; B. This excerpt involves a whole-tone passage based on the pitch C, followed by a switch to black-key pentatonic.The mutilation begins by altering F-sharp and A-flat to F and Al thefi interpreting the melody in 13-flat major (with tonic and dominant harmonies). At the pentatonic entrance, in the mutilation, the B-flat triad. becanes 13-flat dominant 7th chord, and the arpeggios.(formerly on black keys) are doneon that chord. The cool, floating, suspended quality of the original harmonies is thus completely canceled.

62. Gershwin: Preludes for Piano, No. 2 (opening). Melody; B. This is a blues; the mutilaticu avoids all chromaticism and invents a simple tune in C-sharp major, with no blues 7th; the bass ostinato is replaced by shifting primary triads in root position, with no chromatic moving tenor part. The climax of the melody is avoided, and the contrary motion dissonant tenor parts at the cadence are replaced by a barbershop chromatic slide in 6ths.

63. Cowell:Amerind Suite, No. 1 ("The Power of the Snake"), Variation 1 -c. 1iody; A. This is an American Indian interpretation, with cluster dhords throughout. The iutilation invents a simple new melody, so that it can be done in a straightforward D minor throughout (harmonic form), using essentially only tonic and dominant. The mutilation avoids Cowell's ingenious inversion in the 6th bar as compared to the 2nd. The power and punch of the original are missing in the clear bar- monies of the mutilation.

64. lbulenc: impromptu, No. 3 (f'r'om "Six Impromptus"), opening. Har- mony; A. This is conceivably a deadpan spoof of a schottische, in Poulenc's famous "wrong note" style. Part of the spoof is in Poulenc's 3/4 time signature (like Schumann's 3/4 "March of David's Men Against the Philistines"--last movement of the "Carna- val" suite). The mutilation is a little proper schottische in 4/4 time-and no chromatic or dissonant counterpoint, or two keys at once (G and F-sharp) as in measures 7 to 11 of the original.Har- mony in the mutilation is extremely diatonic.

65. Ravel: Sonatine, Movement No. 1, Secondary Theme of exposition. Harmony; B. The mutilation treats Ravel's exact theme with two chords only; tonic and dominant in E major; whereas Ravel's harmonization is parallel shifting major triads, with no particular key, and a strang.modal touch.Needless to say, consecutive 5ths are featured in 'both right and left hand.

67 ,

ON......

Item Statistics of the Test of Aesthetic Judgmentsin Music

Item analysis is basically concerned withselecting items that result in a test of prescribed characteristics.Chief among these characteristics, of course, is the ability to identify highand law achievers; therefore, the items need to be difficult enoughto discriminate between good or poor performers. Second, among the desired characteristics is that the test should be internallyconsistent. Third, it should agree with some external criterion of success. In other words, the resulting test should be sensitive to the testeestindividual differences in musicality. It should, moreover, be reliable as well asvalid.

Difficulty of the Items and Their Variation

Each test item, comprising comparisonsof the playing of two short pieces, was given to a sample of845 students who represent the population being studied. The items were answered with one of threealterna- tives: the first performance is better, thesecond performance is better, or the two are identical. The scoring was right with the weightof one or wrong with theweight of zero. The scoring resulted in an NXK (i.e., number of subjects multiplied by the number ofitems) matrix of ones and zeros, so that a row sum,determined the score of each person and a column sum divided by the totalnumber of subjects determined the item difficulty. Since the test is a power test; itemdifficulty defined as the proportion of correct responsesrepresents a characteristic of the item in relation to the abilityor the group. The basic statistics of item difficulty for65 items can be seen in Table 2.The item difficulty of the test ranges from .20 to.918, the standard deviation being .143. The mean difficulty is computed to be.637. The histogram of difficulty indices indicates thatitems are approximately normlly distributed, indicating that the test is good as a powertest.

The measure of item difficulty andstandard deviation of each item can be utilized if anotheritem analysis group is different from the test group and it becomes necesiiary tocalibrate the difficulty as suggested by Thurstone(67).

Reliability Indices of the Items

There are about twenty-five itemstatistics which have been suggested by Guilford (18) and Anastasi(2) to determine the discriminating power of items. These are customarily based upon the percentagecorrect for the upper and lower K percent(i.e., 25-27-33 percent) according to some criterion measures. These measures are usually incidentalshort- cut methods approximating the correlationbetween an item on a given criterion.Availability of computing facilities makesit possible to ignore these arbitrary short-cut methods. In computing the internal consistency of items by evaluating thesignificance levels of Chi-square values for a given percentage of passesin upper and lower K percent

68 subgroups, the information about the middle portionof the total group would not be utilized.Accordingly, point biserial correlation coefficients of items with the total score were computed as shownin Table 2. The standard errorof the .point biserial correlation coefficient amounts 1 % to .0344 (Srpb = Trv, which is invariantwith all the coefficients. Thus the critical ratio for testinghypotheses that the coefficients are not different from zerosa(alpha) level .01, is .119 (Srpb 2.58 = .119). According to this critical ratio, it was found that allthe items, except for Gordon item number56, were significantly correlated to the total test score. A correlation of.088 is significant at the 1 percent level.

Validity Indices of the Items

The importance of item validity as well astest validity leads' to careful consideration of the kind of criterion measurewhich is valid itself as well as reliable with which thevalidity of each item may be evaluated. It is obvious that any validationalproblem centers around the characteristics of the criterionMeasure itself. Knowing full well the dangers inherent in the process, itnevertheless was determined to use as a validatingcriterion teachers' ratings of their students' musicality. This judgment was conditioned by two factors: (1) the participating teachers needed to have confidencethat we were attempting to measure what they were striving toteach; and (2) with Elizabeth Taylor (63), we must regretfully admit that,for estimating the musicality of students, no other single measure of successin music equals the estimates of teachers who have observedthe subjects in many musical situations.Accordingly, it would appear worth while tolook at item validities which are de ing'd ns nr""lcrt4r1"coefficients of items mith the criterion rating.

Proceeding in the same manner as for determiningthe internal consistency of each item, point biserial correlationcoefficients were determined for items as shown in Table 2. Since the standard error of the point biserial correlation is .0601, and thecritical region for testing rpb =Oatalevel .05 is .119, it can be seen that52 items are found to be acceptable and the.remainingitems are not significantly different from zero correlation. However, the result should not be taken atits apparent value because the criterion measureitself it not well justi- fied and the validating sample percentageis rather homogeneous in comparison to a total population.

Test Reliability and the Error ofMeasurement

Once item statistics are determined, severaltest statistics can be easily determined. The Kuder-Richardson formulas for testreliability, as shown below, give a goodestimate of a lower boundary for the reliability coefficient of a test in the absence oftest and retest experimental estimates.

69 ,2

1=1Li 1

i=11

According to these formulas (Guttman, 20), the lower boundary of the reliability coefficient of the Test of Aesthetic Judgments in Music is computed to be .818.The rather low value may be attributed to one of two reasons: either the assumption for using the formulas has not been met (that is, the average covariance between nonparallel items is equal to the average covariance between parallel items), or simply that all inter-item correlations are not equal (Gulliksen, 19).

Taking into account the fact that the test aims at measuring four domains (i.e., sensitivity to melody, harmony, rhythm, and form) as bases for making aesthetic judgMents in music, the reason for the rather low reliability coefficient becomes clear. The basic assumption in developing the theory of the influence of group heterogeneity is that the error of measurement does not vary systematically with the test score. The computed value of the error a measurement is found to be 3.06.

A multiple correlation of tb'? criterion with a weighted composite of 65 items as predictors, by meaas of a stepwise regressional analysis, was made.Using teachers' ratings as a criterion, this analysis, after 53 steps, yielded a multiple correlation coefficient of .532 significant at the 5 percent level.

One of the more important problems in the measurement of psychological characteristics is how to engare the evidence of construct validity of a test. Since the author started the construction of the present test with the hypotheses of four domains, an attempt to test the hypotheses is a natural first step toward establishing the evidence of construct validity. In the following sections, the results of cluster analysis of the 65 items will be presented and discussed. Before presenting the results, some exposition concerning the method employed would appear to be appropriate.

Probably the best way of factor analyzing items would be the multiple-group-factoring method or the cluster analysis as explained by Guttman (21). Tryon (68), who is responsible for the derivation of the multiple-group-factor analysis, demonstrated the use of it for testing hypotheses of item clusters by using computer programs. This present analysis follows Tryonts procedure.

70 An Enrpirical Analysis of Item Clusters

If the Test of Aesthetic Judgments in Niisic is truly measuringfour domains of musical sensitivity(i.e., melody, harmony, rhythm, and fotm) as hypothesized, the items thatpurport to measure each domain should cluster together more closely than those of other domainsin an empirical factor space. Each domain has to be defined by a certain number of rationally defined items in terms of oblique factor coefficients. Final factor statistics can be determined through the use of somecomponent programs in the B. C. Tryon Syst,..m which areotherwise computationally prohibitive.

The defining variables rationally preset bythe author are shown in Table 4.According to this rational definition of domains, an original factor pattern matrix was determined in which factor coefficientsof each variable on each rationaJly preset domain are found. The proportion of initial communality exhausted by four dimensions was found to be.8532, which indicates that most of the common variances are accounted forby the four domains.

TABLE 4

Rationally Defined Variables of Four Domains of MusicalSensitivity

Oblique Average Factor Reliability Item Coefficient Communality with Definers A-Reliability = .552 Melody Items LBFC = .179 (definers only)

1 .476 .251 .154 18 .470 .288 .152 2 .440 .201l .142 3 .424 .211 .137 35 .415 .212 .134 13 .468 .203 .132 31 .402 .200 .130 22 .378 .162 .122 1 .350 .149 .113 14 .339 .153 .110 33 .311 .146 .101 44 .310 .122 .100 .095 5 .29 .121 8 .186 .072 .o6o 26 .151 -.094 .050

71 Table 4,(continued)

Oblique Average Factor. Reliability Item Coefficient Communality with Definers A-Reliability = .613 Harmony Items LBFC = .1696 (definers only)

17 .514 .317 .152 ace 39 365 .140 40 .358 .151 .106 .102 28 .343 .168 .100 24 .337 .166 .096 29 .323 .109 .092 7 .31.1 .117 .086 34 .292 .126 .081 43 .275 .091 .o8o 4 .272 .078 0078 46 .264 .076 .069 21 .234 .089 .059 lo .201 .049 .054 31 .182 .200 .052 37 .177 .176

A-Reliability = .585 Rhythm Items (definers only) LBFC = .177

.167 15 533 .861 .226 - .131 9 .42o .212 .123 35 392 .119 32 .381 .180 .117 3 373 211 .101 12 .324 .178 .095 45 .304 .147 .091 48 .290 ..116 .082 20 .263 .101 .055 23 .177 .071 .049 47 .157 .108 .034 .045 38 .145

72 Table 4 (continued)

Oblique Average Factor Reliability Item Coefficient Communality with Definers 11114111 A-Reliability = .473 Form. Items. L13FC = .164 (definers only)

18 .415 .288 .097 .095 42 .405 .203 .070 25 .301 .106 36 ,296 .168 .069 11 .241 .064 .056 16 .228 .134 .053 .039 41 .169 .080 3o .168 .129 .C39 6 .129 .022 .03o 13 125 .203 .029 27 .099 .111 .023

Table 5 shows the internalconsistency of the clusters.

TABLE 5

Correlations between ClusterDomains

Melody Harmony Rhythm Form

1. Melody 1.0000 0.8101 0.6354 -0.5391 2. Harmony 0.8101 1.0000 0.2637 -0.6737 0.0681 3. Rhythm 0.6354 0.2637 1.0000 4. Form -0.5391 -0.6737 0.068 1.0000

Validities of Cluster Scores (accuracy of factor estimates)

Melody 0.8835 Harmony 0.8407 Rhythm 0.6022 Form 0.5709

AM1111111...111110/Ne

73 Researchers in Music Education have always been interested in the relationship of intelligence and musical achievement. Four hundred junior and senior high school students at the University of California Sum- mer Demonstration Sdhool took the Test of AestheticJudgments in Music as well as fifty-four psychological tests from the HolmesInventory (25). The Holmes battery of tests was used to differentiate superior readers and spellers from their classmates. These test data were processed to determine the contribution to variance in aesthetic sensitivity in mu.- sic which each of those measures makes (Table 6).

TABLE 6

Correlation of Holmes Inventory with Test Scores in Aesthetic Sensitivity in Music

Psychological Tests .r Psychological Tests .r

Speed of reading .161 Tonal intensity .276 Power in reading .247 Tonal movement .334 Visual verbal meaning .246 Pitch duration .274 Spatial relations .147 Rhythmic perception .325 Inductive reasoning .273 Pitch discrimination .377 Word fluency .137 Melodic taste .513 Speed in addition .203 School adjustment .049 Mechanical aptitude .105 Scholarly values .025 Verbal analogies .218 Study habits .078 Vocabulary in context .284 Effective. study plan -.012 Vocabulary in isolation .264 Outdoor interests -.050 Range of information .200 Mechanical interests -.C84 Phonetic associations .258 Mathematical interests -.160 Word sense .261 Interest in science -.005 Homonymic meaning .191 Interest in persons -.042 Prefixes .189 Artistic interests .085 Suffixes .037 Literary interests .077 Latin, Greek roots .142 Musical interests .138 Visual spelling .147 Social interests -.024 Dot figure embedded .132 Clerical interests -.132 Q-symbol closure .158 School problems -.129 Word embedded .153 Post-graduate anxiety -.031. Perceptions of Problems with self -.021 reversals .181 Problems with others -.047 Auding ability .280 Home problems -.035 Tonal memory .372 Boy-girl problems -.044 Tone quality Health problems -.062 discrimination .310 .Conflict in values -.044

Correlations of .19 are significant at the 5 percent level. N = 'too. RESULTS

In the fall and spring of the school year 1966-67, the reconsti- tuted Test of Aesthetic Judgments in Music was administered at the beginning and end of each semester to the seventh grade students in the music classes of the nine participating junior high schools. The 3,083 students participating in the testing program included a zero control sample of 671 students who were not enrolled in music in the first se- me5ter of the experiment. Of this total, 555 comprised the experimental sample, 645 the orchestral control, 737 the choral control, 405 the guided listening sample, and 70 are classed as a "music reading" control.

The first columns of Table 7 show the means of the pre-instruction and post-instruction testing. The results suggest that music composition was indeed a significant developer of musicality in the nine junior high schools.

To test the hypothesis that those students who Ilad received training in musical composition would show greater achievement on a test of aesthetic sensitivity in music than students trained in other ways, it was necessary to statistically 'equate the various samples on pre-test scores. The statistical treatment of the data utilized was an analysis of covariance. This procedure takes into account the regression line and produces adjusted final test means for the experimental and control samples based upon the premise that the two samples are statistically equated on the first testing. F values are computed which are then in- terpreted in relation to the degrees of freedom involved in the analysis.

Table 7 shows the results of the analysis of covariance, comparing the total experimental sample with each of the total control samples. An F value of 3.84 is required for oo degrees of freedom to be significant at the 5 percent level.

From these findings it is evident that we must accept the hypothesis that there is a significant difference among treatments after adjusting with covariates. In three of the fire experimental situations, there is a difference. in favor of the experimental curriculum significant at the 1 percent level.

An analysis of composite data from nine greatly differing urban schools does not give the total picture in the assessment of varying modes of instruction. More meaningful by far, in making curriculum decisions, is a comparison of the experimental and control classes in each of the separate junior high schools. Measured differences, reflect- ing the appropriateness of one curriculum over another, are concealed when the data are grouped as total samples.

If at this stage we would believe, with the report of the Yale Sem- inar, that composition is a sure developer of musicality at all grade levels, we must examine the curriculum school by school to see if it is

75 Comparison of Pre-Instruction and Post-Instruction Testing TABLE 7 Sample N Pre-Test Mean Post-Test Mean Adjusted Mean StandardError Value F Deg.Freedom of ofSignif. Dif. ExperimentalZero control 671555 23.0326.89 28.0322.88 24.2826.33 .20.18 54.47 1223 .01 ExperimentalChoral 737555 23.5726.89 24.0228.03 24.9624.78 .21 29.42 1289 .01 ON ExperimentalOrchestral 645555 28.7626.89 2828.03 80 28.7428.78 .25.27 2.14 1187 Not sig. ExperimentalListening 405555 24.4726.89 ,28.0324.51 25.6127.15 .62.22 11.78 957 .01 MusicExperimental reading 555 70 25.2526.89 25.9928.03 . 27.2027.89 .30.25 .02 622 Not sig. also effective at each socioeconomic level..Perhaps the same education is not equally effective for all populations.

Second in importance to the knowledge that a particular experimental curriculum does or does not produce desired results is the knowledge concerning which age or subculture it would serve most adequately. It is appropriate here to include a paragraph describing each school in the sample, along with any mitigating circumstances.

Schools A, B, and C are located in the pciorer areas of the cities. The schools' racial make-up is predominantly non-Caucasian. The instrumental performing groups are not of the highest quality.None have participated in the state competition festivals. Little or no private instrumental study exists.

Schools D, E, and F are racially balanced schools, and the population is drawn from middle-class nIailies. The performing groups are quite good. Reading of music is stressed in the general music classes and the choirs perform worthy literature.

Schools G, H, and I repiesent the upper middle-class population; Students come from professional families as a rule and are educationally motivated. Maw of the students in the general music classes also study instrumental music.

Table 8 describes the data collected for each school and compares the experimental classes in musical composition with each of the control classes.

77 TABLE 8 Pre-Test Comparison of Experimental and Control Classes by School Post-Test Adjusted StandardError Value FreedomDeg. of ofSignif. Dif. Experimental Sample N Mean21.69 21.00Mean School A -- Fall Semester' Mean 1.08 ExperimentalZeroChoral control 117 392239 14.8621.69210°5 16.2717.6421.00 19.7217.1123.3118.00 1.381.23 .98 10.31 2.04 153 58 Not sig. .01 ListeningExperimentalBegin. instr. 113935 17.0917.9421.69 17.0516.9021.00 18.7720.4718.4919.62 1.74 .88.74.70 .71.92 4771 Not sig. ExperimentalChoral 3322 20.4622.18 '23.5922.61 Spring Semester 23.0623.32 1.581.21 ..01 52 Not sig. ExperimentalInstrumental 2922 24.4122.18 23.7223.59 23.5323.84 1.07 .93 . 04 48 Not sig. MusicExperimentalListening reading 2215 6 19.5022.1818.20 19.5023.5921.00 20.3923.3423.0921.72 2.291.1.71.511.22 1.28 . 45 3425 Not sig. Table 8 (continued) = Sample N Pre-Test Mean Post-Test Mean Adjusted Mean . StandardError Value F FreedomDeg. of ofSignif. Dif. ExperimentalZero control 110 19 .23.3029.15 19.8025.10 School B -- Fall Semester 19.7125.14 2.151.50 3.90 126 Not sig. ExperimentalExperimentalChoral 1922 29.1522.40 25.1025.1025.18. 25.1026.6223.42 1.40'1.401.53 2.04 38 Not sig. JD ExperimentalListeningInstrumental 191517 29.1529.4028.70 29.3525.10,24.11.0 29.4025.0524.39 1.751.661.58 3.21 .11 3133 Not sig. ExperimentalGeneral music 2019 23;1029.15 21.2025.10 Spring Semester 21.9624.30 1.401.44 1.18 36 Nbt. sig. ExperimentalChoral 127 4214.2 22.7325.06 25.4023.28 22.8624.9024.79 .75.28.50 .03 166 Not sig. ExperimentalListeningInstrumental 421226 26.3822.7319.58 26.6923.2820.66 25.2624.1722.12 1.43 .96.75 .75.20 6551 Not sig. Table 8 (continued) Sample N Pre-Test Mean Post-Test Mean Adjusted. Mean StandardError Value F ,FreedomDeg.. of ofSignif. Dlf. School C SIN .0. Fall Semester ZeroExperimentalExperimentalChoral control 117830 20.5522.3621.58 25.3622.3625.3621.96 22.0926.0922.0025.07 1.411.67 .62 5.792.95 8638 Not sig. .01 ExperimentalOrchestral 14.211 24.8021.58 23.5125.58 23.3226.20 .L.21 .64.85 50 .01 EXperimentalListening 1127 .22.34 21.58 22.3425.58 Spring Semester 22.1725.94 :L.32 .90 4.295.49 35 .01 Experimental 26 23.00 1 21.07 .23 50 .Not sig. ExperimentalOrchestralChoral 412726 19.7025.3623.00 22.3420.1123.5122.34 23.0023.1421.33 .14.9.61.38.37 .03 64 Not sig. ListeningExperimentalBegin. instr. 142615 18.85.22.3323.0023.00 21.9319.0722,3422.34 21.1322.2722.1521.32 .4332.33 .05.10 3738 Not sig. Table 8 (continued) Pre-Test Post-Test Adjusted Mean StandardError Value F FreedomDeg. of ofSignif. Dif. Sample N Mean Mean School D -- Fall 26.50 Semester ExperimentalZeroChoral control 128 122525 19.4829.8319.4824.28 24.1022.7632.75.22.76: 29.1224.4923.37 1.302.04 .27.63 19.92 3.04 150 34 Not .sig. .01 ExperimentalExperimentalListeningOrchestral 312541 34.4319.4824.1919.48 34.3622.7625.5122.76 32.4524.1424.4525.89 1.011.431.121.26' 10.11 .03 6353 Not sig. .01 Experimental 25 19.48 22.76 23.97 . 1.00 .007 48 Not sig. Music reading 26 28.2224.23 25.2627.59 Spring Semester 24.0924.24 4.08 .98 ExperimentalExperimentalChoralOrchestral 223541 34.4328.2224.71 34.3627.5933.31 35.4133.5229.15 1.232.64 .88 7.692,93 6054 Not sig. .01 ExperimentalListening 1822 27.1628.22 24.3327.59 24.7427.2527.04 1.121.281.15 2.08 .23 4637 NotNot sig. sig. MusicExperimental.Experimental reading 232227 25.7328.2226.44 24.1727.5927.5927.25 25.0326.6827.73 1.011.101.12 1.07 42 Not sig. 1111111111111111.1111111411.11.1111111111WIMIMINFIMIPIIMIIIM Table 8 (continued) Sample N Pre-Test Mean Post-Test Mean Adjusted Mean StandardError Value F Deg.Freedom of Signif.of Dif. School E OM Me Fall Semester ExperimentalZero control 4680 27.3225.68 25.3925.16 25.5524.71 .76.56.74 .86 123 Not sig. ExperimentalBegin.Choral instr. 469524 21.3227.3225.04 21.1125.3927.58 22.9321.6328.3524.98 1.07 .32.49 4.426.4o 138 67 .01 Nop ExperimentalRhythmicListening. improv. 461419 27.3224.6327.3224.14 21.6825.3923.42 24.8522.9825.0724.89 1.301.16 .74.70 1.80 .01 6257 Not sig. ExperimentalChoral 101 11.5 25.0525.48 31.0730.20 Spring Semester 31.9929.63 .52 6.63 143 .01 . .72 ListeningExperimentalOrchestral 144550 24.4425.4829.52 23.4230.2030.06 23.8830.0531.4828.90 1.811.00 .85.80 8.794.50 5692 .01..01

71, TN, I 111.1111110010111%1111111.4111111110111=1111111111111111911k "10. Ms0.011111100111111.1110. Table 8 (continued) Sample N Pre-Test Mean Post-Test Mean Adjusted Mean . StandardError Value F FreedomDeg. of ofSignif. Dif. School F 111 Fall Semester ExperimentalChoralZeroExperimental control 112927 24.8126.9621.4826.96 28.3725.0021.03 28.0823.2326.33 1.51 .92.78.75 1.707.07 3753 Not sig. .01 co ExperimentalOrchestral 2931. 26.9633.26 30.4428.37 30.6228.5225.76 .92'.84 2.46 60 Not sig. MusicExperimentalListening. reading 105629 21,1726.9618.70 21.1228.3719.80 26.5323.7227.02 1.181.881.01 8.772.10 8236 Not sig. .01 ExperimentalChoral 4546 27.0623.41 32.9130.41 Spring Semester 33.0933.6022.07 .97.96.82 .13 88 Not sig. ExperimentalListeningExperimentalOrchestral 462423 30.7023.4127.26 34.3730.4136.9530.41 3430..5736.9930.35 25 1.321.601.441.69 2.84 8.53 6866 Not sig. .01 Table 8 (continued) Sample N Pre-Test Mean School G Post-Test Mean Fail and Spring Semesters Adjusted Mean StandardError Value F .FeedomDeg, of Signif.of Dif. ExperimentalZero control 120 54 29.5523.89 28.6124.15 28.2725.7225.10 .29.51.46 1.18 171 Not sig. ExperimentalOrchestralChoral .136 5439 26.9929.5527.89 30.4926.8928.61 30.2929.6227.36 .35.39,.60 1.251.59 187 90 NotNot' sig. sig. ExperimentalListening 3054 27.0329.55 28.4328.61 School H -- Fall Semester 29.552799 .86.64 .2.04 81 . Not sig. Experimental.ExperimentalOrchestralChoral 152105 41 18.5131.7032.6132.56 ,34.5432.1917.7034.51 32.2334.43L1.7827.04 1.64..09 .86.04 39.27 1.39 190143 Not sig. .01 ExperimentalListening 4118 30.3532.61 31.8434.54 Spring Semester 32.3734.34 1.40 .88 1.38 56 Not .sig. ExperimentalExperimentalListeningChoral 130 232423 35.5036.6522.18 23.0835.6933.0035.69 34.0433.5135.1525.94 1.191.271.30 .72 32.71 .80 150 44 Not sig. .01 Table 8 (continued) Sample N Pre-Test Mean School I -- Post-Test Mean Fall and Spring Adjusted Mean SemestersStandardError Value F FreedomDeg. of ofSignif. Dif. ExperimentalOrchestralChoral 23174546 '27.0627.2623.41 36.9530.4132.91 36.9930.3533.0933.60 1.69 .97.96 .13 3786 Not sig. .01 ExperimentalListening 2417 30.7023.41 34.3730.41 Spring Semester 34.-2530.57 1.6o1.321.44 8.532.814. 38 Not sig. ExperimentalOrchestral 4849 32.5430.57 33.0634.06 31.7935.30 .87.86 8.11 9i. . .01 ExperimentalListening 3049 22.2630.57 20.7034.06 27.3629.98 1.114. .88 3.18 76 . 'Not sig. DISCUSSION

The purpose of this research was twofold: (1) to test certain hypotheses presented by the Yale Seminar on Music Education, and(2) to develop a test of musicality. In review of the seminar's statements, the evidence collected will now be analyzed to substantiate or refute the Seminar's assumptions.

Statement 1: Written composition is an important learning tool, a sure developer of musicality it students atall levels .of talent and age.

The data do not support this hypothesis outright. Students taking courses in musical composition equaled or exceededtheir peers in orchestra, choir, music reading, and guided listening programs on tests of musical sensitivity in three of the five experimental comparisons.

The Seminar never intended that musical composition should be divorced from the performance aspect, though in scientific endeavors it is essential that the experimenter hold as many variables constant as is practical. In this research, composition was taught as an entity in every school but two. In these two schools, H and I, it was possible for students to enroll in both general music classes and performance classes concurrently. The highest scores on the Test of Aesthetic Judg- ments in Music were attained by those students who were in composition classes and orchestra at the same time.

Statement 2: Reading the clarinet part in the band somehow does not produce that essential attribute of the musician and perceptive listener--the capacity to hear inter- ns:13y a musical line.

The Seminar was rather conservative in its estimate of thevalue of performance in developing musical sensitivity. The data presented here show that performance, both instrumental and vocal, are prime meansof developing musicality at the junior high school level. The scores of 645 orchestral students in the experiment exceeded all other scores when mean scores were adjustedwith covariates.

Statement 3: Of the three main components of the curriculum, composing, performing, and listening, perhaps the most difficult one for the teachers to guide is listening

. . . Defenders of a listening program acknowledge that so far it seems to have had little success below the college level, but they attribute this to a lack of proper classroom guidance, due in turn to in- sufficient knowledge and skill on the part of the teachers.

The listening program was an unexpecteddisappointment in this research. The first semester the listening program was comprised of the

86 Bernstein films and tapes.During this semester, in four of the nine schools the listening control group actually regressed from the time of pre-instruction testing to post-instruction testing. It is probably fair to say that the Bernstein materials were too sophisticated for the urban junior high school population, particularly of the sample described as culturally deprived.

In the second semester of the experiment, an alternate listening program was introduced into four of the schools. The course, generally called "Music as a Humanity," attempted to bring about cognitive learning in music through analysis of representative works from the allied arts, music, painting, poetry, sculpture, drama, and architecture. While this innovation was more successful, it would appear that passive learning in music is not so effective as modes of learning that call for commitment and ego involvement.

Statement 4: New approaches in elementary teaching that would bring about a maximum of reading proficiency should be tried.

The experimental use of the shaped -note system, a crutch for over - learning solfeg, was indeed a rewarding experience as far as teaching music in the lower socioeconomic area schools is concerned. Through this historically intriguing device, the musically illiterate children in the experiment were able to get at a quantity and quality of music whose difficulty would have made rote teaching of it patently ridiculous. In the lower socioeconomic areas, the greatest gains in musical sensitivity were attained by those who were enrolled in choral classes which emphasize music reading. This measured growth in musical sensitivity can only be attributed to the acquaintanceship with the literature which the ability to read music made possible.

Statement 5: Improvising, inventing fixed music without writing it

down, inventing music and recording it on tape . . . should be cultivated from the earliest grades.

The use of Orff rhythmical and melodic improvisation was not fruit- ful in this experiment. In the one school (E) where these techniques were meticulously cultivated, classes showed a significant loss on the Test of Aesthetic Judgments in Music. It would appear that improvisation alone is not adequate to develop sensitivity to music at the seventh grade level.

The plan of using music talent tests -- particularly those aptitude tests which had been validated upon teachers' estimates of their students' musicality - -as an achievement test for this experiment was a daring venture.

In developing aptitude tests, test items have been selected in many cases precisely because they do not reflect immediate training in the

87 classroom, thus supporting a belief that musical capacity isinnate and is not effected by varying environmental influencesincluding music education. In the final analysis, all talent tests aremerely achievement tests which, by measuring musical behavior at onetime or musical situation, make it possible to prognosticate behavior at another age orcir- cumstance. The essence, of course, as in intelligencemeasurement, is the rate of learning that is evidenced. One might even define musical talent as a term describing human behavior from a specificpoint of view, namely, that of a musician. It is, in a broad sense, the ability to ad- just to the demands of the medium.

In this study no attempt was made to assess"native ability," since one cannot measure it separated fromenvironmental influences. On the other hand, individual differences and socioeconomicclaes differences in abilities to make aesthetic judgments are evidenced bythe great spread of scores from one school to another. It was for this reason that a zero control sample was used. A. base line of achievement level needed to be ascertained in order for any inferences to bedrawn concerning the effect of the various modes of musical training upontest scores. The stability of the scores of this sample for studentsnot receiving musical instruction in school during the period of theexperiment, as contrasted with the growth in aesthetic sensitivity by themajority of the classes, shows that music education is moderatelysuccessful in achieving the goal of developing discriminatory listenersand that the Test of Aesthetic Judgments in Music is sensitive tochanges- -even those attained in a single semester.

There is some evidence that the Kyme test, like theGordon Test of . Musical Sensitivity, is not particularly suited for testand retest application. Some students tend to score lower on the test the second time it is given. This, of course, can be attributed to the lengthof the test and its lack of variety. Interest wanes as the test proceeds, and unless the student has been motivated, he actuallyapproaches the second testing with reluctance. This was particularly noticeable in the zero control sample which had no commitmentto music testing other than as a scientific experiment. Unfortunately, the reliability of the test is not so high as one would wish and shortening the test wouldlikely have brought about a decrease in reliability.

A test; always measures more and less than it purportsto measure! The validity of the test, computed by correlatingthe test scores with the junior high school teachers' ratings of theirstudents as to musicality, varied from .28 to .85 within the nine schools with anover-all correlation of .481 based upon 1,048 cases in the fall semester. Thus, the test is measuring somewhat imperfectly whatit purports to measure. But it is measuring more than what it intends, also.

It is measuring the subjects' ability to attendto the musical stimulus over a rather long period of testing time. It is measuring socioeconomic class differences in taste and culturalexpectancies, as is evidenced by the great differences in scores betweenschools. It certainly measures the subjects' commitment to music.

88 Within the framework of theseshortcomings, the test was serviceable in evaluating the effectivenessof musical curricula in the junior high school. The biases which are expected, in atypical experiment were somewhat negated in this research bythe extensive sample. Moreover, the opportunity to replicatethe experiment gave credence to the general findings.

In summary, music, education,generally meaning 2erformance in the junior high school, issomewhat successfulinbringing about discriminating listeners. Music reading has proven to be a necessaryadjunct to choral performance, because onlythrough musical literacy can the students.truly experience the quality andquantity of music that develop the skill required for,making aesthetic judgments" in music.

Music listening, even .when taughtby a master teacher and through visual and auditory media, is.not totally effective at thejunior high school level in developingmusical sensitivity.

Finally, musical composition,taught as a basis for understanding the structures of music ratherthan as a mere skill, has considerable promise as a means. of developingcognitive lemmings in the music classes--for the practicinginstrumental performer as well as for those whose exposure to music hasbeen limited.

89 CONCLUSIONS AND IMPLICATIONS

Fifty years ago the overridingphilosophy of public education in America was sameness. At the turn of the century, theNational Educa- tion Association appointed the famousCommittee of Ten to study the course and function ofthe high school under President Eliot ofHarvard. He concluded that a goodcollege preparatory course was just asbenefi- cial for pupils who were not going tocollege as for those who were. In order to prevent any deviation fromthis course, the Committee declared, "every subject which is taught in a secondary schoolshall be taught 'in the same way and to the same extentto every pupil as long as he pursues it, no matter what the probable destinationof the pupil may be, or at what point his education is tocease" (1,0).

In the years of this research thethinking of educators has taken an about face. Faced with the. task of alleviating theeducational errors of segregation, college entrancerequirements, and the excesses of Dewey- ism, America has set .about to educate allof her children in the ways in- dividually appropriate.Music education has been a forerunner in this endeavor philosophically, though inpractice the offering has been rather stereotyped.

This research has supported the notionthat there are as yet un- tapped sources for growth in musicalitywhich may have particular appeal to those designated as theculturally deprived, if for no other reason than that innovation assumes nocultural distinctions.

music educator must beware of . As in all curriculum choices, the change for the sake of change. Though progress implies change, change does not necessarily imply progress.As in a saying attributed to Eugene O'Neil, "When it is not necessaryto change it is necessary not to change." This advice might well be heeded by thosewho have sought to share the wonders of music throughinvolvement in performance of music. Although few would deny that astudent's musical horizon is indeed Limited if all the music he knows is thatwhich is at his own fingertips, the "immersion in depth," sought by theYale Seminaris most likely to occur in direct proportionto the ego-involvement of the student in the music learning situation.

The implication of this discussion,supported by the research findings, is that in seeking out the varied avenuesto musicality, performance of music must notbe sacrificed. It is a prime means of developing musicality for the chosen few; i.e., those who arecommitted to music.

The second implication drawn fromthis research is that music education for the uncommitted need not bedevoid of substantive learnings. The composition courses which makedemands upon the student in terms of understanding the structure of the disciplineand of cognitive learning as contrasted with the musical hypnotism of so-called"music appreciation" experiences were effective in producingdiscerning listeners to music. The challenge to produce a guidedlistening program both effective and

90 appropriate to the age stands out as unfinishedbusiness implied by the research.

Probably the most significant implicationissuing from this research may be drawn from thesomewhat successful attempt'to evaluate theintan- gible results of music education.

The direction suggested byconstructing a Test of Aesthetic Judg- ments in Music, which in turn wasempirically validated upon the music teachers' estimates of success in music,would appear equally appropriate for future endeavors to develop tools ofmeasurement in this aspect of musicality for other grade levels. It is envisioned that such a Benet- like technique of determining what isthe typical response of a given age or grade level, ratherthan what one may theoretically assume,should be learned, and it may provide arealistic measure of musical expectancy. Such a measure would, of course,be of service in predicting future success for the individualtestee as well as providing an achievementtest to evaluate specific classes and modes'of musical education.

Finally, this pilot research hassubstantiated the belief that research in music education can becarried out as a joint project of several doctoral students. It is implied, thereby, that supportedresearch does not stultify initiative, but may serve as acatalyst which brings about reactions not possible throughthe elements alone. The wider perspective produces a whole greater thanthe sum of its parts. SUMMARY

The goal of this research was to develop a curriculum in musicsuit- able for junior high school students that would have as its central concern the teaching formusicality through musical composition. It had as it origin certain recommendations of the Yale Seminar on Music Education which appeared suitable for field testing under feasible controls.

The primary goal of music education, the Yale seminar concluded,is to develop musicality. Musicality was defined as "the ability to express accurately through pitch and time the mental image of a musicalidea. Conversely, it is the capacity to grasp in its completeness anddetail a musical idea heard."

Musicality, the seminar reported, maybe developed through performance, both vocal and instrumental,through guided listening and through creative endeavors--that is, musical composition.For this study a fifth mode was also explored--a course of study devoted todeveloping the skill of music reading, hopefully leading to an acquaintanceship with a widely representative repertory of musical literature.

Subjects for this investigation were drawn from nine junior high schools in the Oakland, Berkeley, and Richmond, California, public school systems. In these schools music is required of all students in either the seventh or eighth grade. It is common practice for the state-man- dated foreign language course to alternate with music. It was possible, therefore, for one half of the students, those taking foreign language, to serve as a zero control for the experiment in the firstsemester and to afford the opportunity to replicate the experiment in the second semester. A total of 3,083 students participated in the experiment. Of these, 555 comprised the experimental classes devoted to musical composition, 405 were assigned to the guided listening curriculum, 737 elected to take chorus, and 6]1-5 participated in the orchestral program. In three schools there were 70 students in music classes which emphasized music reading, and 671 students who were not enrolled in music in the first semester served as the zero control sample. The population represented a cross section of urban schools, includingracially segregated neighbor- hood schools as well. as schools totally integrated.

The choruses and orchestras served as control samples in the area of performance and three discreet curricula representing theListening Program, the Music Reading Program, and the MusicalComposition CourSe of Study were introduced.

The Listening Program was comprised of 35 films andaudio-tapes of the New York Philharmonic Young People's Concerts underLeonard Bern- stein. In the second semester a curriculum in guided listening wasintroduced, which attempted to bring about the understandingof musical structure through analogous analysis of the allied arts.

92 The music reading program capitalized upon the historically interesting crutch of using shaped notes to identify the sol-fa syllables representing the pitch relationships required in reading music. The literature utilized was chosen to represent recognized composers of various historical periods.

The musical composition class took its direction from theeducational experiments of Carl Orff, and, more particularly, of Zoltan Kodaly, whose good advice served as inspiration for this endeavor. It must be stressed, however, that the composition experiences were not limited to rhythmical improvisation and emphasis on the pentatonic mode which characterize these European educators' musical curricula, but indeed followed Orff's advice that "children should be introduced to music almost as the race has progressed."Beginning with primitive chants growing from the rhythm and melody of speech, the composition students experienced the history of music through melody, harmony, and simplemusical forms almost as the story of music has unfolded. The primary purpose of this curriculum was not to train composers per se, but, throughcomposi- tion and analysis Of masterworks, to bring about an understanding of the music.

The following hypothesis was tested:Aesthetic sensitivity in music is dependent upon the capacity to grasp in its completeness and detail a musical idea heard. Therefore, instruction in musical composition, implying knowledge of musical structure, design, balance, unity, and variety, will be reflected significantly in the scores on a testof aesthetic sensitivity in music of those seventh grade students who have been given instruction in musical composition when compared to students wfio have received instruction in instrumental or vocal music classes, to those who have received instruction limited to guided musiclistening or music reading, and, finally, tothose in a zero control group who have received no school music instruction.

To test this hypothesis, and in order to be impartialin the evaluation of the several avenues through which musicality may be developed at the junior high school level, the definition of musicality was somewhat delimited. It was defined merely as the ability to comprehend a musical idea, in its entirety.The instrument of evaluation for the experiment was a test of aesthetic judgments in music which was eclecti- cally derived from the several standardized music ability tests which also have employed tests of judgments of appropriateness in the useof harmony, rhythm, melody, form, and timbre in expressingcoherent musical ideas. The Wing Test of Musical intelligence, the Gordon MusicalPro- file, the Hevner- Landsbury Tests of Musical Appreciation, the Kwalwasser- Dykema Test of Melodic Taste and the Kyme Test of Aesthetic Judgments in Music were the primary sources for the test developed for this study.

These musical ability tests were serviceable as resources because they had been validated through correlations with teachers' estixatesof success in music of their students.

93 The revised test of aesthetic judgments in music for this experiment was also validated upon teachers' ratings of the subjects as to musicality. Only those items which differentiated significantly between high and low achievers were retained for the test. The validity of the test, expressed as a correlation coefficient of test scores and teachers' ratings of these pupils, was .!8. This correlation was obtained by using a rating scale of seven points and utilizing the scores of 1,048 students who represented a wide cultural spectrum.The reliability of the test was computed to be .81 In its final form the test is comprised of 65 items which take 55 minutes to administer.The test was standardized and norms were developed for students in grades four through mine, using 2,000 children in schools of California that had not participatad in the experiment. Norms for the Aesthetic judgments in Music Test reveal a growth gradient expected of ideal achievement tests:

Standard Grade N Mean Deviation

Fourth 371 21.56 6.69 Fifth 384 23.06. 7.30 Sixth 340 26.67 6.4o Seventh 229 30.05 8.67 Eighth 430 31.88 10.13 Ninth 270 34.16 10.47

A principal component factor analysis to cluster the items significant to aesthetic judgments in music was done. The factor analysis of the test items produced four clusters which accounted for86 percent of the communality of the test scores. These factors are identified as sensitivity to melody, harmony, rhythm, and form.

From these analyses of the data it may be stated that the aesthetic judgments test has "construct validity" in that the items which purport to measure sensitivity to melody cluster with other items purporting to measure sensitivity to melody, and so on; moreover,the test is internally consistent. No item was included in the final test which did notdif- ferentiate between high and low achievers on the test at.the 1 percent level.

The Test of Aesthetic Judgments in Music was administered as a pre- instruction and post-instruction measure to each of the samples in the nine junior high schools=while the results varied from school to school, they are summarized in the following table. The table shows the results of the analysis of covariance, comparing the total experimental sample with each of the total control samples. An F value of 3.84 is required for co degrees of freedom to be significant at the 5 percent level.

The purpose of this research was twofold: (1) to test certain hypotheses presented by the Yale Seminar on 4isic Education, and(2) to develop a test of musicality. In review of the evidence, and under the

911. SUMMARY TABLE N Pre-Test Mean Post-Test Mean Adjusted Mean StandardError Value F FreedomDeg. of ofSignif. Dif. ZeroExperimental control Sample 671555 23.0326.89 22.8828.03 24.2826.33 .18.20 54.47 1223 .01 ExperimentalChoral 737555 23.5726.89 ' 24.0228.03 24.9626.78 .21.25. 29.42 1289 .01 ExperimentalOrchestral 645555 28.7626.89 28.03'28.80 28.74 .25.27 2.14 1187 Nbt sig.: ListeningExperimental 405555 24.4726.89 24.5128.03 25.6127.1528.78 .62.22 11.78 957. .01 MusicExperimental reading 555 70 25.2526.89 25.9928.03 27.2027.89 .30.25 .02 622 Not sig. limitations of the evaluation utilized, the assumptions madeby_the Semi- nar may be evaluated. Here, for example, are two statements from the Seminar's report:

Written composition is an important learning tool, a sure developer of musicality in students at all levels of talent and age.

The data do not support this hypothesis outright. Students taking courses in musical composition equaled or exceeded their peersin orchestra, choir, music reading and guided listening programs on tests of musical.sensitivity in three of the five experimental comparisons.

In two schools, it was possible for students to enroll in both general music classes and performance classes concurrently.The highest s.:Jres on the. Test of Aesthetic Judgmentsin Music were attained by those students who were in composition classes and orchestra at the same time.

Improvising, inventing fixed music without writing it down, inventing music and recording it on tape should be cultivated from the earliest grades.

The stress of rhythmical and melodic improvisation was notfruitful in this experiment. In the one school where these techniques were meticulously cultivated, classes showed a significant loss on the Testof Aes- thetic Judgments in Music from pre instruction to post-instructiontest- ing. It would appear that improvisation alone is not adequate todevelop sensitivity to music at the seventh grade level, as measured by thetest.

It must be stated, however, that there is some evidence that the Test of Aesthetic Judgments in Music, as was found with othertests of musical sensitivity, is not particularly suited for test and retest application. Many students tend to score lower on the test the second time it is given. This, of course, can be attributed to the fatiguing length of the test and its lack of variety. It was observed that interest wanes as the test proceeds, and unless the urban, culturallydiffer- ent student has been highly motivated, he actually approaches thesecond testing with reluctance.

The data presented here show that performance, bothinstrumental and vocal, is a prime means of developing musicality at thejunior high school level. The scores of 645 orchestral students in the experiment exceeded all other scores when mean scores were adjusted withcovariates.

The experimental use of the shaped -note system, a crutch for overlearning solfeg, was indeed a rewarding experience in the lowersocio- economic area schools. Through this historically intriguing device, the musically illiterate children in the experiment were able toexperience a quantity and quality of music whosedifficulty would have made rote teaching of it patently ridiculous. In the lower socioeconomic areas, the greatest gains in musical sensitivity were attained bythose who were

96 enrolled in choral classes which emphasize music reading. This measured growth in musical sensitivity can only be attributed to the acquaintanceship with the literature which the ability to read music made possible.

The listening program was an unexpected disappointment in this research. During the first semester the listening program was comprised of35of the New York Philharmonic Young Peoples' Concerts presented on films and tapes. In four of the nine schools the listening control group actually regressed during the semester from the time of pre-instruction testing to post-instruction testing. It is probably fair to say that the Bernstein tapes were too sophisticated for the urban junior high school population, particularly of the sample described as culturally deprived.

In the second semester of the experiment, an alternate listening program was introduced into four of the schools. The course, generally called "Music as a Humanity," attempted to bring about cognitive learning in music through analysis of 'representative works from the allied arts, music, painting, poetry, sculpture, drama, and architecture. While this innovation was more successful, it would appear that passive learning in music is not so effective as modes of learning requiring commitment and ego involvement.

In summary, music education, generally meaning performance in the junior high school, is indeed successful in bringing about discriminating listeners. Music reading has proven to be a necessary adjunct to choral performance, because only through musical literacy can the students truly experience the quality and quantity of music that develop the skill required for making aesthetic judgments in music. Finally, evidence has been presented that musical composition, as an enhancement to the well-traveled routes toward developing basic musicality, has much to contribute. Musical composition could not logically be recommended to supplant musical performance as the keystone of American music education but thoughtful music educators may well wish to-test its virtues in developing more discerning student musicians in our junior high schools.

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102 APPENDIXES

The materials In the following pages comprise exemplary lessons which were taped for use by the teachers carrying out the innovational curricula. Their inclusion in this report is not to be construed as representing all that was taught as musical composition, music reading, and guided listening. They represent a skeleton, however; that may give direction to anyone wishing to replicate the experiment under similar -circumstances.

The appendixes are three in number:

Appendix A includes examples of the compositional activities.

Appendix B shows the materials used in teaching music reading and related basic musicianship.

Appendix C is comprised of'the scripts of the tapes used in the guided listening program.

103 APPENDIX A

LESSONS IN MUSICAL coteosinoN Rhythm is the secret to enjoyment of children's chantings: ThreeBriar, geese briar, in a limberlockflock, sculpture,INTRODUCTION and architecture can be sensed in a singleMusic moment.is a "temporal" art! RHYTHM It exists in time. The beauty of painting, The viewer It s the control element in jumping rope games: One flew overeast theand cuckoo'sone flew nest.west, shapetimeliterallyimmediate forof athe seestune attentionart theat to once, workunfold, of inorthe itsseeto listener beentirety,the comprehended. whole must instantly.pattern move asMusic, of the a dancemusiclike dancing,inmoves. a single moves through time. We can never hear the Itwhole exists in time. But in music it takes The AndJohnnyDown blamed by broke the it sea,ocean,ona bottleme. ' Themoment.stepour word mindsby actuallystep. some ofcomes the 1'patterns which we have beenThe following time element note byin notem1 :c or is usually describedBut when as athe tune rhythm or a indance music. is over, we find that we still hold in he Greek word "rhythmos" which means "measured Rhythm makes learning and memorization easier: SoJohnnyI toldha, ha,Ma,got ha.Maa whippingtold Pa. justthroughreoccurrencemovement" as hisa orsymmetrical, bodyof"flow". an responds initia, regular automatically reoccurrence to the of regularitystrongMan, two-leggedbents of andfalling weakcreatu4e andbeats that he is, senses the rhythm in music As stry, it e wasor beat.commonly defined as the regular It leads the mind onward; it keeps ideas from bogging down. hiab jkcd oflmno g, p. In D anrecovery insistsopposite in upon reaction.walking, "regular inhaling reoccurrence" and exhaling as the in essentialbreathing--forHowever, ingredient. there every is somethingaction missing in this definition of rhythm which Literally, music.temptedmeremusic, pitches rhythmto tap design, actsour feetas form, a orcarrying moveand meaning.in compartment some way, thusfor When thekeeping soundswe listen time which withto givea thepiece of music such as a dance or march, we are If we observe carefully, whichtherering"completeness. carryis pattern: no the"forward mind onwardmovement," to the or end."onward flow," whichA squadron is essential of marching to its soldiers begins to van, the count or "reoccur- Rhythm requires some grouping of the time elements in music andThewe notethissteady thatbeat pulsation ourmarks tapping off which the or weunitmoving feel of inistime musicregular, which is formscalledlikeRhythmic thethe the tickingbasis underlying feeling of of rhythm. ais beat,clock. the tendencyWe feelto group the beatbeats or in time music unit into physically. short "hup, two, three, four" withinbeginningpatternsinlines, groups the andor ofmeasures ofunitseachthe two space group. which ormay of between be arethree counted marked beats.the inbaroff multiples linesfrom eachis ofcalled other two basicaby measure. an combinations:accent at the In music these groups are set off by vertical bar The beats ci to.J .J I "left, left, J left, right,to left" It U.tah I New York Arkansas d) I Wabh.ing.ton 411 di "left - -left,' hel J fu 1 of beans and c4411':7deep sfilep."1 three. eatsIt is also possible to groupHere words the and strongest beats in emphasis music in is groups felt ronof the first unit, less on ther beats Thethem.thingthan patterning awe single notice ofword, intime musical "hup, causes hup,"sounds music no thattomove.matter causes how regularlyRhythm, itthe occurs. first essential ingredient in music, is probably the first It is much usmore to compellingremember and enjoy aofsecond, meter-signature these and two least and threeshowson the units.how third. its units li-e to be Atcounted. the beginning of the first bar of a piece of music, a symbol called All other unit groupings are coMbinations This symbol is in tains,form of anda fraction. the denominator shows the kindof units: Examples of denominators: The numerator shows how many units the measure con- 2, a half-note Say: t.1.11-TIAH ti ti 1.1Oti -TAH UU- TIAH ti r .1-7--;t3 ti quarter-notesThus, the "fraction" or their 3/4 equivalents. means that each measure, or bar, 8,4, ana quarter-noteeighth-note contains three ARKANSAS.While UTAH cont nues, half of the class speaks the three-syllable name, J-7AR -A -S S 3 ARKS -ANIS A1K-AN-SAS ARK -AID -SAS hasthatious gone maydefinite onbe beforeneeded positions, in ordertunes to toorrepresent relatemusical it allcompositions. to the what different MovementWrittenis levels notesin music of anyrequires length the can listener then be toplaced have higha good or memorylow, in for var- presently being heard. of pitch whet Asother we add state MISSISSIPPI, names. a four-syllable name, compareSay: trip i let J trip i Jai.)let iiJ J Li trip i !let trip i let it to each of the Moreover,therelationships repetition he needs forof theideasbetter ability and, understanding. importantly,to organize theby organizingpatterns of these movement Composers help in this process by musical ideas into MIS-SIS-SIP-PI MIS-SIS-SIP-PI MIS-SIS-SIP-PI MIS-SIS-SIP-PI RHYTHMto intothe endforms--aAS Awithout BASIS sort FORlosing of BEGINNING road his mapway COMPOSITION toin helpthe mazethe listenerof sound. get from the beginning theHere echo are andsome write words underneath which combine each theword note the valuesnote symbol Say:we to for 1 fi 'ti fi.111JJ.11.1.1 JJJJto fi ti fi to fi ti have practiced.fi ta each syllable. fi ti Clapfi In the creation of music, our starting point should be rhythm. It will be introduced Rightly 2 Echo ej whole.manthroughregarded,suggests - singing speech itmelody. isand patterns. the speech, most basicmusic ofand all movement the elements. are parts It is from speech patterns that rhythm evolves; and rhythn, Speech patterns make it possible for a person listening For the young composer--as it was for primitive of an indivisible in turn, 2 RIDEP 0 - N RIDEY J R I D EO Echo RIDEP 0 -NYRIDE RIDE to providestamping,andmusic irregular to accompaniment. graspbody measures. slapping,many types and, of meterlater, without by playing difficulty--even percussion Speech rhythms will be reproduced by clapping, instruments which "up-beats" TRI- J 3 J -CLE RIDE. ci Echo TRi-ux-uiEJ J RIDECl cj companiment.to rhythmicalfromreproduce the very rhythmsvariety beginning onas instruments.well the as contrast melodic "Working ofinterest. solo in and groups Inchorus, the we beginning of we will recite, clap, stamp and sing. These parts of the music--accompaniment and melody--provide will experiencemelody andWe ac-will learn Clap the first measure or antecedent, and tap the consequent. Mer-TOR-CY-CLE Jr-7 RIDE 5) EchoT df--j MO-TOR-CY-CLE RIDE thein form teacher and improvisation.are to be continued in a logical "form"From by rhythm each and melody we shall move to equally essential Rhythmical and melodic phrases introduced by Which state studenthas in turn. experiences 2 PClap J I E I Ta j aTo single start, syllable? let us begin by thinking of the name of states. EPIE1 PJJIEJAEIC - PIEI 1. MAINE,MAINE,MAINE,MAINE I I I I HUCK-LE-B Y PIEI HUCK- -BER-RY PIE' Now think of a state whose name has two syllables.Say: tah tah tah tah Youa halfhave note ( ) is heldthat for iftwo the beats. symbol for one beat is a quarter note (401 ), Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 beat,anddifferentByfollowed nowthe as youtriple. in strengths byundoubtedlymarching: two weak and left, beats,recognizetnat right. there as inthat are the musictwo waltz: basic consists slide, arrangements, ofslide. groups theof tonesduple of In the duple meter the strong beat is followed by a weak In the triple meter the strong beat is Most of you Stamp:Clap: 1 3 1 3 i 3 berjumpinghavesequence. this an rope instinctiveone? games.game there feeling row befor a rhythmicalcountless numberspeech, of as rhymes. demonstrated in the Repeat the pattern several times as a complete"Down phrase. by tIle ocean, down by the sea...", chant the words inThese may be rather complex rhythmically for in each Do you remem- Now re- Chant: 1 1 Thetokneepeat develop drumtheon the pattern,would the strong samereplace tapping beatstext the :alandeach stamping, tripleclapping syllable. meter andon thetheand weakperformwoodblock beats.If it instruments couldin a similarreplace are manner.the available, transfer these rhythms to instruments. Repeat it, adding slapping on the As a variety, try Clap: THEclap DEVELOPMENT OF OSTINAIS FROM SPEECH After we have practiced speech patterns and have added some simple Clap:Chant: meter.withmovementsofto instruments,teachingquarter such notes,simple as musicalclapping whichrhythms, notationare and butgoing stamping, theshould to easiest be andbethe introduced. havewaybasic istransferred subdivisionthrough speech, these of 4/4 rhythmsbeginning Here are some examples. There are many ways Clap:Chant: 4 Fee fiJ J J fo fum; beat beat beatJ J beatJ Clap:Chant: 4 See you later, alligator; mrJ JJJJ beat .r") beat beatdi J beat Id) Clap:Chant: Try to clap this proverb: Children should be seen, not heard. J J J ostinatoLet us try will another be b. ostinato,Lg mi g2, this time a melodic ostinato. and say: ti ti LI 17 L..1ti ti 112 mg, ml agt tanI I tah fah rept The simplest Other ostinato patterns may be invented; however, in the early stage you To this canon or a small section of the canon may be added some of the mustimitation,rhythmiccome guard less canon. against securemay be inprovidingderived your basicfrom too speechfeelingmany rhythms patterns. for rhythm as ostinatiThe and second melody. or ofyou your will experiences bewith rhythm will be the use of a The canon, which is a polyphonic composition of simple It is good to start with tiveorderaccompaniment(stamp, asto simpleprepare clap, ostinati as stamp,for possible, the clap;which rondo, beginning sway,were we suggestedbeginsway) with with one in echo barthe After clapping.atpreceding a thetime rhythmic sosection: that canonthere we should proceed to the rhythmic rondo. Make the mo- In amay simplespeech readily example,alone, grasp because suchthe basicas it this isidea. uncomplicatedjump1st Voice:rope chant: with melody or harmony and you When preparing speech canons, begin with Webe firstisshallincreased no beatchance use ofquartergradually forthe anyonemeasure notes until to andfor forget.we eighth clarity'scan produce notes sake. onlya two-bar andNcho we andclapping shall four-bar begin leads phrase.on to the rhythmic phrase buildings The one-measure echo pattern then can This is the first Do n b cea Dawn b .e se 11P y br a d blamed t o m ofdividualecho stepcourse clapping towards willis the haveweimprovisation. reoccurringnow the may opportunity move refrain, from ofpure orcompleting imitationA section, a Finally to two-barwith invention. episodeswe phrase. are ready inbetween. for the rhythmic rondo. From the security which we have gained through The essence of the rondo Each in- 2nd Voice: own cean Do n by e s a FIRST RONDO :; clap with clap with me. JIJ I, 2,J 3 $11-2 clap with me,J clap r J with Mt. JI J 2,J J / I carlyrttarbottlerand gaglit 1: mr You J--7 will see j--7) how ea - sy, ea - sy ItJ--3J can be /IJ--7J. J--3JIJ clap with me, clap with Ins. I.I. 2.J 3.J.1 I J J J I $ Jo flpJ 1 1: I Hum shake. drum shake(see above) JIJ le. fl. fo, Wm I 17 17 17see you17 la - ter. al - ft - 1P - for Then well1-7 hare scene n J fun. I Told r: t oldtPa wWine ha Prha 'Ha 13 J--)I will do J--7 a so - loJ--7 now J I J--7 J--7 J$ I clap This F-7 J--7 Is of Ron - doJ--) form J I Now goJ--7 back to 1--3 J $11 SPEECH CANON: gj Ha 1 r---1 r --1 (see above) Ltst -en while I "6" "A" Rid r - dl e, Ree, Do what I do 4eStA d e, ride, toJs, rE1-72 nose;clip; a cirr7-71 S1712 ml; D (seeNow It's above)1'7 J-7 J-7 my turn, Ha- ha - ha J I1-7 Ha, ha, ha,J ha - La.77 - ha J In 17 J-7 Now It's my turn, ha - ha - ha J I I,J 2.J 3.J Tolurnr nice! Bend down iorani eachoJe gols; 1 rice; I The "A" sections are clapped by entire class; Note: If Kurds are used for clapping in the B , A section, theC ,learning is much faster. Afterwards they can D sections are only samples of solo parts-(not to be omitted. Lift our hands up to the skY; r---1 114 Shake now as 1 I birdsplr would Ay melodiesbe taught) or B,C,lines. & DTeacher are intended will conduct for improvisation the solo parts by individualto help students students-"on grasp phrase the spot" length clapping and number of rhythmic- of bars. Clap your hands, stdmp your feet Cymba s r-mt r th77:71plele! 8 barsIn this can rondobe improvised, the solo parts too. are 4 bars Appreciationinstead of 8 bars isof theexpressed "A" section. to AsGrace skills Nashdevelop (38) with understanding,for this rondo. RHYTHM AS A BASIS FOR MELODY WRITING Thefirst most measure predominate and consists rhythmic of pattern only four in thisnotes. melody is heard in the very In order to remember this language.cessis ofone composingof the most a melodynatural is elements much like to thatremember of writing Within a fewcomposition. a exceptions, all music through:mt history has melody.In language, a writer must combine alphabetical letters into sentence in verbal The pro-Melody motive, mark it with a bracket and label it as motive 14." Main Motive of Auld Lane: Syne tence,words,structtheconveys samehowever,words a alarger way,verbal into isa idea--aphrases,composermuchidea, larger somelody. andmustdoes inphrases combine eachscope sentence. into thansmaller sentences.that musical of its ideassmaller in parts.order to con- The idea conveyed by a sen- Just as each word In J.M 1)JJI.J.1).! JIJ.1)JJ1J. Thisyouofsimply wouldlessonmotives a bepattern will unableto bebe or foundconcernedto design identify in melody:that only a is motivewith (a)repeated rhythmic as a inpattern. somemotivesThe way. smallest anuand their complete develop- idea in music is called a motive. There are two typesWithout repetition(b) pitch motives. A motive is JIJ..PJJ1J.1)JJ1J.1)JJ1J. Ii mentlistenfolk in melody; a tomelody.. the for melody, example,Later followon takeyou the willthe music firststudy to partpitch discover of motivesFirst Auld a rhythmicyouLang in willSyne. patternattempt ofto locate the rhythmic motives in a familiar melody. While you motives and label them with the letter "R" (for repetition).Notice that motive "M" is repeated six times. Repetitions of the Main Motive Bracket these repeated Ch2> three or four notes that is repeated somewhere in the melody. Auld Lam Syne 4 MJ. J)JJ1 J. .t)J R R JIJJ)J4J1J.J)JJ1J.1)JJ1J1R(M) R R mainortionalinstance, not motive related shape butnotice oftothe four the thatdotted quarter-notesmain the half-note motivequarter-note nc" ishas Innew. beenpick-up measures retained.You has now'have3, been retained some left-over from the notes which must be identified as related In addition, the basic dura- Because4, 7 and some 8, foraspect pitches in the melody. You will make the task eac3:1r by separating the rhythms from the Listen again and follow the rhythmic structure only: variation),therefore,themof these as a noteskind bracketas inofcan thisrepetition. thesebe tractiexample: notes back and tolabel the themmain withMotive, the youletter can still identify But the repetition has been varied somewhat; (for .J1 J. .1)JJ I J. J)J JIJ.1)JJ101.J1J.J)jJ1J.J)JJ1J.1)JJ1.1. II J I J. .0.1J1 J1.1.1)JJ1.1. V J1J..1)JJ1J..1)JJ1J..1)JJ1J.Roo ll (1)(change or alter) a main motive: motive:Rearrangement: to reorder the note values of the main Thestructed development of a ofmain the motive main motiveN" which cap is be repeated described in Itinsome isthe waynow following throughout.evident manner:that the entire melody of Auld Lang Syne is con- M J V V J J. or, V The melody may be further described by showing that the development of the M +R+R+V+R+R+R+ V (M) (2) Alteration:valuesbut at bythe addition.or same time changesubtraction: one or two of the inner note to retain the basic order of the main motive J J.1) main motive tends to group into larger patterns called phrases: 3A. .J = or, or, m theySince are the called second "statement-answer" phrase roughly repeats phrases. the pattern of the first phrase, M +R+R+V+R+R+R+ V (M) (3) twoRearrangement of the note and values Alteration: of the main motive:M1)J 1-----1J. J.r) V V to reorder and change one or n r; V or, 0') from the smallest idea or pattern to the largest.You can now describe the entire melody on three levels of development Melody (c) ThetureContrast: following an entirely is annew example: motive that is not related43 to' he main motive. J. M By contrast we mean toJ introduce into a rhythmic struc- J V .r) n V J. M +R+R+V+R+R+R+,P6ase V 04) Phraie 3 J. M .1) = J.C or, C developtherefore,melodies,tures rhythmicby however, thatfollowing onemotives. are understand the not same always processsome as ofclearly usedthe techniquesin constructed. analysingMost usedmelodies Auld by Langcomposers can Syne. be broken to down into their phrase and motive struc- Some techniques are presented below: It is essential, All motive.following manner: The worksheet method is a good way of learningFirst, how make to fourdevelop columns a rhythmic on a piece of paper and label them 4it the frn Rhythmic(a) motives may be developed by: Repetition: The main motive is repeated exactly as in the follow- Motive (M) Repetition (R) I Variation (V) Contrast (C) ing example: M R fromNext, a eithermusical invent composition. a one-measure motiveMotive in 3/4(M) or 4/4 meter or borrow one Repetition (R) Enter in the column marked "Motive." (b) theVariation:some main note motive values must may be beretained. changed, an essential characteristic of The main motive is repeated but not exactly. J.J)J There are three ways to vary Although J J J Variation (V) Contrast (C) Write the exact repetition of the main motiveMotive in (M)the "Repetition" column. Repetition (R) Variation (V) Contrast (C) shown below in addition to some other possible designs:1.MIRIRIRI Design Realization areinventNow comesthree and thetechniques place real them task. for in varyingthe column a motive: marked by"Variation." rearrangement,J J J by alteration, .JJJ You must think of as many variations as you can Remember, there 2. MIRIRIVI 4 JJJIJJJI JJ J IJJJI followingpartand byof rearrangementthe are main some motive possible and in alteration; ordervariations for ithowever, of to the qualify mainyou mustmotive:as a alwaysvariation. retain some The Now4.3. MIRIVIVIMIRIVICI choose the third design -- MIR IVI V I -- and change the letter JJJIJJJI JJJJJJ J (JJJJIJJJI I Motive (M)J J J RepetitionJ J J (3) VariationJ (V) JJ Contrast (C) youthissamesheet.abbreviations must variationdesign decide could whi-J1into:should be note variationwritten: be values. used inwill both be measures.most appropriate and whether the Since measures three and four of your design both use a variation, To do this merely revertJJJIJJJI back to your work- Here are some of the ways IJJI JJJJ.1J J J J 4 J J J1JJ J1JJ JI Finally,trast" columna contrasting of your (new)worksheet. motive or twoMotive may be (4) introduced into the "Con- Re.etition (R) Variation (V) Contrast (C) JJJIJJJIJJ JIJJJJ1 J .1 0 micdesign design a four-measure for a complete "answer" eight-measure phrase to melody. follow it,If youyou willnow let have MI aR rhyth-I V I V JJdIJJJIJJJJI J 1 stand for u "statement" phrase and then To do this, you must de- J J J J J J J.1 JJ J J. 41) J. .1) becomingsibleof"statement"sign the the designs"statement"; more"answer" phrase. varied.for anphrase however, "answer" so thatyou phrase couldit isbeginning alsosome varykind with it.of ana repetitionexact repetition of the and The simplest repetition would be an exact repetition Below are some pos- your own phrases. You now have a worksheet from which you may draw ideas for constructing First design a simple four-measure "statement" phrase by JJJJ.1 J nnnn Thus, one design for your eight-measure melody might be: 2.1. RIRFp VICVIV 4.3. RIVIRICIRIR CIVI ureTheusing simplestof the a mainletter design motive abbreviations would (M) andbe likethree from the measureseach one ofused yourof inrepetitioncR). fourAuld worksheetfins Syne: columns. This is one meas- 4 J.IJIJ:IJIJJ JIJJJJ1 JJJIJJJ1 JLJLJIJI R(M V II Based on the previous discussion of rhythmic concepts, develop your Melody has rightfully been called the surface of music, not merely be- MELODY oneown ofrhythmic the rhythmic structure motives for agiven proposed below eight-measure or invent your melody. own motive. Rhythmic Motives for a Proposed Melody You lay use monyspectivethecause is ear likeit as wasis thepainting theintroduced surface top withoutpart, of into anbut perspective, objectthe more art becausecatches of paintingand itthe just is eye. latetheas the surfacein elementits history,that of catches per- so Melody withoutUnaccompanied har- melody (a) One method44 teachers use to insure thatJ. each student will be able to J) J) 4 (c)2Jmi 4 wascessityChinesedid the harmony only tomusic musicalmusicenter still everywheretha, art, uses art but no of melodyharmony untilmusic comparativelyis. at all. recentMelody times. probably originated in natural inflections of speech for atl later in history. Harmony, then, is not a ne- Classical worksheet-fromdentshear a andmodelcould presentedperform worksheetbe asked what earlier to placedhe stand designs and on and thethe is represent phrase blackboard.to have design, onestudents measure MIR' clap V eachrci, sample offour the designs stu- design. (b)3nJJI For instance, using the andspeechsomerhythm. some possessesmore on asoftly, lower the note. someconstituents more carressinglr of melody: and (1) some pitch more variation; curtly. and Ahyone speaking a phrase speaks some syllables on a higher note (1) (I think I might have stepped on yourSome, toe.) for instance, are spoken more loudly and Take, for (2) UnderpriateUsingtheirthe secondthe variation,parts directionworksheet student in tempo. and ofasclaps thethea reference, fourththeteacher; repetition, student the four firstclaps the studentsthird, studentan appropriate student thenclaps perform theclaps contrast. main aneach motive,apprc.. of ht the conclusion of the performance, the class may coding"Iexample, (3)beg (Itoyour these don'tthe pardon"; state three:agree from with(2) which (Iyou didn't atwe all,come. hear you what fool) you The"I said.) begtimes your "I to beg pardon".which your we pardon"; perform our daily tasks vary a great deal ac- The cowboy's speech intonation and ofdiscuss the entire the appropriateness phrase design. of the variation and contrast measures in terms haveingintonationfromrhythm ofthedifficulty differthe Bronx. ofindividual afrom fallingin thelearning words southerner.perfect theis sofourth.language affected unless by the they intonation possess athat fine foreigners musical They all differ from one another. The clipped New England speech differs In the Chinese language the mean- Spanish language has an evitablytachedear and to retentive setsmeaning. it tomemory. a distinct melody which could Anybe recordedperson compelled in musical to repeat the same phrase many times dailyThus, in- the railroad porters who pass through stations have de- Melody in China has become very definitely at- velopednotation. a folk tune repertory:1111" MEM that U1.." might IIMMI MIbe worth collecting: UMINIM 1.1 or- thematicThe traditionalLmedilasr material fragmentary of which composers melodies haveof itinerant made use vendorssince the have"All attractive a - board, change here for Chi - ca - go, all change." iii MN NW, 1/ IM/MV- = rte sa...-im 16th century. Herestreet: are some of our familiar chants heard on the playground or on the 04.A.N....mr.isV /IMMOINNIV MINI=Me mow MPMr Iwr. MI MEV 1 I MI MO IMMNI NMI MI !NMI 1111 "Paper"Car --54, Read where all are about you?" it." V" Mill "Rain, rem, go awry." (2) short motives) each of them has a unit equivalent Theto onemelodies of the of jeering primitive people are often mere alteration of two "3usie has a boyfriend." Here"Polly." is another 4/4 setting. emphasizing the word "put" instead of the word )JJJ JIJ relievedcries just by illustrated.the other. Some birdsFrequently have developed one is theirsung tworepertory or three in timesthis and then (3) Hopitionmaterial.way. Indianof some Corn-Grinding brief motive. Chant: Simple as such music may be, it embodies the principleAlmost anyof economygood melody of will be found to consist of an exploita- (4) J J1J J1J,M,JuiJIJ J J so mi so mi re do so mi so so mi re do on a stronger beat than the word "the," which is onIn beatthis one, the word "put" falls on the weak 4th beat, but is still "4*." howSETTING bring WORDS out theirTO MUSIC natural inflections if we want themIt should to be beunderstood. clear by now that in setting words to music we must some- (6) IrjuiJI,T7 Jul music.We thecan music,do this and by bymaking making the the accented weak syllables syllables fall fall onThe on the firstthe weak strong beat beats ofbeats ofthe the ofmeasure in any musical meter receives accent or aThere rhythmic are literallysetting of hundreds the whole of poem.other possibilities. (7) f, See if you can make syllable,onthisstress such stress. soa "ning"strongthat any onbeat, syllablethe suchfollowing aswhich the weak isbeat sung beat. after on thethe firstLetbar-line, us beat take andwill a line share of inpoetry and, noting the poetic meter, place bar We would be careful to place the syllable "eve" of "evening" the weak We'llPolly allput havethe kettletea. on. lines so that strong syllables come on strong beats. trielkttlelcin mustslightly fit togetherdifferent in rhythms a natural for manner.each line, but rememberSeJc4It that one the time signature for the whole poem. Then try to urgent,fourfind lines more Accordingwithin almostany to of the theinfinite effectpositions flexibility,we wantshown to on create providedthe slide. that the Saybar theselines afterwe use me: occur we can choose meters and rhythms insistent, from one line to the next. Here is a setting in 4/4, in which the rhythms become more 141 (1) Pol-ly put the ktt -tle on. J J1JJJ We stillcan leavefalls outon thesome relatively bar linen strongto creat third 4/4, beat: but notice that the word J1J J1J J1.1 tl "put" JLt/.171J7 JJtJtiJizzl iLIJJJd JJ1 as clothing *fashions. Musical fashions "gay from one century or decade to the next as widely The music written at the time when men wore wigs is (2) possible;music'stheskirt.as one different purposewhere the otherthe fromis words towherethe express aremusic the held wordstheirof totoday aremeaningbe theasmerely the mostas hoopincidentalfully important skirt and evocativelyisandelement from the themusicand as mini-the Fashions in settizgwords to music have varied between two extremes: Now(3) let's go back to the speaking voice. (Whistle for each.) Listen as I say version (2) must be allowed to go its own way, completely unimpededEx&mples: by the poem. Listenof our line:carefully to each syllable and its pitch ,comparedPolly put to the the kettleprevious on. swim"Elmolime Letand us followling mark these syllables. relative pitches roughly in this manner:Polly 0t the kettle on. I> an4words,thatunderstand write holds one a shouldn'tthatpiece that if forthis one writethe approachisn't piano, a songgoing isor at nottotrythe all, necessarilyclarinet, tobut bring should For or outmore thethrowthe the valid orchestra.purposes meaningthe thanwords ofofits awaythisthe op- lesson, we are going to follow the fashion You Pol- the ket- p. whichwerethat spoken. it brings is spoken--according, out the meaning offor the example, words evento which moreThe wordsclearlymeaning receive thanof a ifsentencespecial they can change subtlyBut according it's a good to theplace manner to start. in Our aim then is to write a song Now we can join these pitches up with a curving line: tle on emphasis. (1) YouPolly do itput Polly. the kettle on. Don't complain that it's your sister's turn. (2) actionHerePolly attention 01now the kettle is being on. drawn to the action. This is a call for (3) theDon'tPolly kettle. put theoh thekettle toaster on. or the frying pan or the oven--put on Notice"put" thatproduces version a completely (3) emphasizing different the shape:word "kettle"Polly instead put theof thekettle uord on. We could roughly represent this whistle by a curvingLet's line(1) make or agraph. side-track for a moment. Listen to this: (whistle,../ ), theseconvey wordsa particular to music meaning in such of a theway words.that their meaningThese is lines clear represent to the aud- the rise and fall of the voice as it seeks to Remember that our aim is to set aboutactually the risewriting and afall song. of the speaking voice, we Noware thatready we to have set talkedabout about the rhythm of the spoken words, and Let us set the words of "Polly put the kettle whichience. more or less follows the rise and fall'of i.;lo speaking voice. Perhaps one way to achieve this aim would be to create a melody . on" to music. However, before we create our tune, we need to set the ground rules. Let us take version (2) of "Polly" again: ForsurespecialLet this us thst limitreasontones we ourcanto use:firstcorrectly tune writeto five the tones. pitches that weIn hear order in toour write mind. our tune, "Polly,.Put the 'Kettle On," we must be should practice tome melodic dictation.the black keys of the piano. Moreover, let's choose five Write - Sing' W2 Write - Sing Now let us superimpose it on a musical staff:(a) (a) (b) (c) 4 (d) 11111r111111111111 1. rrrrrrrrrrrrr1d 1111111d 1 1111111d 1d d 1 d1 1.d 1d d1 1d d 1 d1 1d ktdddddddddddddrrrrrrrrrrrrrSSS1 SSSSSSS SS1 s 1 1 1 1 1 1 1 1 1 1 1 we -want in the melody, we might come up with somethingBy making like a(b). rough correspondence between the curve and the actual notes S :SSSSSS.SSSSS n anduponchoice so producethe would rhythm adepend melody that on wewith whatuse, fewer sortand leapsalsoof music uponand weawhether smallerwantedWe coulda torangemelody create, keep.the (d). and shape also of the curve but flatten it out a little (c) words. of leips or a This 2. rrrrrrrrrrrr'rd d d d d d d d d d d Illd d 2. 1111111111111d rrrrrrrrrrrrd d d d d d d d d d d d melodyternatives.rigidly to the shape of the curve if our musical sense suggests better al- steps would But in departing from the curve we should be beware of de- only meaning have to stick 3. dS1111111111111 d SSSSSSSSSSSS d d d d d d d d d d d 3. dSSSSSSSSSSSSSd d d d d d d d d d d d rangealltractingexasperated the them threefrom in themothersuchdifferent meaning an instructing order ways of as theof would saying,words.her daughter,suggest "Polly an Polly. putincreasinglyLet the us kettle make aon" setting and ar- for the whole poem. Just for fun, let us take irritated and er.ssssssssssss1 nie allowi1 rrrrrrrrrrr1 1 1 1 1 1 11111 ssssssssssssS1111111111111rrrrrrrrrrrr We'llPolly allput havethe kettletea. on. 4.ddddddddddddd1 rrrrrrrrrrrr1 1 1 1 1 1 1 1 1 1 1 1 4.dddd4ciddddddd11111111111,11rrrrrrrrrrrr it S SSSSSSSSSSSS NIIII Because the mother is becoming more irritated as the song goes on sssssssssssss115 makeThewould wordit be the "kettle"logical climax to isfor havethe the mostthe whole climaximportant song of by, theword :or long inexample, thesomewhere third setting line.towards the thesyllable end. Let us 5. d d d 1 d1 1d d 4 d 1 1 1 1d d1 1d 1d 1d 5. 1d d 1 1d 1d 1d 1d 1d d1 1d d d 1 1 d1 1d this"ket" note(tle) by on placing the highest it on notethe strongof the firstsong. beat of a measure. We can add to the strength of ' emaymarrrrrrrrrrrr S SSSSSS SS SSrrrrrrrrrrrr SS aS SSSSSSSSSSSS erin Using Pentatonic Melodies MELODIC DICTATION Here is an example: Then,Listencorrect starting the syllablefirst with time tothe throughmatch first the noteto tonesfamiliarize which as isthey already yourself are beingThe circled, withteacher played the circle willtune.the secondtheplay the following melody twice on the piano: Rain, rain go a - way. Come a - gain some oth-er day! time.1. Using syllables, sing the melodies together-to check your work, Come a-gain some oth-er day! 2. Su sie has a boy-friend! Ha! Ha: Rain,so rain so so go soa so- way so so so do so so so so 2. miSu sie mi has a boy-friend! mi mi mi mi Ha! mi mi Ha! mi mi mi mi. 3. Bob-by Shaf-to's gone to sea, Sil-ver buck-les on his knee la misola misola mi solami sola mi sola misola milaso He'll come back and mar-ry me, Pret-ty Bob-by Shaf - to. 3. laBob-by sola Shaf-to'ssola misola migonesola to sea, mi solami laso misolaSil-ver buck-les on his knee. misola misola milaso misola lasomi misola toned or "gapped") scale, starting on do. While the teacher plays, students will sing the pentatonic (five- ... 4. Pol ly mi putmi the ket-tle on Pol ly put the ket-tle on. mi SO la (EP somirela mi mi mi mi mi mi rela resola resola resola resola resola remisola miresola mi resola doremisola miresola midoresola remidosola do re and la. do The tunes in examples 2 and 3 aredo comprised Inof additionthree tones; to the mi., steps so listeddo above, these examples should do do do do do do do do and back down again: la la alsoline be isnotated so.. Laon'a will two-line be placed staff. in the space above the top Thn bottom line is mi, the top line. so mi re Useof syllablepractice. names ( mi, so, la ) to indicate the pitch at this stage thaThis first example five shows notes all of fivethe tunetones are of identicalthe pentatonic to this scale. scale? do. 'Do you think Listen 6. Swing low sweet char-i.. miSO 4. BO miSO miSO mi mi SOot ---AO misoCom-ing for to car-ry me miSO miSO mi mi SO SO miSO SOmi mihomeSO melodyfirst,carefully,as for isn't the it?secondthe teacher time. plays the melody. In notating the melody you will need at least three lines to keep Circle the correct syllable as your teacher plays the The re tone is skipped at. doreSOlap SOladore ladoreBO doSOlare doreSOla ladore 30relado 30 SOladore doreSOla doreBOla dore SOladore laSO ladore SOlaredo SO SOladore the notes apart: --Of/ la 68 de re re by sweet char-i - of - -- .1111110 Com-ing for to car-ry me home 4. Theso.la Camp-bells SO la SOla SOlaare $lacom-ing Hur-rah, Hur-rah SOla SOla SOla SOla SOla 7. SOSweet-est lit-tle SO SO SO SOfel-low, SO Ever-so y bod-y so SO SO knows.SO (E) domire mire doremi doremi midore midore doremi doremi midore mid6re doremila Misoisdore misoladore doremisola s0doremila misolado.re misoladore domi SOlaredomi lare30 30doremila SOladoremi The Camp-bells are com-ing Hur-rah, Hur-rah 0 Sweet-est lit-tle fel-low, Ever- y bod-y knows. 5. I know a las-sie as fair as can be, And she lives ',herela the bluebells grow la la la la la la la la la Don't know what to call him but he's might-y like a rose. la la la la * la la la la dore redo erSOmi doremi Sremido SO doremiso mi doresomi resodo doremiso resodomi doremiso midoreso doremiso doremiso midoreso domireso domireso doremiso midoreso doremiSOla midoreSOla doremiSOla doremiSOla laSOdoremi midoreSOla midoreSOla doremilaSO doremiSOla mi doreSOlami lareSOdo doremiSOla doremiSOla 111.I know a las-sie as fair as can be, And she 11.ves where the.bluebells grow Don't know what to call him but he's might-y like a rose. 8. Old Mc Don ald had a farm, Ee- I, Ee-I, 0 tonessimplified are shifted staff. either for ease of reading or for ease of singing. Even using the five-line staff the position of its remiso ?do remisola remisolado soladoremi misoladore misoladore soladoremi remisolado doremisola mi soladoremi lasoredo do remisola odiesthebe writtenpiano. may be so played that theyusing will just be the played black using keys: just theIf oneblack uses keys the of proper "key signature," pentatonic melodies may For example, using this key signature, all pentatonic mel- 9. corn, grind-ing corn, Indzdan maid-ens grind-ing corn. tle On," on the black keys. On :looking belo0 Al_416111111rwor w you will find an example of "Polly, Put the Ket- Try picking out the melody on the piano reGrind-ingso remiso remiso remiso mireso remiso remiso mireso remiso miruso re miso remiso remiso and sing it with sol-fa syllables. do do do do do do do do do do do do do 104//////1/1IIN inn ea. olog PIM 1111tAlAIN AlA=1," Pol ly put ...111111/71 ../MIthe =.1110, ket-tle on, OIMWMMR 11 RIM Pol - ly 11111111M.,4MMO IMO put ...10. am= Inalimw r the =MI ket-tle_21. on, X17 Gods of rain, sun, and sky, send the gen-tle but-ter-fly. mi mi mi mi mi I N.1 ; RA II Al NMI"11114.1 Pol - ly .1Mmow, MINER ...1111 put 11111111/' the NMI .41MIN=111111111 ket-tle on,We'll 111:1=&01=11/ INSali NM MI MI MN an. to-.111r have 1111111101 tea. NNW 11. IMP misoladore mi soladoremi soladore ladoremiso ladoremiso doremisola misoladore miladoreso soladore ladoreso doresola doresola doresola 10. Trot,sola trotpo-ny trot! laso sola sola sola laTrotso to grand-ma's gate-way la sola so isso laso solu dorela midorela mi doremi la redomi laredo la doremila doremi ladoremi la doremila doremila doremila a=11 lEr Moat of our pentatonic melodies have too large a range to notate on a 1110.=. IN MM. Sid= MP .... 111111 OMMONo 1.1-aa =IF i IN =1 =11,110 111,., MIN MO ON aMMI .... bb I MM. .0,- Mb IMP 1 a Ma- /=,". MI a=aylw DEVELOPING A PENTATONIC MELODY FROM AN "OSTINATO MOTIVE" Here is a report from the log of one of the teachers working in material.devise may also give insight into the development Theof amelodic melody ostinatofrom limited figure which you used earlier as an accompanimentHere are two such ostinato figures as exanples: lyricsduns.extendingthis project. for thetheir idea first of uLin,7song. the pentatonic scale,First ostinati the children and bor- created the poem which was to serve as the - It describes how this class created a Christmas song- - Of course the teacher recognized ''some- Su - sie has a boy-friend Three blind mice J ,1 wordsthing old,in new something ways as new"together in the they words. created this poem: In the hills of Judea, on a cold wintry night, The children were using old toThe 3/4 problem meter. now is to make this germ of a melody grow.But the motives above are static! They don't move towards a goal. First, adapt then 1 Alleluia,TheTo certainheavens Hosanna,Hail poorflew shepherdsopen, whilethe there birth angels came of didoura great singKing. sight. andoncorrectdictation thewere piano, sol-falearning which and syllableswas tothey practicedput could thewhen notes notate earlier.the teacheron the a threecorresponding played -line simpleThese staff time childrenmelodies with values C had worked with an adaptation of the melodic They could identify the moving. Now, scramble the notes any way you wish in order to keep the music Thepatternedtheas students the five ifbottom intones could the line. of cxcitementtake the rhythmicpentatonic of thedictation, scale,music, an gloag, thisthoughoccasional note gl, limited was_21, high desired. la,to do whole,but to add-increase the vividness of the melodic The teacher had made her melodies conform to 4J .; poemskillshalf, and quarter,to useput in and anmeasure eighthoriginal barsnotes. song. just before each accent2dThe first syllable. step in writing music for their song was to scan the They were anxious to put these makesThis motivethe sound ends want abruptly, to continue: doesn't it? Three blind mice Try this arrangement to see if it Three blind mice moodthoughtTheyThecalm studentsofalso andthea mothersensedserene, song. felt rockingthat that the the back tempo song and wouldmoved forth bewith and slow. threesinging "The beats wouldmood to shoulddepictthe measure. bethe so that theThe words teacher would gave be understood."him three resonator bells to im- One boy Three blind mice used,itwasnotesprovise went so werebut pleasing,beyondan merelylowaccompaniment do,the wrotethe sol,"writing class sol-faand figure acceptedhighrange," syllables whichmi. thethis would onteacher ostinato a demonstrateflash agreed figure,card ittohis couldbut"remember idea. since be The effect of a rocking motion The twoOr tryin aputting two-measure the last ostinato. note (do) first and up an octave. Now combine the sistedTheturningonthe theteachermelody should 'cellothe forthenD conformstringwhose future carefully strings ato use."full the chose tonesheoctave tunedothersharp.) span toresonator whichC, G, wasE, bells andto delimit A.which shethe in-song. She suggested,however, that it be played The notes were to be'plucked. (Tuned by ThisOnechoseShere. childwas wrote do,to took itbela, carefullyado, sol,motive re, in mi inthaton bars thethe order, songwhichcardboard to andshe be the quicklyflat:heardcreated. teacher inverted "This,"suggestedwith ato flowshe mi, the explained, pen.do, pat- "was to make the music want to keep going." Another child thosechildhood,bethetern chosenfirst high two motive.wasdo,notes.sol-mi. thelow Whatfallingmi, re,an interestingminorto another third, childsound the universaltothe serve motives asinterval amade "twin" when of for The twinsThe were teacher to take thought turns. that la would add interest to The last pattern to A CHRISTMAS SONG %.1. In the 11=M. IIMMIL-4" hills of Ju -de-a on a cold wintry night To a-...... iiiialir. gam= we. Immor- la V...; .... IMINI111=1 , f -10.1111111 war- 11 maw MI OMNI'a amog MI ow =mow El INIOIN.- MI 11111.41111 Imr- am mi. I IMIN"1 In NMI .....11 i.- wi a M MIwow INI backgroundplayed together! sounds which were to set the mood for the creation of a The resonator bells were quite appropriate for the 1,1NI YWOO MO. MMO OE mom wpm Immo mc mm. mom mw am imm um tc wow mg mmw owning c Christmas song. As the third step, the children began to chant the words of the ir ow ismisow ; 'UL ..1711111MI I1 or .1111foo NM 7MIONNIEllnowww- mh. M....INNIN OlOOPTI=1 1._.111 IIMIll Mir .011111 ii m se 1.6.-ANI IMO MO song on the pitch of G or sol. It was easy to put the time value i. AM= um =10 ::.11 NI 1=1 MO notes underneath the words. They clapped eighth, eighth, quarter, \ 11 Co OHO =I ::. quarter, quarter, quarter, etc. The children had not changed the , ...TM thatthecontentwords beginning it more camewith than fromthetones. twice onethe tonethirdtogether melody motive when and which oneoffered creativewas sol,this The childmi,substitution child la, would sol,who not hadmi,for be inventedla. the mi, do,re pattern clamored for her Mi, mi, sol, mi, la, sol, mi. She pointed out IR IP IP do,so,turn. mi,to bere savedinstead. for the end of the line. Since the class had thusBut madethe classuse of thought repetition her materialto gain coher-should wait a measure or They preferred the pattern INI,rma cer - tain poor r MImaam II1. shep herds there came a great . IMMIIIIMMUMN IM, am. tr* iir sight. tr. The MI=ow =.= heav ens :I= - -Amflew o - pen, MIMNwr mama INIMI and ning,ence for"The the heaven song, flew the open"teacher should suggested be the that most the exciting third linepart begin-of the al ; I '1 am song. The children responded by agreeing that the highest note, high r Nom w 3 ,... =I 3> otherwasoutsongdo, wouldneededthat withversions thecertainly wordsto last expresswere and phrase suggested.beinstrumental theproper. seemedjoyousness to accompaniment lack of thevitality--the words. the teacher vitality pointed that TheOn anothervariation day that after finally singing was the sung So immediately 104I 1 wis 11 NOM IMMI=IMMO NM/ MI lNM MINO ON MI I=1MIwr MOM/. sharedtheat Christmastimeelements with the of class.good is foundmelody on writing. the next page. Out or this creative endeavor grew a teacher-led discussion of Here are some of the ideas she rfL,3IN 4381.IMIIIMMOni." JIMMII - IIC MISIMPI ...L.= IM IN/O..../MIn!. NO WNW MI Commonlydiesexpected.the moreand thisteatinteresting climacticis the "forwardmelodies note -s movement"are the those high towhichnote the of seeminglyclimax Therethe song. ofis do thecertainly the song. least no "best" way to write a melody. However, there is one attribute common to all good melo- Some of Sometimes le =MP. andchordthetice, skipwisemelodic line alsa,that progressions. climaxprogressions goodis obtained melodies is the at moveimportant the sensibly,long aspect.tone usuallyin the melody.by steps or In each case the balance between stepwise Usually skips are No- an - gels did sing, "Halle lu - jah. 4-Lat Ho san-ffl,re 'as kle birth"df our Xing!" J elJ difficultystringsungthefollowed melody. is beesthat to by cstinato, th'y thestepwise singer.must but bemovement singable.these skipswhich wouldusually present change considerable the direction of The important thing in writing melodies that are to be Wide skips are suited for the t GREGORIAN CHANT WRITING Now, this may seem like a very simple kind of music to you at knownthere to wasman. a variety of chants during thisGregorian period, chant the titleis one "Gregor- of the earliest types of Western music It existedfrom about 200A.D. to 1300 A.D. Because intomusic,esting.first. appreciatemind, and let even usthe takeattempt unique a look toand compose atbeautiful four one,additional style I think of characteristics thisthat music.you will beginof After all, justBut singingif we investigate a melody couldn't some other be allaspects that ofinter- Gregorian chant With this vice.giousTheSixthian" title chants. refers Century, is actuallyto acollected special derived typeand from organizedused Pope in theGregory over Catholic six-hundred the Greatreligious who,such service.inreli- theOthers were used only on special occasions such as Christmas, Many Gregorian chants were used in dai247 church ser- Thus,theychant. hadforceld no ready-aade to invent systemtheir ownof musicsystem, notationFirst composers of suchall, developed aswhen we earlydo atoday. meanscomposers atteraptqd to write chants, mightmakeEaster, .thear. ordifferent Lent. from any other type ofThere musical are compositiona number of youspecial features in a Gregorian chant that Several of these characteristics are fairly obvious, tationthesignsfor pitches notatingusing that of neumes:could amusic chant be which drawnmelody. was on calledlines or"neumes." spaces of a staff to indicate Here is an example of early chant no- Neumes were little listeneven to to someone the following who hears chant a chant and tryfor tothe describe first time. something about the Veni, Creator Spiritus For instance, Dies Irae Ve - ni 611111111=1 Cre - - 111111111 - a - for MM1111. Spi -ri - tus, en - tes to - o - A=11111 As far as pitch goes, neume notation was a fairly successful way a - rum vi - si - ta: - ple su - - per - - na gra - terwasersnotatedof composing proceededusuallytogether as accurately. thechants. asat sametheyabout forfollowed the every same the chant.speed neume as signs.the human heart-beat. Meter, rhythm, and tempo,Here, however, a conductor could wasnot neededbe to keep the sing- The idea was that the basic me- The tempo of the meter As the - ti - a Quae to cre - - a - sti pec -to - ra. beatsingchanteach upof beat, wasonethe thuslongandmeter thenonemelody. ticked ofrest a by,collectionfor theseveral melodic of beats. shorter rhythm melodieswould coincide (phrases) with mak- The effect of the entire One of the first things that probably occurred to you was that If you pensample, as each is composedphrase of of a threechant action-restunfolds.The phrases: terms "action" and "rest" probably best describe what hap- The following chant, for ex- voiceslistened were verysinging.performing carefully, the musicyou may rather have thanDidalso youinstruments.discovered also notice that thatonly theremen's was no accompaniment? Di -es i - rae, Di - es - la, Sol - vet sae - - Glum - - thatof theymelody are is all heard singing from thebeginning same melody. to end.Granted, there are a number of men's voices singing, but note Only one continuous line in fa - vil - la: Tea - to Da -vid cum Si - byl - la. In the first phrase, the "action" part includes all of the Viderunt Omnes plete"rest"eighth bar withnotes line the that is quarter frequentlycoincide note with usedat the to endbasicmark of off beat.the each phrase. phrase. The action comes to The incom- The se- Vi - de - runt oar nes. notescondshort (J's) notes at (J's) the end,always the indicates "rest." the "action,"By and nowand third youthe havelongerphrases probably unfold noticed in a similar that "action-rest" manner. phrases are The series of wordsThus, tothe music. length of a phrase depended upon how theAnother composer characteristic set the of Gregorian chant is their use of usedwaythenotleads infirstnecessarilywas which usLatin. and to composers thirdanother of thephrases point"set"same arelength.tothe consider ldngerwords tothan concerning music. the second chant phrase. melody--the Chant composers could treat the words in three ways: In the last example, Dies Irae, The basic language This odies.isiarandscales. do. withwhole they Athe stepsscale frequently major fromis scale.a whichseries made melodies otherof adjacent tones are asderived.tones important arranged as dogin half steps Although chant composers used the major scale for their nel- The most important tone in the major scale We are most famil- That is, onlyfollowing(a) one note example above notice it: that each syllable of theOne wordway was"Dies" to usehas one note for each syllable of a word. In the aonthey chant mi mightor which ve, decide foruses that tothe compose ratter.major scale,a chant but that begins began and and endsOne ended finalon on.7o. pointso; or, needs to be considered. Veni, Creator Spiritus is en example of It has to do with melod- note'todocompose icthis, theiranthey adjacent wrotemelodies melodiesnote--rather within that the thanmovedlimitations by primarily skips. of A the bymovement.few steps--fromhuman skips voice. were one To Since chants were written to be sung, composers :Ad to Examine the following manner:syllable.(b) Another way to set words was to use two to Here is an example of the same word, "Dies," set in this Di - es our notes for each melodysingable, and note but thenever predominance a long series of stepwiseof skips. motion. Divi.num )4isterium 4Ame as, mow- .1111 I 11111111111 I V Amr. MINIM 'MINN amp=1=111111 NM= MONS I1 111.- el111111I MIMI IM=1," MEM mommommimpa SOM111 I VII ANNIMWMMOIlM11111 I MOS 'MVP- IMMI (c) Still another way was to use five or more notes for each syl- Di - - es AMMLAIMMWVIMMIP.MMMI.Ila=" s, aaliass hUMMOMM WMEMBJEMMAIIMMW /MM." I 0111 MEM tea, SUMOSUMMIMMOMEMS MMMOIMMOOMMMI IMMUWWWWOOMMMUUMMS 011111 MIMS "Dies."lable of a word. Note the following example, again using the word of Gregorian chant discussed above: The following is a summary of the six important characteristics accompaniment;CO(a) (c)Gregorian chant is cemnosed of a single lineChant of melody melodies with wereare no madecomposed up of for a numbermen's voicesof "action-rest" only; phrases mixingtypes these (a), three(b), andways. (c) in the same chant. In addition, a composer could achieve variety in his chant by Di The example below illustrates the use of es couldateof (d) varyingeachthe be action. phrase;"set" length. in the three "rest" different pertains ways: to the quarterChant notes melodies that termin- use a Latin religious text, the words of which The "action" pertains to the eighth-note movement (1) one note to one syllable; The important thing to remember is that this "path" must move pri- arranged(e) in half and whole steps, (3)(2)called scales. Chant melodies are composed uponfivetwo a series toor fourmore of notes notesadjacent toto one onetones syllable;syllable. themarilysyllable. text. by step, with only an occasional skip for Muchvariety. of the melodic movement will depend upon the treatment ofLaterLet us on "set" you maythe wishwords to to combine music byall using three one ways net* of forsetting each Letinskip(f) us mind. fornow variety.attempt to compose a Gregorian chant keepingChant thesemelodies points move primarily by step, with only Wean mustoccasional first choose a Latin text and then divide each word words. The following melody results: into syllables. TextLet us use the following text: Divided into Syllables Ky - ri - e e - le - i - son, Chris-te e - le - i - son, ..,rieruristeKyrie eleisoneleison eleison = Chris - to = Ky - ri - e e - le - i e- -son le - i - son on Icy -H - The following is a translation of the Latin: Lord have mercy upon us, -e e- le - I - son. LordChrist have have mercy mercy upon upon us. us, theonein second thein thesecond phrase. third phrase, phrase. one between the second and Noticethird phrases,that there and are only three skips in the entire melody: one This procedure is possible as long as the goat is Also notice that high do is anticipated in LetNext,melodyThe ustext weusewill mustis the. mostnaturally decide C easilyMajor upon divided scaledivide a scale for intointo ourfrom threethree example which sections;"action-rest" toand derive begin therefore, our andphrases. melody.end ouron do. beautifulnotin anticipated the interveningchant melody.too soon. tones of our basic sketch endAs still was pointedachieve outa earlier, there are many possible ways to fill The following, then, is another way the mel- tobygoUnless somewhere.take,sketching we as want in out theour the followingmelody direction to example:be thatdull weand want unmusical, each action-restWe we should must makenow phrase establishit the direction that our melody will take. To do this, we can set up tentative goals for ourselves ody could have been written. KY- ri- e e - le - i - son, Chris-te e - le - i - son, Ky - ri - e Notice that there is a general shapeKy-r/-e to our melody: the first phrase e-le-i-son, Chris-te e-le-i-son, Ky-ri-e e-le-i-son. veningdescendsascends; tones backthe leading secondto the phrasetofinal each tone.ascends goal. even higher; andOnce the thisthird is phrase established,we must decide how to fill in the inter- There are many possibilities here. own. e - le - Using the above procedure, try to compose a Gregorian chant of youri - son. of the text guiding the piloting DiviNuA Mvsit,31UM hil is a song of quiet. religiousAnother contemplation. plain song in modern notation. Sing it smoothly. with the rhythm CANON WRITING From the Latin Divinum Mysterium pacn rtt. Plain Song From the Twelfth syCentury a tcni..7 beginsplayed theby severalmelody, performersa second performer beginning begins at different the A times.canon (or round) is a procedure in which the same melody at a designated same melody is sung or One performer Soprano poco rtt. Of the F4111C1' love bc- get - tot,a tempo pointimitation.stopinfifth the severalor performermusic. ne may measures begin may enteragain.later, depending and, in aupon similar the numbermanner, of Each performer imitates, or mimics,When what each the performer previous has completed the entire melody, he This "follow-the-leader" principle is called performers indicateda third, fourth, or one has may Alto With movement (eLlai - - - -- music14thdone. involvingcentury. harmony. The canon is probably one of the earliest known methods of Historians say that it dates back as far as the writing hand.quicking atto therealize same thattime. canons could be written out inAlthough only one melodyBy writing is written, the melody you willonce, hear and then ascribing Arabic The reason for this is simple. a kind of musical short-Early musiciansmany voices were sound- numbers at the ::::,...... -.-...... ,'=.:T...... :=1:15,==="::,1== .....= MM.. ...IIMM11.W. bc, \--0 atidenticalplaces his startingwhere melody the point. butother would performers not begin were until to beginthe previous singing, singer had eacharrived could .sing the 1,... -...... Ere thc worlds bc-gan to immIl .w TT 1111=== / lie is Al-pita and 0-mc- ga, lie --=the sourcc,texpo tip: ccd - ing ner --- rtt. :=.,...=3_,. Dona Nobis Paces E.=;.---E=.=. ...sm. w,mai a. Erc tnc wonas oc-gan to ... lic is Al-pha and 0-mc- a tic thc soorcc,lbc Liiet ' Al 'Au, ...... WU/MN1 11111111M SMI=1.,411Iar .5111M11111111MM. WM...MI 111.. 111111/11111111 MIN ...111 ammir mll WM ,.. \.- =111....==111M11 TM. i.mmm TIWWwmm mi------mi....M. mm.1.101.11.04W...... 1/...... W.W.M.M44=.11 Mm..0.OWIMWm. MM11.141 r. f. ,,,...... 1.T4 .44 ...... *Z.. / Do - na no - bis pa - cem, pa - cem; do na ...... T.IM as I Nimli. NNW MIT...1... MmIT TM il 2 .4mum...0. A ....NW.MMT ...... , ...W, /N. mmulmmmY.T...... M... 1./..111 .0dM==.1.7. r imm1.1. ..,...... T.T.I. .14.10/....I.MW.MIMMIN, /14 /11111M no - bis pa - cem. Do na .ii.. no bis pa - cem; do - na no - bis pa - - cem. Do na no - bia Frere Jacques French write Across the Plain as it actually sounded, it Herewould is look a modern-day like this: canon entitled Across the Plain. I: you were to Fre - re Jac - quee, re Jae- clues, Dor - mez vous, Vigorously. 1. ACROSS THE MAIN Czechoslovakian Round Are you sleep - ing, AreFre you sleep-ing, Broth - er John, Broth - Dorer - mez vous? John?- A - cross the plain of gold and g , a young boy's head is plain . ly seen. A. . 'A 2. IliIN ii et., " " 1.- , , , ...... Morn-ing bellsSon-nez are ring -ing, Morn-ing bells are ring-ing: les ma - nes, Son - nez lest ma - it - nes: Ding, Din,Ding, Din, Dong, Don, Ding,Ding,Dong. Din, Din, Don. ..Ca= "11"'-'"'.'" an""yz="= A - cross the plain of gold and green, 3. l'...... "'"' a youngf: boy's = head' is . : = A - cross the plain of gold and green. a Frere Jacques in Parallel Motion A4. am cross the plain of MIMI MI MI 11/7.1MII MI MUM IIPT ,IY,M1111111111111111W..OPP' r''111111111101131111111111111111111111111111111111111111 NI MO NOM MI WOO,sari JEM11..MRMI.1111S.: If aa/MINNEr'SJIII7 NigMr-W MINIM INNIIIMM .111.441111111:1=11. 111, 'IajlEIMP^Ir 111.11111M1 RIM /1711.1 I. MIMI171.41111JIIII.If IMP-1111111EIMIU" OMP1111 I hoo.yah, hoo -yah, hoo.yah.yah, Swift -ly flov.ing - -ter, Ah - hoo - yah. hoo - yah. r rr r rr rr r plain - ly seen. Ah -hoo-yah.hoo.yah, hoo yahyah. Svift-ly Flow in, Frere Jacques as a Canon young boy's head is plain - ly seen. Ah - hco-yah, hoo - green, a young boy's head is plain - 1Y tones.wards.theythe aboveform individualversion of clustersAcross the of Plainsound--tones as a learning are Ifpiled modelyou onwere bytop workingto of attempt other back- to composeTheseFor instance, aclusters canon, observeyouof soundmight that arebegin whencalled by all using chords. of the parts are nritten out The resultant phenome- sfNI.J1=1.4MlINalr.VEr MENNEN WINIII1 IM/71111.11=111=11111111 .If^ NMI NI MI I11M/7 ...air /M."111111MIN mmheimamo=s=::.41111111 It r WI IMMO 11 MI I onecomposeobservenon chordproduced a (thetwo-partprogression by Tonic a chord canon chord, of sounding bytones forusing eitherexample). is a calledsimple harmonically harmony.harmonic orscheme, melodically. perhaps only It is now possible to Yoillaay C major and its Tonic chord, do-mi-so. As a guide, first write out the I chord. In this case use the key of four measures and rewriting them as a single line melody. youwhetheran octave now thehave higher. canon more istones to befrom sung which or played.to choose in composingNext, expand the canonthe range melody. of the Tonic chord by doubling the same tones This could also be done an octave lower, depending upon C: I By expanding the chord range, measures of harmony, you now have eight measures ofTo melody.this add the lower notes of the previous four measures. 0 From four C: I numbercanon,thefirst measure"2" numberhalfway and "1" thethrough will number alwaysthe "2" melody. Ileover placed the fifth above measure. theTo makefirst this measure melody and into the a canon, place the Arabic number "1" over the In a four-part canon, numbers repre- In a two-part rangesdistancefouring a notes;arethree-part between naturally and any socanon, on.moretwo notesyoulimited would is thantermed extract instrumental an threeinterval.) notes;'ifFrom ranges, the abovea thefour followingexpanded -pert canon, chordis extract two notes at the same time. Since our canon is to be sung and since human voice If you were compos- (The senting the voice entries will be placed at quarter points in the melody. 1. 2. tvi) ,(sooctavea good tO inrulehigh range. tomi) remember: written in whole notes: For example, begin by selecting the interval of a sixth Always Choose intervals that are no larger than one measure so that the melody may be sung several times.The final step is to insert a dotted double-bar at the end of the last 1. 2. C: I As far as tones are concerned, our canon is complete. You may, however, Thisone may interval be used. will be placed in the second measure.Now select a second interval. For this illustration so and high do have been chosen. Either the same interval or a different wishthenterest to change make is to thethe improvise rhythmwhole-notes of a yourrhythmic to melodyfit patternthe more pattern. interesting.of eight measures Clap-in length and (Improvised) Here is an example: One way to add in- fourhowever, measures for thiswill illustrationlook like this: stop after the tuurthThis measure. procedure may be.continued for as tra,,,y measure& as you desire; C: I Your final melody now looks like this: By changing the whole notes to fit this rhythmic pattern,J IJ. your JIJJJ.I1J canon 61 1. 161 J J. JIJJJ you must consider them melodically by selecting theThus top far notes you ofhave the been above thinking of tones only in terms of harmony. Now 2. f A Canon poem,and forto followexample: the poetic rhythm that the words suggest.A more appropriate way to make the Melody interesting is to use Bobby Shafto's gone to sea, Take the following a text THE SINGING SCHOOL One interpretation of the rhythm and meter suggested by these words BonnyHe'llSilver Bobby come buckles Shafto. back onand his marry knee, me, I will sing you a song of the old Sing-ing School and the might be: A Bob-by Shaf-to's gone to sea, sounds you there may hear; Of the do, re, mi and the 4 He'llSil-ver comeJ buck-lesJJJJI.J.J.J1back and onmar-ry his knee,me, J J B, C and the voic-es sing-ing clear. Bon-ny Bob-byJ Shaf-to. J J JIJJJ1jijj j Sing the song with ac cord strong. C. Loud and melody. Now use the words and rhythmic pattern of this poem in your canon J clear 1 the J tone pro long. Do, re, mi, fa, Bob-by Shaf-to's gone to sea, Sil-ver buck-les on his knee, sol, la, ti, do, 'tis the scale of C, you know. Com-mon,doub-le, 4He91.ouWAckand2. mar-ry me, Bor-nyBob-byt Shaf- to. triple measures,too,are a - mong the man-y things we do. Sumer Is Icumen In(Summer Is A- Coning In) Ancient English Round NewA Round EnglandiPsalm from the Singer When Jesus Wept WILLIAM BILLINGS =Crow -stk seed and blow-etkireadtand spring-etk wood a - new. = Sing wick- 1770 AdagioPP (J. 60) Ewes ars bleat- ing of - ter la,nbs,and low-eth calf and cow. V 2 P as w HmEIN ==I; Bel-lock start.eth, buch,too vent -eat; bfer..ry sing cock -oo. Cock - oo, cock- oo, Well now siagst thou csck.00, 0 cease thee never,di,,,. = = now. DEVELOPING PITCH MOTIVES FOR MELODY WRITING whentechniquestrastmay composing werealso a presentedbemelody. applied to to illustrate the deVelopment ways of oftreating aIn. pitch our a previousrhythmicmotive. discussionmotive on "Developing Rhythmic Motives," three These techniques -- repetition, variation, and con- Notice that the last two tones in measure 2 and the first tones in measure 3 melody:that is repeated in some way throughout a melody.A pitch motive is simply the smallest recognizable pattern of pitches. From: Mozart, Symphony No. 40, 1st Movement Observe the following variation;fifthhave thehigher. ;Abelsame shapeit with as athe "V." main motive but are repeated an interval of a Since this is not an exact repetition, it must be a kind of Variation of Main Motive Thus,patternpeatedconsistsNote inthe toneor the ofmain shape mithreeexample pitchwhich only tones: abbvemotive occurbecause the that atis: intervalitthe the is very smallestrepeated ofbeginning. a second recognizabletwice fromimmediately fa patternto mi afterward. and of thepitches re- You can identify this accordingly. Are there more variations of this type? If so, bracket and label them V addition,in melody. the abbreviations "M" for main motive, "R"If foryou exactrecall, repetition the brackett,r--1, was used to identify rhythmic motivesUse a different bracket,.."., to identify pitch motives. In v.us ;,IN rum .111164n ...Mt .. MItselfM I .. IiIM/4111MMIIII1 .'imici.411111111MIVAMMINCIMP mom MINMrlIll 'ar..':-INN I a1 theof identifiedexamplein thepitches order main outlines to willmotive,thus relate befar. theseparated'V" pitch mainfor motivesvariationpitch from motivetheto andonerhythmic (M)"C"another. andfor structure. itscontrast two exact will repetitionsbe retained To facilitate analysis, The following LIOAMPAM11111111/4I f ?AIIIIMIMINIAMMIIMMIIMMINotice Ithat practically the entire melody is made up of variations of V lr a 411101WAINIM 11141=111 v measurescanthe mainbe 2traced pitchand 6 backmotive.as being to the a kindlast oftwo variation notes of sincethe mainOne the type pitchrepeated of development tone which was not found in this melody was a con- ..7 You can even relate the unidentified tones in motive. idea trast motive--a motive that has no relation to the main pitch motive. theirthis melody. rhythmic motives. Pitch StructureNow let ofus thesee Firsthow Mozart 8 Measures further of developedthe Mozart the Melody main pitch motive in Below, the pitches of the melody have been notated without Can you locate any more related pitch patterns? say that one pitch motive is developed through repetitionPitchTo summarize structure, and thevariation. likepitch rhythmic structure structure, of the Mozart will notmelody, always you analyze finally into can motivestherefore,simple are and indeveloped, easilyorder toidentifiable yougain need a more to patterns learncomplete about such understanding variationas inThere the aretechniques. Mozartof fourhow example; pitchtechniques for varying a pitch motive. The first one, Repeated Tones oughcalled discussion sequence, of was it alreadyand some discovered other techniques in the Mozartare1. presented melody. below: Sequence--means to retain the basic shape of the main pitch motive A more thor- Repeated tones Repeated stones but move it up or down to another pitch level, as in the following example: Sequence (Usually appear between any interval of a third) Passing Tones motive but writing it either upside -down, backwards, 2.or upside-down'and Transform--means to retain the basic interval shape of the main V Added tonepasses from la to do. backwards: Main Motive Written Upside-down (Must be the nearest neighboring tone Neighbor Tones Main Motive Written Backwards V to a tone of the an pitch motive) Thela; added tone is the nearest neighboring tone belowthe tone la must then be repeated. Main Motive Written Upside-down and Backwards M V techniques together at the same time as in the following:4. Combined variation--means to mix any of the above three variation Theand best the wry three to figuretransformations out transformations all at the issame to time:Write the main pitch motive Combined Variation M V(backwards) Now develop your oum pitch motive into a melody by using the "work- V(combination of b and c2) neighborthree ways tones to doas this:in the through following the examples:use of repeated 3.tones, panaing tones, or Embellish - -means to add tones to the main pitch motive. lipp"girV(upside -down) V(upside -down backwards) There are relatesthispitchthemsheet" at worksheetmotive yourtoidea. the disposal.presented basicexample shape earlier.all ofof ourthe mainmotives pitch are motive. new; that is, none of them This way you can work out some ideas ahead of time and have (This time you must use music paper.) Notice that in the "contrast" column of Use the main Worksheet for Developing Pitch Motives tion,one'of variation, theirtor youand maycontrast want topossibilities invent your onown) a Exercise:worksheet.and work out the rep'ti- Below are printed several one-measure pitch motives. From the work- Choose Motive Repetition Variation (a) Contrast intosheet, a melody.and given a rhythmic structure presented, 1.develop the main Active Sample motives to be developed: ... In (bl)A O "-V-1,--1,--- 2. Use the following rhythmic structure for your melody: (b3) 0 H C3 bl & c2 dP Add 0 JJJ1J JIJ JIJ niJJJ1JJJIJJIJ. presentedbinetake tame a previouslybelow:of these ideas constructed with it. rhythmic structure Onceof eight a main measures pitch motiveand com- has been developed in the worksheet, you can For example, use the rhythmic structure Here is one way you could use the pitch ideas from your worksheet: JJJ jJJ1JJJIJJJJIJJ _ JJ JIJJJJI. IN NM IIIIr 111 INIJNoM' wall IN MI CJIM I11A3t=r2 I .01111111M111 MEIGIMP II IMP. MI MIN Mr IMP^. MI rff IN 111 MI11111101111=111PWIell MI NV UMW 1I rikEl IMI 11111=11 orMI ea moNi1110111111111111711=1MI MI NM MI lp. the same rhythmic structure which would result in manyThere different are, of course,melodies. many other ways to use these pitch ideas over C HARMONIZING A MELODY AND COMPOSING HARMONY Notice that the tones above the roots are always the same r.."%stznce and harmony, briefly mentioned in Canon Writing. In the present lesson you will be led to discover more about chords A MELODY FROM GIVEN HARMONY To begin with, a chord ingtheisfrom called itsrootthe threeroot.and the isparts:third called of the fifthchord; of the the upper-most chord. tone is a fifth above That is, the middle tone is a third above the root and Below is a C triad show- produces.gether.may be defined as three or more different pitchesIn which the Canonare sounded lesson, to- you were asked to composeHarmony, a canonon the using other only hand,.is the resultant sound that a chord threetion?do-re-fa-ti-mi?one chord, chordsYes, do-mi-so.but and are Aren'tchoose they these theharmonious? one also which chords, To sounds answer according most this pleasant: questionto the above play defini-these But why the tones, do-mi-10 Why not ti-fa-do, or the(a root, fifth Fabove is the the third root (aD). third above the root D)If and you A constructis the fifth a triad on the tone D, in the key of C major, D is Here is how a D triad appears. "pleasant" than.(b) or (c) and would choose it. Now, many of you would no doubt agree that (a) sounds more But you might not all Root + above 3rd + above 5th = D chord (triad)nm viousbyagree. isallthe judgedlistening chordsnumber differently haveand experiences arrangementa different by differentand ofquality personal pitches listeners, of preferences.withinharmony thedepending (sound) chord. thatupon istheir governed pre- Some may think that (b) or (c) sounds best. The point is, that This quality Find the letter name of each of the following triads. tothe studylisten examples of toharmony. thanchords?", (b) or was (c). "Yes, they are." It was said that the answer to the question, "Aren't all three of Let us see how composers handle the problem of se- This is a good starting place for the But (a) is probably easier Construct triads on each of the following pitches. The given threebylecting composers different harmonies was pitches thefor triad.their that music. are an interval distanceFrom of 1450 a third to about apart. 1900 the most consistent harmonic element used A triad is a chord that is constructed of pitches represent the root of each chord. Belowavailable. are four different examples of triads out of the many that are Triads may be constructed on every tone of a given scale. Bb -2fBb A The theoftofollowing (without thetheirfirst scale letter exampledegreer.iding that and showsrootsharps is fallsalltherefore or of flatsupon. the giventopossible any the of triadstheRoman basic numeralin thetones). keyI. of C names, each chord may also be referred to by the degree In the C chord, the root falls on In additionThe other chord.exampleletterThe root name. are is C,the E, lowest B, and tone G because of a chord these and are identifies the Triadslowest the aretones chord always of byeach constructedits from a basic tone called the root. For instance, the roots of the four chords in the above chords are identified in the same manner Harrsonizing a Melody Using Oniy th? Primary 4 111211111111111MCIMMINIWIIIIIINIV-21 eg I Primary chords: 1( A m=7 V7 =MAIM MII MAI 4 41,. 1 .1- betheUsenumber consideredonlymelody's oneof thechord "majorityas melody "passing per measure.notesvote" tones" inas each tobetween which measure. chord includesChoose the tho largest dhordN,hiCh best fits each measure in the song As a starting technique, siply use The leftover notesmembers. will abG7e. NAbeir inversions: theWhen chord any noteis said other to thanbe inverted. the root of the chord is in Inversions of Chords Here are the 3 primary chords and the lowest voice, I IV I V 2 IV V Sing: Al=1111111=114 111111111111 IV v, 9 written,With the thoughuse of stillinversions, limited a tosmoothly-moving the three primary accompaniment chords. may be ing to it the rhythm of the melody.twolmirt songs can OfAfterbe course,derived a melody aTf more merelyhas interestingbeen taking tArmonized, one second voice using part :Line inversions,would st4 beadapt- one the that :-cry maket easiest use iardmormPAIIIIMIOdm- MO MI mi.. or. OPP,1111- immumr.x.min...mipmmomm....sum 11111111111/ Immo loim =Pm II .1/711I2 EV 11111-411M --41111111 JO 1110In... regardor either to theof thenatural harmonic voice-leading tones, though tendency the choiceof the mustnotes be involved. made with some luamr-q...sommoraimmima.numm!MIME!. 11054. IMMMI IMPri IMMIN IP" !MUM IIIPM PM M." no 111=111111111/402M1/41,111111 =Wel= IV 11K41211111MOOKCNIMMIOK:omop-IV wra. lif 1-i wald1111111111111111111P-11M:MINOMOum= MINN Er" 41IMO 11111111111111114 IMM=1111111= 4.-womourr.:emommutNI !Malan 111.1MME.41111110 MEM El reidMI IMIAIII=11MI mirramolo Imo MINN IMNM;NW GAM= corliorzcoo MI% tidIMMI C11111111111174 MUM V I14.I=MTriff., PMEs MIO1101EltIM:orre MN on MI the use of skips along the chord line to gain interestThe descantfor the -- second literally part. a melody sung against another--is an example of "MII swirsor-- =IINAMNom If =I 11111 MEI MN II I.V1=aimprimmiitq ILMII amiMM 7- maw M111111111111111111111111111111M-illk All IIIIIIII IMI 11 MIME/ ANNEI MO MI WINE Illft.11111 mariNom =ILA NM tagOLUIL 7 INOVNIMMIMM IM11 II MN NO bil./.. ililir4~4.111 EilINI EN ME Bm -1 7. V 4 I =ISMMEM .111M1JOIN NIIIINIMINNIQIANINI OAIIM .I!!!! AIM III MN: /MI L. 1111161 JNINNILtiitte p I 0INMENMIMI=MIIIIMPTI. MI 11111111M za°AM AIM 4111=M AM/ LAM =NM LVAMhi/ I 14/ 114./ 4i 11111MMIJ iii&7/ Alk 4pI INIMAIIIIL AMIN =11111Ah - IN Meow _ 41111 /MN ANON wiN .4119 !An 14IbbArl-_1112191NW p Al 7 11111111111111iM vimIAN. IN MI MO NAM I IIMMINW71111IN NMI .1=11M NMI 1 IMMINIIL-11MIMIwill""1=11 tolln MIN NEM MI IMO MO iirinra NMI1111 A 'A The first two tones, F, suggest either the chords I, VI, or IV. I II III IV V Howevercluttered. if you attempted to harmonize nvery Uwe, theThe melodyfirst measure,would sound then, suggests the I chord in the key of F major.Therefore, you may harmonize each measure with one chord. arekey.for transposed that matter, to another the relationshipregister. remains the sameIf we but construct the chords all of the possible triads in G majorpor any otherC Major:CDEFGAB VI VII IC Thus,write the I triad beneath this measure in treble clef. II III IC VI VII I scale. Find the numeral and letter namesNOT ofAIL the CHORDS triads ARE inGIVEN. the following 0 i.szjcr: G ABCDEF# G The second measure is not as easy to determine because only one I A Major: -- measureI,tone, VI, F,or and isIV. givensee which for 3one beats. sounds more appropriate. To do this, let us play all three versions with the first You must therefore decide whether to use Bb major. Construct triads based on the following numerals in the key of 1. 2. or, 2. 2. Bb Major: II V III I VI IV le I I insimplest the melody way to which harracmlizesjne3_,.oa are found in the ischord. to insert Onetriads of thebeneath functions those tonesof harmony is to add interest to melody. You may harmonize the first The whichwould itprobably is harmonized. agree that the third version (c) isAlthough the usual all waythree in versions would harmonize with the melody, you - VI IV partesfirst of thething familiar to do ismelody, to scan "On the Top melody of 014 and Smokey," find out suggest.as whatan example. chords the pitch- sime .1.711711.1. The Herewould the undoubtedly harmony is be written a series in ofthe chords bass clef,which anreseOle is customary.If theyou following:continued to harmonize the rest of the melody, the result F Major: If .394/MMI-SIPMN MN= JMN IMO MISS MN MB ANIMI OM= suttee' ND IMI11 IBM IA...1Mri MN JIB MN I f ;AMMI,SI "Ill ANIV=Ill MI WI II =MA =11I B 1.-IMO.M.-IBINIAIrano.. !MI L.J MO ow* mos =MB, MI I =0. I NMI I F Major:AMMAMIPIMOMM14/..-MI.I=M1111(-100111ImrAm-Imwmwimmrlivmen-mmmi AwommOmmuirAmmorommoremmwormmummen owe - 11.-111=11-1=WIMIL.MMMIllII.: Iv-MOB- Iv -IV- Iv mit umw mmommomm_adma_ammem-aws MEMMININIMOM atom, MMO - I-1 -I IMMOI OMB tones.in measure 5 aboveTTEWE7Noes not fit the chord suggestedSometimes bya non-chordthe other tone willFor be the used present, in a melody however, (such you as may the disregard C these foreign tones and numeral names.) What positions are the following chords in? (First find the letter andWrite namecontinue the each appropriate inchord the used.manner chord previouslyfor each measure prescribed. in theWhat bass chords clef, (triads)below, does the following G major melody suggest? usedstrate for cbe three use ofmeasures chord inversion.in measures 2, 3, and 4..Re- examine your harmonization of "On Top of1 Old 3mokey" to demon- Major: If you recall, the IV chord was G Major:Chord Name: 121g.V 111 W AIN NI 1=111 NV :111AI El AM/7 MMI 1NI .=/1 MI 111.11111111 L ....11// MI 111111M111111111MIIII IMIN 111111 V - MIMI I11 NOM I. JIIIII:=101171110.=1 1 4111111k I in harmonizing a melody is to "invert" chords. One of the ways in which composers achieve smoothness and variety An inversion is a chord womAlimmaamwAwlominmrlmo ..711111111LJMN am a PUMP MI PMM Mra ummirommom ummil B Herewhosetwo is tonespossible an example have inversions been of therearranged Ifor chord any fromintriad. C rootmajor position inverted. into new positions. There are only To make measures 3 and 4 more Finteresting Major: you may retain the har- I - IV - IV -IV -wit sem: or:s.ea-pa.=ihatt-amsecrm 111111111WP - I - I - I 11.N11.11WIIMMIIit :VIMI %K. WI mony, but invert the IV chord as follows: Position Root Inversion First Second I Inv. I ePlooti os. IIIMI f /1.1"MMIllie:V; afMr..1111111 /MI-1MM M 111111111M Mii No IC meAIN MIwir 11111M1 Aix 110 IF MINN V VIWIARMI ALM M1111111 I IN 11 ...amIf 17171 ...Mo. ...1.1 ..IVT11111111MV,11111111M 111 Amt /I1 ...DI Ir= 11= IFUMW 0 /1I 1 IMMO 1 Thus, to find the first inversion.of a triad, we place the third 1: :1NIFow : ..0.1.11EnVii-n' IMO : ^MIMI: 111 ;i1114111 : rIPIIMMION_ I IIIMI: dINIMII . is .Lare sh:-ammmmol I ul VLI intheon another thefifth bottom goesregister. andon the bottomroot and and fifth the rootabove and it. thirdIn somewhere attempting above to findit a third inversion,of course, you end up back For the second inversion, F Major:AlwMIMII .._..wirtsir MUNN _we a milka... um I - IVL..M1111 - IV - TV 11 - IV - I - I - &MIME PII in root position, but in a new register. Write the first and second inversions of the following chords.a) b) c) positionkeepsanother his at chordsin each a progression. change.in root position, all of the tonesChord must inversionjuml: co ais new also useful in changing from one chord to Note the followingThe main problemprogression: is, that when a corx user C Major: V 1st 2nd I let 2nd IV let 2nd One further use of inversion should be mentioned which relates to A Major: I - IV - V - I thechangingfifthsicsmooth following is apartharmonies.voice-leading.that example:inthe both voices chords never and move move in in parallel parallel fifths motion or when octaves changing, when in For instance, note thatA characteristic: the outer two ofvoices a well-composed are a piece of mu- usesthetones, followingno thatinversions). are example common (which to both uses chords, inversions) in the withsameBy theregister.inverting I chord some (which of the chords, however, ve can keep certain Compare upwards.Parallel104. 5th movementIIMV.1-11=_71' = E"V.IPEOMI2:111*-.111111=1 11111.11,111116 A Major: TS.IMVoLimega;IIMM0.7/MMEMW0MIIIMII.11111111K.=mo....M=mmi.m.mmilm(Root)(2nd)(lst) (Root)I - IV - VRINUMON - 'I movement. By inverting either one of these chords we can avoid the parallelHere is the.same progression using inversion: Theexample chord above, progression only some is notesthe same changed while othersIn were the heldfirst over. example above, every note changed. both, however. Thus,inversionIn the second C Major: I - II(2nd Inv.) I(lst) II may provide for smooth voice-leading in harmonic progressions.Harmonize the following melody and use inversions where necessary. doubling.in another register and it moves to a different chordParallel with octaves the same occur when one of the notes of a chord is doubled 114.Nrims TIM: AssamMEI I1 M M. MN NIN/01 1C-.111M1 MI-TWIN'1101 AMIE rIMME .-1111 C Major: I - MIIIM01 We can smooth this progression out by using inversion also. Parallel octave movement. VI smoothly.same progression, but use inversions to make the Thevoices following lead more chord progression is not very smooth. Retain the C Major:IVMI f .1111W7 MMVAIMMISIM-1111EMMMK.MMN NMI INILLAIIMII -11 .1V:11 11 XI Major: I - (1st Inv.) (1st Inv.) VI I - VI In addition, both chords may be inverted. (But parallel fifths or octaves mx still occur in some progressions if not careful.) 49rrzymmImmmummu C Major: I (lit) - (1st) VI cadenceIV-I is .called a plagal (amen) cadence; V-I is calledBoth an of authentic these progressions are called cadences. The authentic cadence is by far the more important of the The progression the progression(Identify each by chordusing first).inversions so the parallelsThe are following avoided. progression has parallel fifths and octaves. Rewrite theatwo statement Vand chord should andphrase bemay imployed isbe calledpreceded more a halfbyoften any cadence. thanchord. the plagalA temporary cadence. kind of cadence that is frequently used at the end or The half cadence ends on ma sr . aw:.1:WWWW. /WM /moil INNOMW=1. MU MINIM 1=IM AMINO Illhal01 nor... I the following cadences: A typical 8-measure statement-answer type melody, then, would use Statement Answer b.r wrz = ML:411111111111./16,.. imormIrani= n I II V V - I Compose a four-measure melody based on the following chord pro-G Major: a Li 5919:I added to the V chord of the final cadence to makeAn it additional even more tone,complete. the seventh above the root, is frequentlyBb Major: Half Cadence Final Cadence gression in the key of E (first write out each chord): I-VI-V-I. musictheymelody,ing tocomposedbegan. "end" the listener afrom melody. 1450 is toable 1900 to theknow melodies that the ended melody Besidesin hasthe ended. sameadding key interest, as chords have an important function of help- Thus, if a melody began on the I chord in D major, it would By using certainInn chords on the final tones of a In most 1049/M11f.WWWWIMMMWVWI W. .1/- MMI 11M,11 1 :1 also end on the I chord in D major. But, to help give it a feeling of a following:completion, the IV or V chord may precede the final I chord as in the MINIr%771..M.,gir UmwemmEMS and the cadences indicated. Harmonize the following melodies using inversions ture. This lesson is concernedIt suggestswith composing composers.like music over short-story a harmonic writers struc- and artists, do not CCVMOSING MELODIES OVER A CHORD STRUCTURE pose.Ofordepend forallscaffolding example.totallymusical uponcompositions,is constructed inspiration. dance to act music as theis probablyskeleton thefor easiestthe to com-This is because its form is symmetrical. Instead, like the architect, a design Let us take a waltz, composition Thesemeasures eight-measure in length whichsentences is divided may also into be twosubdivided sentencesThe into ofshortest four-measureeight measures.form of this dance consists1 of a subject of sixteen .1" Mir 'NM swie MI IIIIWW1 111W I IM1111 MIN II MI MUM mum Atphrases. teenthis measures,point the markingexpert wouldit off likely with commasthink of a pretty tune and harmo- So to begin let us divide a piece of manuscript paper into six- into four-measure sections. IN0.1 r Sing Arum"the following song as a canon while the'bottom line is played on IN 11/ EMI" =1111111Y Isom ir pm 1111 MEM 11111MV111 A -ar MI MI sketchafirst,nize bad it,accompaniment. evenfor but nothe formatter most this common-placehow lesson, beautiful the tune surestthe abovemelody way it isis, andto it writeit will will thebe yield spoiledfoundation some by On the other hand, if the bass is correct,you may the piano. portanttheaesthetic melody thing satisfaction. consists about theof themelody.is same note its repeated.foundation. In otherFor example, words, thelook im- atSullivan's Lost Cherd. The first phrase of r...miredirsommullir.m mu MINIM MIMI liMir" MUM 111111 WRENN MM./MI 114 ,aimitNmw immi .414 ow New.41MPI1=111M110/0 .dmr. Bs amM11 loom me fir I1 BM I 1.411 MI MI MIL...1=MEP a./ 111 1111 dominanttonic chord. chord. For the first four measures of our waltz, let us begin by using the For the second four measures, Withlet usthese limit simplest ourselves of materialsto the see what you can do. 1. Air MEWIIIMMir.111111111111I 111M II MI NV im Isumumm am 11111=11111 NI -auMN I I Iimp.= &AM 11111111111" ...ammursi WINIM..11MLINIIII111.41011 MP. 1I MP, 114111111111111 mom MN MIMI! In NM I tAll 11//eIrl11 presentodyroot which positionour tonalwe will to scheme. ancreate inverted will form.sound much more balanced.First you may gain some variety by alternating the chards from the With this symmetrical harmonic basis the mel.. This eight-measure pattern will re- With the bass rAiririo IfillE1111111111111 ill11111-61111111111111gralll u1-- manipulateof iation.secondthe first phrase. for eight the firstmeasures, four-measure we have aphrase choice melody of three and harmonylikewise notes for theto Of course,we have all the possibilities of rhythmic var- MP:III Mili NM 43 H I H ) 17ot ij I Here are some melodies which can be written above our prearranged Here is an example, written above the accompaniment that was chosen. ofaccompaniment. rhythms with which three notes and their octaves may be used. You will want to invent others, considering the variety r MIt MIM.M.MM /W; M."11. 1111 AIMI st NMI IN= IMII MIMI sol=111 MUM !WE WM 111.111111 L/MIMI MEE -.AIN NM I ML.MILIMS ." 1I ENO MI .11111 OW OM Ppm sr MIL oM 'MI 11111101 SWAMNV MI mimiLlirAmvummommemmommipnummmiumrIghlOGOIMMM ME Mil ;.1..MMI MINL.W.MM ,11I=IF 111 IGAILIMM=1111L CALAIS MK 'UM or change to another key; it is merely an auxiliaryThe notef-sharp below in themeasure es- five does not cause a feeling of modulation MI ;MEM belowamonicsential half-step, member.the harmony essential but notein note.some and instancesis considered the auxiliaryas a passing note tone may backbe a to a har- The auxiliary note below a harmony note is most commonly Here is an example: in measure 6, we have the full-tone 49IV I AMAMI :VWAIWIELMI Mr.= MI 'MINIM MI *X2111KI MEI OMNIlr-.71 11WILVM1 t MINI11111111ANIM MN 11111_MILINLAMPAIIIIf MP. =I WA/ MI II El111111116.11i ..,W 1=11M11 win 11111 MR . auxiliary note a full-tone below the essential tone: Reducedhave ato melody, its simplest which inform,it musical would language, take this is calledappearance:Now, a ifground we should bass. look at the bass line of our harmony, we might is easy to add auxiliary notes. Now, having learned to mold these harmonic notes into melodies, it These are situated either a tone or whethermelodichalf-tone,note,semi-tone thisnotes.is misleading, aboveauxiliaryabove or or below below tonesubstitute the clashesthe harmony essential the with term,notes. the notes essentialaccompaniment may be tones,placed or fornot.in the melodychief Any note proceeding smoothly, that is, a semi-tone or a In case the term, harmony basswaltz.insame ofthis asthe fashion:in first the firstfour measuressentence. of this new sentence Sowill far remain we have the done but eightNow measures we must of compose our sixteen-measure the second eight-measure sentence. The second four measures we shall change The .11112VMi111111111,v ..111L MP' .INAVVIIMIII1111111111111.1 sit Here is a melodic example that would fit this harmonic structure: theto contrastelement ofthat timbre, of the even 'cello. when writing for a single, simple line. It is wise, therefore, to be aware of melody.other words, A keeps returning but is separated byForOut contrasting ofcertain the ABA cultures, sections.form can music ,row isthe expressed rondo form, Thisthrough whichis considereda issingle ABACAD: lineto inbe of a completely satisfying experience. rvarommrmrWAMWAMOIMI....Ar.vcrommumr r melodicHowever,toartearly which was lines. daysit tp composersis writeof often written down auould natural ancomposition, writeexisting step another forwardplain-song when note the to forideawritemelody, the of for accompanying theor two cantispractice voices firmis, voice,ofin the Here, two parts are said to be in counterpoint. In the student has sufficient background to make a waltzAt of this sixteen point, measures. all the pieces of the puzzle are in place, and the contraadheringtheor voicecombinationtwo punctum, voicestoadded a uniform, tothusmeansof anothersimultaneous proceeded note coherent isagainst called together texture:voice note. counterpoint, parts, at the each same independent,which pace. in general but allmeans Literally, the Latin, punctus A single part Of atedG.early'stagescourse symmetrical key, you the will originalwecomposition shouldwant tosixteen confine write of forty-eight measuresmusicourselves in When musta measurestonearly webethree haverepeated; related followingmajor completed keys:key.thus, the the C, weform: F,sixteen-measurehave and waltz in a nearly rela- In the frequently it is taken up before the subject of harmony.Counterpoint is the xery essence of musical expression and quite A Baccompanimentcombinations A. whichfor our seem skeleton, almost inexhaustible,it will be simple andWith indeedwith the such topossibilities inventa simple an of varieties of rhythm and numerous melodic HOW TO WRITE A CHORALE OR A HYMN-TUNE ferentsimpleentirely fromwaltz new thewaltz.and familiar try to composemelody whicha melody you forare it,using.As makinga further it entirelyadditional dif- experience, take the left-hand part of some tempttheitstunes,.the subtothree proceed- dominantpositions, minimum from chord numbera theharmonic indominant of at chordsleast background. chord twonecessary positions.in at leastare theIn two writingtonic, positions, includinga chorale, and that is, music to words, we shall again at- For the simplest of church For variety's sake, whichthated toof learnthe original orchestration, composer. for one may comparethe classical hisSome work ofworks ourlater ingreat withthis modern way. musical composers tell us they have treat- It is indeed an excellent way in keywe chord shallto another. which introduce will modulatea modulation; to a keythat of is, C. a temporary shifting from one The modulation chord that we will use will be the G7 ofcommenceto suspensethestart final and and Aend sectionexpectancy. onthe a A tonegivessection other a feelingon than the thekeyof comingkeytone. tone, Whenhome thus theagain--a givingstudent feeling a beginsfeeling to create melodies in ABA form, it is Well The return to the key tone at the beginning The B section should chordtheof finality. tonic for thechord B section.for the A section and start and end Theon thechordal dominant outline for such a form would be to start and end on Write out your chord progressions in a given key. 6 (A L 6 43 For example, theningfor faltercontinuity.for the when orchestra, it comes theto continuing.tone color, say of theMany violin, students could can befora used good first question and answer sections and One contrast could be the tone color; lf one were writ- Contrasts offer a prime device chordschoose asthe your key scaffolding.of F for t)-'s experiment and use the following pattern of Here is an example of a chorale in its simplest form:

I> 6 6 6 6 46 35 O Mostody.sic. chorales have a change of chord for each essentialFirst, note of Let course,ofHowever, usthe assume mel-you since must that wechoose the have best alimited poem rhythm which ourselves, for youyour will poemwe setmust is to 2/2be mu- moremeter. econom- againtenceical. will needaccount a different for two versesformula. of our poem. The third verse frequentlyLet us isbegin the bysame writing as the our first, figured but bass.the fourth Let us use the formula, tonic, sub- This four-measure sen- circumstances.thedominant, rest ofdominant, the notes tonic to formfor thethe fourthbest melody verse. youNow can that under you the have limited written your bass and have fixed your chords, mold withthecareat theharmonic has sametenor, to betimepitfalls, and used thatthe to alto thesuchmake melody with assingable consecutive the is soprano constructed,voice intervals. linesrespectively. and?orGood toa greathymn-tuneavoid dealsome writers ofof will likely write the alto and tenor parts Compare the bass The tenor likelysincetroubletheshould soprano. youappear. alsothose have be composerschosencompared your mostwith tonal whothe schemeusealto faulty and with the harmoniccare, soprano; difficulties progressions, and the altowill but withnot False progressions, that is, consecutive perfect intervals, MINOR MODE havecadenceso,The phrasemostused of elementarypassing phrasethree rhymesnotes2 rhymesform inwith of writingwith musicalphrase the a cadence1.rhymingwaltz, youofis phraserepetitionwillDo have you4. noticenoof difficultya phrase; that just as poetry rhymes, so the music must rhyme? You will notice also how the Now, since you thisisterval "smaller,"four distance betweensemi-tones is is thecalled but (Cfirst three toa minorE),and semi-tones thethird third. interval tones (C to ofis e-flat), thecalled scale.The awordthe major interval,"minor" third. in being music means smaller. It has reference to the in- If this distance If gerpositions.betweenin insertingof causing notes these offorbidden the into same yourconsecutive chord hymn-tune. which progressions. means between inversions and root However, passing tones between different roots are in dan- Passing tones are always safe by identifyingloweripgis ordinarily Lhe minor third obtained third tone occursofby thefinding naturally.major in scale, the major however. scaleIn writing a place minor where tunes, this it is not usual to write the minor tonality For example, if you start e Minor tonality practice in writing passing tones grows naturally outAn obviousof the material.advantage, then, of using a dimple texture, is that , in scaleand do on is la, a smallthe scale third--or will beminor a minor third. scale because the distance between Here is an example of our modified hymn-tune using passing tones: anotherthea change major key. in tune key willsignature. become minor. Of course, one may make a major key into a minor key with the use of If you add three flats to any key signature, The effect is to make do become la in ji,MIN. CHORDS o FORMS OF THE MINOR SCALE Are all of the following tunes in the minor mode? Lovely Minka Russian Vivace 138 Tambourin JeanPhilippe Rameau wilai. ,, ,m ,..,,, I iilm ,,, ...., w ma ... .Imo iiii- 411111 1,,II IM. IMMI, SI ilM=11 01 1, I.M..=. . IN/ IN/1 MO 111M Inb Mll 11=0 JIIII IMO NI I/ PM.. 4M m - O .low- ... , MEM MEM Mi =M..= M411 MI which merely begins on la of a major scale and proceedsThe minor upward scale to appearsits in three forms: (1) pure--or natural minor- - = M Man/ = NarM MOM/ 111 NI I1/ IM .. == 1111 tonesgether);closuresoundsoctave; ascending more(like(2) (3) completeharmonic thethe but melodicmajor descending becauseminor scale, minor which, it inits whichhas the byseventh the raisingraisesnatural cadence and both theminor eighth feeling--a sevenththe form. sixthtones tone feelingandare a seventhclosehalf of step,to- The Clown by whileharmonizelooking tunes atit thestartingproperly. starting on dotone. are usually major. It is important to know whether a piece is major or minor in order to Ordinarily, musicians can identify the mode merely La, as a starting tone, is usually minor, Dmitri Kabalevsky mli= IM 1411 IMP 0'7 OM. fr gm. s I 1111 1-711NO11 NM 11 IMP = 1110 IMM*V.Z. : * = 01=. 1 1111MNO MM. =MI ow e &MO Nb .. =1., ,. =ON. IMMO MOM OM O.= IMEMO propriateminor,on la, theas chordsankey illustration tone. may be chosen. of the need for establishingSometimes the modeminor before tunes ap-do not start on la, but they still usually end Listen to this church tune harmonized in major and in their root position. Here is an example of a minor song harmonized with minor chords in "Lovely Minka" 44-1_14_ G MAJOR IV5*. V e4:3- fUTO-HARP. I V $,1 MIN . tit V int-Ea terparts. Of course, minor chords may be inverted as Well as their major coun- texture.illustrates the difference between a homophonicHere is "Lovely Minks" harmonized in piano formtexture in two and ways. a polyphonic This 11,3AS. 1111/. aa. a. 'MINNNW IIIMMEI Milt MIR AIM Ma Mt INNMIN MNNM NIMa 11111111.1111M1 MallIMN MN= NEMO & VIM MIMI MEV^ MI MN& V' 111111111--:111 ,eVWE JIM al& I. 11 UM 11111111Mil MIN . A- I V I b. MIN. I V I Phrasescoveries will the have student to be has balanced made about and mademelody-making clear to theinIn thetheear majorminorby the keys:keys, use ofmelody-making may well be patterned after the dis- MAKING MELODIES IN THE MINOR KEYS (1) morebyandat writing thesing point thema half whereto cadencethe the class. half and cadencethen writing is expected. an answer,The followingor record, melodies phrase atop just lessbefore like the the end first of the phrase, first butphrase- ending - on the key tone with a Of course, you will finish the first 'phrase Complete the melodies effectiveforms--binary,usedcadencecadences; in aand insimilar(2) theminor Theor full two-phrase waysameas cadence;welland degrees willas tunes, in (3) beof major. usedPassingthe and scale forternary, tonesthe will same andor be three-phrase purpose;auxiliaryused to form(4) tones tm....--are Thethe will half be pArfect cadence. of bilities.thatto five the tones:tunes mayla-ti-do-re-mi. be made varied and interesting throughIn beginning the pitch tune-making possi- in minor, the student may well limit the range Use extremely simple rhythms at first so minor. 1.Start with a tune which has beenIt cancomposed beminorBy done starting in third inmajor any thelower: andof tulle threechange down ways: it ato step and a half--an interval of the allhear the that sounds in the which minor belong key, toas thein thekey. major, auxiliaryYouAs youmay playnotesnow wishyour help tomelodies you compose cover preparatory a song built to aroundharmonizipg chord them,skips. you .Below will 2. signature:By changing the key signature, adding three flats to the present chord,is an illustrationla-do-mi, with of ana chordoccasional line melody,V chord basedused toupon L.ive the onwardminor tunicmovement. The Wild Horseman, Op. C8, Nr. K L1,..z..=):4._=_,--,:a.=.,...... 2c.=---.r'17.1==..- lowm An 11=11/ 8. MIMI-- OMNI I1I1 fI wimr mumMIMEM MM..= Man IMI MI= =1=1,Robert Schumann Ur - I . "DA 3. By usingstep: accidentals to ldwer the third tone of the scale one half MI11 A7 MI7 7 -Ma . IMO MI / =l /NMI 71, 17. 1111.1, 71 71 14 71 7 . /I . l . 11 . 1. MI iIAIM 'MI dOI 716 AIM/ .2 NM ME 11=1 11,0M /Mr =I "NM - -11 INI11111 IMF IMO MO INIMI =MIN/ OMNI J IN. MI., : IlitinffillI 10111111M7 MINS 7 1 Mi I' I I1 I IMO= 10 17IM . .M.,M, II 11 /MOM/ IN IM111../ iM ml ...// IM 1-I 1IINV MI IMINII F. 1Y MI IV MI I / 111117M.M11 /111 1III MIEN 471 M M I 7 47 017 7 1=1 i IM 7 'MI MIN I "NM -/ AIM 711 dIMIMMO iM IM,Mi 11 IN MENal PM" = I1'''''=7 1IM IMME : MN." i =l IN 7 AMR= IMO ..N ; 41 -IMMO goodare ableeffects to increaseby varying the the interest rhythms. of melodies, so youBelow may are make two equally Hungarian canons. With only a melodic variation, you MINUET WRITING TWO HUNGARIAN CANONS Kodaly wastheof Baroquemost calleddance popular piecesaPeriod "suite." was of(1600 thedifferent As -1750 minuet.the minuet meters became and tempos. more stylizedOf the many types' of dance music composed throughout history, one of and was usually performed asThe part minuet of a originatedgroup in France during The entire group of dances (played, but no 4P J IL "listening"ownlonger marker. danced), music. composers from other countries beganTraditionally, to imitate theit inminuet their is written in 3/4 meter and is performed in Because of this, the minuet eventually became a classic form of thevariedmaya moderate firstmainbe describedor musical idea. contrastingtempo. ideaas comprising (melodyidea; and or of thetheme); three third parts:the part second theconsists firstpart ofconsistspart a restatementconsists of a of Alphabetical lettersThe are more sometimes modern usedminuet to ofdescribe the Classic the Period (1750-1825) of J phraserelationshipstatement-answer construction: of the type. three parts, such as ABA. In addition, the melodic structure of each part is frequently of the Below is a diagram of the three parts and their 0') A uki 11 Ji .1Jd case, a dotted double-bar will be found at the end Sometimesof the A partthe first A part is repeated before going on to B. (as above). In this thisIn andother timesymphony minuets,were orchestra.Haydn both and A Mozart.anC BA are repeated. In the Classical Period, minuets were written for both solo keyboard Two of the leading exponents of this form during When these two composers wrote minuets, musicaltheyas thewould ideas keyboard appear as they sonataas contrastingunfold. or the symphony. movements for largerLook musicalat the minuetforms, onsuch the following page and try to follow the three . Mote at tee age of six/6. MINUET in F atonality,familiar Haydn keyboard withanother in sonata,orderwith texture.fully to see to howunderstand unity, varietythis form:There and one contrastare has some to were additionaldo withachiev- aspects of the minuet that you should be Examine the minuet below, which is from Allegretto =ME Wolf/pig Amadeus Mozart Sahlurg, 1784.1161 ed with these two elements. Haydn Minuet, A Part This example shows the A part of the minuet. :V .J Mr aom ,. wm,111 ../Mm M= Ir 1 11 M , Ma Mennet 11111 ME Memo 0 ...-,.... ,,. MEM= IMMS .IV, I IOW III .1111111111111MMONII...MS - 1. - ....''. mom -.. 10:'. ''. ''''. ''' "" : ''' .. -'' ' "''... . : IL F: ...... MIN == -- MO/ Oh ,- IOW 111YD M !MI MINIM a.,---.....,___:...... MEM. --- 41.1=,/- ======ta am. ow - - 11.MM 1111 MD m. . a 1111 MOO : = 1111 11 = M 0,7A: -M.N. .= . Mil r. Imi -1111111Meli".- ar. 1=.,_...... _ 1 P. .7. ==. MIIIIIIMIIII11 - Ma - NIMINIMIPPINIMI InDorto Major. anotherorderkey-of to Gpart. endMajor in hasD Major, been shiftedHaydn merely towards introduced the end:Notice ofa cg thethat into second the the end phraseseventh of the to A part founds incomplete: itIn wantsother towords, go on the A part begins in G Major but ends in D Major. The reason for this is that the tonality- -the tonal center measureatthe the final inB part.the D Majoraccompaniment. triad sounds like a dominant chord to G Major. Haydn Minuet, B Part The "feeling" is one of incompletion because Now look MN _,M MN 111 1111I N. OEM NM la/ pace pie 4N aAmyw . MO 11: MO 11.111MINIMINF.011.- - =, - 1 ow. um/

'OW AIMINLIOINEMMOMINIMINIM thinkchordthanin the athe(D tenth0. triad)B part measure inis Gin Major.notice D Major that when Haydn it isuses actually a Ch Thein in theB Gpart Major.upper begins melody on rathera D Major chord in the ninth measure; however, It is now back in G Major. It appears that Haydn wants the listener to But again, Haydn ends on a dominant What about Mennet Minuet the third part--the return of A? Haydn Minuet, A' Part =1,m11 11=1 IMmr-1 IN. MINNEB WM = :-- 2=11 .. ale 0=14=0 - 1.11111P111111MNIMMIN-17=== el= = NEM 0',11 -a/ =MIN=LOOM "".." imM :, 11 =Nos: 41: ..r WIMMI i===:me =MM. M. 7, . =-...,.....-,-..... Pf Ma MNWOMBS 41111.. -rI,, MIS mmO 11,414.11 =1 -1111=1 ma .0. IMP- NM -Ila MI I1110. WO N Pam 0...... 4M NM 10 M- a 1m. MD -ar- M111 M Ma 111.111= WO . 4110 MEM ..0 0.11 .8 -.a a 0 . IMmn Jaii 1010100-41M1 -.Ma., =/ alr NMI 1 garMilaNOMMOM/11 Mt1. 1111 Ma1= 1 Ma 0 111 8 all MI ..1..1.11/ =1.1 11111 -. MEM,JO= et MI 11 IMMO MI I1 ... Vmou .11111.. Im.,1 m. Me OM Il ...... mg...m...... miww,...MD.01(i .M..,/....1IN...... 1. .11.113: 1 = : Im. -111mma, //... Is nc __ =0.1.:=11Z=1"=1=111 0 M.1 was restated exactly except for the last two measuresIf ycu recall the original A part, you probably will notice that (23 and 24). M= What is A' ar.Y..me 1101amumMtimml em i MonM.01===:= = = pletetonicdifferent when chord A' here? terminatesin G Major withrather a V-Ithan cadence a dominant; in G Major.thus, the minuet sounds com- Namely, the harmony. The final chord of measure 24 is a NIMMINI**11111: 11.1111"1111.11 = "=0.1===:1 havetionship.lated been tonal omitted.) areas to G Major. To summarize, Haydn attempts to contrast each part by moving to (There- harmonies between the first and last measures of each part The following diagram illustrates this rela- Finally,the entireanswer the melodyphrase returning is presentedaccompanied A' part presentsover by asolid series the chords. same of brokentextureIn the chords asfirst in A.A part, the statement phrase is presented in octaves In B, on the other hand, (Alberti bass). The while A Related Tonal Areas of Minuet B A' micchangingthe motive minuet texture of as 3/4 a ofwhole. each part thus gives interest (varietyWhat about and the motivic construction of the minuet? I pm, and the pitch motive of a third interval are the Briefly, the rhyth- contrast) to IVIVIIII31 V :I I V-}---I IIVI IIVII I I IIVIVIIV7II II mainthe ideas beginning used throughout.of each part for unity but is developed differently in B The main rhythmic motive is stated exactly at than F. Major:Major in order to contrast the G Major feeling of theThe two B outerpart, then, is composed so that it "feels," or sounds, parts, A like D boardthelessin A and minuet. emphasizedA'. throughout. Using the Haydn Minuet as a model, now attempt to compose your own key- The main pitchThe &116;17gmotive is procedure developed is more recommended freely but as isa guide:never- noticeandin A'. relation that the to texture each melodic changed phrase. in each part? How else does Haydn achieve unity, variety and contrast? Now examine the accompaniment Did you onein length. of the rhythmic motives printed below, or composer1. your own. Design a statement-answer typeThis rhythmic will bestructure used for ofparts eight A andmeasures A'. You may wish to choose ., Us.. the worksheet idea to develop each phrase: I% stalely fashion Minuet Piano askisla frows She original aeon. Wolfgang Amadeusin MozartThe Marriage of Figaro 2. next, design a second statement-answer type rhythmic structure of motive,pitcheight measuresmotiveibe sure andthatto bedesign you used develop melodiesas a contrastingit todifferently fit your B part. rhythmicthan 3.in Astructures: Use the harmonic progression given below as the basis for your If you use the same and At. Remember that the A and A' melodies maybe the same exceptF Major: for the IVI 1311 V: 11-71--- I Iv 111M-1 IV I I last two INIV11v?Ii II 1> , measures.eachdieseach melodyis phrase. to sketchwill take. out ahead of time the beginning and ending pitches for The B melody, however, should This.willcontrast. give you a picture of the general direction that One way to 'write melo- be written so that an empty staff is left underneath4. 5.for the accompaniment. Finally,When the youmelodies must determinefor each partthe kindhave ofbeen texture completed, (accompaniment) they should A forexaople,entirethatdifferent B. is part, appropriate A planand or A'nightto consiotedmix for be textures eachto use ofpart. twoonewithin texturestexture a part. forwhile A andB only A' end two textures You may wish to use one texture for an In the Haydn Minuet, for used one throughout. MilIV MI II"1 MM.MIMI 411M =V- wyne =wow MVO MINIMe OMM1 il 110J1111 1 NMI ME/ Y.== min = 111 w ww 1111 Iwww 4=imi =11111.11 = = ma, M.,aV V. 'VA11 IMM1V 4 V V1 &HOMO 411MinMI= MIND =RIM*M."' =Ma 11111W`VI MMIN1 am= WV NMI., MODINIEN I1 l =1 I1 !MIMS wow. I =M. 11.11111IM, .11 1=1, *// OWN. IMO 11I Theymanner,"Mono all -"these finish means musical withone, theortextures: single;syllable monophonic,so, "-phonic," a monotone meaning is Ina soundmusic at there a single are some words which characterize, in a rather broad homophonic and polyphonic. "relating to sound." J .13$ Tambourin Jean Philippe Rameau whichpitch.texture.companiment.long hason onlyonly onea single rail) melodicand monophonic, line and ais single an example melody of without a any ac- Likewise, monorail (one of those new - (angled trains that runYou a- will remember your exercises with Gregorian chant monophonic Kyrie -Tropus Tam*. 1115 3.2.Tues1. Om-Sal- .1 vi-fi-ni-pe-teas eet pi- to.ni- ter, Dems em-ii- am are. a tees - ri - ge beai, pi- lesgeper-nisi s. -tas to - a nes, be- as re-ter, - - lei -mon.-sea. two or more melodies of equal prominence are soundingIn polyphony simultaneously. ("poly-" meaning many sounds or more than one sound) 3.2.Chri- netairiste, see, De- pa11 -iris i, spldr, sn -his la- psi for -ma vir -tue pa-tris.mi se- pia re- pa- ra torsas - lei lei11-mi. -son. The andemphasis, shape ofas eachin monophony, one contrasts. is on the horizontal Belowflow. is an example of two-voice polyphony. For instance, sometimes the bottom mel- Notice how the rhythm 1.Am-II lm - rum sa.eram spi to - a dam- no - mar Jr- se fee -to -re be-ait-imi , ra - men ne - :as a - neer-vies - lei -son. berody ofhas eighth only onenotes. or two notes to a measure while the top one has a num- 2.Pro ee - dens for men vi - ta, fens pm- ri fi eans noel e- lei -eon. IM I= MP =MO --- =OEM= =I= 1 - JO Johann Sebastian Bach 0/=== VW MOM =DM 111. .1=0 a/ =1, 4=B16$5.1750 MI tt S 3. Pur- ga - tor mil -de pm, - vs le, sane- to --- nos ma - ni re tar- gi re pls. _ ter s-dr. A op - ti - ae. of- fen -sae lei - son. r rhythmicallypredominant incoincident the horizontal with the direction, melody to and a greatan accompaniment extentIn homophonic and music there is a single melody which is obviously whichsubser- it 1=I =111= chordsvientits verticalityto or and intervals dependent than laid ofon outitsthe inhorizontalmelody. such flow. Here is an example: Thisway accompanimentthat you are morewill awareconsist of of 1.1 NM 1-41= ./ IZ; 4= 1M =ID= 1111=14 = rIN111. MIJI0=1,,,711=a., I MI =I M = 44. =11 Here is an example of three-voice polyphony: Aluxiu off From }eaven Abovecchammaschwalo Set by juh.inn Scbastiknmmauay Bach by Martin Luther(?) ModcratoA Ground in Gamut rm. m-1 tr ...A mal I.. Henry Purcell, 165$ -1695 tr fiE bli:2111,11MINHEITIIAL a Al m. NINIMIINIR11411111111 11 - a mar- MV... Imo aamma aa OP MM. )., a wm me ,IM MI IMD IM.ar MIND iMil Mr' .JO MIMI .... M.. BIM JO MDIlL ilMP A-ARM IMP ....vVs.../MJib-Lai.8,MIM /-V 0 V .. /..M -V Ml.r .. MOD V - 1... /a de ..ar mm lime tMli V- Vol- OM m111101 IV= m M V mi.. ramIMM1111101111111111 . rli4 :iiti : 7..m.a. 11 N N -1. vmv0.- V V ma -No im.V V INV MP.v.= 41m, - OM me -a m m 9 IIMP ..00 M 1.- /I Wall - 1. Mar.V. 1 V M Mamma V IM...M.mM. 0VilivV.M1 Mt a.M.. V MO . . . IMal-MIll tr mm,m1 Om rm/ VI Ma MV v MV tr Ma, mon L2: g ,...... , ..-M1 M,. . 11. . A a VM -.V %VW /0 01.-111 a =a1M1 8 ae- ...... v .. 111C. vvIIOV .....2== .. _ 1 ...-.VIIM P 1,.. MI =IMO, MIM11 V1111 11 ,,...:...om .... -AM V ./M....0 Imi ime Im Ilima 411. tr M.-/ M m ...VI!. IMP minmia - 41 ma . 1111111,11911111/111101711191111111111111Mp1111111VIMO LM MM1 /.. . :0. . - :' .MMI. . Herehiddenlines is ofanbeneath notesexample allat of thethe four-voice bottom,other melodies you polyphony. will can notice still that have even a life a melody of its so own. If you will look at the sists of a horizontal element, the melody, in whichPresented lies thein itsHain most inter- unambigUous torn, the homophonic style con- THZ HOMOPHONIC STYLE eststyle:ists of whollythe music, and solelyand a verticalto enhance element, the effect the accompaniment,of theThis melody. 'fragment which from ex- a Schubert song is an example of the homophonic .7401elletteHaMOMOMMIT Heidenroslein Lieblich (Joh "Woffg.von Goethe) Franz Schubert 1815 op 3 Nr. 3 chord,harmony(1) all or of the(2) the notesall accompaniment the of notesthe harmony of can a harmonybe can expressed be canplayed be in played simultaneously,Noone matter of consecutively: two from ways: whatin a style or period homophonic music comes, the 4E6 . /Manila._ MK.. ,11/Ina 3.2.1. SahLindKna dcr. be sprach: H OMIN WIMO 11=1 ein g Knabwit . de tin .11 dMIN ...-..11/=sr Kna.bebreRiis-fein - die stehn, aw-MIEN IM1 bradsdid:, 'sRiisINMIMI., 11111Ras. fein IMMININD - kin auf derfein MM./ auf dcrder =NI 11..MMIN 1) 2) onlyandconsistingsimplest awhen harmonic thethingof chords.harmony progression you could changes: doof wouldI, V, beI, tochanging write aeach chordExamine measure. which the ispossibilities played of the first category, an accompaniment Suppose you were to use a 4/4 meter, C major, The CII 1. Hei den, Jung and . Ofthe course notes this can chordbe spread can beout laid over out a widein different range, in ways. the open position: For instance, 3.2. Hei --. den,dent" Ras .Roswar .fein so sprach: Ich kin wehr to ste*nor sich. ten . schiin, die and didi,ttac, 0O 7e;O IMal /MY .11 111111=1. sound:or notes could be repeated in various octaves to create a thicker IMWAh do. MIIIIMMIIMM IOMMLAMMEM0 MMOMMMM/ C ... El er,teresting music compared to the melody. oneThe involuntarilyaccompaniment focusesalone, whileattention not withoutupon the shape, melody is and not the very accom- in- When the two are heard togeth- I MMI. Mil thischord.aspectpaniment melody of is bythe heard Schubert melody only orconsists insofar another. ofas Atait single anypunctuates instant harmony andthe expressed givesaccompaniment weight in a' to to one highor the as chordsin the couldfollowing: be played low, as in the last three examples, or tip or.irregular rhythmic patterns; as in the followixg:The chords also could be repeated to'creste number of regular but the rhythm is the same: In this example, the pitch pattern is different in each measure, U Instances,sult,effect this drawof case becomethe more thefirst nearlyattentiontexture one. equal would to initself be importance more and polyphonic could to theeven,Notice thantune in homophonic.itsomethat accompanies. circum-the effect of this accompaniment is more melodic than the It may be that this accompaniment would, as a re- paniment: You can combine different timbres and rhythms in the one accom- playedThe possibilities one after another, are infinite. consecutively, instead Nowof simultaneously.to the second category where the notes of the harmony are more open texture by being placed further apart in Inpitch: the next example, the notes of the chords are spread into a Againtimea working I,in V,a veryI fromprogression simple the simplest rhythm in 4/4. andpossibilities in a very simpleto the pitchInmore the complex,pattern: example letbelow, us usethe notes of the chords are played one at a J=ri=iff=rpi=t=ri= position:theofoccurs Mozartsame very pitch--in and frequently Haydn. this incase the a works"G" --and of composers that the chordwhoThe livednext is ina illustrationat closedthe time shows a style called the Alberti bass which Notice that the even - numbered note is always at .1%1M' MOM // 11111 ..1I711 ,M=I .1111 MI= MINI"""11 111111111 ;MOW awswor MINOMI1111111MININIMLIINIMINNI MIME 811111 MINIM NI butchords is in and complete single contrastnotes.A to the busy character ofThis the illustrationAlberti. shows another smooth-flowing combination of It is a little like an upside -down Alberti paredrange to ofthe a busycouple sound of octaves.of the Alberti bass. The accompaniment pattern shown below flows up and down over a Notice the smooth-flowing sound as com- theabovea pattern accompaniment illustration). (which intakes many on ways a small is very amount similar of independent to theThis pattern example musical in shows thelife. again the effect of adding a melodic feeling to You now are aware of more than just the harmony; MMOMMMMOr IIIMM MO MIMI MEM IN AM WM MIMI OM WM INII MM I I11 AMIN= A= mu EMI = EN~now -AM mom mum rm. um 5MNIMIII Assimmr-wimm MOWmum MIMr 7WMIAMIAN= 3W3MMM IMILVIIIIIMILI quentlycalled anused oom-pah in marches. bass, or a vamp bass, is shownA below.combination of single notes and chords into a pattern usually I1 This is fre- theindividual differentother makersnotes inversions ofof thethe harmonychordof the on chordsone top after of one these theafter other,notes, theJust other:so andas you youthereby can can place createplay an accompaniment pattern Jfby playing j! the JF aill VARIATION FORMS variation is possible by changing notes values, or Exampleadding 2:or Within the two-beat measure a great variety of rhythmic subtracting onetechniquesstruction of the mainof of variation. therequirements body of the for piece good fromart inits any openingThe constituents,developmental process in nearly all good music is based on These compositional techniques, which permit con- medium: organic unity. satisfy the noteb or rests. tion.some musical forms which are popularly identifiedAlthough variation techniquesThese include are usedthose in compositions all good music, based there on a arecantus firmus, passacag- with the idea of varia- Example 3: Here, for instance, their length is doubled,Augmentation while increasesmeter the note values by some multiple of and whichRather,becomemajoritylie or you proficientchaconne, it ofare isthe mosthoped techniques and in,attracted. that theor eventhemeyou of willfamiliarvariation. and feelvariations. with,moved allto experimentof these techniques. with It is not expected that you will This lesson catalogues the those by tempothemselves.so theremain relationship constant. of their lengths All the notes are increased by the same factor, and remains as it was in the theme. In the Classical Period, the theme was short, simply Techniques of Variation stated and easily This is the opposite of augmentation: diminution. variationsremembered.in devising through variations a thickening of the texture. The techniques of variation may be classified under Simplicity of thematic statement permits maximum flexibility and achievement of a climax for the whole set of headings: temporal, Example 41 Mozart'stonal,lizes textural, a "Ah,number vous coloristic.of derais-je,these techniques maman." simultaneously. You will recognize it as In practice, a variation nearly always uti- Below is the theme from "Twinkle, Exa le : The thematic statement is lengthened by a prolongation of variationTwinkle, Littleforms. Star," no doubt. It may serve as your vehicle to explore . Anothercomeformerlysome partsix; effect symmetrical. ofthe it. closingis a reduction four measures of the havepace beenof the music. The effect often will be to render asymmetrical what Inwas this example, the opening four measures have be- stretched to five measures. Temporal Variations r r r it-tr-lf: 1 changesing the of firstrhythm; note the of pitches each measure. remain as stated in ExampleForthe purposestheme. 1: of demonstration, the following examples utilize only A change of meter from 2/4 to 3/4 is achieved by Other solutions are possible. lengthen- Changes Example 6: Example (a) is very similar to diminution. to other meters can be effected in an analogous manner. (a) MIMI MI a MEN111M1111.4=11/ III 11111 MIMI will array am as contracttheExample theme (b)to contract threeshows measures. anto asymmetricaltwo measures; contraction: the second fourthe firstmeasures four of measures the theme of anotheringDeletion different theme. of the harmonies. bracketed notes would create a differentExample effect9: by suggest- As shown here, this is more a rhythmic than a tonal device. This device could be more effective tonally on %A..=I./ :VW MI aMEIMI MN AM ;4101I Mr. 'Val 'BOA JO MI MI MINI I IMI WM a .MrMM.1M1 .= M N .2=1 M I Ni M N aMOMM U A A MMWMOIN ::: . = Tonale.g., fromVariations allegro to adagio, moderato to presto,The etc. most obvious temporal change possible is the variation of tempo; or mode. Example 10: These examples, (a) and (b), make use of change of key, . .= tiontechniques of ornaments of tonal or variation.embellishments to a number of ExampleTemporalthe melody 7: variation notes. has been kept to a minimum in these examples of The theme is presented in its original form with the addi- WI . &NAM V MEI IN I 1M I 1. 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WII/M/1MLNI=1 =I MI al Air-mum a MI oar 11111.'" ao/1111111=1 fl=1..=111111111111111111.1114/01 A1111.- 111111111111 JP-1W a "phrase" than to the repetition of a "motif." which are most often found in connection with a Example 12: The following illustrations are of variation polyphonic texture, although techniques Example 14: This shows the theme in an imitative polyphonic texture. adown:their fifth. whatoccurrence was formerly in homophony an upward is.not leap infrequent. of a (a) Inversion: The intervals of the original theme are turned fifth becomes a downward leap of upside- (b) Retrograde: Here the theme is played backwards. Example 15: The melodic theme in its original form is shown here with MI W .111=111111M1=1111M1 w IBM IMO ..11111111111111111=1 a new harmonic setting in a polyphonic texture. wards. (c) W Retrograde inversion: t The inversion of the theme is played back- MMIIWINNEMUMWMIMMEMMIN.4110,11MENE0aMMENSMII.INIPM AMU mmrimmorlir Num NM 1 JINN Jill If MEWIWINE MI NMI NW' MOW' MI INN MI NMI MI 1=1 MI MI W.111=1," 111111 /MI 4=111 MI MI NM WM u .AMW MOS IIIUM MOMOWN JIM Texturaltexture Variations (although in this case there is an Example 13: The original statement of the theme is set in a easily discernable polyphonic homophonic Coloristic Variations These variations may be made through the following changes: whichelement). retains the melody and harmony of the This example is a more elaborate setting original thematic statement. in a homophonic texture Articulation:Timbre:Dynamics: thean analogyorchestra to canthe bechanges achievedchanges of fromon the piano piano toezzo by, forte, for variationexample. in phrasing, use of legato, staccato, instrumental timbre possible in accompaniment to a for instance, etc. 9 writing your own variation. 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II 1 I'll - 1111 Hil "1:1 II III 1111 Iffs ill 1111 101 I 011 liii slI..-II .1 'IIII iiii'II::I ::!I 11.:: al COMPOSD Initial Considerations A MUSICAL PLAY texttext,taken of theup a inspokenlibretto a musical play of ofaplay musicalthe by same music play performance whichmust beis verynottime. Because anmuch shorter a text takes longer to sing than to speak, and because accompanimentThe tolibretto the therefore than the of time CHRISTOPHER COI:UM:SW Scene I. mustverbal present ideas character when presented and action in awith musical clarity, setting, firmnessAudiences which they frequently would find difficulty in comprehending complex or and economy. under- subtle Palos, Spain: Christopherfewtable girls, in theColumbus bussing foreground. isof talkingccoversa urgentlytion. with Melo at a A seaming' tavern Other tables, with sailors, Milo suddenly iwmPs expositionshouldstand quicklygive of clear characterin spokenexpression orperformance action to relatively is orbetter on the simpleleft printed to ideas. the page. music. Subtle or profound The libretto Melo: up and bangs his hand on the table. You'reI take mad, you by all gad, as you'rewitnesses! mad! musicalfined(but settingand not clearly necessarily will contrastedgive superficial)heightened characterization. but ideas, transparent to boldIn expressionaction,summary, and the to to libretti, firmly de- which lends itself most readily to effective simple Gather round and hear me. (others gather round) andDiscovering form. the Possibilities and Implications ofRead a Libretto the libretto carefully, paying attention to character, action, Milo; This very morning I was walking by the shore pliedcharacters, by the libretto. you may find it useful to provide aA. musical setting Character: List the defining features of theIf characters the text doesas im- not give adequate contrast to the which ex- When up came this man whom I'd never seen before. tingtext).notaggerates specificallyis begun. some aspects implied of by a thecharacter, text (but or which aresuggests Broad decisions of this type should be made before your musical consistent with the characteristics set- He'd a brightness in his eye; quickness in his tread, climax. B. Action: Look for points of tension and stasis, climax and anti- And the strangeness of his clothes processions.whichlibretto will with need respect a musical to theaccompaniment; occurrence ofe.g., songs, dramatic dialogue,C. action, and dances,actions Form: Make a visual representation of the formal layout of the Showed that he was foreign-bred. Exercise: Read and analyze the libretto of "ChristopherDescribe Columbus." the characters of Melo, Columbus, the crowd in the tavern, Berkeley, for writing the libretto for "ChristopherWe areColumbus." indebted to Colin Mettelbeck of the University of California, thelibretto ladies-in-waiting, as a whole. Isabella, Ferdinand, and the2.1. sailors. Describe the Tise and fail of tension in each scene, and in the Overture or Introduction avern music takenclude intothese account in a visual before representation beginning a musical of the setting.form4. 3.of the libretto. MentionDoes the anylibretto other offeraspects opportunities of the libretto for actionwhich youor spectacle?feel should be In- crowd moves around MaloMato (recitative)Malo (song)leaps up A. CharacterBelow Analysis. are some possible solutions to these exercises. crowd laughs Chorus (song) Columbus leaps up Columbus (recitative) Columbus (song) sailor?sea.tifies with the townspeople, rather than with Columbus.Malo: Is this a suggestion of someA depthleader--spokesman of character, for or theof acrowd stereotypeStolid--not and for the easily sailors. moved by Columbus' imaginative ideas. A sailor; loves the For pur- Iden- Chorus (recitative) Precession Chorusinto court (song) (or dance hostilityslew,poses deliberateof greaterto unfamiliar fellow.contrast ideas. to Columbus, he could beTavern presented crowd: as a rather Conformists, unimaginative, react with derision and (ladies move around Queenprocession?) Ladies (song) Brief movement for Queen to take pose forueen and Ladies (recitative) underdangerous, normal potentiallycircumstances, hostile, good fellows,treacherous. but in faceSailors: of the unfamiliar or Presumably the more adventurous members of the townspeople; Ladies (song) relude (mood of sea?) "proclamation") arrogant--disdainshis own ends. the crowd and is interested. in Ladies-in-Waiting:Christopherthem only as Columbus: a means to Cuick- witted, clever; know theirImaginative, value but not romantic; their nonconformist; active; Melo stalksSailors round, (song)spits son bring"place" glory). in the Court. Queen Isabella: Imaginative--can be caught up by an idea. Pompous (vainDomineering, also?); stupid, but feminine weak, cautious.("handsome Columbus" will Malo and sailors Malo Columbus moves downstage, commandsColumbus silence (song) B. InteractionFerdinand: Between Characters Weak; ineffectual. sailors move towards Columbus Melo (song) returns to helm Columbus (song) movedwhichswered, bycarries the conflicts resolution the audience which of must theforward conflictsbe resolved. to the or point questions. at Interactionwhich.the tensionbetween isthe re- characters creates questions which must be an- A state of tension is created ChorusMalo (song) Action "Land Sailorsho" (recitative) Columbus recitative Malo's recitative: atmosphere. Malo leaps up and violently upsets the congenial tavern Scene I. Chorus and dance 2.3.1. WhyWho isdoes MaloMalo? he sosay upset? "the man is mad"? Malo's song: 4. Who is the man? We discover who Melo is, why he is upset, why he believes the 15.14. Will the KingLadies-in-Waiting agree with the persuade Ladies-in-Waiting? the Queen to assist Columbus? Meloman5. isand mad, the andman. a little about the man.Will the crowd side with Malo or the man? Conflict is revealed between Ladies-in-WaitingThe King and Ladies-in-Waiting: and the Queen: his. The King provesThe Ladies even weakerhave their than waythe andQueen. Columbus 8.7.6. aWillHow trueIf willthehe one? doesmanthe realizemansail, react will his to thedream Malo's journey of derision?sailing be successful? to the West? Is his concept Malo is with them, it is reasonable to suppose that theyThe sailorsare from may the or tavern; may not have belonged to the tavern crowd. Scene III. Since Chorus: 9.whole group. HowThe willcrowd the sides man withreact Malo, to the and crowd's the man derision? is now in conflict with the callyplainingtherefore,solved directed mood,between the towardsalthoughconflict Scenes Columbus. IIinbetween andthe III.first the crowdsong theirand Columbus complaints was arepartially not specifi- re- We,now find the sailors in sad and com- Columbus' recitative: 10.story. What will the man's side of the story be? The man is angry. He demands that the crowd hear his Sailors' song: 17.16. WillHow the will risk the of sailors' death by ill-humor starvation be beresolved? averted? 404> 1 Columbus' song: unresolved.theHis Queen.final action is to promise to bypass the crowd and seek help from ThisWe discover leaves whothe theconflict man is between and what the he crowd is doing and himselfin Spain. Malo: crowdat him rather so revealing than with hisIn Columbus. thoughts.this song, Malo does not mention Columbus, but does scowl and spit Once again he identifies with the Chorus: 12.11. The conflictWillWill betweenthe Columbus conflict Columbus get between help and fromtheColumbus crowdthe Queen? andhas thenot crowdbeen resolved.be resolved? Columbus: growing18. situation of conflict. Will Malo bringColumbus into reveals the open his his lack apparent of sympathy animosity and arrogance.to Columbus? Adds to the to have an audience with the Queen. Our normal expectations for this scene at Court would be for Columbus Scene II. These expectations are amusingly sub- Malo: 20.*19. Will the sailorsMalo blamesgo along Columbus; with Melo? proposes mutiny.Horwill the sailors react to Columbus' lack of sympathy? bus'king)areverted esttheme in andasbycharge iswethe keptdiscover discoveryCourt.of alive,the Court,the thatbut nature inandthe this thatofQueen thescene Columbus is relationship weak,he becomes doesthat not the betweenof evenLadiessecondary appear.the -in- queen inter- Waiting (and Colum- Columbus: and21. appears to have won against the mutineers. Can ColumbusThe handle sailors such join an Malo.unequal confrontation? Columbus reacts with'authority and strength Ladies-in-Waiting song: 13. Is the Ladies-in-Waiting statement of their position in Court Malo: 22. Malo urges the sailors on again.Has Columbus really won in this conflict? The Queen and Ladies-in-Waiting: partialagainst resolution Columbus. of (13) through the question of Columbus.true? The Ladies-in-Waiting take his part. The Queen, through caution, is a little A test and Rezitati?e:Chorus: 23. Malo persuadesWill theMalo sailors prevail to over mutiny. the sailors?"Land ho!" Land is seen. 24. Will this avert the mutiny? REC SONG SONGM REC SONG SONG M CR CC CC CR SONGLIW LIW Q& LIW K& SONG SONG SONGS SONG SONG SONG SONG SONG M CC M CC M S LAND ALLHO SONG tionChorus: of the questions and conflicts. The graph on the following page illustratesThe the conflict definition is resolved and resolu- as are all the remaining major questions. 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II himselfwhichsupported, appear opposed eventually,and Uy are Melo, resolved bythe the as Court. Examination of the libretto has revealed a townspeople, and eventually the sailors,shown in the illustration. number of dramatic issues Columbus finds but ...... boa- . our to QU*VII Is- a. bel- . la;. . all dramatic conflict and by so doing How can musical tension and conflict begive found expression which will to parallelit? the 6.1. 111=1 ..... a . MM. 1=/ 4: m a MP..., NM,..., MN". : I : IMP1N .. NNW . MEM eS IMF.. II r r be monicpossible cadence, to bring especially rbout a through You have observed the creation musical tensioncoincidence through of such the aresolution cadence. of dramatic the cadence V.I. and resolution of tension through In broad terms, it may This har- ten- Elli Pt 111111PM1/ t t =PINT MMIMI. . J a_ measuresmaysioner bewithscale possible in the whereV harmonyresolution notone only pieceleading of may in the small isscale in C. cadence, where webe in the keyto ona Ithe harmony, dominant but of also by analogy on a larg- another--sayhave a few =1Mt 10 1 IMMll eong I is in G and song 2 11...... _. our ..._...... _ .td .. glor- y ..._...,___a n ...,. his------s------rtory and ciatedtwo opposing keys to forces one force in the and drama, another you Take this a step further: since you set of keyscould to the give other one force.key or a set of noticeasso- that there are basically -Nair ... ------, - - - Say, for instance, that in the first scene you give to Malo the key The key of G has one more sharp than C of .11.1r, M.,...:...r ...ALT: = MEM= OV:11.MI MI. i=l, linIMO SEMI IIMISM. IMINI W C, to(andand say isto thatfeltColumbus theto be forcesthe a "brighter"key of of G. Columbus' side will live in the key), so you could extend this relationship "sharp" keys, and ...,.....I r =_. =_. zr.==== = whichkeythe willforces thebe of theopera Malo equivalent end?will be atof homethe In Scene I, Malo will sing in Malo's key or Columbus' key? in thethe keyflat ofdramatic keys. C and Columbusquestion innumber the 8 is: in which The musical question key of -r-f---r: ThisG. would give you the following The crowd's song should be in Malo :roved Malo'skey structure: key since they also oppose Columbus Crowd Columbus. Theyouwillthis key needscene: seekof Cto help predominates. thegive frompeople more the weightare Queen. riot But the dramaticto theconflict sharp iskeys. notgoing to hzlpThe Columbus;flat Xeys butshould he, not have won. If you add an overture in resolved by undaunted, Somehow whethertheknow key whetherGof is G, V itinthis maythe scene setkey upofis aC,in key orthe C keyis Overture Malo Crowd relationship in which you a.'e not sureof C or G. TV in the keyColumbus of G; i.e., you don't Crowd sceneshouldsharps shows therefore and triumph perhaps sing of move inthe a furtherColumbuskey with into Scene II is opened by the Ladies-in-Waiting forces,sharps in the itsthe whole signature.sharp scene keys couldas the be Ladies set in persuade who are pro-Columbus. Since this They onerous for the purposes of this course, and of no special advantage in pre- the Queen on Columbus' behalf. Ladies D Ladies vs Queen Recitative Ladies and Queen A groupsatceptionsenting the of endMaloeightof ofcontrasting as lines,the a character.song each thansettings set in to the ofessentially middle.the last lines to This writer chose to divide the text into two the same music, with the ex- provide greater finality predominate.flats. Scene III is mostly bad news forD minorColumbus, follows and asthe a flatconsequence of the decision made in A So, for instance, it could ##open in d minor, which has two #440 keys should major suchrepresentingofment, a verbala regardingway asidea. ato spoken theprovide musical rendition a motivic phrase of nucleustheendings, lines. of which a In this setting the musical statement coincides The melody of the opening'lines was derived from a curve This curve wassten-wise utilized third in (e.g.,coincide C, B, with the ending with the verbal state- Scenetilin SceneIIIthe willscales II, consistand are is tipped-When theof thetonic final toland Abattle asis dominant.sighted, between presumablyThesharp work and should in some finish very in G since Columbus finally was through, flat keys un- and. A) accompaniment.linesinversion,and the 1 andremainder rhythmically2 and aof different the displaced, song pitchwas written etc.level, byand using with thea third Lines 7 and 8 expand the third to a fourth as a way of em- Lines 5 and 6 are a deviation of different harmonic in sequences, Insharp What key. Ways Can the Text Suggest a Musical Setting? phasizing12 and 13Malo's because emotional there isinvolvement a continuity at thisin verbal moment. ideaThe short interlude between lines 4 and 5 does not recur Detail: Measure 1--the rhythm and melody used in the latter instance between lines keylaying scheme, out for the instance. musical structure of the whole musicalAn Theunderstanding setting play; inof termsofindividual the action songs as awill whole be caninfluenced suggest byto theyou characterways of a of who whichemphasizefollowing is absent the rhythm inword the were"morning," former. used: and to a lesser extent "very"; more than if the melody,tivelyis singing presentedand themaccompaniment. andthrough their the function choice inof theappropriate action. Thevocal form range, of the rhythms, song may be suggested by the form of the text. A character can be effec- If the Theis use itself of high bright A on in the this word context "brightness" (measure is 9). This j.17 very morning appropriate because the note thatprovidetext hasdevotes musicbeen a heard whichparagraph already.is in or some verse way to new, a new rather idea, than it maya repetition be of Scene I appropriate to music melody9),here G was (measurehas originally been 11),varied Fa (measuresetto avoidof four 13),monotony falling and Dand (measurethirds, to provide Four15). two-measure groupings begin at measure 9. beginning on A (measure The basic structure focal pointsNotice and how the Malo's Song If Maio is a stolid, deliberate, slow-moving fellow, how can his char- abouttionclimax. backbeing to away II infrom a minor,the sea a forprogression so long. which underlines Lines 5 and 6 have a modulation to F. Scene I This allows for the modula- Malo's feelings melodymaximumacter bewhich contrast expressed moves with bymusically, stepColumbus? rather keeping than inby mindleap. the desirabilitySoMe possibilities: music which is slow-moving, has even rhythms, a If Columbus is a tenor (or of providing Columbus' Song Columbus is an imaginative, dynamic character. Taking into account minv;.cuion.)asalto)- C. major, Malo couldthe key be decideda bass; uponif Columbus for Malo singsand the in crowdmajor, Malo could sing in (This would be "a" minor, the minor key with the same key signature in the previous dis- Columbus'range,our decisions majorcharacter key--these about and the contrast aremusic some forhio possibilities. Halo,with Malo? Music with a fast tempo, leaping melody, vigorous accompaniment, a what sort of music could express high = Terse. have the same musicThe for text each is verse, in the or form indeed, of four different four-lineThe former music verses. alternative for would be boring, the latter unnecessarily It would be possible each verses deal with Columbus' present situation, The text is in the form of four four-line verses. and the middle verses with The first and last hisopening dreams. verse in the closing verse, and linking verses This suggests the possibility of repeating the music two and three of the mustonly. occur as a pattern which repeats itself at theOur previous experienceHere with we harmonyneed to involvedcreate vigor through harmonic change. primary chordpoint harmony of each new vocal The change Thesemusically.fect three fifth notes and aare neighbor juggled note to provideto one ofvarious the In the setting provided, a three-note motif nctes comprising the fifth. predominates,configurations. being a per- The effect linesvoices;oneentry. lire = 2 or ofvoices. isthe the text length and thereforeof 2 lines allows of the for text and allows for The obvious possibilities here are a pattern which is the the use of 4 lines/1 line . 4 4 lines/2 length of Detail:andtois ato 3fourth; provideare in e.g., thea vigorous dominant in verse leaping of 2. G major, melody. D major and are Line 3--notice how the main syllables of the Verses 1 and 4 are set in G major; verses 2 Sometimes the fifth is contracted words,"excitement,"thus linked musically. butherevaried chose really onto itshave are repetitiln onlytaunting 4 voices. Columbus,so that it especially becomes a with1-lineThe the writerpattern. chose a pattern which is basically one-half a The half-line pattern was later slightly repetitious first line in lengthThe people by leap."adventure,""fame," are emphasized by being placedIn ongeneral, high notes notice how the accompaniment changes texture 9 and 10, line 6. slightly to approached Thetheline: harmonicsong's "The rangeman's pattern soa fool, thatwas simplyitthe would man C: is beIV-I. mad."heard repeating above This line was set at the top of the other voices. add weight to what Columbus is saying; e.g.,'linesIn the last verse, the word, "too," is emphasized by being placed on I be theusual first in thisbeat piece.instead of the fourth beat of the This produces a more vigorous rhythm. preceding measure as would A vigorous rhythm seemed cc:leo for and P ;AIM!' . The glairY man's WM" a fool, 6/8the was chosen. ea MIman is mad: Note that with this Scene I thisharmonyandnize effect,gives this the awith, "b" and"kick" is afor newa to passingexample, rhythmthe line. noue; introducedV. however, which ft empnasizeswould be The second measure was later amended to possible to harmo- this new harmony ColumbusThethuriastically Man isand Mad 'o Columbus' of the opinion own story. that Columbus is This song expresses the crowd's reaction The people are unanimously and en- to Malo's descriptionmad. of The song is both a The man's a fool, the man is mad! writestatement in a ofform this appropriate belief and to a ataunt finale; to This song concludes the first scene; Because the text is short, the ideas so Columbus. i.e., a formtherefore, providing it mayboth be a useful to monicallyimumferentiated interest and frommelodically in theirit in ownrhythmic and right. rhythmically and melodic with contour theThe first soother that line three they but lines are must be set in such a way that they **.ombine har- have a max- dif- theround.catedsimple,sense first. ofcrowd, andclimax becauseit andoccurred completion.of the to unanimitythis writer of tothe In this case we will set the second appearance set the wordspresumably as a canon, somewhat or unsophisti- or the song before chorus,aroundficult thetolow sing.range C, which should is notin thebe toocenter large of andaverage the vocalBecause range. the song is being sung by a presumably not very The top of the range can be set at high C, the bottom lines not too dif- vocally agile thisthereforeappear line at wasbea time strongwritten when in next. theoutline. first line The last line of the song will conclude the scene and To allow maximum freedom in composition, is no longer being sung. in the round will It should Knows that the Earth, oUr Earth is flat solutions.have"spaces" some left melodic by these interest two lines.is not easy. The other lines must now be fitted into the rhythmic and melodic Notice the slightly amended words in the second phrase which To find lines that do this and still The examples below show possible melodiesboththat have a seriesofthe the same oftwo functioneighth lines notesrhythmically in terms leads of straight bythe varying poem. into Linesthe the words fifth2 and in measure.3 suchtell aus way who knows that the earth is flat; i.e., they We have linked the A rhythmicallow for gap more at rhythmicthe and ofindependence the even - numberedand also measures.allow the filling of the C eighthharmonicchord innote. linkmeasure is established4 by changing by itsubverting to a passing the harmonicA minorNotice chordstability that onthis the of begins lastthe a long descent of the bass which is not com- Ev - ery wo - man, ev-ery lad-die and mostmakingmeasurecontinuedplete tense until the6, fromandC thechord sounstableF final toon. into E, cadence throughinversion,a dominant inan measure octavewith7th ofthe change8.the "7th" following of .n register the Fbass. chord on Ein to its D in Stasis (and completion) is avoided in measure 6 by In measure 5, the descent is Notice that because in this simple harmonic context only a few notesEv - en the dog or the ley cat aand second 5th inand the third. bass after a series of moves in theFinalityThe smoother second is achievedintervalsverse was in ofset the in last such measure a way thatby making advantage some wasleaps taken of of 4th voiceareissuccessive available notsimultaneously; reaches notes. at anyuntil onehowever, the moment, end theof some thesame pitchesverse. two voices are sungnever by sing more in than unison one on Note also that the low C, the final goal of the melody, upside-down.changedplaces,athe round. original places.in the method musical of settingcomposing the this measures melody 3 asand four 4, andseparate elements of As in the first lineof the poem, the two segmentsThis gives have a moreexchanged conclusive endingThe last to linethe songof the and music.has sets a been inverted or turned 4 and 6, have ex- voicesdoubledtraryinversion then motion at keepofthe tothe thirdrepeating the last originalabove. line the is fourthform). introduced line. by the bassAt the voices end of(moving the round, in con- the first three lines have dropped out. These steps are introduced one at a time to Both these forms of the line are then For purposes of climax, the These whichthisprecedent verse. is too for neutral the inversion to justify at thesuch end favored of the treatment. round.Notice that the idWrhythm has not been used in the second measure of To use this rhythm would have meant emphasizing the word "a," patternprogressivelyfore itsof the"disintegration" thickenround to the provide texture. begins. length and a central point of stability be- Notice the repetition of the complete buthancedof in the measure treatmentby the 4, running after given an rhythmverse ascent one.and from by whatmeasure in essentially3.Continuity a movementhas been com-achieved in the accompaniment through a variation The descent does not begin in measure 3 The continuity is en- aitsis chorus Mad"last wereappearanceunison presented song; would however,as bea roundlost. in atthis this case, point, the Theits accompanim,A previousimpact as occurrence amust round on of this song follows Malo's song. Here it can have sufficient impact as If "The Man be care- pletely by step until the final cadence. andtivenessbeenfullyimplied perhapslost. handled of cadence somethe since harroLicminor at the the harmoniccontrapuntal. pattern.end of variations,each lineinterest of which poetry of itswill to setting carrythe cadence usas througha roundat the thehas end This is an especially difficult problem because of the repeti- Our need, then, is to find a bass line, tomitsof thegive continuity verse. emphasis intoto the the word second "mad." measure where the C Inis measureplaced in1, thethe bassfirst inversion of the C chord is used. This per- The libretto for Scene II turns the customary situation at Court Scene II upside- The Petition This could be set as a song, spoken, or as what is known as recitative, doesdown.ing, not who appear have inalready Court, decided but has in his his case favor. "presented" by the The Ladies-in-Waiting are in charge, and the petitioner, Columbus, Ladies-in-Wait- aboutwhichas Athis.is major, something the keylike in speaking which the on lastpitch. song of theThe scene key, f-sharp minor, is the minor key with the same key signature The example provided shows the words set as recitative. You must make your own decision is set. F-sharp Spanishrhythms,recordingscided toidiom, writemelodies, of since Spanishmusic thisand to music, harmonicmatch.is the including Spanish progressions Court.flamenco used. music,Since thetaking libretto note was written with tongue-in-cheek, the composer It occurred to him to write in a pseudo- He listened to a number of Students might like to of the de- minormusical was chosenideas, becauseand because the rangeit allows of pitch an easy was transitionappropriateThe harmonic into to theA major.progression composer's is based on a very common progression in Span- trycoverpressedexperiment to musicanalyze in withtheirwhich its this own seemsconstruction. approach:music, appropriate listen toto athe good expression number of after deciding upon whatThen needsattempt to tobe writeex- music which sounds of these ideas,recordings and to dis- Vtheminorish ofinto chordsmusic: Ascale. Amajor major. basedthe for chords theon itschord based neighbor on on V theof notes f-sharpdescending IV orminor VI tones untilat theI, you VII,appropriate are VI, ready V of moment.to the move When V is Thereached, latter it is is achieved "prolonged" simply by bybeing substituting alternated the with chord on whichintroducesimilar. would bethemselves accompanied in theirby instrumental song; this music.song wouldThe becomposer followed imagined Scene II opening with a procession into Court, The Ladies-in-Waiting by a short thatThei's melody theas wellmeter is as basedchanges 2's onand constantlythe 4's. pitch curveand that of athe spoken beat The renditionis rhythmdivided ofis into thebased 3'swords. on the rhythm of the words when spoken. The rhythms of conversation are not regular. Notice and petitiongroupwithfanfareinstrumental themselvesa therepetition precedes Queen section, around on theof behalf partformal the ofQueenof proclamation theColumbus. preparatoryfanfare. of theto last song. based on the processional music, in which they would Once the Queen is persuaded, a the section in which they The scene closes rhythm.visionsHowever,as accurate andcomposers left a transcription it such to theas Mozartsingers of someone'swrote to make in regularspokenappropriate meters variations and rhythmic of the You may find it more convenient to do this, but rendition as you are able. in any case make di- C)Co3ir The Ladies-in-Waitingalready decided upon.Song This song is set in D major in accordance with the overall key-scheme The rhythm is based on the habanera. Since it is Theofdy Fanfare afollows different the size;upper e.g.,melody when in directionone melody except leaps, thatBoth the .tnix7.odiesother moves may in usemove tones of the chords on I and V only. The lower melo- intervals by step. withparts,thatconsistentit thethreeis alto notLt.aies-in-Waiting groups withandtechnically soprano,the of usualfour difficult movinglinessound are likelyandinof to parallelthetwo write, to habanera,groups have thirdsthe someof Ladies-in-Waiting andthree andskill also sixths.lines, inwith music, suggeststhe singfactand insincean two The libretto, theposer "formal" felt that proclamation. it added a little appropriate You may decide that you don't need a fanfare at this point. pomposity to set the mood for The com- AABBAhere or reflects AABA form. the verbal idea in which lines 3 and Verde4 expand 1 widens on lines into 1 twoand pairs of lines. The musical solution provided Thethick Proclamation voice, sings on a monotone. As decided already, the key is A major. The Ladies-in-Waiting sing in parts based The Queen, who has a low, thetnat2:and linesmusic musicalthere a full 3moves is andsetting cadencec 4upwardshalf-cadence are of whenset linesin to itthe musicat1is first andthecomplete. which 2, pointtwo but islines, wherewith basically anitthe endingmoves verse a musical downward thatis half-finished, contrasts sequence in the sooflast Notice that, roughly speaking, where Theon rhythmsthe idea are of basedthe. fanfareon flamenco and contrastrhythms. in rangeBecause the dramatic issues of Scene II have been resolved at this and melody with the Queen. wordstwo. were set in such a way that the music continuesThe through three-line without division a in the center verses was maintained, but the atandexactthepoint the inverbal orandendthe sequential, becauseofrhythmicideas, the song,thethis patterns. in music isandthe the somelody,has finale,the been sudden and made and also stepwiseverybecause in stablethe ofmovement harmonic thethrough formal of progressions the nature of The repetition reaches the point of monotony repetition, bass and cadencerisesreally to strongin and D major,falls cadence awaywhich to from theleads thebeginning into mid-point. the of last the verse.lastThe verse. repetition of the last line of the last verse adds finality. The section ends with a half- The melodic curve Notice tothe the harmonic finale progressionof the scene. produce a dramatic and climacticObserve theeffect use appropriateof what is known as a pedal point. The tonic, A, is bringingthat we avoidthe song setting to a thehalt word, at that "reign," point. on do the first time, and so avoid presenttheaccordingdoesstrongest, harmony. not at containtimesto themost when context.A. stable the harmonytone, is changes always topresent. the chord on V which Stability can be felt because the "home" tone of the key, its This device can be used to produce tension or stability Tension can be produced because A clashes with of course AMPINNIMP.111111=1="w.wwniumm..-sr.,-,.4 - v

Poi READING MUSIC WITH SHAPED NOTES afteris from the thefirst Greeks seven that letters we have of thelearned alphabetA,B,C,D,E,F, to call Thenotes first of differentEuropeanand G. eongspitch to be written down were Greek songs; and it Greek Singers who use sol -fa syllables to read music are making use of a read(A musicvisual using aid to"sol develop -fa" syllables.)readiness to of tothetancescholarssound. E, size andfrom whoofF one to thestudied Gnote otherare to wholemusic steps:another tones.as it abetween branchis called eachof mathematicsa ofsemitone. the eight measuredA torungs B, Cinthe to a dis-D,ladder D The step between rungs B and C and between E and F is only half We can see and hear the difference on pitcharepeatedlyphenomenon distinctive andmaking itsinsings uplearninglabel--become this any musicalgiven called musical"associated." interval, interval, the two and concurring at the same elements--the time applies syllable name, conditioning.such as la and mi or .2.01 and ti, to each Once thin particular response cIt is known that if one Inheritedthe piano; from it hasthe noGreeks, "bla:k can note" begin between on any B note.and C Theor E ladder,and F. or scale, of seven notes and the octave, which we have The semitones (B to C musicaltodeterminepattern derive conditioninghas thefrom been corresponding the established, musical may be scoreconside'redpitches it whichis representedmerely noteas a necessary is"vocabulary L,by orthose atfor or ofthe solsol-fa-ness." musician in order to syllables. This maticarrangementwhatandequal Ethe scale,to ;arts. firste) of comefor halfnote example,on stepshasdifferent been. andis formed wholesteps stepsbyor dividingdegrees comprising ofthe the octavethat scale, scale. into according twelve to A scale sounds the way it does due to the A chro- portionreadingIt is ofto readiness,theobtain experiment this and prerequisite thedirected two are its vocabularyacquired energies. in for muchA music"musical" the readingsame vocabulary way, that for this resembles the "speech vocabulary" required as parts, a full tone apart. MuchAnother music scale--the of the Western whole tonecivilization scale--divides subscribes the octaveto a scale into whosesix equal Mondaybothcat,use are ofandhis thedependent onmother wordWednesday, "dog"had upon facetiously tomucha lion!represent accurate called the practice. animalthe dog very a rabbit, slowly, on Tuesday, a Similarly, the vocabulary of A child would learn the indeed, if on sol -fa majorparticularpatternon C. scale. is order:a combination of whole steps and half.steps arranged in this It may be found on the white keys of the piano by dere---mi"fastarting I so---la---ti'do. It is called truesyllablesship nametof develops12-. as a slowlydog must if a alwayechild, by called chance, calls the pitch relation- . Jus by the name of 22-I1 or s be do -la dog, or anything but its so a pitch rela- ationship vocabularytroducing must the of always sol -fa be syllablescalled by asits a rightsecond nameverse ifMany to one ateachers familiarwould establish attempt song. to obtain this prerequisite vocabulary by in- sol -fa syllables with optimum speed of learning. Un- Tb T IMP-1=or NMI WWI I I Hymn to St. John the Baptist 1011 ge -sto-rum fa-mu-li - to MN 4p o- rum readingverserotefortunately, isto commonlysoestablish time-consuming the bogsproblem the down.feeling ofthere teaching of is"sol- seldom songs fn- enough ness,"to a pointtimeand here toof teachfamiliarity this second by Vas system of ut queantsol la - xis, re-sona-re fibris ye poi - lu - ti la - i re - a - awilimma.... tum 11111111111(7111111MAIN15111111111Sane to Jo - ban-nes. aidliminaryships. to assist step youtowards in determining music reading, the syllablethis appendix names exploitsInof orderthe pitch ato vivid, provide relation- visual opportunityThe crux for ofaccurate this method practice is thatin this it employspre- a differently shaped nallythefer toUm2.to derived name St.the from Johnlines the as and wordsGuido, spaces of the a with LatinMonk, the hymn,did. initial which Somesyllables is musicalquoted of above, countrieseach lineand inof Europe--France and Italy in particularpre- These syllables were origi- Herenamingnote-head are of the theto symbols representproper tosyllable eachbe used. note for ofeach the coincidental scale, thus pitchproviding relationship. the positive ourthetheir syllablesfirst useUt sixfor arelinesthe derivedfirst of the time from hymn is the startattirubted first on syllablesuccessive to Guido wasof scaleof eachlater Arezzo. linedegrees, changed of the andto text. that do, and ti was added. Observe that G Clef " F Clef MI FA SOS L1 SI tice of adjusting the line spaces to fit the halfGuido's steps staffas they of occurfour linesin has been increased to five, but his prac- (Actually, the syllables used were mi-fa-io-la mi-fa-so-la.) Music was theladder The idea,r which teachers sometimesis notuse, too thatto satisfactorySt. the John staff is is usedunless throughout one is preparedthe world. to agree that the a musical staff.then symbolized by writing the initial representing each syllable on the jacentfa)rungsstaff and oflines hasBsuch and beenand aC ladder(tispaces.adjusted and are do) not are equi-distant. but half the distance of the remaining so that the pitch distance between E and F (mi and Since the time of Guido, the ad- modifyWhen stems the wereletter attached into a to"shaped designate note"; time thus, values, M became it appeared feasible to intohalf thesteps staff. of the major scale coincide with the Asnatural a consequence, half steps we built may say that only when do is placed on C do the toptheadded 9Greek . to D differentiateor6 becameDelta sign d betweenZS,, re, the a halftwo tetrachords,circle t7, and with ti, the shaped do being like given , and L. became d . In time, three addit onal shapes were Fr became p a Of course, one can form this pattern starting on any note by using com- . ofbinations scaleinso-la-ti-dosolfeggio building rather of usedwhite it. tothan singalmost and always thisblack entirely representingscale keys. noin matterEngland "C." which ani America.letter-named notes are used In other words, do will be the first Wetone will in use the the major syllables do-re-mi-fa- Thir is the "moveable do" system monicrepresentationhasten structure, the acquisition keyof soundrelationships, ofrelationships a "sol-fa" modulations, vocabularywill make and possiblebutWe modes. alsopropose insightsbecause to use thisinto these visualhar- shapes some in this experiment, not only to to 7 f do do e N sot 5 3 ml 3 IS2 MN. NM gm..1MJ ginormigl Ulm M Imgo mm ummi Ilm imm IMIMmIMMUMM Mil NMI.= IMM1 110011mmigm IBM MN Mg. 1111M11111011wm illmo do 1 ../s.. 1M mu. Mellims mim ilme Um U1m1 OMB MM. On 1m...11111M,LMI Mmlam slum Um. mi1 Mr Im... rug ma,..rui A1:17 OE (holt Moot F G-on:Alm mg* limn Mimgrime logg,M mpg. a ma Mu, IM 1.1/MMUS 1111MMmatt M NM 111111 step) mu MUM 1.-.1.M1 ... Molt stop) ..= 1M, rat =1%1 .11Mml oimi gm mem mormmigge omm Um mom (Nat stop) NM, rm NMI MI MU11 NMICO imm1 ma Smom amm : 01 work.will be able to read music of some difficulty withLearn but the shapes as quickly as you can. DO TI LA SO FA With these seven symbols you MI a little initial RE steps in the major scale, you will notice that it isIf comprised you have ofcarefully two iden- observed the arrangement of whole steps and half AlloCCISA OF tical four-tone scales (tetra chords) with a. full step separating them: I HI N used which were repeated in sequence: In early American singing schools originally only four srllables were do---re---miNa so---la---titdo do C re DEFIG ABC mi fa do re mi fa atween.Skipsdegree-wise third. quite line.frequently follow a chord-line; that is,The skippingsimplest amelodies, note in be-of course,This skippingare those of that a note progressMany in of between ouralong songs creates are batteda melodic upon, interval or include, called this common skip of Melodies are made up of step-wise progression and skips. theto interval sing this of commonthe third. interval as it occurs in the pieces The exercises below are.tc prepare the student to follow. again at different pitch levels. In the previous exercise, the first. few sounds are This is called a sequence, a sequential the pattern.used time and time The MIR= IMIN MI 1 I IMMO EMS encetunesmelodywholerepetition, in show of onpitch the thethat and tunebetweenprevious the is phrase builtth.1 page repetitions whichfromis a thissimpleis repeated pattern, scale is all called patterns may be of any shape or length and of the patterns may be any distance pattern, but the following except the cadence. the differ- The -reaNO I, 111111111111=111111111111 num 1, INIM1011111111M 11011. II IMP III' , a MUM .:m11111. 1. 11. .11111/41.. EMI NVimmosimmenieIIIIIIIIIMP"INI MAO Ilw.samm= aim .111111111 or interval. Wm1111,11111AIMMOMMOMIWOMMoOME MIP411111111C O 1 Intervals are reckoned by counting inclusively theIn musical language, the distance between tones J degrees measuring theis called an interval. Do prisetodistance fulisre theinchord-lineis betweensightintervalcalled reading thetones. melodies.of intervalthe music. third. of a second. Thus, do and do is called a unisonSxpertise or prime. in singing thirds willThirds be very are help-very common in music as they com- Do to mi, counting inclusively, $4

t i2.)Lit._. Intervals T lf Maj.2nddopattern firstMaj.3rd with perfect sol-fa fourth syllables perfect and fifththenre withMaj.;Th theseHere Maj.7th are all of the diatonic skipsdo you have mi do fa do so do lasung so far. do words: ti perfect octave doSing the do form.ously.a group of three or more tones erected in thirds andThirds performed built uponsimultane- thirdsSince are -much calledA single music chords. voiceis built may upon sing broken" chords chords,only in practice arpeggio should or broken inchord A chord by definition is clude chord-line melodies. Here are two examples: DO DO SO SO Air nAt DO SO which also is a part of a chordal skip from the firstProbably to the as fifthimportant note asin the skip of the third is the skip of the fifth cadence.dence,the scale. because the so-do relationship is very commonPractice at the on ending, this interval or is essential to develop the feeling of ca-

411" 4111. The Scale (Canon) LUDWIG YAM BEETHOVEN Or% la ft __"1__./11 JOMMMaMILT 111=1,3"11.1 MMAUMMRIMMIMMM611/.-111111111Ir111=11111"NIEAMEMMIMMM /LAMII MI=1Oh tell me, -....1110011110W-OW AMMMWAMMISIM AMMW^UMMOIMMft-....+, Oh tell me How can I learn"MIOMMIllralf AM"UMMIMMWMO AW-MMOIMM... UMMMO to sang thescale. or% Do re mi fa so la ti do, Do ti la so fa mi re do. Mi fa so la ti do re mi, NIL re do ti la so fa mi. writetheseresponds in songsthe to properthewill sol-fa beshapes "The syllable forScale" the in song.notes the keywhich of areC major, missing.In orieryod will that be you 'asked may alsoto begin to associate which line or space cor- The first of He wears such funny clothes, But ev - 'ry- bod - y knows, End Is.re (Canon) LUDWIG VAN BEET:110 YEN A scare- claw has to look like a fright to scare the crows! Oh tell me, Oh tell The Scale me How can learn to sing the scale. calledcompleteskillfullyonly a motives.few musical notesso that ideain itlength. isgrows called into a aphrase melodic and phraseis madeThe or firstof sentence. incomplete germ ofA smallanparts idea in melody is a "motive," which is generally The initial notes in a phrase are generally the most im- This motive must be developed and lengthened Do re mi fa so la ti do, Do ti portantitis made.is sincehow the they phrase are isthe continued. motive, or building blocks, of which the phrase However, it is not the motive that is important in a good melody: Mi fa so la ti do re mi, Mi re do ti la so fa mi. la so fa mi re do. e" TWO-PART ROUND (Christmas Chorale) Melody White Coral Bells 4IP From Heaven Above Set by Juhann Sebastian I.Lich by Martin Luther(?) ".% 1. White4 cor - al r bells up - onA a slen - der stalk,0 2. II Oh, r don't you wish that you could hear them ring? .F ..t.ff :: Most of our music has beenThat createdLil - ies in a melodic style which is based will hap - penof the valon - - leyly whendeck the my gar - den fair - ies sing.walk. boring.requiredscaleoutsideupon theline. theofvocal anrange interestingline; of thei.e., human melody.scale voice. passages with no large skips and no sounds The melodic line which never skips hides behindThe skip, the whichsecurity supplies of the the dramatic element in melodies, is Continuous degreewise movement is Lightly Bells play numbers 1 7 5 ST. PAUL'S STEEPLE 4 Traditional Up - on Paul's stee - ple stands a 6 Ar tree, -0- As full of ap- pies r r 1 7 6 5 4 3 2 J as can be. The lit - tle boys of Lon -don town, They J 1 7 6 4 run with5 4 hooks to 3 2 pull 1 them down, And then they4E. run r from J hedge to J hedge, JJo1 Un - dl they come toJ Lon - J don r Bridge. r.I develop the ability to recognize musical* motives.To hear What is happening in a musical composition, it is important to Young composers need to Mtis!C 8Y WOLFGANG AMADEUS MOZART The Blacksmith Notice"Blacksmith"analyze that such the songmusicmelody serves to grows discover as out a goodofhow a examplethethree-note composer of theAnotherrhythmic has introduction used motive fragment. his material.and of anothera motive. sequence is found in lines three and four. The -1111 di SP RIP doingingareSequences almostanother a good areall sequencething. idealthat oneways to should theof developingfirst use. line music,to see butwhat notice monotony that comes two sequencesfrom Three become "one too many." Try add- over- 1,71:1;7: 3.2.Blow1. LetOh, thethe the blows, black-smith'sfire, strong anda sure, quick - ly it stir the coals, heap- ing more on, fine stur48:71.5:r - dy felfall - low! - ing, HardHasteTill his the the throughexample,It is without thetie motivethe the first thatrhythmic two gives notes fragment a piecetogether beingof musicand utilized. then itsMotives singdistinctive theare wholeoften character. melodycalled the building blocks of musical compositions. For 0, maydevices:nizable. be repeated exactly, or in sequence, or in someThe other most way cop thatton techniqueis recog- for continuing a motiveYou is mayto repeatdevelop it. a motive in composition by using the following By repeating the motive: It work,hand,Ciron's forbutall thehis a - ironglow,heart's fastlettrue and isit coolroarmel - ing; C- low. onl WhileOh,See the himthe MEM LAM1M11 al WNW I111 =I LAW UMW11I MEI smithstand highthere, his huge bel - lows blow - ing, With hisFier - y By inverting the motive: smith he's his ham7 a - fine sturmer's - dya - swinging, fel - low! 111111Wemir' 711111111/ 11 Brave- ly ....M." II cfBy 1 slightrepeating change; the motive with ILErr fr..IIMP"3 .WICENh.d.r.AEI Mlir M .M.Millilll II 411M"LISJIII II aIMIIIIMEI II Illr'11I IIIIIIIP'UMIIIIP" =Mill By repeating the motive in strong,brawnwork-sparks ing fromfall -y in morn-ingarms showers free alltill and night. bare. Hard See his the fire a - round, And the sledge on hand,but his heart's true and in the fur - nace a- the an - vil is -I ..SHMI MEM MINS OMNI IL "-M a sequence: 11111...ME JON -I MMMOMMMWMMOOMMOI 63-i-AIMOJIMMMUMM glow-melnng ing,- low,ing, BrightFillsLike its thehis . an -sparair - withklevil, andits flash,he stands for loud clang- ing sound. loud theits right. roar. LarBy adding new tones: toeachtheof the master songshalf young subdividedoncomposers composerthe following and intoand to shouldsmaller pages,attempt be parts.each tostudied refinephrase carefully. theirmay be ow, Itdivided sensehas always 1nof halftaste. been and a common practice of (14,mp,Pers to study the works This phrase structure is basic In (*.ERMAN FOLK SONG Hiking Song 42 a - Olong, ing down the 1,.2: Come -A- You willand hearjoin theour buzzhike - ingto - bees,day, AsFrom wethe gaicit - lyy marchwe willa - long,go ing, Step a - coun - 7 try road, Hik ing Ho - la - hi, ho - la - ho, %elkSee111k- - ing's the bright-lyfun this Ho - la la - hi, ho - la - ho, WeHills and will singdales are our _ _ G long, hik - Cing, down the coun - try road. colau -- oredtumn trees,day, HoHo - - lala - hihi -- la - ho.ho. hikall - inga - song,glow, HoHo - - vir la - phi hi -- la - ho.ho. IIII II ibi ;III III III 111 VI II,. il 1111 Eiji 0 IF 101 11- "ri 11111 1111 1111 till III il IIII

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-1.1.1ir 1,1)11 -111:: :Ill Every good melody has a purpose. It does not meander but moves with a Leron, Leron thingstheothers,definiteing. most which theimpJrtantstep peak givetowards of prominencephrase the the phrase. hasmain tothe point a chiefsound: of climax.interest. (1) its accent, (2) Inits each pitch, phrase and there should be one sound which.stands out from the If there are several phrases in.the tune, Usually there are threeIt knows where it is go- Le - ron, Le - ran, my boy, Be careful what you do, ticpeakone(3) point. canpoint its see duration. and and that hear the that greatest the whole emphasis of the belongs phrase naturallymoves steadily to this toward climac- the The-climax point occurs in most tunes on an accented part of the By following the melodic curve of the following tunes, The tall Fk7. - pa - ya tree Is far too high for cadenceheightmeasure. orin pitchthe latter and its part length of the or tune.duration. The climax usually comes somewhere between the mid-pointIt Stands and the out final from the surrounding sounds also becsuse of its In a good melody the curve tells thattohow secondisthe the builtfor peak music manyor up. poifitconsequent shouldmeasures of beeach aphraseinterpreted. ditto phrase, wasmarking soand much especiallymight like have the'first tobeen the used. climax,or antecedent'Too as much the sim-phrasetone In some of the earliest of the tunes considered here, the Quite commonly the speed is built up The trunk is much too thin, The branch-cm are too small, 9° Thefirstilarity motive areused inwas the the butsecond two-measure with phrase a slight phrasemay variationbe whichavoided wasor if ornamentation.repeated. theWhat same we havesounds done as hasin thebeen to introduce the motive and complement idea. Then it was bal- So bring your bas- ket down Be - ft :e you get a fall. Thisdegree-wiseancedexample: givesby a'four-measure balancebeforemovement. youin anticipationtake complement. a big skip, for themove large in the jump. direction opposite to it. Now we need to look at some rules for skipping. So far, our melodies have been primarily For MUSICWORDS BY SY FRANZ JOSEF GRUBERMOHR Silent Night whiletenceline. repeating in the highit you range feel then the putneed the to answertake a inwide theAnother skip low in range.way the to melodicprepareAnother for a experiment:large jump istry to the repeat question a note portion so that of your musical sen- This sounds C G, skipsalmost in like the aopposite woman, ordirection a girl, toand counterbalance a boy in conversation.After the afirst skip, skip. the melodic line changes direction. Sometimes a melody Or more Si - lent night!nightl F Ho - lyly night!night! SonAll ofis calm,Cod, upward,frequeutlysames%ips, directionwould which it bereturnsare approachedto call its by resolution a stepfrom toabove. tendency.fill in the distance skipped over. active melodic tones, are commonly made from the A tone, such as fa, with a down-Thus, ti; which tends to resolve Some is bright, Round yon Vir - ONNIMMIP' . mar. woowow si MOW .1p. gin Moth - er11111111116aular-Ems comma C 111." IMINIMINIIIIII 11.1P= and Child! though,themelodytendencyward same tendency toin direction, of changesome the should instances, activedirection this be tone, approachedsuggests theyafter fa are or athat skip.ti,fromnot thetonecessarilybelow. agreenotes withare members membersthe tendency of of the a chord,ofsame the If there are two or more skips in This permits the resolution Love's All F pure ".) light, Ra - diant beams from Thy C Ho - G, ly face, 4.) mixeschord. skips and steps all moving in the same direction. A good melody writer will use very sparingly a melodic line which ly In - fant so re ten - der and mild, Sleep - in ,,....,...... -. WithHo - ..-..m.ifwEmp....1_1_the dawn...... m.....r.=...... c of deem - Inc .10...v. ing Gy grace, limi Je sus, I4 r MBE/ MN/ 111, MIN Mr CIONNM heav - en - milimmAmilmumummmwmcammi ly peace._ ell"111111111114111Sleep in heav -Yr" en- ly a -calimwom W. 1, MIiINwillionsl IMI ... peace._am =mom w awe. M.. MIS , MO 44.-wiewits.111."1P" IP°,%MIMI 111=11 111 II- MAME MI MI MI I 111111111111=1111111=1111111111-ur-e-r-opor-swir&MAUNA Immo= MI 1111111111110rwmr 3 MEM issyllablematic an exceptionscale. to V. and is called rah. A scale dividing an octave into twelve equal parts is called In singing the sharpedThe flatsnotes, are change changed the tovowel W, exceptsound for ray flatted which Here are the chromatic syllables: a chro- of the themelodyferent melodies effect rhythmic arecan reallyalsodress, be using theymade soundtheby varyingsame like notes; differentthe rhythms.butJust as melodic variation increases the interest of melodies, tunes. since they are in dif- In the piecesA change above in the a good DO lerDI RE RI MI FA FI SO SI LA LI TI DO used,smoothlyfectrhythm laf the can a insametune. makea somewhatsounds a great seem stately change to skip manner,in theor hop characterbut or.jump when shortof In sustained tones, or long tones, the melody along. a tune or the mood ef- repeated notes are moves along DO TI TE LA LE SO SE FA MI ME RE RA DO MUSIC BY JOHANN SEBASTIAN 3ACH I Thank My... God WAIL;1 ..1111111MINMII iodINIV.'.116: JMNI MOAIII111IN MI2.1. = What-The Lord's ev - strong.hand will hold Wher ev - er_ I_ may_MOM be, er _ is =1111M1'"=1"111."1"..IMM my NMI MI share, With that do_ my..... best, And That prom - ise bright-see er the sun - shine shines than gold,ev And - 'ry-where, all And leave to_ Him the _ rest. is _ well with_ me. There - His t MM. wordfore my I guidetrust will my prove, Cod, And standMy andhelp on 11111111111MIV =111111111 takeev - mor 'rymy road;part, ail:IMMO." Con - I shalltent - not lacked all for a - lightlong life'sor road, And hap - py_ in love, There- fore I thank_ my God. _ my_ heart. ril!IF

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V nalM11.1171MM.1 IlMr.71 EMILIO ICIW WM' MITIIM1=1 11imiff=NI 1=1A4.4YEI Inn MI rAmi 1117411EINW MIN 111111MIIMIIIIr =ral IMI11101=11=111 Or IN 1Ww111:tom 4).asilgr"1... 111.NO MP. MIMI MI MN MN m. MOW OEM L/111 64111 1=1IBM NMI SIMI IIIMPIPW! .a i Zi MP"M=1 MAImy- 1. IVwe III 11711 MI W, IMP!" B IMF= I III MI rina IMF" 0 Holy Jesu (0 bone Jeru) FAIREST LORD JESUS (a esitll/a) Giovanni Pierluigi da Palestrina (an-issa) MP' s.V--MEM 4 1=1.. MEI 11.+'I 11=111/. 111117. 11111=11111In PIN =MI En MIMI 11111 mmwmiomiiAe_Alm_iir-unss .. ! am =amour imosome. ILLVI MM. PANNE 11I1 MN 'N MOMSIM NMI:111111 LIME MIMI :AIM!MIME IMO MI.111 1 'itMEW" OM :11,,, 71 71 MEV. MN IVI=IF MEW *ANEW 7111 MD MEI -111 MEI !..,WINMI : Vim&a61 II Mil 11 1111.111=1== IraIli [MEI -11=1I MUMI 1. OMMI MEM INN anOIMI El - .11 Mr 1. ..1.0.0111=11.1.11111=111 BIST DU BEI MIN Bach chordssteps (Greek and whole four-toned steps. scales) which have as theirA majorarrangement: scale sounds the way it does because of its arrangement of half The major scale is comprised of two Ionian tetra- . mai MEM NM MP. flag MI MI -C MI MI Of course, there is a full step between the two identical tetrachords. Li full step t, full step O half step Al a MIL=MI. 11111111INI MEM le OM! I1. /Mr" AIM Ion mi IMIMML-1 /Mr= IIII =N..= pus Jr. n mum111811/.1 im.!rimml 11.J" 1101 tweenatheanother sharp upper the ofon seventh tetrachord--callingthe samenext and patternto eighth the last eithertones. 20, note do,below to in create orthe above new theTo key--you it. makenecessary a newwill halfscale need step merelyto be-use retain one of the two tetrachords and add The purpose of the sharp, therefore, if you mslce use of tetrachordstepis to higher create patternthan a ti the for below last the it,sharpnew youkey. used make, in inthe effect, key signature. Ifthe you mi-fa use relationshipthe first of be-the two tetrachords and add to it an identical Do, the key tone, is always one -half Thetocome purpose create the ti-dotheof thehalf relationship flat step in relationship the in key a newsignature, betweenkey. then,mi and Itis fa isto for necessarycreate the newthe here scale.half to add a. flat on the fourth note of this new scale J be youstep--betweencomputed will transferby countingmi and normally fa. down fourwritten tones music to theto shapednew do.CD notes the followingthat you maypages know are songs in the keys of G end F. The flatted tone is fa, therefore the key tone may Similarly, 1 IN 111111:: NM MN 11:1 .01111.i. I without confusion which line or space is called do or so. Songs should be 1:.111MUMN/."...-1.1 IMI, AM WWI11111 gram MI III MI MN =NM IMI ////1.11 WPM IMI MN ummill low 1.41 Mr. N RP 0 MI MI Wm.-. 7..:M=M MN ,111M111111N =1;7.".... NEM MI MI s 14 INF . ANIIIIIIIIMIIIIIMr If rt. IN NM =API w Judi thetranscribedsinging singers. in tothis the clef, bass wi'.hclef also,the actual end both sound girls being and adjusted boys should to the take range turns of I= OM OMB.... ICI 1E1 ill . IL IL 1 I so I._ _ III Ill 114 .... IP mi III IN .111 1 IL .-- IL: IL Ii; 111 In 11111 a 6- ' , 1 Iv in i 11 r * `HIV 4i1ism ill II aV .... III 7. ill 7 ill a Ai il ii I ala, sla. aNia. 21,1 in 114 ha 1

di ,, `w 411___ TRADTORIAL Old Grumbler OW AMERICAN SENDING GAM FOLK MELODY FROM NORWAY ixourdmimmomPor G Norwegian Dance 07 31 . .11I A=IIIIIIII.1=13 M MEM _ IIIMM ININVIIMINI 1 MIN OMMN MIN g 1110111111111 mp immi .1E1 I I Old Lochaber*Lullaby ANctmr Scorns' Fotx SONO I .._==0: 111 MICII - -- III Lul - la - by, rock - a - by, dear lit - tle ba by, Shall we go sail - ing to Sleep - y - land, may -CI wbe? ver the Snug-gle-down 0 - cean and un - der, Come, Ye Thankful People, Come Croitc:p j. EI.VEY TRA11911111(AL Polly Wo lly Doodle ASITRICAM Ftil.k Susi; 1. Oh, I went down South for to see my Sal, Sing-ing Pol-ly Wol-ly Doo-dle all the day; My Sal, she is CHIIRPta spunk- y gal, Sing -ing Wol-ly Duo-dle all the day. Fare thee TKAUITIc All through the Night well, fare thee %Yell, Fare thee well, my fair - y 4 Sleep. my child, and 'race at-tend thee All through the night: fay, For I'm goin' to Loui si - an - a, for to 41414 Guard - ian an - gels God will send thee 1 ...J All through the night; sa. ire in MON M111.1.11111....M...1111INSI NM NM Mil Vol-ly Doo-dle all the day. MO MN IMIN 111111 Soft the Brow -sy hours are cr 46. I lilt and vale in slum-her steep-ing; /aft I 1311.11=11110 my loy - ing vig - it keep - ing All through the night. ANN 1 1/.1111=11 11_1.71111 Down in the Valley G KENTUCKY fOLK SONG, The Song of the Lark Arr. from LUDWIG' VAN BEE-moves 1. Down in the 0, val - ley, the val - ley so low, G Hang41. your 9 head o ver, hear the winds blow. Hear arIMP'"" the winds blow, G dear,A.' heat the winds blow, Hang your head o - ver, hear the winds blow. The Cuckoo Sounds His Call OLD OIRMAX CATCH The Song of the Lark Arr. frilt11 LUDWIG VAN BF rtilovrx Susie, Little Susie Su - sie, lit - tle Su - sie, what stirs in the hay? TheAL gos - lings must go AP.bare - foot, for no shoes AL. haveIP they.Arl The...a. 1 cob - bler has Leath - er but no last to t se, Who will make the gos - lings a pair of red shoei? Ab ds al,9$ B ROUND FROM CZECHOSLOVAKIA I Above the Plain I1 eb,...... /GbF$ 0 m 2.1. ABut hove no. 'tisthe plainnot Iv hisof gold lift edand head,green, 1 "Lis A young If boy'sca 's headCas - deis spireplain inly - stead.seen. 111111111111111 hu - ya, hu - ya, hit - ya V.1, 1 Swift - ly flow - ing Iriv er, A ho ya, hu - ya, I I I I I If! b hu -c....2 ya - ya, r Swift - ly flow - ing TIV - er. CHORALE BY JOHANN SEBASTIAN BACH Now All the Woods Are Sleeping Dona Nobis Pacern Now all the woods .... are sleep - 4P ing, pa - cern, pa - cem; do - na..._ And ness ..._ /N. ing no - bis pa - tern. 2 Do na _ night and still - creep - no - bis pa - cem; do - na no - bis But thou, my heart, a- wake thee, To prayer a - while be - take thee, And praise thy s Mak - er e'er thou rest. FOLK SONG FROM KENTUCKY The Riddle Song -411P-7- 17"._ .J) a cher - ry without a stone;p The Aoh. Grove OLO WELSH AIR 1. I gave my love 1=E" :MN! MEWa 'wit INUEINIMMIC r.. 'M. M ImNIPow MM - Arm= um' ommom mg Nmum.. =Ns moo now NI mu . mr o m .ter. I gave my love a chick-en with - out a bone; 1.2 $ My laugh- When oThe - ash grove,I how_ grace- ful, on - ly verter isreits_ - _ branch-es o w Me sm;Item amr ;er,ber how plainthemy step -ly pastsun- and_ light its_ Ls_ bright- break ness; - ing, The los - 'tis_ speakes. light - ing, - ness, The Old A r. -UM= RIM.IMNIMINIiM1111111 II"'" I 111111111111IM gave my love a NW MIMI ring_ MIRK M11111...a1111 =MIMI! that has P.R=11 no end; counhare dearthrough- try -ones side_host it _I meas-ures play-_mourn ing forstealhas of _ kind- fac - es is a - gain Bath- er softgazlan- on -guage ing for myon hesci.)ear;me. I The friends of_From_ my_ ev - 'ry _ dark_ I gave my love a ba - by with no Jcry - in'. nookchild- they hood press a - gain for-ward.to_ are_ be - meetfore me, me, Each step wakes_a I lift up_ my_ eyes to mem -'ry, theas Folk Dance CZECH &WNW: Fotx DAVCF 043I 01171111111Ere ,a.1 mos ins . room reo broad leaf free- y - ly - I --am Irt dome;roam. With softAnd whispers_ others arelad _there,- en, look-1=II ow ing .1111 down-ward NMI ....in to_ NotM..,.71111111 mwi Imummin IMINEM1111 ..11111 its leaves rus'111=11...111 - tle_miBIM 11111111111:Emma, 171-111M1 um mi lamb III greet me;o'er The me; The ashash grove,_the_ grove,_the_ ash ash grove grove a - lonelone is my home. OldC, Bonebads Finlandia JEAN SIBL'LlUS tooth - less old hound, He'll growl F at the prowl - ers till they COME a - round. He's scared of a rab - bit, C, he shies from . a dove, But he comes run - nin' to F me with eyesCr fulla of love. Old Sayings AMIRICAN Fax SONG 2. As a church mouse. as pea - cock, an thin sly as aa AsAc toad fat as a March hare, por - poise, ac strongslow acas an a snail. ox, Ac bravefair as a lion,lily, as cawspry - ty as a air,cat, As bright rich as aa Croc - sus, nix - pence, as weakcross atan a bear. rat. II 111 III 111 III1 HI ID 1111:111111 1 IIIII il III tin III WI 1111 1111

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14 -iP,- i;i1 APPENDIX C

MUSIC AS A HUMANITY

GUIDED LISTENING LESSONS CLASS DESCRIPTION MUSIC AS A HUMANITY is to be taught as a 7th grade General Music class. MUSIC AS A HUMANITY Dance Suites; Ballroom Dances, Ballet; Modern Social EarlyIV.Dances. Dances and Instruments, Minstrelsy, RenaissanceDANCE Dances, Baroque (one week) Thesesible,andtoThe art,aspectsanalyzedsubject in literature, an of matterattemptin music terms is andwillto ofessentially build the Rhythm,be socialrelated concepts Melody, Musicmilieu. to of art History, Harmony,listening and literature, butForm, and taught understandingTimbre, whereverin itsand relationStyle. which Music will be discussed, played, pos- Sonata da Chiesa, Sonata da Camera, Concerto, ClassicalV.Instruments Symphony, of subse- the Baroque and ClassicalABSTRACTION; Periods, Contrapuntal SECULARIZATION Forms, AllOBJECTIVESwill three be areastransferrable will be placedto understanding in historical and context.appreciation in those fields. quent forms of abstract music. ToneVI. Poem, Opera, Operetta, Musical Comedy, TroubadourPROGRAMMATIC Song, Madrigal, ART (three weeks) implications.perceiving; these skills to show recognition of common2.1. elements, and their To producedevelop demonstrable learnedmusical skillssensitivity. in listening, seeing, and Art Song, Secular Cantata. VII, FOLK ART (two weeks) tionshipsarts, and betweenliterature, music, and art, recognition literature, of stylisticand the social. 4.3.characteristics. milieu, and to To teachdevelop children demonstrable to perceive knowledge and beginof the to functions understand of themusic, rela- the Impressionism,VIII.Non -West'ern; Western; Expressionism, Jazz. Symbolism, Surrealism, Dodecaphonic EXPERIMENTATION (two weeks) are"capacitydevelop through transferrablefor a surveydiscernment of conceptsman's and expressionstaste. applicable in to music, all.6. 5.literature, and ToTo give develop children an interest a historical in music, sense art, of "whatand literature, we are," and and "who a we the Music, Electronic, Aleatoric, Musique Concrete. COURSE PLAN arts. UNIT OUTLINE Week 1. 21 SensitivityOrganizationUnit I--WHAT Test DayIS MUSIC? ture, social milieu. Exposition,I. discussion, relating music toWHAT. art, IS architecture, MUSIC? litera- Breakdown of music to basic elements: rhythm, melody, Week 2. 435 UnitDataDiscussionTape ISheet 1--WHATcontinued 1--Distribute, of IS five MUSIC? elements discuss, of music and explain harmony, timbre, form. DevelopII. concept of meaning of "style"...develop historicalUHAT IS STYLE? picture of (three weeks) 321 RHYTHM:Discussion:Tape 2--RHYTHM, Bernstein correlation MOTION Tape with art and literature weeks)Classical,styles: Romantic, Impressionist and Expressionist, 20th Century. Non-western, Ancient, Medieval, Renaissance, Baroque, Rococo, (three Week 3. 54 UnittureDiscussion:Tape I continued3--MELODY correlation AND HARMONY of melody and harmony with art anclitera- Gregorian(two weeks) Chant; Motet, Mass, Protestant Chorale; CantataPre-MedievalIII. and Oratorio. sources of religious music, Jewish, Byzantine, Ambrosian,RELIGION: CEREMONY AND RITUAL 321 Discussion:TapeReview 4--TIMBRE of Datacorrelation AND Sheet, FORM Discussion,of timbre with etc. art and literature 4 Discussion: correlation of form with art and literature 45 QUIZ:Supplemental listening, recordings Data Sheet and material of Unit IV Week 4. 5 UnitQUIZ: II--WHAT IS STYLE? Data Sheet and material of Unit I Week 10. 1 Data Sheet Unit5--Distribute, V--TREND TOWARD discuss ABSTRACTION and explain 4321 Discussion:Film:DataTape 5--WHATSheet 2--Distribute,Ancient IS STYLE? classical discuss style and explain GREECE AND ROME 5432 Tap14--INSTRUMENTALLecture:Correlation of music FORMS and artIN THEof theBAROQUE Baroque RococoDevelopment and Pre-Classical of instruments Music in the Baroque Week 5. 15 Film:UnitCorrelations III--THE SACRED, CEREMONY AND POMP MEDIEVAL LIFE Week 11. 1 Tape 15--CLASSICISMUnit V continued AND SONATA FORM 5432 Film:TapeCorrelationsDiscussion: 6--RENAISSANCE Romanesque AND andBAROQUE Gothic STYLE milieu IN MUSICand style THE RENAISSANCE 4325 CorrelationsTapeLecture:Bell Telephone16--REVOLUTION with Film: art AND ROMANTICISM Modern instruments SONATA FORM Week 6. 21 TapeCorrelations,Unit 7--CLASSICALIII continued Renaissance AND ROMANTIC and BaroqueSTYLES, art and literature Week 12. 21 Lecture:CorrelationsUnit withV continued literature 20th Century abstract music 453 QUIZ:TapeCorrelations 8--20TH CENTURYwith art STYLES and literature IN MUSIC - QUO VADIS? Data Sheet and Unit II material 543 TapeQUIZ:Correlations 17--20THUnit CENTURYwith VI--MUSIC art ABSTRACT and TELLSliterature MUSIC A STORY (Programmatic) Data Sheet and material of DLit V Week 7. 21 DataUnitTape IIISheet 9--RELIGION continued 3--Distribute, AND CEREMONY discuss and explain Week 13. 213 CorrelationsTapeData 18--PROGRAMSheet 6--Distribute, in art MUSIC IN THEdiscuss CONCERT and HALLexplain Week 8. 435 .Tape 10--MEDIEVALUnitCorrelationsDiscussion: III MUSICcontinued Originsin art of sacred music through the Romanesque Week 14. 45 Lecture:CorrelationsUnit in VIliterature continued Developments in opera, oratorio, ballet, drama 213 CorrelationsREFORMATIONTapeArt correlations,11--MUSIC of OFart THEGothic with RENAISSANCE, Tape'll REFORMATION AND courasR- 4321 TapeDiscussionCorrelations 19--DRAMMA of in abovePER literatureart MUSICA regarding motion pictures and television 45 QUIZTapeLecture: 12--MORE C-7. LESS FINAL DEVELOPMENTS IN SACRED MUSIC Stratification of above during late Renaissance Week 15. 15 DataQUIZ: SheetUnit 7--Distribute, VII--FOLK ART discuss AND JAZZ and explain Data Sheet 6 and material of Unit VI Week 9. 321 UnitCorrelationsTapeData IV--THE 13--MUSICSheet 4--Distribute,DANCE FOR DANCING discuss and explain 4253 TapeCorrelationsSupplemental 20--FOLK MUSICwithrecordings: art EuropeanOriental and AmericanAfrican musicfo:k music Week 16. 12 Discussion:Tepe 21--WHATUnit ABOUTVII continued ALL THIS JAZZ? Jazz and its relationship to the Concert Hall basicmuchby forJohann likeingredients.modern ':Mother'sSebastian symphony BachLittle orchestra for Helper," the byorgan. Leopold did it? Stokowski. Listen now to-the minuet from Joseph Haydn's "London We heard it in a transcription Still, it contained the same. Now, it didn't sound Week 17. 435 QUIZ:Discussion:Correlations:Unit VIII--EXPERIMENTATION Data Sheet 7 and material of Unit VII Where is Jazz going?Pop Art and Op Art MENUET:allSymphony," music is written made from. about 1800. LONDON SYMPHONY, Joseph Haydn (1732-1809) -- 1:48 It also has the five basin elements which 4321 CorrelationsTapeData 22--IMPRESSIONISMSheet 8--Distribute, in artliterature AND discussEXPRESSIONISM and explain offerentelementsregular, both betweencars orderly.were are thea theModel same, same. T theFord style and anwas Aston-Martin, different,This just even was as though athe different style the elementsis kind dif- of music, very neatly organized, clear, It was music which we call "classical." It is the differences in style which make it While the five Week 18. 15 rr%rrelationTape 23-:.SERIALUnit of VIII SerialMUSIC continued Music with art and literature 1800'sthepossible timestyle to the forthealso music usearly tells to and recognize1900'6, us art a greatwas and music created. heardeal and anabout artEnglish thefrom naturebrassone period band,of the orplaying people another, aduring famous and Now, let's jump from the early 4325 QUIZ:TapeSensitivity 24--MUSIQUE Test CONCRETE (makeup, AND etc.) ELECTRONIC MUSIC Data ,Sheet 8 and material of Unit VIII STARSBand.march. AND STRIPES FOREVER, John Philip Sousa (1854-1932) -- 2:26 The march'sThis name? was written by John Philip Sousa, conductor of the U.S. Marine "The Stars and Stripes Forever." WHAT IS MUSIC? piecesMenuetlater ofwasthan music played the areHaydn by very an Menuet, orchestra,similar, the somarchstill that was thein playedmanybasic Althoughways elementsby a brassmarch the of "Starsbandandthese awhile minuettwoand Stripesthe Forever" was written a hundred years MOTHER'S"Mother's LITTLE Little HELPER Helper." -- 2:50 We have heard, as many of you know, the "Rolling Stones" singing Our course is called "Music as a Humanity," thm;areof first musicin fact, cousins. are. rhythm is probably the most basic of Byall now the you elements. should have just about figured out what the basic elements You know that there is no musid which can exist without rhy- We theyart,whichexpressedexpressions. areand means allthe himselfthatabout,organizations we andthroughare togoing tryof these society.toto considerunderstand"humanities," music why toasmen learnone use of them.to man's recognize cultural what It is an activity peculiar to humanity, as are literature, Our job is to consider how man has You may butablyhavecan rhymes havewouldthe nextmusicwith be sound;most "amber."without important so somethe very ofis the timbre:first others, element t-i-m-b-r-e; but ofwithout music it rhythm,islooks rhythm. like all "timber,"we can Timbre means "the kind of sound." Prob- basicbeWhenwonder clear ingredients this what out. tape "Mother's wasof music.made, Little that Helper"tune was has one to of do the with top "Music ten; byas nowa Humanity." it may But it, like much else you will hear, contains all the time.Harmonyoped long is thebefore result the oflast the two sounding ingredients of two which or more are:Then pitches harmonywe have at andmelody, the form. sameThe and music we know of thefrom western music historyworld has that developed melody devel-thin to a high degree, music.other;ferent however,from "Mother's each piece Little also Helper," contains and the each same very basic Idifferent am ingredientsgoing fromto play theof some otherAs shortyou hear pieces them, for try you, to eachfigure very out dif- what are these basic elements thebutsymphony.is the musicalthe Oriental last ideas, of musicthe as principle does;in a march, elements a folksong, of music. a rock and roll tune, or a .ot use it much, as you wi % It is the organization of .ear later. Form TOCCATAof music IN whichD MINOR, are J.S.common Bach to (1685-1750)all music. -- 2:55That was the Toccata in D minor, written during the early 18th Century ties":ways,harmony, aspoetry, andthey form. areliterature, used in musicand art. and as they are usedSo, in thesethe other five "humani-basic elements of music are: Throughout the course we will consider them in many rhythm, timbre, melody, Now let's listen to a short section of an opera written about 1916 by bre,a goodmelody, example harmony, of one and type form of to modern such piecessound--compare as "Mother's the useLittle of rhythm,Helper," tim- leadswill--allSchicciafterthe Italian itsthem is hero, theonhelping composer, torelatives an show Italianthe how Giacomo relativesare greedylawyer. trying Puccini. theyof to an are;get old someinItalian the of endhis merchant heproperty. cheats to breakthem all,his In the ensemble we will hear, Gianni The opera is called "Gianni Schicci," Gianni LEthe MARTEAU Haydn "Menuet"SANS MAITRE, and thePierre other Boulez pieces (1925--) we have -- played.Charles 1:18 Burney, the first great music critic, wrote in the late 18th thanthm,terarranges whothetimbre, marriesminuetto havemelody, andthe everything march oldharmony, man's you left haveandnephew. to form--noticejust himself, heard. then how givesmuch moreit all complex to his it daugh- is Listen now to how Puccini uses rhy- dom,mirationtemptfromcentury, taste, thatof ofmy "Iwhich andanyfavoritecan virtueonepleasesvery style musicreadily depend." me, of to providedmusic, forgivemyself, and hetheand adoes mancloseimagine notwho adherence extendadmiresthat on his atothe different hatredit, exclusive all or wis- musiccon- ad- And he was right--it does take all kinds, GIANNIand"Mother's complex, SCHICCI, Littlesomewhat Giacomo Helper," inPuccini the onmanner (1858-1924)the otherof the hand, --ensemble 3:12 evenIf fromthough you "Gianniremember, it is Schicci."a modernthe Bach "Toccata" which you heard was rather free knowandI know." wemuch can about learn it, to butenjoy I knowmany whattypes I oflike." music and art.Now, to close, listen to "The Jamaican Jump-Up," Weand will see tryonce to again know howmore, so that we can like more. They really mean, "I like what People say, "I don't wereversespieceInform, steady"Gianni of whichthe music, organization4-beat followSchicci," is rhythms; organizednearly the of therhythmsmusic."Stars in same rather and changedpatterns. Stripesstrict frequently, order,Forever" with andused athe series2-beat music ofpatterns. seemed to The rhythms of "Mother's Little Helper" This aspect of music is JAMAICANeachit is of builtJUMP-UP these of elements -rhythm, -.2:04 istimbre, being melody,used. harmony, and form. Try to think how 4(;) butall"Mother'sspeed itof wasthese up a in Littleverypieces places, complex Helper"except and one. toperhapsused slow a quartetdownin the in "Toccata,playingothers. and singing with a rock and Timbre was very different in all the pieces- - Melody was very clear in which had much melody, SALTARELLO, "ITALIAN SYMPHONY," Mendelssohn (1809-1847) -- 2:15 RHYTHM tomarchHaydnroll orchestrasuit sound,used"Menuet" the themeaningswhilesound soundused thewith aof smallBach operataothea brass "Toccata"d.amaticorchestra band,singers situation. usedandwith who "Gianni aa modernchangedpredominately Schicci" symphony the sound combinedstring orchestra. of theirsound. symphony voices The The whichthatattempted wehe wereexpresses toable find tohimself, answersshow that andto itthethat is question, itsone principleof man's "What unique Inelementsis ourmusic?" creationsfirst were: You session rhythm,willthrough werecall examined several different kinds of music and He hear"Ritewrote a offullit Spring" in symphony 1916, by aw theorchestra nearly great caused Russian-Americanusing atimbres musical Haydn revolution.composer,Now couldn't we will Igor havehear Stravinsky. imagined;a much more complex work. This is the opening of the In it you will youtimbre,important can melody,hear of it all harmony,in thethe musical ticking form, elements.and of style.a watch (record Todaywatch] we Youare usuallygoing to walk consider Luttm, the first and probably the most Now then, what is rhythm? Listen- - THEtherather rhythmsRITE strange,OF areSPRING, very and Igorcomplex the Stravinskyharmonies though theyand(1882--) formssound -- areprimitive; 3:30 completely melodies new and are different. short, slowocean's1-2,heartin rhythm, steady1-2 beats waves pattern--sometimes andrhythmin pound ayou steady to certainlythe day beachesrhythm, and faster, dancenight, inand a in sometimesyouthesteady rhythm, breatheseasons, rhythmic slower,if the youand same beat,dancethebut way--ayears. steady.andat all.we steady have a1-2, So, weThe Your tapedandhaveested they music, found inhave irregular and manydeveloped the new electrical rhythmsand new different instruments, and instruments in soundsnew andsuch insuchdifferent asthe aselectronic conventionalSince the timbres electric"The sound Rite orinstruments, organ sounds. generators,of Spring," and musicians have become more and more inter- They dance,tion:are surroundea in from music, Mendelssohn's byin thisart, rhythmicalin "Italiandance, in1-2, Symphony," life. 1-2, always andThe moving.it piece obeyed of thelawmusic youof 2-have just heard is the "Saltarello," an Italian Rhythm is mo- modernguitar.instruments French composer,are mainly Pierre rhythmic, Boulez. rather than melodic.Listen to this short section from "The'HammerPercussion Without instruments a Master" haveby the been used much more because percussion This was written about 1961 and is 4's,12,ness."isity itwhichapparently ofcame music are out simply youasone i hear of seriesdouble the is mostsubject of2°a, 6's, banic in to in6's, factsthistwo which accent patternof ourare groups. lives.oftwo "2-ness"--many 3's, etc. times in Although the composer had intended it to sound in fast patterns of The great major- "Twoness" George Frederic Handel in about 1812. Listen now to a piece from "The Royal Fireworks Music," written by He intended it to be in a 12-beat danced,of them althoughwere written they intocould music be danced. just to be listened to and not actually That was the case with the Haydn PASTORALE,stillpattern, obey but theROYAL try law FIREWORKSto of beat 2-ness. time MUSIC, to itHandel and you(1685-1759) will find the easiest beat will -- 0:55 By fined,"Menuet"1860 the eventually youwaltz heard was becoming onthe the most lastthe important waltz,tape. adance very inpopular Europe.The greatdance Russianin 3-beat cm:poser, time. Peter Tchaikovsky, in his "Pathetique The minuet itself was further re- youinrhythmsa will minuetthe objectphrase based last thatpatterns,ontime--that 3's, there but justis waseven also asa they3-beat thea law "Pastorale"usually rhythm.of "3-ness." fit youtheWhile justpattern this heard "lawof did--it2-ness of 2-ness" with-was seems to operate throughout music, many of Yes, it's true, we also have After all, we heard piecepatterns1-2-1-2-3;toSymphony," write as youcombineda but"sort-of"did hear evensomething it.into this waltz a seriesobeyeda thatbit differentofthewas groups "lawbased ofwithofon 2-ness,"twos.a the5-beat waltz. because pattern: his 1-2-3-1-2-, 5-beat This is the 5-beat waltz from Tchaikovsky's "Pathe- Try to count with this What he did was musicminuets,built fromof andthrees, about all theotherbut yearthey 3-beat 1600combined piecesto 1900--before into tend larger to do 1600, groupsthe same.things of two's; were waltzes,different This was true of 1-2-1-2-3.tique Symphony," written about 1900. Remember the pattern: 1-2-3-1-2, . ofand Itthe since was Church. rhythmical,1900 they have but beenit followed changing, the as patterns you willMuch of hear. theof theLatin music prose before language 1600 was not subject to our "law of 2-ness." It was not poetically rhymed language, but combined accents WALTZ,onor adouble PATHETIqUE2-beat 2-beat or aSYMPHONY, 4-beat,pattern andasTchaikovsky theirmarches basic are(1640-1893) rhythm.always basedOf -- course, 2:45 on a 2-beatmany dances--in pattern. fact, most of them--have kept the 2-beat, All jazz is based either wasItof was2'sthe namedandproper 3's after musicin suchPope for a Gregory,theway servicethat who it ofindoes the not Cnurch.7th seem centuryThe to music "come ruled of out thethat even." Medieval chant Catholic Church was known as Gregorian Chant. The priests and monks theywhytailgatesBy in the itmore"swung" wasway, detail ofcalled didthemwagons youanother a"tailgate littlebeingknow time. that drawnbit, jazz." jazz andaround developedout thecame.jazz--but streets from marchesof Newwe'll Orleans?played talk fromabout the that Right now I want to show you what happens to a The musicians played the marches, but That's wastimetheofchanted irregular the introitusbefore chant it intheand comesfroma yearitstyle joinedthefrom 1000. weMass, the now2's rhythm "Incalland Dominica3's "plainsong,"of inthe a Resurrectionis,"Latinvery whichsubtleprose means ofmanner. the datingthat Church--this the from rhythm some- Try to count out the rhythm as you listen; you'll Listen to ArtcountSebastianpiece of Fugue,"outwhen theBach the andrhythm wroterhythm it hasasit is youin thechanged. 1749. listen.imposing name, "Contrapunctus #9." Again, It is a fugueFirst from I willhis greatplay itwork, for "Theyou as Johann INTROITUSsee it's veryFROM unevenMASS -- and 1:40 hard to count. Almost all of the music of the Medieval and Renaissance periods was notes,SwingleCONTRAPUNCTUS not Singers, using #9,anya modern J.S.real Bachwords.French -- group.2:15 Now listen to what happens to this same piece, when it is sung by the The only change they make is that they They will be singing the same webased ofthoughknow ;endedsome on that manyGregoriandance to there voicesuse music the wasChant, were fromuneven,also addedeven thedance or 13th thoughto asymmetrical,music it.century. it in was the not courts,rhythms all religious, andof thatwe have time. and copies even Since it was based on the chant, it This was the time when the .However, FUGUEwhaterare isto "swinging"IN different.help D MINOR, "make the Swingleit rhythm,swing." Singers and they -- 2:14have added a jazz drummer and bass play- Count out the rhythm this time and try to see stilldourtypestroubadoursrhythms, dancestronglyof dances of sinceand therhythmical, fortravelling people13th the century. courts.danced andmusicians iton certainlytwo known legs. asobeys minstrels the "law provided of 2-ness." various WhileDances it had doesn't to be havesymmetrical, any harmony, or even it is Listen to this rotta--a trouba- thoughveryplayed different! the by timbre,strings, or while sound, the was Swingles also different sang it. sinceWell, the I originalthink you was can agree that it's the ssme piece, but it's still It's the rhythm, really, that made the difference, al- But you can hear that a GraduallyROTTA--TROUBADOUR the court DANCE dances -- became1:09 more and more refined,Dancing and was eventually a popular somepastime in the courts and also among the peasants. Thiswhichchange won'tuses in asymmetrical, soundthe rhythm like Gregorianmade or unevena big chant changerhythms, because in asthe it'sthey piece. Now awere piano I thinkused concerto, beforethat you 1600.but should if hear one of the works of our modern time centuryyouian will chant, began try todoesn'tobjecting beat out"come to the havingout rhythm, even." always you'll symmetrical find that or it, "square" like the rhythms Gregor- Composers in the early time of this is almost entirely melody--pure melody. Remember the five elements of music--rhythm, melody, harmony, timbre, . earlierness.andits phrases. phrase pieces patterns. of this type, but of course it did fall into "2-ness" withinYou remember Tchaikovsky's 5-beat waltz? They felt that there was great beauty in asymmetry, or uneven- Count out the rhythm in this piano concerto, though, Well, it was one of the mically.ducedlistenand form? when to seewe woundwhat hasa series happened of noteswith melodyin some and logical harmony. order, arranged rhyth- The notes areLast combined time we into considered short ideas, rhythm; similar today towe words,will take the a look and a Melody is pro- theasymmetrylittletimeand use you'll youof bit, asymmetrical,feel,is find ora strongadded"Ah, that now atherhythmic orbeat, I've composeruneven, andgot characteristic you'vetherhythms.has beat," "repealed lost you theof findthethebeat law20th thatagain! of centuryhe 2-ness"! has leftstyle- out - a Listen now--try to tap out the This kind of Every mustgroupsideas make which are some combinedare sense similar somehow.into to larger sentences. groups, or phrases,As you and heard, the phrases the troubadour into song was a single melody. In this way, melody is made; but it Music in the PIANOConcerto,beat. CONCERTO, written 1st in MOVEMENT,1924. Igor Stravinsky -- 2:00 This is the peginning of the 1st Movement of Igor Stravinsky's Piano noteswith12thineach itscenturycombining atother. day.the hadsame sounds, advanced time. but As to inthe the the composers point main wheremelodies grew musicians more moved skilled, exactlywere experimenting they parallel became to ThisIt was calledthe first organum, harmony, and orit soundingwas considered together very of advancedtwo or more andday'sbut quitein music much a So, we 've comebitmoreis ofbackcomplex,still the to composedvery the sophisticated symmetrical:uneven "art rhythms. music," ways. all too.jazz, marches, most folk songs, However, a great dealWe've of to- re-discovered them, music.aofand priest);ablethe in 15th.differentto writebut century, he musicdirections. also and withwrote he three wrotea great or much fourdeal music melodiesof non-religious,for thegoing church all orat(in secular,the fact, same he time, was Listen to this little love song which he wrote. Guillaume Dufay was the most famous composer It uses singers, C) 1 quietthe emotions. and thoughtful, some makes you feel religious,Rhythm and somenot onlymakes gives you sad.motion to music--it has a very strong effect on You know that some music makes you excited, some makes you thetenor same recorder, time and viol, notice and the lute. harmonies that are produced by these melodies. See how many melodies are going along at tothemusictelevisionSoldiers try main isto wayworkinggoshow commercials offis this by toto thewarinchurn theuseandto upthelastofmovie yourrhythmssound example music,feelings. of and music,today.you'll by the andhear speed if that you of evenlistenthe music.in closelythis Yhw to This is done it many Flays, butWe have two separate per- I want not15thBON follow JOR,century BON the asMOIS, scale they Guillaume wesound are todayused Dufay to--thebecause (1400-1474) diatonicthe melodies --Melody major1:25 were andand modal;harmonyminor. they did didnot sound the same when Dufay was writing in the By the group,betweenwrittenhearformances opens it,theit forit 2nd.andofup will histheand choirbeNegro"swings3rd sung verses. 250gospel justit." years likesong, ago, a "Old hymn--almostexcept Time for Religion." one the little way Bach jazzy would "lick" have Then, theThey've second changedperformance, the rhythm, by the speededsame it up The first time you soundsdiatonic,tomiddle the quitediatonicof harmonythe comfortable 16th scale followed, century, patterns and withhowever,familiar which the resultwemelodyto knowus. that wasso well.beginningthe music toof settlethat period down in- As melody became more Timereallybranda bit, Religion."new and"make one. while it move."you can Remember--rhythm tell it's the same is piece,motion. you know it's really a i So listen to it now, and see whether the new rhythms don't Here it is: "That Old text--singingtelllyheard usthis thathow was Gregorian undoubtedlywordsthe reason seems chant melodywhyto wasprojectmelody grewsimply grew.themas aan melodicout exaggeration to greaterexaggerationThe anthropologists--people ofdistances; speech. of the probab- Latin who study the development of humanity- - Then we liked it and used it for We have THAT OLD TIME RELIGION (Two versions) -- 3:30 MELODY AND HARMONY theysoits developedveryown sake.long littleago), peoplesong-like roamed melodies the streets, which people sellingIn therecognized. goods days andbefore services; signs and advertising were everywhere (not really An ex- ArnautTROUBADOURsubtle, Daniel. prose-like SONG, Arnaut rhythms, Daniel and (12th since century) it is sung.-- 1:00This was a love song written late in the 12th century by the troubadour, It resembles Gregorian chant since it has no harmony, very The main thing is that it themduringrailwayample"Butter in might theLondon.stations. and timebe eggs"--youthe of butterQueen mayElizabeth,and haveegg manheard collected who calls would similarstreet go along criesto thethis just street, in asmarkets he calling, heard or He wrote a number of Thethem English into a madrigalmadrigal composer,to be sung Orlando by Gibbons, writing Listenfive singers, to it now;and hetry called to understand it, appropriately, the words and"Street to see Cries how ofthese London." "sing- asimple sturdy block folksong. chords, and the melody is just a series of short phrases, like LONDONing commercials" STREET CRIES, grew Orlando from theGibbons normal (1583-1625) inflections --The of2:45 madrigalspeech. was an extremely popular type of song throughout Europe reallyCHORALE: "ins' CANTATA -- composers 8110, J.S. used Bach polyphonic -- 0:55 style when Bythey the wanted time ofto, Bach's but death, in 1750, the new style of monody was whomadrigalgrowthwroteduring lived a theofand great-many.composers. melodic 16thworked and linein 17th Venice and centuries. harmonic until his development death in 1643.had come with the Italian PerhapsThe madrigal the greatest had originated of all wasin Italy,Claudio and Monteverdi, the great Certainly the English loved them and He wrote many melodiesaboutheardthetheir harmonic the verymaincame same welltechniqueout accompaniments time clearer,in theas involved Bach.next as solopiece,into music partsdifferent by of Georgwithmonody. kindsaccompaniment.Phillip of Telemann,patterns, whowhile lived the Now they began developing This can be Thewrotemadrigalsstandardizedanother madrigal long, time.and beautiful, we theharmony will first hear gracefulin successful theis onediatonic melodies, of opera,his sounds better andwhich he,to known we whichmore will ones--it thanwe hear are anyone moremostis in aboutelse,accustomed. five Monteverdi was a master of melody, as you will hear. He notes,namented,deal from and histhe instruments,melodieslike. very as highly, his compositions with turns, show. Telemanntrills, fancywas a littlevery fine sliding performer and composer--he demanded a great In this way, his music was much in tune with the times He decorated, or or- ZEFIROWeparts, will TORNA, hearonly thetwoClaudio firstof which Monteverdi part are of sung,it; (1567-1643) it the is otherscalled -- being1:50"Zefiro played Torna." on instruments. . baroque.noticeinfor A highlyminor. how ornamented thestyle melody was tois. be seen in everything in the age of the Listen to this section of the "ItalianSee how theAir," melody from standsTelemann's out clearlySuite from the harmony, and 24C) "oom-pa-pa"--that is, "many-voice."or anything like that. Up to the time of Monteverdi, music had been almost.always polyphonic Every part played or sang a melody--no one went This polyphonic music produced its har- A MINOR SUITE, "ITALIAN AIR," G.P. Telemann.(1681-1767)During the Classical Period, such composers as Haydn, Mozart, and 2:30 Composersmonyother.sounds--soundingat almostthe same were ..v time--the awareaccident; together--and of combinationharmonies, that is, "dissonant" harmonies butof notesthey resultedthoughtsounds--soundingproducing inbecause aterms particular notesofagainst "consonant" soundedharmony. each By carefully controlling consonant and dissonant sounds, they pro- thistheySongstoBeethoven the quiteretained and"squarish" instrumentaldevelopedclearly the evennessqualityin melody the melodies next of andand the piece.clarity harmony becameLutheran ofveryto thechorale,a gracefulhigh Protestant degree, from and which hymn.quitebut theyall lyrical, thisdid stickcame. but You can hear termsfullyresultallduced parts.of workedthethewas harmoniesharmonies,that out, the but melodythey ateverything leastdesired, at thefor below topbutall ofessentiallythewas the loweradjusted music parts they wasto offitoftenwrote the the lovelymelodicallymusic. harmonies and care- thein Gradually, along toward 1600, composers began to think more in The SchubertTrout."quartet; adds it thewill piano; have thethe simplequartet clarity accompanies, of a hymn. playingThis is theby Franzharmony. Schubert; it is based onWe awill song hear he wrote"The Trout"called as"The Schubert reset the song for string Then, after one verse, In onlymore"polyphony"--"manycomposer onelike melody, blocksofdesired, was chords. withknownvoiced." the as "monodyresult that" - -onelower voice--as parts came opposed to sound to the more older and This style of writing, where there was really beingthehowheariations next played athe composer verse, ontheme bya Theme,"one theandcan of pianothreechange the beginsaccompanyingvariations.theme a melody beingto getover "The instruments.fancy and Trout," overwith andthein thishowmelody, hecase. can which juggle is his This will give us a chance to hear This is called "Var- We will ple,topationof singthechordlike in reasonscomplicated the music,service for thepolyphonicin right Protestantwhich to the themusic, top reformationcommon notebut people.thereof thewas was chordThea adesire Lutheranchance became to with bringaChurch simple very partici- made sim- the greatest use of this music of monody--one They couldn't be expected TROUTvariationsharmonies QUINTET ofinto THEMEFranz infinite ANDSchubert's VARIATIONS, patterns. "Trout Franz Quintet." Schubert (1797-1828) -- 3:55 This is the theme and the first three before,writtennowstronger.melody. to ended andthe in finalnearly the choraleprocess every onetothe his ofnew hisCantata harmonic 252 cantatas4110. technique with grew a chorale. stronger and This type of hymn wasJohann known Sebastian as a chorale. Bach, whose name you may have heard me mention Hear how the music moves in Hundreds of them were Listen composersoperasibleand manyback harmonic wasothers.around Giuseppe pattern1600. Verdi, of accompaniment. who wrote "Il Trovatore,"I mentioned "Aida," to"Rigoletto," you that Monteverdi had written the first successful Verdi often wro4".. gorgeous melodies with the simplest pos- During the 19th century, one of the greatest'opera This emphasized the melodies, of course.opera "Rigoletto," in which the heroine is singing about the "Dear name-- One of his best known melodies is the aria, "Caro Nome," from the BREAM CONSORT: GALLIARD, John Howland (15634626) -- 1:20 TIMBRE AND FORM panimentdoesn'tiescaro ofis. none"sound downward oflike her scales,exercises. beloved. yet it has a wonderful musical effect; it certainly Here it is: "Caro Nome." Notice this melody: it sounds likeNotice a wholealso howser- simple the harmonic accom- case,musica popular thefor combinationyoupence to fromdemonstrate Queenwas violin, Elizabeth's an unusual flute, court, timbre,cittern, about or lute, Wetone 1600. have pandora,color. heard anand unusual Viola comWmation of instruments playing a galliard, I played this In this tonicCARO scales, NOME, fromthe onesRIGOLETTO, we hear Giuseppe most frequently Verdi (1813-1901) yet.By 1800 -- our2:05 melodies were well established on the major and minor dia- However, throughout lyotherda hearinggaMba. instruments 'Onlydifferent the were violintimbres extremely and in fluteour popular music. are inregularly theirTimbre time. used istoday, one ofbut the the five important elements of music; we are constant- There is the timbre or sound of 'chromaticism;them,thelastlike 19th thatare scalethis century, halfis, (minorwas scalessteps. acompOsers chromatic,scale), in which theyexperimented. ormany soundedhalf-step of like scale. this (chromatic scale). Instead of sounding like Chia (play major scale) or They began using more and more Around 1900, musiciansintervals, or all of The possiblewithcombinations,a Dixielandits tovide count paletteband, all them producingrough ofall. instrumental and differentbrassy, sounds.and timbres, the timbre that ofit awould symphony be almost orchestra im- Today we will listen to some of them. There are so many different, ler,wholealso moreexperimentedtone complex,scale). withuntil the by whole1900 manytone musiciansscale, which feltHarmonies sounded thatthey naturallylike had this stretch- followed(FIE scales, so harmonies became richer, ful- brassThisten for usesinstruments. brass trumpets, choir byFrench the For the first timbre, Listen andhorns,renaissanceI want try trombones,toto playmemorize Venetian a shortand the composer,tuba--all sectiontimbre, Giovannioforof atonethem piece color,standardGabrieli. writ- wasArnoldmainlyed somewhat these pchonberg using scales between dissonant whoand speech devisedstyles chords. and asa melodicsinging.far as theystyle could he called be stretched. "sprechstimme"; this His first great work was "Pierrot Lunaire," He also experimented with harmony, Along came CANZONAof the SEPTIMIbrasses. TONI #7, Giovanni Gabrieli (1557-1612)Now for -- the1:15 characteristic timbre of the woodwinds, let's hear a piece PIERROTpensfromfor to "reciter" "PierrotmelodyLUNAIRE, and and Lunaire";"MOONSTRUCK," harmony. small instrumentalit is Arnold called Schonberg ensemble."Moonstruck." (1874-1951) Listen --now 1:32 to what hap- We will hear the first piece andquintet;by it thebassoon. with modern in the it Braziliantimbreyou will of hearcomposer,the woodwinds.flute, Heitor oboe, Villa-Lobos.clarinet, English horn (alto oboe), As you listen, try to remember the brass timbre, and contrast This is a woodwind inof thedissonant atonal harmonystyle; thisfurther is beinginto whatsung, we rather call atonality.thanA pupil using of "sprechstimme";Schonberg's was Anton Webern. He carried Schonberg's system Listen to a song garianQUINTET, composer, Heitor Villa-LobosErno Dohnanyi. (1881-1959) -- 2:00 Now for string timbre I will play for you a trio, written by the Hun- This was written about 1920 and is for SONG,Antonbutis: see aAntonWebern systemhow Webern nois of in harmony (1883-1945)German; in it which means,-- 0:52there "This is isno ascale Song feeling.for You Alone." scale pattern seems to be apparent. That is what atonality This song by vio:Lln,middle.sound,differences viola,the cello in and the cello.is soundthe deep of each:sounding the instrument,violin has theand highest,the viola thinnest is in the This is the Dohnanyi "Serenade": If you listen closely, you can easily hear the ofinferent youAmerican stylesknow, jazz; though,and periods.we thatwill thego into"blues" that were rather pretty deeplyNow, melodic. somewhatwe've listened later. to Melody andand harmony discussed also melodyunderwent and radicalharmony changesin many dif- Our last piece Most majorcymbals,SERENADE, family gongs, Erno of instruments Dohnanyibells, wood (1377-1960) is blocks, the percussion and-- 1:30many groupothers.We whichhave heardincludes the drums,timbre of brasses, woodwinds, and strings. Here is a piece.writ- The last SWINGIN'Basie'swhenis aswing number versionTHE was BLUES,from theof the "Swingin'bigCount "bigthing. Basie band" the .Listen -- Blues."of 3:05 Count now toBasie. the melody and harmony in Count This number dates from 1938, OCTOBERofton andthe especially is percussionMOUliTAIN, called, for "Octoberfamily.Alan percussion Hovsnhess Montain." ensemble, (1911 - -)and -- it 1:20 includes almost all members It is by the American composer, Alcn Hovanhess, themansndnot all.important demonstrated:cvltrabassoon, element these and of theremusic,include are and the others; learn piano, tobut harp,recognize time Ofbass iscourse, tooitclarinet, whenshort there you tostring are hearlisten several it.bass, to more instruments whose timbres Thewe haveimportant thing is to be aware of tone color, or timbre, as Louiser,carefullyapart, that'sArmstrong line organizedall. by tuneline, from asto is see1954, the "what form"Ain't makes of Hisbehavint."a itsymphony tick."To or see a concerto;how a piece it isis organizedshort- into a specific form, we will take one Let's do this with a Its form is just as maindivisionsthere types. are fourof these, main types:but for soprano, our purposes alto, wetenor, will The andjust humanbass. consider voice thealso four has a distinctive timbre, and among human voices There are sub- acteranyintroduction thematic of the Ematerialof ece, four the measuresfrom rhythm, the (eight song.and the counts), key. playedThe Tough on the outline piano, of not "Ain't using Misbehavin'" goes like this: there is an It does establish the harmonic char- After the introduction come Puccini,inare mind operatic tothat illustrate therevoices, are probablythe many sounds different the of most bass, timbres fully soprano, developedwithin Iand shallthese tenortype playclassifications. ofvoices; voice.three theseshort arias from the opera, "Tosca," by Giacomo Bear pieceheforrhythmicfour goes and percussion,verses clear ending and of outharmonic with32 finallyof measures key,a bigpatterns, leadingplays chord. each. short backand playsburststo the what ofkey melody wecenter, call unaccompanied aor "cadenza." tonic, of except the After the fourth verse,So Louiswe have: breaks introduction, the four verses, Here to inthe the bass opera, instruments. "Tosca." The bass voice is the mature male deep, heavy voice. List-In to this aria by Baron Scarpia, the basso It corresponds troduction;INTRODUCTIONhearcadenza, from finalhearsymphony to how chord--that'sAIN'T heorchestras, establishesMISBEHAVIN', really bands, the Louis not keyand so Armstrongandthe different thelike. rhythm. -- from0:07 much music we Listen now to the in- in"GIA...MI answer toDICON Baron VENAL," Scarpia. frog A few moments later in th, opera, Tosca herself sings a beautiful aria Tosca is a soprano. Giacomo Puccini -- 1:30 THEMElong--we "A" --will 0:14 call this theme "A," principal buildingAfter blockthe introduction, of the form. the band plays the first line, eight measures exampleabout"VISSI how of D'ARTE," lifethe tenormight from timbre.have TOSCA been -- for 3:25 Tosca and himself.Towards the end of the opera, Tosca's lover, Mario Cavarodossi, sings This is a beautiful themetime.something "B"--notice more is how needed. incomplete it sounds to stop Themeat the "A" end is of immediately theme Then"B"; theplayed band again, plays almosta different, exactly answering like the line,first which we will call poser,voice,"E LUCEVAN Gustavewe will'hear LE Mahler. STELLE," a portion from TOSCAof a song-- 2:00 by the VienneseFor the expressionist true alto sound, com- which is deep and full in the mature female This is from his "Song of the Earth" ("Das Lied von verse,playedTHEME "B"inonce the more, form andof AABA.this completes one verse.After one line of theme "B" with its incomplete ending, theme "A" is 0:14 Listen to the complete verse and see if you So we have a four-line der"VON Erde"). DER SCHONHEIT" (DAS LIED VON DER ERDE), Gustave-- Mahler1:04 (1860-1911) The alto soloist is singing of the beauties of youth. VERSEcannot 1recognize COMPLETE the-- 0:56beginning of each line. In the second verse, Louis sings the melody, once again follow:mg the Timbrenizealto, it, tenor,is eventone and ascolor. youbass. recognize colors such as blue,So, yellow, we have green, heard and the red. four basic timbres of the human voice: soprano, As you hear music, listen to timbre, learn to recog- bandAABAthe "Decksomestructure. playsame of the sortthem hallsfirst ofwith thingwithverse, "nonsense boughsas morein sounds"--whattheofor holly,madrigalsless straight, falalalalalalalala." wewhere call Louiswe "scat sing has singing"--this such established things as thefa,* Notice how he doesn't complete all the lines, but ends By having his malarchitecture,five structure, elements andpoetry,is form,there and orare sostructure. many on. forma in music, Wejust have as discussedthere are rhythm,in art, melody, harmony, and timbre. All music is organized into some for- Last of the musicianstimbremelody inradically, did.our minds. and he begins to ornament the melodyThe third such verseas baroque is for the band again, but this time he uses still Then in the second verse, he sings: this changes the another timbre--theme "A" is given out both times in a highly ornamented lines or shapes; the same in architecture. In poetry, rhythm is the mo- VERSEwillwilltrombone 3 hearCOMPLETE solo;AABA: -- themetrombone, 0:56' "B" istrombone, takentheme by clarinet, "A"the isclarinet, once trombone. again and takenthe final by the statement trombone. Listen to it and you MELODY: nizabletionsound. of musicalaccents, thought--corresponds the combination of regularto line andin artirregular and architecture, stresses of andIn music, a line of pitches which is arranged to produce a recog- fromonNow, the Gershwin'sin trumpet, plape of "Rhapsodyand scat the singing one in atBlue." atthe the end ends of theof lines,firstIn linehe the improvises is4th a verse,direct "falala's" Louisquote plays the melody throughout as a trumpet solo. See if you can recognize it when you HARMONY: thoughtto intothe riseconsonantin a andliterary fall (agreeing ofor inflectionsdramatic pitches) work. inand literature, dissonant (disagreeingand to the line pitches). of Combinations of two or more tones or pitches in music, organized In VERSEhear 4it. COMPLETE --.0:56 After verse 4, Louis goes into the "cadenza"; this is a very free solo, tive.ofture,art, iousdescriptive canharthony elements refer canmaterialto of combinations bethe compared artto "setinto to ofthecomplementary thecolors scene" use orof or hues,simile, addarrangements, backgroundthe metaphor, arrangement etc.and and perspec- ofthe var- use In litera- veryhigher,chord--one--leavesaccompanied low, thencoming themes thatby in percussion. Closerahas"A" series noand and real "B"--andof closer shortkey feeling. toimprovisesbursts the nextof notes, onto whatfinal builds we note. call up, a higherdiminished and He leaves the steady beat which was established He brings the level of pitch down He reaches it, TIMBRE: thecombinations.sources, various vocaltypes orof instrumental,materials and andsurfaces the sound, used. or tone color of variousIn music, the tone color, or particular sound of individual sound In art, timbre involves the colors, shades, and hues, and Timbre in literature CADENZAphantthen repeatschord! it three times and the whole band joins him in a final trium- FORM: theformcould shape is be the comparedof underlyingthe work. to the way medium a thing used: is organized,poetry, drama, Essentiallyor put essay, together. etc.the same in music, art, architecture, and literature, It is asdenzagreatform it whichpullsaddsvariety acreatesaway very in from thedifferent, a treatmentstrongthe familiar feelingalmost of melodystructure unsureof unity and feeling, andtimbre,within So,beat; which thethisand but piece. finally,piece createsthis oftension tensiontherather ca- is raucous jazz has a very strong structure or There is STYLE: things.(2)of athe particular period of work; time thatwith is,its theown mannerismsdistinctive that signs are and peculiar waysRefers of to generallydoing it; to two things:The (1) renaissance the individual style, characteristics for example, used certain devices which anysymphony,finally music, resolved opera;listening dance,with and the marches,trying great to finaland follow all chord. otherthe form formswhiz helps ofpiece,then, music.you to understand uses the same formal principles as those which govern As you hear HUMANITIES: bywere tion,human characteristic and beings; literature. specifically, of the renaissance music, art,only. architecture, social organiza- Studies of activities which are carried on almost exclusively themuchand melody more try abouttoand follow all the the musicthe little form and andrhythmicfinally the changes to"licks.!' enjoy in it timbre, more.Now, let'sthe ornamentations hear "Ain't Misbehaving" of all in one piece. Listen to it ASYMMETRICAL: Uneven; not balanced and regular. -- Style Periods -- AIN'T MISBEHAVINI, Louis Armstrong -- 4:02 DATA SHEET 1 MEDIEVAL: greatestandic, musicdominated growth wereas dominatedof byall theGermanic largely Catholic by style.stylesin Church.the fromservice ancient of the Rome, church. and the later period, the Goth- Roughly 400-1400 A.D. Really two periods:The the medieval Romanesque, period which was a time of the Art, architecture, literature, Time of the RHYTHM: cent, even speed. Everything in music referring to time; motion, beat, counting, ac- General Terms: In art, rhythm means also motion, repeating of certain Music, Art, Literature RENAISSANCE: Strongclass."Dark recognition Ages," the ofCrusades, humanity. and Feudalism. Strong beginnings of secular (non-religious)Roughly arts. 1400-1600 A.D. End of feudalism: developmentAwakening of merchant and flowering of the arts. Age of the BAROQUE: Protestant reformation. Roughly 1600-1750 A.D. Continued rise of merchant class, more and MINUET: A courtly dancepoem whichknown emergedas the Madrigal.during the Baroque. Based on a 3- CLASSICAL: Ageceremony.more of secularism.Enlightenment. A great age of opulence. Roughly 1750-1800 A.D. Age of ccunter-reformation. Much display, ornamentation, hugeness, pomp and Reaction to excesses of the Baroque Per- Development of nationalism. FUGUE: development.wasbeat thepattern. most popular dance of the 19th century. Thelpolyphonic form which allowed greatest melodic expansion and Reached itsEventually greatest heightsevolved towardinto the end scherzo of the andBaroque. the waltz, which devotedperhenceiod. classification the to interestform in everything.andin thingsarrangement "classical." of everything. Re-discovery of the wonders and beauties of ancient Greece and Rome, Desire for clarity, order, pro- A very formal age, much CADENZA:CONCERTO: Barcque; much developed during Classical and Romantic Periods. UnaccompaniedLarge solo works section for ofsolo a concerto,instrument usually and orchestra. designed to Begun in the . ROMANTIC: much--rediscovery reflected in of art man's and "humanity."literature. A time of revolution and social change, Roughly 1800-1900 A.D. A time of great emphasis on individuality Music expanded greatly, stressing sounding.show the dazzling technique or the soloist. Very free, improvisational SCALE: Stepwise, orderedexpression arrangements and emotionalism.of pitches going higher or lower. -- Specific Musical Terms -- TAILGATESCAT SINGING: JAZZ: gonsdooby-doo," drawn aroundand many the others. streets of New Orleans around 1912-1935. Jazz singingOriginal style Dixieland using "nonsense band music sounds," played such from as tailgates "dooby- of wa- CHROMATIC:DIATONIC: Diatonic major most frequently used; diatonic minor, next. Seven-tone Refersscales tomost type commonly of scale used used in ontoday's 12 equal Western half-step music. intervals. 1100..Development700..Gregorian of Organum Chant -- Time Chart -- Medieva Period 1100 700 MODAL:WHOLE TONE: deriving from ancient Greek scales, or modes. Scales based on various combinations of whole-stepsScale and half-steps,using six steps, all whole tones, or whole steps. 1500..Giovanni1400..Guillaume1300..Troubadours, Gabrieli Dufay Minstrels (1400-1474) (1557-1612) ClaudioGrowth ofMonteverdi Polyphony (1567-1643) Renaissance Period....1400 15001300 DISSONANT:CONSONANT: Harmonies "disagreeing""agreeing" in intheir their lower lower overtones. overtones. 1750..Wolfgang1600..Johann Sebastian Amadeus MozartBach (1685-1750) (1756-1791) GeorgeLudwigJoseph Frederick vanHaydn Beethoven (1732-1809) Handel (1770-1827)(1685-1759) ClassicalBaroque Period Period i 17501600 MONODY:ATONAL: emphasis; thus there is no "tone center" to atonal music. Music withbased accompaniment, on 12-pitch scale, but with in whicha single each main pitch melody. is given equal 1800..Franz Schubert (1797-1828) ArnoldGiacomoPeterGiuseppe TchaikovskySchonberg Puccini Verdi (1813-1901) (1858-1924)(1874-1951) (1840-1893) Romantic Period 4 1800 GREGORIANPOLYPHONY: CHANT: church musiccontrapuntal around 700 music."A.D., by Pope Gregory. Music with two or more melodies sounding at once. Vocal music of the Catholic Church, established as official Single-line melody sung to Also called 1900 DixielandIgor Stravinsky Jazz (1882 - -) ImpressionismExpressionismAtonalismExperimentalism 1900 MADRIGAL: andPolyphonic,the inprose France, Latin usually where text foritof was4the or called church5 voices. "Chanson."service. Type of secular song developed during the "High Renaissance." Very popular in Italy and England, Developed from a type of 1940..Bebop1920..Pierre Boulez (2925--) RockProgressiveSwing and Roll Jazz, Rhythm and Blues, 19401920 WHAT IS STYLE? dance. LAcentury, QUARTE ESTAMPIEin France. REALE (troubadour dance, 13th Century)You have --just 1:53 heard a court dance from the troubadour music of the 13th This was music just for fun--it was not formal concert HereAmadeusmembers the Mozart,style of the will the violin havegreat family.changed Viennese again. composer of rococoNow, and we'llclassical jump music.up to 1791, and listen to a German dance by Wolfgang The rhythm, while still very clear for All the instruments are strings- - andreal,music,headsswing, for alive, nor overallbebop: was Iandit know, itor and"in" thoughtrock feltpeople as and thethat of inroll. latest asthethe great youngerolder thing "art." generation today,generation whether of was that itgoing timebe Dixieland,to shook the dogs,their It was a type of dance called an estampie, It was, for it's day, just as vatedcan'tcal--adancing, Viennese begood raucous,has tunes becomearistocrats, easyrowdy, smoother, to or'remember. so very themore athletic.style sophisticated; has to conform melody to istheir very needs; symmetri- it This is music for the elegant, culti- theweeks,listening word so "style." toit thatis important jazz. that we gain an understandingNow, style, of what is iswhat meant we areby going to consider today and for the next three Most of you have a general notion, I believe; it means, But, it was very much in style. tenGERMANfrom in 1791.ElizabethanDANCE, W.A. EnglandMozart (written(about 1600) 1791) and -- a0:55 courtlyWell, dance we've from heard Vienna, 13th centurywrit- dance music from the troubadours, music All of these were good examples of the style of dance music asSpanishJefferdonfor "style,"a oneparticular style,thing, Airplane,we mean ranchwhattype. a iscarsstyle--allparticular "in" with at tailfins, thetheseway moment. about are or examplessomething cars without of that styles. tailfins,makes it recognizablehouses in You know that in music there is a church style, a Mod clothes, the Beatles, the When we say Dixielandwayshasdifferentof beentheirit has around bandtimes. styles.been style. fordance a longmusic--until time, played just inlately. many different styles; but al- Now let's hear a pieceThis of is American one of thejazz, classics played ofin jazz,two "SweetThis, Sue," as you and know, it was based on a little band - -us- We'll hear it first in sancetimestyles,ingjazz band andstyle,style, of style,place, course. aand "serious" and soso thatsoon, on. meaningwestyle speak (usually that of classicalcertain found time instyle, the periods concertbaroque used hall),style, ways athatrenais- march- Style has also come to mean the manner of a particular And there are many different styles among those thestyle,dentalaually lastband, achorus,iscounterpoint clarinet,it "Sweet tended everyone Sue." cornet,to which be alwayspretty nevertrombone, improvised loudcame banjo,andout raucous,the'on drums, same.the tune,and bass.it causing was very an acci-free. On Here, in Dixieland Since it was bywere styledifferent similar characteristics artists.enough that make they it can quite be recognized,possible to evenlookLiterature thoughat a picture, the and works art read alsoare a come within the considerations of style, and SWEETed out SUE arrangements, (Dixieland) --and 0:32 the playing was very controlled.During the 1930's, big bands were the style; they used carefully work- This was the poemstyle.times, or aits novel, author see or a creator,building, just and byidentify its style its characteristics.Youstyle have period, heard anda dance many tune in theLet's 13th listen century, now toFrench a dance troubadour tune in the style of the court of Queen to instyleinstrumenttimehave the of aof"swing beat whatthe available. andmusic,westyle." mighta speed of callcourse. that "symphonic made it easyjazz," to becausedance to. they used nearly every Danceability was the big thing, so the music tended Here is how "Sweet Sue" might have sounded This changed the givesratherdance?Elizabethfamiliar it rough it's ofto England.soundingourstyle; ears. analyze and played its rhythm,on instruments melody, thatharmony, didn't timbre, sound andvery form. It was a 'single melody with a strong rhythm, no harmony at all, ListenThis is now from to aboutthis piece,1600; rememberand try tothe think troubadour what differentSWEET SUE styles.(Swing Style) -- 0:35 Since the 1930's, "Sweet Sue" has been played by many groups in many In the last ten years she has undergone style changes MOUNSIERSThis is by ALMAINE, William WilliamByrd and Byrd was (1543-1623)called "Mounsiers -- 2:12 ThatAlmaine." was really quite a different style from that of the Estampie. poorRhythmschangesmentthat old arehave are "Sweetin so gottentoojrzz- "far Sue"asymmetrical -thisout"so in experimental there.thatis something theyfor dancingare that wereally it's seeand and forsometimesharmonies hearlistening, all prettyand the melodicnot time. hard for totreat-dancing. find But, you know pretty well how the style sincethanRhythmBy featuring1600, in the wasthe harmony form stillEstampie.the of lutestrong,was the wellas music itand developed did; correspondsthe buttimbre sothe the wastimbreto Almaineastill formal was that wasmore organization offully familiar an olderharmonized. soundingin age, the The form was very clear, as it usually is in dances, becausepastany hasother weundergone havemusic. examples very great of church changes. music for a much Styleslonger changetime than in allfor types of music, of course. Let's go back and listen for a moment to Gregorian chant. Probably we are more aware of them The music of the Remember, this is music in which the style was well set and officially ap- Classical, many "concert Masses" were written, using orchestra, chorus, and thewasprovedlysubtle. prosethat narrow by oftext.the spanunaccompanied church, from highby 800. maleto low. voices, and the form simply followed that of Melody was very smooth, often long and complicated, and in a fair- There was no poetic organization, hence there was virtual- Rhythms were complex, asymmetrical,There andwas veryno harmony at all; the timbre text,Johann14ththoughsoloists. theSebastiancentury theKyrie text polyphony. Eleison,Each. is that as of that the whichLatin weMass. heard in Iregorian chant and in An excellent example of this is the great "B-minor Mass" of This is always performed as a concert work, even Hear how Bach handles the same KYRIEtenandly toit no (Gregorian theisrepeating theopening style Chant,of of ofphrases. the the 800 Mass: Romanesque A.D.) this -- is 1:49portion the first of theportion, Medieval "Kyrie Period. Eleison." This was a music we call. "through-composed," Lis- wasKYRIE, brought B MINOR over MASS, from J.S.the JewishBach -- service. 1:15 We know that a great deal of the music of the early Christian Church When Christianity became the phonicwasing done usedsetting in together;1350. of the rhythmsmass. wereThat more was controlled,the earliest since "style" polyphonic of the Kyrie.perform- The French composer, Guillaume Machaut, wrote a poly- By this time, Anstruments and voices were be- Now we will hear it as it people.evenandLatinized,official musictoday Roman livedmucheven religionofonthough itits can cWnmuch during be right oftraced the and music4thback has century, toundergonewas very Jewish. theearly some service music style wasof changes, theentirely Jewish but The section of the Mass which we have been hearing, the Kyrie The Jewish religion radically.justed.andance moreheard)had easilybecome in Machaut's recognizable,the style, polyphonic and because the melodiessetting. certain had lines becomeThis and shorter,isphrases the Kyrie weremore Eleisonrepeat-poetic, (the same portion of the Mass as the one we See how the style has charged ments,stylefollowsJewishEleison, here and chantthe means, isas same meaningquiteyou "God text;listen, different. thehave although samecomparemercy thing. theon t^em us,"words in and yourare, this mindsof evolvedcourse, to the fromin different Jewish. an older styles Listen t. Lot's listen to a Jewish chant which the timbre, form, and other ele- The satKYRIE Kyrie from of Polyphonic :350 is quite Mass, great, GuillaumeThe 1difference think Machaut you inwill(1350) style agree. -- between 1:26 Grevrian Kyrie an:: that of the Mach- Foth Kyries are AIMasof BEKOREIin"Kyrie's" the Kyrie, NU you(Jewich "God have have justChant) mercy heard. -- or. 0:45 ..1s." This is "Anna Bekorei nu," which means, orationcomplexitiescathedralsGregorianserving and expressesthedo. architecture of same polyphonic purposethe mccievalof writingan4Gothic saying style, cathedralsin waysthe just samethat as thing,canmany be of butcompared the the old style toRomanesque the of dec-the Machaut's polyphonic mass is Gothic in manner, using the and their beautiful stained Palestrina,thebutuse theCatholic hymns changes andwhich Church composersin arestyle has essentially adopted havesince not hisas beenthe moretime samevery orChurchhave inlessgreat. tendedstyle music"official" as tohas thatuse changed thestylesof thestyle slowly similarold of chorales. since the time of the Baroque Period, The Protestant churches whichtingglass he reflected windows.lived. the style of theThe composer, mass was and set the by stylemany composersof the period after in Machaut, and each time the set- Style became more complicated as composers grew more skill- oftennumbersheardofto thehis,poorly in styleby eventhe receivedthe anthemsofthough choirs; the because churchheof more livedthe nineteencongregationsmodernProtestant four centuriesstyles centuries churches, tendcan ago. beago.to usedwhichbe conservative in are them, sung but as in theyspecial their are Jewish music retains Somemuch changes can be tratorsbutmade"Highful comparatively at aRenaissancehad settingwriting been worrying ofpolyphonicsimple "the -- massroughly polyphonicallyabout music.in 1500-1600--thethea style style andwhich of rhythmically.church wasItalian quite music, composer, advanced but theyPalestrina, harmonically, felt Finally, in the style period we call the Church adminis- triedGraceJusttastes--theyexperimentation lastatCathedral other year, like places Dukein thatthe San Ellington inold isFrancisco, America beingstyle. andclone and andVince England; withexperiments Guaraldi jazz so and perhaps played offolk this musicthis"jazz sort will in Masses"are the havebeing church. atsome One very interesting style change is the properchurch,that stylePalestrina's and of they Catholic adopted style Church wasit eagerly.perfectlyThe music Protestants from suited the had16thto thedeveloped century aims and on.the needs chorale. of the of congregational hymn, as a This has remained as the model of the musicthinkinfluence given it willtheon thesamebe interestingstyle treatment. of church to hear music what Wein heardhappensthe future. how to "Sweet a piece Sue" of wasconcert radically altered by different styles. There is a beautiful cantata, written by I thoughwasthestyledistinctive aservice major theyof worship. werestylisticand style hadProtestants. begunof change church using and music. theirthey hadowo madenative many languages. other changes in the Many composers, however, continued to write masses, even During the Baroque Period, and even into the They had stopped .sing Latin throughout This in itself thetodifferentBach, in, howtone aboutsinging Bach colors ways, 1720.uses a comechorale. thatscales andnothing goinggo--cr.chestra isin permanent,opposite plays directions nor alone, can be thenat counted the with same on.chorus, time, andhow so It opens with orchestra, and after a bit the chorus'joinsThis is music intended to show how life goes many Listen Medieval artists and musicians had concerned themselves primarily with OPENINGtheon. cantata. CHORUS, CANTATA #26, "ACM, WIE FLUCHTIG,"He J.S. has Bachpurposely -- 2:00 "styled f.t" this way to try to express the text of istshumanist.attitudelifeindividual andafter musicianstoward death; felt God was theytried and important. felt thevery thatlife hard thein to heaven; livingmake their manrenaissance wasart importantand manmusic wasa onlynatural true in hisand He felt that man's own humanity was important and that what the Because of this attitude, renaissance art- balletgenerallynotsame existnumber,music "soupedWhen you so Bachjusthe up"altered washeard, the living, wholetheadded style piece.substituted some radically. ofAbout our brasses 10modern years forinstruments ago, the Constant chorus, which Lambert,and did an English composer, took this He wanted it for a high charged Before it was a beauti- music.polyphonybeautiful;,musiciansings of words.gave way to tried a rare to personal,make the musicwarmer, express more expressivethe emotional style mean- of While vocal music continued to dominate, the older medieval baroqueLambert,Bach.musicfully couldcharacteristic music, the havepiece nor said, doeshas piece changed"Oh.yes,it soundin baroquestyle that'slike soBach. style; baroquemuch thatanyone music, it atis and allcertainly I'm familiar sure no it's withlonger Iby can recognize the style." Hearing the new version, rescOred by Is this good or bad? I'm not Seeveryment,vidual ifexpressive. becamehepart, is notverychoruses successful popular. were used,in expressing and soloInstead thesong, sadness oftenof small of.anwith groups luteunhappy accompani-of fourlover. or five singers, each singing an indi- Listen to this song by the English composer, John Dowland. Always, the renaissance musician tried to be butofsure. itit. simply isn't what it was anymore. I hope that by now youhave a clearerIn any notionevent, it'sof what a very we meangood bypiece "style," in its modern symphonic style, The style has made a new piece out FLOWveryThis expressive.0was MY aTEARS, very popularJohn Dowland subject (1563-1626) because it -- gave 1:20 the composer a chance to be It is called, "Flow 0 My Tears." bothtime.cal in. style regard periods. to the manner of an individualNow, hereand hisis theworks, updated and ofversion histori- of Bach's Cantata #26. We will go into the style periods at more length another Constant Lambert vocal,becausenowso popular asaccompanied the a statelystyle that captureditbydance, wasinstruments, arranged thethe pavin,renaissance andand played rearrangeditThat was spirit. by songvery, a typicalin of verymany Dowland's, expressive.renaissanceways. written consort about 1610, was tremendously popular It was beautiful, it was Listen to it It was AH:calls HOW it,EPHEMERAL:, "Ah: How Bach-LambertEphemeral:" -- 1:49 PAVIN:of instruments. FLOW 0 MY TEARS -- 1:40 Choral music caught on more and more during the late Renaissance. By BASIEZ-MOY (KISS ME SWEETHEART), JosquinToday DesPrez I am (1445-1521)going to demonstrate -- 1:51 some of the basic style patterns of RENAISSANCE AND BAROQUE STYLE andonintoabout ing, oppositewas a 1600, polychoralusingthe sensationsidesit choruses was ofstyle, the St.of andstyle, EuropeMark'swhere instrumentalists, and twoatCathedral. ittheor was moretime. developed, choruses was very sangparticularly grand from and choir impressive, in loftsVenice, This style of polychoralIt sing-was called the "grand con- musicmusic,otherrenaissance thatof intime. thethe make Renaissance,andway it baroqueit recognizable is written music.or what andas are musicperformed, the of particular the that Baroque, makes features andit soundnot of ofbaroque like some By this I mean what it is about renaissance poser,nationcertato" Giovannibetween style. them,Gabrieli, plus developedcombinations this of Concertatoto all a veryat once. highstyle point. involves small solo groups, large groups, and an alter- The Venetian com- He wrote Prez.sanceor non-religious, (about 1480 to music. 1500) by the greatYou composer have just of thatheard age, a very Josquin characteristic DesJosquin wrote piece music' from forthe theearly church, Renais- but he also wrote much secular, The piece we heard was a secular one, called Canzonapolychoraleffects,essentialsconcertato #14 works;andfor ofworks greatthreeHigh these for variationsRenaissanceseparate varioushe called choirs choirsin musicalcanzonas, timbre. ofof instruments.style:instruments or sonatas. expressiveness, which imitated polychoral the large It contains all theListen to his musicpolyphonic,groupsingers,"Basiez-Moy," wasof fivethe butas main instrumentalistsnearlymainly or part,"Kiss allplayed again Me,renaissance theSweetheart." awho renaissancesame played musicnotes some was,thecharacteristic. music singersand theindependently sang.vocal part ofof thethe It was for five singers and a The music was tweenCANZONA the #14, renaissance Giovanni andGabrieli the Baroque. (1557-1612) -- 2:00 Gabrieli's "grand concertato" was at a pivotal position be- Many scholars argue that it repre- rented the begi ings of the Baroque, which was characterized by grandeur, porting the melodic line of the singer. alltheItwhere sic, wasoatcompetition renaissance definitelyartin anand effort architecturebetween amusic partto impressProtestants tendedof thewere toandCatholic allbe aweand personal,enlisted peopleCatholics. counter-reformation, inintounpretentious, the becoming struggle converts. inandfor which intimate.people mu- in Both groups were going In SU LE SPONDE DEL TEBRO, Alessandro Scarlatti (1660-1725)RecitativeI hope you -- noticed1:25; how the trumpet played as a second melodic part in Aria -- 1:20 1600.baroquenificentthisstyle sense, style, stoodbuildings, the sidestarting grand bypaintings concertatoside, around but and1600. the wasmusic baroquebaroque. were canall becharacteristic said to have ofstarted early by For many years baroque and renaissance So, grandiose, colorful, mag- offorexpressivenessthe instrumentaltheariainstruments constantly ypu just ofmusicalone heard.musicrising iswithout gavetheindependence last composershaving great to of thestylisticrely instrumental chance on words. changeto write music. of expressivethe Baroque music Per- This also was a baroque style and was an outgrowth This great growth The growing aissance.tofor polyphony, a single melodicts many linevoiced over music, a melodic which basswas theline.Another principal very style important of the styleRen- characteristic was that of monody,Monody or was music fire, developed by to group of musical and dramatic ex- This style was opposed Manydid iod.forms the violin,had evolved which for had the finally instruments been perfected coming from Theearly organolder in theanddance 17thharpsichord forms, century. emerged as very important instruments, and so perimenterslinetodramaancient make of should melody,theGreek who, words be dramain supportedgiven thevery which humanistic inclear aby hadmusical aand usedmelodic tradition,understandable, recitinz:music. bass wereline, wbica trying theywith they used thetocalled recreateinneronly "recitative"; theharmonies therecited They felt that the lines of the contemporaryquitehastheimitations lutereached advanced. and of theirtheof vocal Bach,organ. real forms, and perfection, perhaps and from the and improvisational greatest the style harpsichordist of instrumentalforms, especially of theplaying Baroque with was Listen to "his harpsichord sonata by Domenico Scarlatti, a By the beginning of the 18th century, these forms verdi,veryledody,"to great be to whoor improvisedthe singlerealizedcomposer first voiced. opera,bythewas the possibilitieson whichaccompanist.the scene wasn't atof very themonody. time.good, by-the-way. Their experiments using monody with drama quickly This style of music they called "mon- He did muchThis to wasestablish Claudio Monte- Fortunately, a Period.SONATA IN F MAJOR, Domenico Scarlatti (1685 .,1757)Organ -- 1:00 works were brought to high levels of achievement particularly by thethatoperasty:1.efrom strongTheseus as his ofa bassgreatopera,monody. has lineceserteddramatic-musical "Arianna." supports her. the wholework ofwork. art. Listen to the expressiveness the singer can use, and how In it you will hear Ariadne lamenting theThis fact piece is a fine example of the "recited" I will play a short section works,Bachestantopmentthe who greatestalthough church,forwas organthe composerthey especiallygreatest was were at of confinedthe organist allBach, hands time. although mainly ofof histhe to timethenorth the firstin church.German addition great organists worksto being had of perhapscomethe Prot-from There were many forms and styles of organ Much of the devel- LAMENT°over the D'ARIANNA, continent. Claudio Monteverdi (1567-1643) --From 1:55 the time of Monteverdi, opera continued to grow in popularity all With it, there developed the oratorio, very much like FUGUEgreatthe IN"FugueItalian C MAJOR, in Catholic, C J.S.Major," Bach Frescobaldi. for (lt... organ. 1750) -- 1:30 This is the opening section of Bach's butedonlydevelopedopera, was as oneotherwisethe but orprincipalwas-the nottwo aconsideredsingers staged,cantata, style and dramatic ofold-fashioned. which athe few period. wasinstruments.work. shorter than oratorio and often used Another popularPolyphony form was of usedmonody in whichchurch music,Singing has developed into theBy 1700 monody was establish- harpsichordsolofored withtwo violins, solothe and trio instruments cello.although sonata many andand theusedbasso concerto solo continuo, rutes, grosso. oboes,The recorders,high point orin instrumentalcombine. ensemble music ir the Baroque was reach- The majority of trio sonatas were written for two the continuo usually being The trio sonata was a work the."Ageelementandto bel becello, calledcantoof of the thebass. type, theBasso BLroque or"basso and Continuo."bassoon. thePeriod. continuo." strong bass line, which I mentioned before, had come The basso continuo becameIn fact,the main many stylistic people refer to the BaroqueIt as was usually played by the harpsichord qualityofGeorgeLions continuo.the of fiveFrederickof these the musical bassoor Handel's other elements,continuo. instruments. "Trio and Sonata above #2all, in noticeD Major" the for strength two violins and melodic and Listen to the interplay of the solo violins. We will hear the first movement of Consider the use canto"in "Suthe lesinging.recitative, Sponde del and Tebro." then in the aria which follows,I am going to play two excerpts from Alessandro Scarlatti's cantata, Listen carefully to how the basso continuo is strongly sup- Listen particularly to the style of singing, first This is real "bel theTRIO sameSONATA musical #2, D elements,MAJOR (Allegro), the concerto G.F. Handelgrosso (1685-1759)becameThe trio the sonatareal orchestra represented the high point in ensemble music. 1:42 Using monymusiccello,sonata.concertato, and of bassotheand time.an thecontinuo. accompanying opera*It was overture, an groupoutgrowth andof stringsthe and developments combination and harpsichord leadingof the playingoldto theVenetian thetrio har- The concerto grosso used a solo group, frequently two violins and This form--the concerto grosso--was the great uallysonataHieand sonatahe a form,developedminuet, forms the and secondusuallythe the classical fourtha involvedslow againlyricalsonata four a formfastmovement;movements: fromone, thatHaydnoftenhis the third of firstbuiltin the the movement onebaroquetax form fastthe of was sonata.words anda us- in of the composers who followed the Baroque, finalcertos,temporarymostorchestral importantnumber and of form, wastoday,Bach's, composera andvery we Antonioeventually willgreat in developinghear influence,Vivaldi, ledVivaldi's to whothe theeven wroteconcertoconcertoclassical on Bach,a treme42ous grossogrosso, symphony.himself. was "La number another Primavera," of con-con- ForPerhaps our the FinalebroadenedHarmoniesRhythmsrondo. to also Haydn'sbywere awere widerstrongly "Londonsymmetrical use based ofSymphony," instruments onand the unchanging anddiatonic insee the how within scale,orchestra. he established aand particular the timbre clarity movement. was and Melodies were very clear, symmetrical, and almost always in monody. Listen to the LASeasons."which PRIMAVERA, means "Spring," 1st Movement, from his Antonio set of Vivaldi four concertos (1676-1741) which -- he3:26 called "The FINALE,strength LONDON in the SYMPHONY, classical Joseph style, Haydn (1732-1809) --Haydn 1:22 used sonata form in the symphony, string quartet, string trio, SINFONIA IN B-FLAT MAJOR, Johann Christian Bach (1735-1782) -- 1:50 CLASSICAL AND ROMANTIC STYLE andworksgreatestdevelopmentsolo in concerto,sonatas using musical donateoffor leavingclassical pianogeniudes form outand as sonata thetheotherhis worldminuet.basic formsolo has structure.wasinstruments. ever Wolfgang known. Amadeus Mozart, one of the Closely associated with Haydn in the In addition to this, Mozart Mozart alsoHe wrote also usedmany it in the mayofhear frequently therecall some things piecesthat performedto music listenwhich of willby forthe harpsichord inshow3aroque trying the almost differences,towith identify aalways melodic theandTodayused bassstyleI thewillwe instrument. willbassoof point a hear piece.continuo, out music some in classical and in romantic style. We will This You wroteoforderliness,ified thismany sonata isgreat his form.clarity, operas,overture symmetry,each to theof whichopera, and beautifulwas "Abduction preceded use frombyof an melody.the overture Seraglio." in a mod- His mus;c shows all the classical characteristics of A good example whowasthe leftdone many Germany,away musical with settling insons4of the ClassicalfinallyJohann Sebastianin Period London, Bach. whereOne he ofbecame the principalknown as the composers who brought about this shift was one of and has not been restored since. This was Johann Christian, OVERTURE,but during ABDUCTION that time, FROM muchTHE SERAGLIO,of the music Wolfgang we hear Amadeus regularlyThe-- Classical 1:30Mozart in (1756-1791)concerts Period didn't today really last very long--only about 50 years; continuoliesin"London instrumentB-flat somewhere Bach." isMajor." gone; "filling between all the out"the notes baroquethe harmonies.are andwritten the classicalout, and therestyle. is no keyboard The piece you have just heard wasIt a isportion what can of behis called "Sinfonia a transitional piece in that it The music is very monodic and the In it the basso athechangedLudwigwas direct produced.fullest van musicdescendant Beethoven,development to the of romantic whothe of beganbaroquethe style.solo writing concerto, concerto in the butin style thea much Classical of moreHaydn, dramatic, Period. then gradually power- The third of the three important composers of this period was His great violin concerto represents It is tra,andrhythms neatly except and arranged. forphrase the structurebasso continuo, are very so symmetrical.the timbreOn is the still other primarily hand, thebaroque. orchestra is still essentially a baroque orches- All of these are classical characteristics. Everything is orderly withbetweenofbaroqueful contrasting work,no storytheworks because two ordidnature. themestext, notthe have.sonatajustwhich "pure" madeform itusedmusic--which possible a new structuralto was write highly abstract principle dramatic music--music which and the Composers were able to develop a dramatic tensionThis was a use of two main melodies or themes Haydncaldevelopment whomusic, developed and of indeed,form classical and of formal the forms whole structure more Classical than which any Period, isotherThe the composer composer.whichmain featurewas most roughly associatedof classi- from with the Classical Period music is Joseph It is the VIOLINcerto,edemotional. to CONCERTOthe and fullest try INto D,degree.grasp Ludwig the vandramatic Beethoven effect (1770-1827) of the music. -- 1:37 It was this element of classical music which Beethoven develop- Listen to this short portion of his violin con- wereandorganizeity176p allorder. ofto theconcerned1810. knowledge Baroque. with and bringing at of the order period out reflectedof the rich the confusion desire for and calmness complex- It was a period of "coolness."This was a time when artists, musicians, and literary peopleEncyclopedias were being written for the first time to youPeriod.Haydn's what some symphonies, of the differences and his ninth were. has both feet squarelyBeethoven in wrote the Romanticnine symphonies; his firstAlong is verythe wayclassical, he changed, much andlike so did his music. Now I must tell power within the sonata structure, and a period of Thegeneral Classical sorting Period out ofwas one of organization, of developing dramatic vidualSo "romantic" and with themeans, exotic, then, unusual expressive, and different. emotional, concerned with the indi- mantictheinformation. desires,French ideal," overthrowingRevolutions dreams and it and became tookrightstheir place,a king.basisof the America for individual. all throwing sorts of off cultural British activity rule, and Politically it was a time of great change: the American and People began to be very concerned with This was called a "ro- metryHe sive.wrote of classicism,many works, andall hewith was descriptions fascinated withand programs,imaginative,Another all important fantastichighly expres-romanticHis expressiveness composer was didthe muchFrenchman, to break Hector away Berlioz.from the evenness and sym- mythology,ural,literature,ticthroughout Period. such theasart witches, hero,19thand music. century,and were-wolves, tragedy, which and isand theyapproximately magic. rejected the "coolness"time of the of Roman- clas- Ideas and self-expression led to all sorts of experiments in The romantics were concerned with the supernat- They were interested in hastimbrecalledideas. made of changes "Thethe orchestraWitches of speed; Sabbath." by loudness,using bells, softness, hands andand manymany moreother instruments dramatic ef- and In his "Symphonie Fantastique," he even incorporated a movement he Listen to it and see how he has added to the sicism, in the desire to show their own feelings. . The brotherhood of man fects to try to portray an impression of a "Witches Sabbath." thoven,becameforms important. inall his sorts "Ninth of programs,Symphony," stories went so and far musical as to Musicincorporatepictures reflected of fullideas. theorches- romantic spirit by building into the classical Bee- TheSYMPHONIE harpsichord FANTASTIQUE, was abandoned Hector becauseBerlioz it(1803-1869) was not Thepowerful -- piano1:42 enoughhad emerged, nor expres- about 1780, as the dominant keyboard instrument. fullykindto tra--mucha shelltextromantic bybe larger Schiller, asin brothers."its than dramatic the any "Ode before: expressiveness to Joy," huge thechorus, themeand andits of fourtext.which soloists, was "All singingman- This is music organized on classical forms but . ersRomanticinstrumentsive and enough, composers PeriOd since and was itsoare thewas closely greatpracticallypiano identifiedtimebecame of a athecomplete very with piano important it. orchestraand several solo in andremarkableitself. accompaniment play- Mozart was the first, then The FINALE, NINTH SYMPHONY, Ludwig van Beethoven -- 1:37Franz Schubert continued the trend of Beethoven in that he continued to Trumpet.er19thCamilleBeethoven, instruments. century. Saint-Saens Chopin, Liszt,was one Brahms, of the andgreat Debussy, French andpiano of virtuososcourse, many of theothers. late It uses classical. form but is romantic in its useHe of wrote piano many and works,inHere usually is the programmatic, finale to his for Septet piano for and Piano, oth- Strings, and namescalledsoundexpressivenessuse whichclassical and "Death insuggest his and sonataand "program" somethe increasing form, Maiden."story ideas.but or use romanticismprogram. of chromatic ran harmoniesthroughout to his "warm music up" in the its Many of his works in sonata form have Listen to his string quartet FINALE,its elements SEPTET, of Camille virtuoso Saint-Saens playing. (1835-1921) -- The1:37 most influential opera composer of the Romantic Period was Richard Maiden,"STRING sinceQUARTET, he has"DEATH written AND THEit asMAIDEN," a string Franz quartet; Schubert Schuberthence, (1797-1828) there has allowed you to imagine your own story to "Death and the are no -- 1:20 verymantichimselfWagner.the nationalistic, orchestra idealslived. of tothe carryanother supernatural, the strong descriptive romanticthe exotic and characteristic. emotionaland the wierd, burden and of theyhis works,were He was an arch-romantic in everything he wrote and in the way he His operas, based on German mythology, appealed to the ro- Wagner used poemsappealcompaniment.imaginingwords. which to whatwerethe romantic-mindedhehighly means. expressive, people which of toldhis time.stories, and were of great This gives you, the listener, a chance to be expressive yourselfHere he in extended the romantic style greatly, since he chose Schubert also wrote over 600 songs with piano ac- aroundthewhileforchromatic, music theyouthe wassingersatop sqLtion breaking veryof a sang freemountainof away thehisfrom textopera,from onthe which intherestrictions "Diea diatonic recitedthe Walkure," sleeping style.natureof form.in heroine, whichof classical a Brunnhilde,magic music,fire ishasand lit His music is very I am going to play andmeansical." clarity "love" ofthe ancient way we Greece--ause it so timeoften. they called "classicalPerhaps it Greece."would be wise to clear up thisThe word, people "romantic." of the late 18th century were fascinated with the order It a word to contrast with "clas- It doesn't They tryingthebeen"MAGIC lightingplaced, to FIREpaint inof MUSIC" a trance.musicalgreat from circle pictureDIE WAIKURE,of suchfire. asRichard this. Wagner (1813-1883) This is the "Magic Fire" music. See if Wagner is successful in Try to imagine -- 2:00 Rome.more1810attempted "cool,"emotional people toso beganandrecreatethey expressive--more speakingcalled art it basedof "classical." the on of"romantic" the the same heart ideals--orderly,approach--more than the head--so like clear, aroundthat formal, Itof is from this that we also get our name for the "Romance" languages. It was thought that Roman times were 19thofstanding the century great among andGerman the his "not-so-romantic" symphonyworks are composers. all built composers on classical wasNot Johannes all forms: composers Brahms,the symphony, of another the time were as purely romantic as Wagner. He lived in the second half of the Out- sonata, concerto, etc. Some people even call him a "classical-romantidist," They, like the impressionists, were late romantics. The expressionists becauseFINALE,sical inhis.music, SYMPHONYits structure. 44,while Johannes very romantic Brahms (1833-1897)in its expressiveness, is quite clas- This is the finale to his "Fourth Symphony." 2:00 towithdifferentattempted somethis them. verygroup. waysto strange do of away showing :corks with theirallindeed, formal expression. and structure, the expressionist and they musicians looked for were new right The atonal composers of the early 20th centuryArnold generallySchonberg, belong Alban Berg and Anton Webern were of this Poets and artists produco6 nd differenceof sonataiodsour concertstressed form, is anmusicalthough instrumentalaesthetic played it wasone:today over greatly classical comesvocal expanded frommusic music these and instresses bothtwotheIn some periods.Romanticmade formal ways, great Period. organizationclassical use of and romantic share many elements. Both per-The main Much lemsandgroup. theirof the compositions world. were often attempts to showThey the wrote psychological music with prob- no tonal center whatever--no feeling of scale- - Alban Berg wrote an opera called "Wozzeck" in the expres- orvocalofand uedthewithout clarity music butcontent. not other ruled.of as content instruments.importantly while asromantic during musicthe Baroque stresses or thethe emotionalRenaissance meaning where Vocal music, as solo song, choralThe music,piano emergedand opera, as thecontin- principal solo instrument with recognizableeerie,sectionlosessionist half-madhis ofstyle. mind, thescales, effectop:sra murders and offor a his twogeneralyou--a wife,or threescene feelingthen kinds incommits aof tavern. ofunreality, musicsuicide. going which on toat theonce, ex- no He shows the hero, Wozzeck, gradually breaking down until he You can hear the rather I will play a short acters.expressiveopera, "The and Pearl melodic, Fishers." concerned with expressing Forthe ouremotions final ofnumber the char-today we dill hear aThe duet story from is George romantic, Bizet's being laid in the exotic land of Ceylon, and This is typically romantic French opera. very WOZZECKpressionist (THE was TAVERN), perhaps Alban the mostBerg real.(1885-1935) -- 1:57The prime mover of the atonal expressionists was Arnold Schonberg, who DUET,concerns "THE itself PEARL with FISHERS," liumble George people, Bizet the (1838-1875)pearl fishers. -- 1:37 half-talks,whichSchonberg'sofworked serious you out have musicthe half-sings,most already12-tone todayimportant heardissystem in free awork one manner ofof waswork. serialthis whichthe influence, composition.song-cycle, Schonberg so calls"Pierrotgreat "sprechstimme."has Lunaire," it been. from In this, there is a "reciter" who Hardly any composer L'ENFANT ET LE SORTILEGE, Maurice Ravel (1875-1937)You --have 1:33 just heard.one of the most remarkable pieces of impressionis- 20TH CENTURY STYLES niquesmusicPierrot,"Even the throughand title orgoes someoneand ofnew through.the ways. half work, mad "Pierrot from watching Lunaire," the meansmoon. "The Moon-struck Listen to "Homesick,"It abanduls frommost "Pierrotof the familiar Lunaire." musical tech- This is expressiniat pressionism"wereistsittic right! showsmusic started wellever began it whatwritten. andin impressionismthelater late it Romanticwas takenattempted Period, up by to musicians,aboutdo. 1870. notably Claude That's what it was--a musical impression of a cat fight, and If you thought it sounded like a cat fight, you The movement called "im- Poets and art- PIERROTheIgor wrote Stravinsky. LUNAIRE, Russian "HEIMWEH," nationalistic, Arnold romantic Schonberg music. (1874-1951)Another 20th-- 1:27 century composer who has been a very great influence is He studied first in Russia in the 1890's. He came to Paris where he At that time pictureattemptingDebussyimpression,sionists out.and a tried Mauriceliteral the tolistener Ravel,givepicture. an whoor impression watcherwrote the could of work what supply you they just imagination were heard. describing, to fill without the So, impressionism always tells a part of a story. They felt that if they could succeed with an The impres- In music, whileinstrumentsheaquickly combination performing took too, up ofmelodic impressionism,andimpressionist, the and subject harmonic then expressionist,matter functions,burst of onhis the alwayafirstand scene primitive threeserved with great musicasmusic, percussion ballets that in thatwas a tremendous percussive element to his music. All of the orchestra, 1915,andofmodalmany latesounds. exoticbutharmonies, romanticism its effects influences and wereandwhole itareused: tonestressed still morescales. felt percussion,the inconcern much musicandwith richer, exotic,being writtenfuller far-out chords,today. images As a prime force in music it gave way to other styles by about Impressionism was a special form ballet,wasentirecenter, primitive "Petrouchka."orchestra. impressionism, or folk-like picture in nature. painting, and how percussively he uses the Hear how he uses elements of atonality, lack of tone Here is a portion of his Russian folk- wereevents.ed highlyto portray moved the by artist'sthe discoveries own inner and reactions writings toofA outsidereactionDr. Sigmund influences to impressionismFreud. and came frOm theThe expressionists, expressionists who were attempt- much concerned with psychology, and they pressionism,PETROUCHKA,"The Rite Igorofatonality, Spring," Stravinsky polytonality,a huge, (born revolutionary 1882) and -- above 1:55 work all, full "vibrant, Petrouchka" of impressionism, incessant was Stravinsky's ex- second ballet. He went on to compose percussive rhythms. After "The Rite of Spring," he changed his style to is the rule. One of the more successful writers in this style today is whatchsstvecome he'called a full-fledgedrhythms "neo-classical" has had12-tone, its impact serialstyle, in composer,and almost in the all but Anotherlast music his few insistent sinceschool.of years 1915. he use composershas of be- per- of the 20th century is the nationalistic aLuciano setting"CIRCLES,"ial composition Berio. of poemsLuciano today. by Berioe.e. cummings.(born 1925) -- 1:27 Here is a portion of a work of his called "Circles." It shows very well the style of ser- It is writersidiom:suchthematicschool. iswork music Aaronmaterial in forthisCopland, piano,from style, their whochamber and has native so written music,do folkmany ballet,much music.modern successful choralAmerican music, music composers. andin anmovie American sound These composers have stuck to romantic techniques of writing, using All of the current Russian One attempttallysion different soundsto use andnotes from various andall scalesthat types has asof gone wesounds have before. fromin the the past. Stillworld Anotherabout, buttrend they in don't20th century music is that of making music to- Some composers use percus- This is music, APPALACHIANtechniques.dies.tracks. SPRING, Aaron Copland (born 1900) -- 1:29 It has a contemporaryHis flavorwork, "Appalachianbut is still Spring,"based solidly is a balletin romantic based on Shaker melo- becomethoughittelligibleed doesn'ttimbres, familiarit sounds fitexpression melodies, with. theso differentwell-known ofand an harmonies becauseidea, patterns. then weof don'tthesesinging hearworks or the ofare thefamiliar, music, instruments even accustom- though we have If music is the organization of sounds into some in- Some composers of this music, called perhapswork25 asyears, thea successful greatis Charles genius insurance Ives, of American who executive. wrote music music to asdate.Another a hobby American, but made harderhis life's to classify, and almost unknown until the last Many musicians feel that he is He wrote atonal, poly- timbres.struments;and"musique other concrete," soundbut all producing are use experimenting electronic apparatus, sounds, withand sometimbre, some tinker use to sirens,trywith and conventional piecesproduce of new pipein- 50 pressionists,asinceastonal, fore-runnerthematic it polyrhythmic depended material.and of he thoseon used worksimprovisation nowAmerican aswriting early folk atwhatas manymusic,1900, some points. wellhyr,call beforetunes,"chance" theand music--a Europeansoldier musicsongsex- He also wrote music which used the element of "chance" In this respect, he was waymelody,remarkablean that assortment hammy,the effect.effect timbre,ox percussionis startling,and form--but instruments, to say he thehas'used plus least. fire themEdgar siren, in Varese such to produceanis unusuala leader a very in this field. He still uses the elements of music--that is One of his early works uses This is the work, rhythm, well-orderedthreeaedrelated simple, Question,"distinct to repetitioussociety--theart groups, which "happenings." Ieach amhymn-like "status goingplaying to quo."melody inplay a differentforover you in style. its entirety. In 1908 he wrote a piece called "The Unanswer- The trumpet enters from time to .nd over. This represents the The strings play It has "IONIZATION,""Ionization," byEdgar Edgar Varese Varese. (born 1885) -- 0:47 Some people like music of many styles, and some are particularly at- petlifetime,choir;"chance" asks all whenever theabout?"they element. question represent the conductor one the final "seekers indicates time--still after that thethere he truth." wants is no him real tothis answer--the is the The woodwindsThe answer trumpet in ais completely supposedly atonal, asking dissonantthe question, "What is In the end the trum- whowewhenoftracted thebegindon't. we Romantic gettoto musicseeto 20thPeriod.a orsharp centurya particular difference music, style, betweensuch assuch thosethe as pieces thatwho do ofyou likethe have Classical,it beenand thosehearing, or And often those who don't like it are in the majority. One thing seems apparent, though, and that is that threecontrastingstrings groups go involved.on styles to the within end. the one piece to show theIves contrast has told of a ideasstory--without in the a real end or an answer--and he has used Here it is, "The Unanswered Question." getwhatknow. to I knowlike." them, we learn to like many of them veryI thinkwell. this is largelyThis due is, to then, the facta case that of these"I like are what sounds I know," we don't rathet than "I know If we listen to some of these contemporary pieces enough to I don't know by "THESchonberg. UNANSWERED QUESTION," Charles Ives (1874-1954)The --atonal, 4:57 12-tone style of writing known as "serial music" was begun There are many composers today using this style almost ex- havetoday;whatlistenfiguratively allthe most tosortsmusic it.of speaking.ofwhat experimentstomorrow we hear willand going likebe, on butis in theI paintingdo music know ofthatand yesterday sculpture,this is orthe andlast music the week, of The same sort of thing is happening in art, by-the-way. So, if we are going to "get with it," we've got to We arrangingthinlarrhythmic,clusively. with and rhythmswideinstruments percussive leaps. the sameofsounds. very way, different and most colorhave becomeare used. very interested in In addition to arranging the notes in a 12-to:e series, some are They are very difficult to sing. Melodies in this style tent to be very angu- PolyphonicTimbres are writing often theproblemcase, musician. ofthe "I composer like what has I tape-recordedknow" is just certainas 1'1%1 notes forFor theplayed our artist lastby a as work,flutist. it iswe forwill hear a piece of electronic music. In this playingThenterestingthrough he musichas electronic sounds.re-recorded he wrote reverberators to some go withof those electronic and notesother atsounds..equipment different The to speeds,composerproduce fed manyis themOtto in- Then he has re-recorded the whole thing with a flutist POLYCHORAL:CHORALE: talists. Hymn tunes of the ProtestantMuch used byMusicchurches. Venetian using schoolmore than with one Gabrieli. choir of singers and/or instrumen- Luening,"FANTASY and IN the SPACE," piece Ottois called Luening "Fantasy (born 1900)in Space." -- 2:30 CONCERTATO: Veryvariouslo00. grand parts and ofglorious. the cathedral, sometimes separately, sometimes together.Multiple choirs of singers and instrumentalistsThe style performing of Venetian from performance at poIyehoral works around ROCOCO: Final stages of Baroque Period, and transition to Classical.General Terms: DATA SHEET 2 Music, Art, Literature Rough- OPERA: Probablyothers,eta." includingthe most all-inclusiveAlessandro Scarlatti, art form Gluck,ever devised, Mozart, itWagner, includesDrama Verdi. withmusic, Perfectedmusic--"invented" shortly afterabout by1630 Monteverdi. Farther developed by Florencemany by the "camer- IMPRESSIONISM: devotedoriginallyly 1720-1760. to aristocratic derogatory. tastes. Style in Anart, age literature, of excessive and ornamentation music, in which and detaildecoration, is a- primarily As in "baroque,",the word "rococo" was ORATORIO: orchestra.poetry,in one literature,great synthesis. drama, dance, painting, sculpture, architecture, all Similar to opera, but not staged;Tended also to used be moresoloists, religious, chorus, usually used narrators to fill beginningtopicting,voided; lose in,ground theleaving artartist aboutand the attemptsliterature 1915,details although toto about recreatethe manyobserver.1883, theelements in impression music still about ofin 1885. whatuse. he is de- Primarily a French style Began CANTATA: ofnoin oratorio.chorus,dramatic small details ensemble which ofcould instrumentalists. hat be seen cince oratorio was not staged. Small scale version of oratorio; often used only 1 or 2 soloists,Later (18th century) developed into larger works midway in Was the "ensemble version" EXPRZSSIONISM: thatExpressionistspressto expression:am givethe inner,themselves in psychological allis thejustfields greatest an tendedadvanced and freedom emotionalto formthrow for of awayexperiences expression;romanticism. all the ofrulessome the criticsinartist. order feel Movement began about 1912. It is supposed to record and ex- RECITATIVE: ofinsize themusic and story drama.numbers line betweenforward. the older chamber cantata and oratorio. "Reciting" style of singing developed by monodists to be Usuallyused "told the story" in prose rhythms, carried action NATIONALISTIC: waswhich a strongwill express characteristic ideas peculiar of romanticism. to their own nationality. Artists, writers, and musicians who attempt to create works -- Musical Terms -- Nationalism ARIA: allowcanop thebe emotional usedemotional to heightensituation aspects the ofto emotions;thebe developedsituation, dramatic by where the action Poeticaria.expressiveness usually form used stops of in music tooperas, oratorios, and cantatas; used to devel- SERIAL MUSIC: notesSchonberg, arranged dodecaphonic."Alban in Bergan exact and Antonseries, Webern. which repeats itself over and over. Music based on'the "12-tone row." Also calledPrincipal "atonal" composers and of the past generation were Arnold Called "serial music" because BASSO CONTINUO: basslodicniesline line tocomposedbass inbe theinstrumentimprovised toharpsichord support suchby keyboardthe oras melodyorgan.cello, player beingbass, of sungbassoon, the orcontinuo. played. or trombone "doubled" The principal style feature of the Baroque; a melodic bass UsuallyInner harmo-a me- MUSIQUE CONCRETE: conventionaled,recordedings repeated, of atmospheric,sounds instrumental etc., are tothen electronic, produce electronicallyor vocal a reallyand music. conventional newtransposed, music, musicalnot lengthened, much sounds. related shorten- to Music dating from about 1950, based on magnetic record- Also called "electronic music." These SONATA: Baroque--atoensemble (2)3 or Late 4piece music,solo Baroque--an toparts always be playedabove withinstrumental thebybasso instrumentscontinuo. continuo. work in rather 4 or morethan sections,one to be playedsung;This as word has several meanings: (1) Late Renaissance or early Trio sonata was the most usualCould have anywhere from 1 MASS:--7117e: "K:-.rie" (Lord,of "Credo"God...). have mercy...),(I believe...), "Gloria" "Sanctus" (Glory be (Holy, to God holy...), on high...),The and Catholic "Agnus serviceDei" (Lamb of worship. Sections of it used in all masses tantpiano,forwork,form; form some some(3)with of other Classicalotherthe Classicalinstrument firstsolo and instrumentmovement Romanticand unaccompanied. Romantic in with Periods--the"sonata pianoPeriods. form"; accompaniment, sonata sonatas was werea occasionallyfour for movement solo Sonata form is the most impor- E,CNATA. FORM: and thentwo contrastinga resolution themes; of the theircrisis. development to a period of dramatic crisis, A specific form developed during Classical Period; based on Sonata form was almost always used *Arnold*Giacomo SchonbergMauricePucciniRichard Ravel Strauss (1675-1937) (1864-1949) SerialExpressionistImpressionist Music SYMPHONY: Thephoniesas major the and firstform concertos. ofmovement classical in classicaland romantic and music.romantic sonatas, ensembles, sym- Classical sonata for full orchestra; usually in four movements. *Igor StravinskyAlbanAnton WebernBerg (1685-1935) (1883-1945) Expressionist,SerialClassicist, Music Serial Neo- Music CDNetai10: Period.sonatas. ThisOutgrowth was a of"Concertothree the movementVenetian grosso" workconcertato, vas for the small great operaovertures, group orchestral of soloists form and oftrioand the Baroque 1900..Aaron Copland (1900--) LucianoJohn Cage Berio (1912 (1925--) - -) SerialChance,ChanceNationalist MusicMusic, Electmnic, American...1900 American certoconcertoinjuststring sonatasolos. one orchestra.became soloform. instrumentthe main concerto and orchestra. form, and the first movement was usually Also, the piano became Thethe concerto instrumem grosso most gaveused wayfor tocon- the solo concerto, for In the Classical Period the solo *Names*Pierre marked BoulezKarlheinz with asterisk Stockhausen are listed(1928--) on Time Chart for Data Sheet 1. SerialElectronic, Music Serial Music SONGSYMPHONIC CYCLE: POEM: Otherdescriptive related work forms often are: using tone sonatapoem, symphonicform, often suite. just in one movement. Primarily a work of romanticists. Developed during latter half of Romantic Pericd; this is a Composers would set a series VOLUNTARY IN C, Henry Purcell (1658-1695) -- 2:20That was a piece of organ music by the important English baroque com- SACRED AND CEREMONIAL MUSIC Usuallyo.' poems for which,one singer when withperformed piano consecutively,accompaniment. would tell a complete story. -- Time Chart -- church.poser,in C," Henry and Purcell,was of a whotype died of musicin 1695. used for processionalsMusic for intoreligious or out use of andthe for various types of ceremonies is really This piece was called "Voluntary 1400..Josquin1300Guillaume desMachaut Prez (1445-1521)(1300-1372) *GicYanni GabrieliGiovanni Pierluigi da Palestrina (1525-1594) RenaissanceMedieval (Gothic) Period 14001300 ceremonieswea large, isuse music in special ceremoniesstilljust onetakesection step suchplace of removedas inour graduations, connection total from amountreligious withinaugurations, of the music.music church. since coronations, many of those etc., Much the music 1600Alessandro Scarlatti *Claudio GirolamoJohnMonteverdi Dowland Frescobaldi (1563-1626) 1660-1725)1583-1643) Bsrogtie Period 1600 fromtofound persuade fierce everywhere animals,the variousin theand world.godsthe like.to send rain, take awayReligious the cold, music prntect is probably him one of the oldest types of music and is Probably prehistoric man used music to tryFrom this type of music, religion has 1750.tJoseph Haydn *Johann*George Sebastian.FrederickAntonisbDomenico Vivaldi Handel EachSCarlatti (1676-1741) (1685-1757) goingcontinued to seeto develophow this music has beenin its done service in different up to the times presentIn theand Orientdifferenttime. music places. and religion are very tightly bound together. We are As 1800.tFranz Schubert *Ludwig*Wolfgang vanHector Amadeus Beethoven Berlioz MoLart (1803-1869) RomanticClassical Period Period 18001750 LamaistyouIshouldof probablyam the goingchanting. bewestern sinceknow,to play world, almostmost for oriental andyouall thisamusic short musicis probably truesection sounds of evolvedthe ofquite musicreligious differentfrom from that music,Tibet. fromused as thein indeed religion.music it Listen to it for the five basic elements; see how they This is *Giuseppe*Peter TchaikovskyVerdiRichardClaudeJohannes Wagner Debussy Brahma (1813-1883) (1862-1918) (1833-1897) Impressionist LAMAISTare used CHANT in (TIBET)this Tibetan religious music. That was music pretty far removed from what we are used to--no harmony, 1:00 pur2ose.Tibetansindistinguishablerhythms very this difficult'to music melodic is meaningful, line,detect, and scale expressiveeven intervalsan unfamiliar and smallerfunctional--it timbre; than butthose serves to wethe use,its AMBROSIANmusic had CHANT been (450added A.D.) to the service, and a good bitBy camethe 6thfrom century, folk music, the church had become very well organized. The church was very concerned with0:25 this, and so Much thewasmusic, thechant probablydirect of the ancestor veryleader; similar of he our is to ownintoning the occ'.dental Jewish a prayer. music music. Nowof 2000let's years hear ago,music*a which little closer to home. It is a ratherThis is simple Yemenite JewishIn it you will hear ongivenfinallyadance seriesit tuneshasto reformed theofbeen and popesofficial knownthe underworked like. as chant, Gregory"Gregorian on theor the"plainsong,"problem chant."Great of about the of music604the A.D.,church. of the and church. his name was From that time It was YEMENITEwords,melody,ory becausea nothingsingleJEWISH much voice.CHANTelse--no of what-- 1:00harmony, you will simple hear laterrhythm is fitting related the to rhythmit. of the As you listen to it, try to imprint it in your mem- present.this"Kyrie," structure, "Gloria," or organization, "Credo," "Sanctus," of the serviceand "Agnus thatThe Dei." Latinhas continued service hadto thetaken on the form called "theThe Mass," mass andwas itin itseveral sections, the invariable ones being These were origi- Greeceelements along of with religion, Chrisi ph_losophyan teachings. and music all combined.With the beginnings of Christianity the music of the Jews was taken to There the Christian and the Greek Greek music, like nallycentury sung when in Gregorianpolyphonic chant music and was continued introduced that into Oneway the interestinguntil Mass. about developmentthe 13th in the church wasIt wasknown a dramaticas "Liturgical presentation of certain biblical scenes. These amplesmusic,theJewishis rhythms a ofhymnandmusic it. weofto of knowthe the words.oraclethey time, used ofhad Delphi.a nogreat harmony, deal ofand it, the but rhythms we have were very made few to ex- fit I am going to play one of the few fragments we do have. We know much of what the Greeks thIght about Once again, as you did with the Yemenite This wereDrama."iningian actedthechant.simple 12th out versions centuryby monks ofand andthe can priests,melodic be considered linesand the being onelines ofsung. werethe ancestorssung, using of Gregor-our modern Usually the singers were accompanied by instrumentalists play- Liturgical drama began NC) DELPHICrememberJewish chant, HYMNthe style (ANCIENTlisten of to theGREEK) the music. elements -- 1:20 of music in this Delphic hymn. Try to youexpressingmisfortunes.Thisoperas might is and the veryunhappinessoratorios. story well of have Daniel ane thought frustration; in the it lion'sjust if another den;you hadn'twe bit hear ofbeen DanielGregorian told lamenting this, chant. though, his Perhaps, knowing what it is about, you can tell that he is Listen to this short song from "The Play of Daniel." Thiscenturiesdifferent modalent quality andtoof you;thedid in notesnotif the so,really wasmelodic it not wasdisappear thelinesbecause same continueduntil itasin was about the modal--thatin The scales 1600.music melodic wefor is,hear linealmost the usuallyof arrange- 15the Delphictoday. hymn may have sounded a bit odd or The modes were LITURGICALListen to it DRAMA, now: Daniel's"PLAY OF Lament.DANIEL" -- 1:05 By about 1000 polyphonic music was being written, at first very primi- musicdiatonicsimilar in this tomajor scales,particular and minorand mode,there scales thenwas which evenit tends wea modeuse to mainlywhichsound soundedfamiliar.today. much like the So, if you hear parallelvoiceastive "organum."singing experiments to the exactly original where the melody. asame section thing of but Gregorian five notes chant lower. was sung with another Gradually the "organal" part became more flexible and less By the 12th century, Listenpolyphonic to this writing short Kyrie in polyphon- This was known theGreekThere300 4thyeats, Christianwas century, muchand itpersecution sect,Christianity was andduring an of undergroundthis wasthe officiallytimeChristians, that Roman Romerecognized. andChristian wasAs there youin itsmaywassect. greatestknow,a developing Christianity glory. had a very difficr't time during its first With that, the Finally, in 12thicand style; performanceCENTURY this SPANISH is was 12th inPOLYPHONY centuryfull swing. --Spanish 1:Z2 polyphonic music. beingRoman anworld underground became Christian, organization. the persecution ceased,Bishop and Ambrose the church of Milan quit attempted to organize chants in the church to thefiedtionperformers greatittook to innovationsplace,suitdeveloped its it needs. began skillsof the with andreformation. thetechniques. music of the CatholicPolyphonic church, writing then increased modi- through the Renaissance as composers end The chorale, or congregational hymn, was one of Lutheran music becameWhen a theblend Protestant of reforma- youmembermentchantsstandardize canyou theknown recognizewill sound tohearthe him.of theservice; athe short basic Delphic section sosimilarity he hymn wrote of and Ambrosian betweendown, of the as them JewishChant.well and as chant. thehe could,Ambrosian all the These had a distinct Jewish-Greek flavor. As you listen, re- I'm sure In a mo- chant. Praetoriuslyisits Shinesa originalshort wrote the section Catholic Morningmuch ofmusic Star").hismusic in"Wie andthe Schon thenewly newLeuchtet developed music derbased Protestant Morgenstern" on the chorale.style. ("How Bright- Michael Hez:e WIEchurch, SCHON andLEUCHTET this wasDERMORGENSTERN, known as the Michael"counter-reformation." PraetoriusThe P:oteatant(1571-1621) reformation -- 1:40 brought on a reaction within the Catholic The aims of the minorclassicalnot toever the used style,Catholic in butthe liturgy. they,service. too, are usually performed in concert. The classicalIt iscomposers performed wrote as aMasses concert in work but is whichritycounter-reformation hadof thegrownbeIn Catholic demandedvery complex werechurch. by Martinto and accomplish highly Luther, polyphonic. asand many still of tothe maintain reforms theas possible,integ- One of the big reforms came in the music, Protestantsersanthems,There haveare musicdescendingrainynot made hasmore nottheir fromhymns, changed musicsuch based workssignificantlykeep on upasthe with"Ah! chorale modernSinfUlsince style,Palestrina thetrendsNation." timeand in therestillof music Bach. areremained gener- many and remains as the model in Catholic music. Church compo- church.Palestrina'sseemed to suit music the was austere, adopted dignified as the official needs of proper theGiovanni counter-reformation, style Pierluigi of the Catholicda Palestrina and wrote massIt settings has remained and motets pretty which much that way ever since. I will play a willnotally,in accepted. play allhowever, stylesa portion since has from beencongregations thewritten, Anglican buttend servicemost to beof ofconservative.the Edmund more modernRubbra. sort simply is For an example of modern church music which is accepted, I Church music This was SANCTUS,timbreListenshort ofto sectionPalestrina the unaccompaniedbeautiful from (1525-1594) the melodic Sanctus, "a cappella" lines, from thea choir.Palestrina wonderful Mass,harmonies, written and about the 1570. Counter-reformation music -- 1:20 ANGLICANtury,writtenit isexcept inconservative SERVICE, 1945 for andthe Edmund certainlyharmonies.music Rubbra which has (born couldused 1901)somecome modernfrom-- 1:15 as sounds, far back but as by-and-large the 17th cen- niqueswrittencan serviceof in polyphonic English was established,and writing, called simply"anthems." and many adapting formerly them EnglandCatholic to English. also experienced the Protestant reformation. They still used the same tech- "antiphons" were Here the Angli- Listen to Jewishmodernof the musicSephardic Catholics we heard Jewish and in later service.the Yemeniteof the Protstants, chant but has especiallyFor been our influenced final in the work matterby todaymusic of we will hear a selection of music from a This keeps many of the characteristics of Alf:t'Jem churches"Ah!SINFUL led Sinful to NATION,today. the Nations" great Pelham varietywritten Humphrey ofby anthems(1647-1674)Pelham Humphreysung --by 2:00 choirsin 1670. in Protestant This type of an- withstillscales its maintainandchant choral between the singing. old leader style, and but congregation; the choral sectionsthe soloIt does showsections stillthe influence forretain cantor the of antiphonal character of ancient Jewish music, music,and cantata which didcrept not into have the a specificmusic of modelthe church, as theAs especiallyCatholic the Baroque music in PeriodProtestant did with developed, the monodic style so popular in opera modernwithhas happened,times.as little manychange changes in style have as been there made. has been,As is you quite listen remarkable; to it, remember and that 2000 years is a long time. To retain a tradition that long, A lot Germany.pressiveness.vicehude,that and of who especiallyPalestrina. preceded inBach the as 18th a great century organist, brought choirmaster it to a high and level composer of ex- in This is a choral cantata based on a very old ChristmasHere text,is a portion of a Christmas cantata by Dietrich Buxte-The Germans adapted the cantata to their church ser- In directlyandgreatit saysdevelopment body aand lotof vitally Catholicfor of thethe connected. durabilityProtestantmusic grew. ofservice the Jewish with itsservice, music, out but of the which three the are About 1500 there came the branching off DulciCANTATA: "IN DULCI JUBILO," Dietrich Buxtehude (1637-1707)As in so many -- 1:20phases of music, Johann Sebastian Bach represents the HALLELU, HODU (modern Jewish music) -- 1:50 MEDIEVAL MUSIC #174;greatestexpressivestraightforward, a short of orchestralthe of religioushis four-partprofound interlude, cantata beliefchorale, thenwriting. and fullthe trust closingof inthe his richchorale. faith. harmonies of Bach, and Here is a section of his Cantata As such, this It is a BYZANTINE CHANT: DOXOLOGY -- 1:10 You have heard enough Gregorian chant by now to think that perhaps this This was Byzantine, or Greek CHORALE,served'the CANTATA Lutheran #174, purpose "ICH LIEBE perfectly DEN HOCHSTEN," and has never J.S.In beenBach addition surpassed.-- 2:18 to his wonderful cantatas, Bach wrote a great Mass in B modal.indifferences.chant.too Latin, was Gregorian; but this maybut notthe havetruth been is itso iseasy not. to hear. It is calledcertainly Byzantine first cousinbecause to it the developed Gregorian, in thebut easternthere are part Ofreal course,of most obvious, this was in Greek, while Gregorian is Also, this was quite The three "women" question him again and sing "Hallelujah, Christ noplethe Roman and nowEmpire, Istanbul. whose capital was Byzantium, theChristianity found its first strong foothold in Greece, city calledand Constanti- artistic practices. and it flour- Butchant.standpointis it Risen," is a beginningitall is in important. unison for dramachant. and So it isn't very credible, dramatically.expressiveness in music; from that TheyconsequentlyGreekItished isare Orthodox,thisthere, Catholic, Greek theyabsorbing Russian, versionbuthave they developedmany Serbian,of have ChristianityGreek split their Croatian,ideas with own andthat themusic andmusical Roman based on eventually developedAlbanian into the Orthodox churches. branch of Catholicism; Greek chant, and music--usedLITURGICAL DRAMA:voiced "QUAMsinging QUAERITIS exactly INparallel to eachThe first experiments in music Thisfor morewas calledthan one "organum." Listen to theSEPULCHRO?" next example. -- 2:15 other but five notesvoice--polyphonic The first tineit has officially not Changed recognized much since Christianity the 8th century. as the stateShortly after the beginning of the 4th century: the "underground" type of organization, ful- religion, and when this Emperor Constan- modernportion,apart.not."Alleluia," and "Sit advanced. gloriais in freemundi," organum is in wherein strict aorganum. few notes are This music dates from about 950, and in its day was The second section, the parallel, most are thought to be very words.pickedwascomely doneorganized,-complete upfrom theand the churchadded Jews, songsemerged much withfrom had from a,largethebeen an streets body andof music.the taverns added by the Greeks, and the Romans had Much of the music had with religious ORGANUM:posers, "SIT Leonin GLORIA and MUNDI"Perotin, and worked. "ALLELUIA" -- The next development of music was at Notre They wrote in a style of organum which 1:45 Dame in Paris where the com- heartury theas anAmbrosian official chant kind. to the "Pater Bishop Ambrose of Milan established a type of chant It was based primarily on Greek models. Noster"--the Lord's Prayer. during the 4th cen- We will polyphonicluia"usingus,systemized but bya Gregoriantheywriting.Perotin the perfected use in melody ofthe more theNotre as techniquesthanthe Dame basisone style. melodic for the line, work. Their writing sounds rather strange and of writing in a muitivoiced style Notice particularly the long leading to 3 and 4-part Listen to this "Alle- different to byPMBROSIAN the Moors--this CHANT: PATER was theNOSTER Mozarabic chant--and Ambrosian chant was one kind; anotherAll of thesewas found kinds in of chant plus the constant addition 0:55 there was also the Galician Spain, influenced of secular ALLELUIA,Alleluiaheld notes to Magister inwhich the thelower Perotin upper part. (earlyparts arc12th the counterpoint. It is singing, very slowly, the Gregorian century) -- 1:37 reformedThisofficialsongschant. reform to music musicthewas servicewascompleted of calledthe causedchurch by"Gregorian Pope afrom real Gregory the overhaulchant," 7th the century orGreat, on. and reform by a series of Popes. "plainsong." about 604 A.D., and theIt was monphonic, It was the VirginI13th shall Mary.century. play for you is of interest because it usesA special an type of religious song was cultivated These songsIt were was alwayscalled concerned"Cantigas withde Santa miracles associated in Spain during theinstrumental accom-Maria." with the The one unisonLifeGregoriantive,it waschantin music those thechant of music whichthedays was religious ofmeanttypicalmade the no acceptingchurch. ofattempttext, medieval in wh&to a expresssimple,came,life from lookingthe 700-1000; feelings It was Unemotional, detached, contempla- unadorned manner. forward to a better of the individual. the time when The thecamepaniment"Oracon dance from andmusiccomsome alsoPiadade." popularmust because have dance soundedits tune rhythm like.of and melody suggest the time. This particular tune is called This gives an idea of what that it probably thisthelife,is section inisin thisthethe "Gloriaofafterworld.emotional the massPetri." text. where the text says, The music and the art expressed this. See how cool and detached the Gregorian chant "Glory to God in the Highest"; Listen to LAS CANTIGAS DE SANTA MARIA, "ORACON COM The(1221-1284) world of Gregorian-- 1:25 chant was primarily a PIADADE," del Rey Alfonso El Sabio Romanesque world. It butGREGORIAN it still MASS: used much monophonic chant. The liturgical drama came along after polyphonic GLORIA PATRI -- 1:55 It did try to tell a story, though writing had begun, er-worldly"ianstill chant lived can almostin be the compared inhumanshadow tooftype RomanesqueRome of andexpression. of art the and churchAfter the Notre Dame composers of the 12th century, architecture with its "oth- based in Rome. polyphonic music Gregor- theit (sung usedtomb.examplewomen's chantby monksIvoices willas itsor play.turn priests)medium. out to ask be themen's. angel where is the body that was Since the three women's parts had to be sung by monks or The scene is outside Jesus' tomb; three womenSometimes things were not too realistic, as in. The angel answers in Gregorian withinpriests, thoughdevelcpedinfirst his many polyphonicwork. rapidly sections and setting were portions kept of theinof plainsong.themass, mass and were he usedwritten many new In his day he was the greatest composer in the world. Guillaume Machaut made the polyphonically, al- sounds or timbres I shall playhow the he'combines beginning voicesof the andBenedictus instruments from andhis howpolyphonic he uses Mass."hocketing," a form Listen to "SI OBLITUR FUERO," Jacob Obrecht (1453-1505) -- 1:00 )music.BENEDICTUS,1350.of rhythmic POLYPHONIC repetition MASS, of notes, Guillaume to create Machaut special (1300-1372) rhythmic -- effects1:45 in his This was written sometime near the middle of the 14th century, about composer.renaissancetravelledlands composers, to in Italy, art was and all Josquin can over probably Francedes Prez, beand called bornGermany; in the 1445, Another hefirst was died greatverypupil in aware1521. renaissanceof Ockeghem, of the and probably the greatest of all the Nether- Joaquin went.oncomposersduringcantly. in the the and wars manner musicians with of Joanne Machaut of Burgundy of butArc. made and hisFlanders music John frommore Dunstable aboutsensitive 1420-1450. was and the ex- next important composerHe spent to mostaffect of musichis adult signifi- life with the British court in France He really exerted an influence on the He changestext.wasduced always the in important themost sound concerned concept of the that ofmusic understandabilitythe itself. music should expressandHe e. used the the meaning polyphonic ofThis the techniqueswas a tremendous of the changeNetherlands of approach school andbut actuallyintro- caused radical He wrote great amounts of secu- mssiveness. He before.fluencedtopressive. how flexible later composers. it seemsnone of the stiffness or rigidity that have gone It was this flexibilityI am goingand expressiveness to play a short of pieceDunstable's called which "Sancta in- Maria." Listen ourbeforeHislarsection modernreligiousmusic him. inofage. whichhismusic "Missy heis particularlymuch Pange closer Lingua." toextended our times the thanconcept that of of expressiveness. any composer In fact, many people regard Josquin as Listenthe first now composerto the opening of of the "Credo"--the "I Believe" workedposersSANCTA in MARIA, theEurope area John during known Dunstable theas "The14th (1390?-1453) Netherlands,"and 15th centuries, -- 1:45whichMachaut, includedand they Dunstable, presentall lived dayand and later Dufay, all were the most important com- CREDO, MISSA PANGE LINGUA, Josquin des Prez (1445-1521) -- 3:15 RENAISSANCE, REFORMATION, COUNTER-REFORMATION NC) EuropeandofBelgium, shifted thestyles came 16th Rolland fromtoof century, thethese Italy andNetherlands composers wellpartsto the into of Netherlands duringand France.the to Renaissance. thiscarry and long these remained period techniques thereto study untilback the tothe methods their middle The center of musical activity had Composers from all over mony.GLORIA, MISSA PANGE LINGUA, Josquin des Prez (1450-1521)We have -- been 2:36 listeningLast to timeand consideringwe heard music music of ofthe religion Medieval and Period cere- which was a time of whoownone homelands.developed piece he polyphonichad 64 separate techniques parts! to such an extentAnother of complexity of the very that great in Netherlands composers was Johannes Ockeghem He also began the practice of true veryestantsance, great reformationthen growth turn in our music.and attentions the Catholic to anothercounter-reformation. great Youtime have of growth--thejust heard Prot-a very beautiful and very characteristic renais- Today we will start with music of the Renais- phonicthehapschoral other.voicesdevicesmore singing than and whereany technique.in otherrich, more composerdarkthan timbres.one ofsinger the time,sang theextended same part.the limits of poly- He wrote long melodic lines intertwined with Here is his famous chanson, "Fors And he, per- roque);time.characteristicsPrez.sance work--the it is above "Gloria,"in suchall aa vocalfrcmway that thework "it andMissy was it one Pangesings, of Lingua,"the is greathighly of works expressive-Josquin of thatdesRhythmicallyThis - mass, written it is notabout yet 1500, square combines (as music many will of thebecome renaissance in the Ba- style CHANSON,Seulement." "FORS SEULEMENT," Johannes Ockeghem (1430-1495)Ockeghed's -- music1:25 was still Gothic, still essentially medieval, even out.music,phonicit is structure.not all music melody--every for an ensemble part a ofbeautiful singers lyricalwith a fewpart instruments of Medievalthe whole to music poly-help usually tried to use timbres which were different in Another important point: this is true a cappella choral Ockeghem'sexactthoughsameit did meaningtheas not thewasItalian attempt, GothicofJacob the Renaissance Obrechtcathedrals words.as renaissance Thiswho had where beganwas begun. musicstill itto wasmove later musicplayed more did, directed towardand to sung. show theto musicallyheaven,ideas and the the While it was expressive music, A pupil of thethiscombinations,landsfrom time is the thewayan Renaissance. Italianreasonoff but in renaissance fortheadmiral sowestern much named tasteaocean, cappella,Columbus favored and itwasor timbres was unaccompanied,exploring only which a couplesome were choralbarbaric alike,of generations music sois- This highly developed music was written just about himthepressexalted,ideals towardhearer the ofreligious meaning thetothe understand Renaissance.Renaissance. ofnature; the thewords, but words. Obrecht and he beganused shorterto try tolines make of his text music to helpex- He, like Ockeghem,Here is Obrecht'swrote polyphonic "Si Oblitur music Fuero." of an These are characteristics that move yearsthebefore Roman or the so Catholic greatearlier. religious Church, upheavalwhich had we split know withas the the Josquin'sreformation. Byzantine religious Church 500music was all written for "the Church"--that is, Most of the composers associated with the "Nether- landsing problemsSchool" werewithin writers the church. for the Roman Church, but there were great grow- in an awesome religious ceremony or might equally well be used for state theirandLuther Thomas demands Cranmer for reforth and King within Henry the VIII church. in England--allThey broke were outoutspoken in what in we call thein ProtestantGermany, Ulrich reformation. Zwingli in Switzerland, John Calvin in France, The upshot of their demands Martin temptedpartspoliticalandchoirs textures.of to ofthe ceremonies.win singers cathedral back theand inpeoplechoirs majestic byof aweinginstruments, and exciting them with performing combinations the greatest from of opposing andtimbres the This was the aspect of the counter-reformation which at- The grand concertato, you may recall, featured Huguenotsternedliturgiesseparatewas that afterand religioustheyon Anglicans. Jewishthe all basic led groupsand movements formatGreek known liturgiesof aswhichthe Lutherans, Roman broke in theritual, away CalvImists,early from just Christian the as Presbyterians,churchit hadera. andbeen became pat- Naturally the new religious groups organized their boVewasgrandestrhythms,for a all,mainlingredient.three in complexity shortart,separate architecture,motivic choirsof timbremelodies, of pomp,instrumentsas hesimple splendorbuilds straightforward and an 'nd organs.impressive, ceremony, harmonies, awesomeof which musical musicand a- I will play part of Gabrieli's "Canzon XIV"--a work Listen to his use of andwerereform Palestrina's Palestrina, from within. friendwhdse musicand pupil has becomeTomas Victoria,the modelMany aof Spanish propermusicians priestCatholic and and churchmenmusic, com- stayed within the church and worked for Two of the major composers who followed this course CANZONstructure. XIV, Giovanni Gabrieli (1557-1612) -- 1:45An English contemporary of Gabrieli was Orlando Gibbons, who we., one wintion,"poser. back which the peoplewas essentially lost to the a moveReformation to reform churches. theVictoria's church from music within follows and theto patternsThese men begun were by active Josquin in andthe developedmovement known as "counter-reforma- wrotetheirphon,"anthems.of the polyphonic manygreatand anthems--init English was religious this contrapuntal stylename works "anthem"they for writersuse the whichthe new oftraditional the Anglicanmadrigals, English Church.polyphonic composersfantasias, devicesgave and to The word "anthem" is just the Anglicized form of the Latin "Anti- Gibbons richdiesservices.nantfurther arebecausetimbre--and byvery Palestrina. helyrical- introduced he writes -they chromaticism.many really motets sings for inclusion in the "proper" of the His rhythms are very flexible, subtle, and smooth, and his melo- He uses the a cappella choir--this is the predomi- ListenVictoria's to this harmonies section became of his very anthem,nessodies,Gibbons,of other of hishis"0 latelike Lord,beautifulmusic. renaissanceJosquin, I Lift harmonies isMy composers,notedHeart and, particularlyto Thee." aboveall in all, the for fortradition the the lyricism extreme of Josquin. ofexpressive- his mel- Listen for these characteristics in Orlando Gibbons' 0motet, DOMINE "0 JESU, Domine Tomas Jesu." Victoria (1549-1611) -- 1:45Claude Le Jeune, who lived in France from 1528-1600, was a French Prot- Heinrich0 LORD, ISchutz, LIFT MY whose HEART works TO THEE, are notOrlando much Gibbonsperformed (1583-1625)The nowadays; first really --therefore, 1:45 important he composer of the German reformation was Huguenotthoseestant"Psalm of composer 45prayer-books,the "- Catholic -see for ifthe composers,itthe Huguenots. has "Geneva any butcharacteristics Psalter." for melodies which he used you chora]escan hear fromthat thereal- His music uses the same techniques as Listen to his setting of MethodsGiovanniworks,mentedis not but whichasGabrieli,early adaptedwell hewith knowncalled then themopera, as returnedto"histories." he butGerman should his to Protestant mostperhapsGermany important be.where needs. hework introduced was in oratorio-like Gabrieli's These involved soloists, choruses, He studied in Venice with Schutz also experi- , willProtestant'imagineriskedly letmake me histhatit knbw.characteristics lifesound people to different writecould musicwhichhave from feltofareCatholic this immediatelyso strongly.character. music. recognizable, I hope you To me the differences are so slight I find it hard to In his time,Here Le itJeune is,If Claude any of you can detect alltheandintroduced laterPassionorchestras German of the Christperforming composers,Venetian on the stylein particularly Cross,concertato into etc. the style,BachGerman and andbaroque, Handel. they toldwhich stories led before of long Schutz was a strong influence on It is Schutz who PSALMJeune's 45, "Psalm Claude 45." Le Jeune (1528-1600) -- 2:40 Another great composer of this time, and of the counter-reformation Resurrectionto ensembleGerman domination in ofwhich Jesus theof Christ." thefinal musical lessons world. of the resurrectionI shall areplay enumerated; the final thenscene and chorus from Schutz's "Historia of the In it you will hear soloists singing in an Cathedraldifferentwellgroup,strina as was thatand wasapproach Giovanni Victoria. ofdeveloped Bach. from Gabrieli, intothe austere,a whosegreat namemusicalhigh-minded you spectacleshould a cappella know which by stylenow,might almost ofbe Pale-used as With Gabrieli,Gabrieli the was grand the concertatogreat Venetian of St. composer Mark's who took a thescene,scale,since victorychorus ititdramatic wasclosesbyis Jesusparticularlyintended teachingthe Christ work to devicebesinging,ourcharacteristic understood Lord: for "Thank instructing by of Godthe the thycongregation. reformation.the Lord congregation. who has brought us Victory!" The historia is in German It was a large- In'this Jean-Baptisix:LullyHISTORIA OF THE RESURRECTION who wrote OFoperas JESUS and CHRIST directed (Final DuringtheHeinrich scenecourt the andorchestra 17thSchutz Chorale), century, (1632-1687) and the French -- 1:55 musical scene was dominated by posers.whichthe most church. people felt to be more appropriate to theWe concert heard howhall Bach, 4'han in to his B-miaor Mass, hadBoth :mitten Mozart aand religious Haydn wrote work Masses, someThis of whichwas the were trend performed that continued with most of the major com- aticorchestra.cialopera. effectsoccasions. as well. He was occasionally called upon to writThis religious has many works elements for of Venetian concertato but alsoSuch hasa work is his "Te Deum, This was a distinctly French baroque style of writ- a motet for two choirs and spe- oper- part.practicalria"isin wherechurch,routof from the purposes, they Beethoven'smass. are they usuallya were"sacred "Missa reallyheard symphony"Solemnis" now.better inorsuited five"Solemn tomovements, theMass." concert each hell, an integral and that There are many polyphonic devices, such as fugues, in the You have just heard part of the "Glo- It is, for all thecharacteristicsinsubjectsing, model1664. leading ofas thethe more which appropriatetext. and move more it'a Catholictoward great the musicdistance effect for offromthe concert church.the style music of using See for yourself how the music has assumed dramatic and colorful Listen to the finale of the Lully "Te Deum," written Palestrina, sacred ofwardsmusic, ofan theoutpouringthe but latter romantic its style partof inBeethoven's of fitsthat his squarely itlife. is emotional emotional, into that turmoil. dramatic, of Beethoven's expressive symphonic music, music fall It is classical in structure, going to- inTE DEUM,Leipzig FINALE, in 1725, Jean-Baptiste the reformation Lully was(1632-1687) accomplishedBy theand timeit and Johann the Sebastian Bach became cantor of St. Thomas Church -- 2:35 counter- calbuted Beethoven withclarity many butclosely. romantic much romantic characteristics. tone color. Felix Mendelssohn was one of the early Romantic composers who follow- Mendelssohn wrote much music in a classical style His music has generally a classi-He wrote two great oratorios, tions,liturgiesolicreformation wellChurch, established,and had buttheir become by music,this andhistorical time existingas wellthere phenomena. as alongwere their severalwith art the and strong Catholic architecture, Protestant Church. denomina- There was still a strong Cath- were all Their thedopracticeworks "Elijah" foropening cansoloists, they be andchorus performed are"St. chorus, almostand Paul," thein andalways thefirstboth full church ofperformedchorale symphony which since fromare as orchestra.the oftenconcertMendelssohn's subject performed works, is religious, "St.calling Paul." as but they in I will play part of even now. The6e In itnificantmodeled astanttinuationis called. on differenceschurches the of CatholicLatin all lo^reas used patterns..he apparent.the language languages fro.. ofwhich theof theirtheyCatholic hadpeople--the emerged,Church, whilevernacular,but the One of the most important was the con- some sig- Prot- as Thethethem,theas choralechorus are chorus and many youthatyou'll is others,can typicalfollows hearget in an theofis "St.idea theafull Lutheran Paul." ofconcert concert the differences chorale,hall-contrast treatment or inhymn,given style. the whichto two the asis choruses. youincluded, hear The chorale is typically of the church, tatas,andcluding are Bachstronglyover wrote?50 basedcantatas a great on LutheranforLatin Sunday Mass, chorales. services. one which wasBach so wrote grand a andtremendous magnificent amount of mraie for the Lutheran Church, in- But, in addition to hisHis can-cantatas are in German as"ST. I know,PAUL" neverOPENING performed CHORUS ANDin church.CHORALE, Felix MendelssohnThe Requiem (1809-1847) Mass, the Mass for the Dead, by Hector Berlioz, is, so far It calls for soloists, a huge chorus, -- 3:03 workmusicallycerthas bynot work. Lully, beenthat usedtheit was "Tein notsuchDeum," thoughtel way.which appropriate you just heard. for the Catholic service and In this way it takes a giant step in the same eiviction Instead, it is always performed as a con- as the grownGabrieli,"theisa very alsoclear trumpet largeandsolemn, out several shallorchestra,of grand,the sound, extrachurch! beautiful, extra percussionists.summoning brass and allbands very, the placed verydead dramatic.toin thestrategic seat of places judgment." a la This is the section called "Tuba Mirum"-- This is exciting music, and it It nas certainly giuuscome tootexts overpowe and ft What I amaugaesting,then, is that music for the church tended . us. gly musical and so it became concert musicI willusing go mil-much more into this in the next talk, but to be- dramaticcomposers.This is arch-romanticmelodies, rich, treatment full harmonies, of the music and sumptiousby one of texturesthe great and romantic timbres. Listen to how Berlioz uses the romantic s..yle in free rhythms, "DONAofI thinkBach'sthe NOBISBaroque--this you great PACEM,"should B-minor be B-M1NORwas aware Mass. the MASS,thattrend. byJohann the middleSebastiar of thenach 18th (1685-1750) century--the end This is the "Dona Nobis Pacem." Listen now to the last, grand portion -- 3:32 "TUBAPalestrina,He is MIRUM,"working Ockeghem, REQUIEMwith the MASS,Dufay same Hectorandmaterials Machaut--but Berlioz for text(1803-1869) what which a difference! were used by Mozart, -- 1:40 "GLORIA," MISSA SOLEMNIS, Ludwig van Beethoven (1770-1827) CURRENT DEVELOPMENTS IN SACRED MUSIC -- 2:35 wereaboutlarge,sic, many butthe anthems anthems muchtime ofofand written itBach's hymns was foranddeathreally thea goodin changedconcert 1750. many veryhall,hymns little asor youWell,chorales, from have the what heard. romanticsbut they by andhad up been through the 1900's continued writing sacred mu- There works--Masses,butand not many as successfullycomposers, Te Deums, Catholic as an Palestrina. and Protestant, wroteCatholic large sacredcomposers concert continued to write masses in the Palestrina mould Motets. These works were used in the church Psalmyoung"Psalm ConcertoGerman Concerto," composer, uses notjazz HeinzAnlike sounds, Werner Stravinsky's although Zimmermann, it "Symphony is nothasJazz reallywritten rhythmsof Psalms." jazz; a andwork stylebut he listen callsare also being brought into sacred music. Zimmermann's The andwithaof work theorchestra psalms called20th beingcentury, parallels"Symphony set adoptedmusically thatof Psalms," ofa "neo-classical"Bach,in a in symphonicBeethoven which he structure.styleandusesIgor Mendelssohn, chorusaround Stravinsky, and1920. orchestra,whose who workshad upset the musical applecart in the early years His use of chorus He wrote PSALMespecially CONCERTO, for rhythm Heinz andWerner timbre. Zimmermann (born 1930) -- 1:32 You'll hear the jaz'. "SymphonysacredStravinskyyou have concert heard;of simply Psalms." music. however, chose psalms there asis textsno pretence for his that choruses this isand church so has music. written Here is the beginning of the 1st movement of the Grace1750.lastthis Cathedralkindcoming in upthe in to lastSan date--or Francisco.few years. at least it is going toOn moveMay 21,from 1965, the musicVince ofInGuaraldi any event, and histhere group is aperformed ferment--modern a jazz Mass sounds ftt are being heard and Perhaps musicalThere tastehave beenin the several church experiments is at of positionsC?MPHONY OFboth PSALMS, for the Igor church Stravinsky and for (born the concert1885) --Composers hall. 2:03 have continued to use sacred texts as subject matter for com- These works are in KYRIE,Listenthenot just choirJAZZto thein MASS,singing theKyrie concertVince fromAnglican Guaraldi thehall. JazzPlainsong. -- Mass; 1:54 see how the sound of jaz. goes with Many are now being heard in the church. poserstyle,composer,a variety who buthas Peterof hewritten styles,has Maxwell written for and, performanceDavies, musicof course, toborn bein insuccess performedthe 1934. church has in beenis church the variable. young by amateur British musi- He writes in a clearly atonal One com- lived for a time in Berkeley and taught at the UniversityPernaps the of greatestCnlifornia. Jewish composer of all time is Ernest Bloch, who 14r. tionMagnumsectionscians. of Mysterium"an instrumentalfor you--the and set interludeopening, it in a unaccompaniedwhichvariety uses of ultramodernways. solo, first techniques chorus, andin thea por- It is difficult but performable. He has chosen a Latin text, "0 I shall play three short chestra.partsCatholicBloec.set ofaboutfelt theMass that writingold in theretestamentorganization; a workwas aasfor need his sosolo forprimaryhe baritone, seta Jewish aboutsources orsacredwriting cantor,of textualservice one. chorus material,similar and large to then the or- This sacred service is performed as a concert work but unlike many He used various "012-tone MAGNUM style. MYSTERIUM," Peter Maxwell Davies (born Some1934) other developments of interest are adaptations to folk music and Here it is: Peter Maxwell Davies' "0 Magnum Mysterium." -- 3:03 temples.concert"Mah tovu,"masses andit hasmeans, often "How been goodly performed are thy as tents,a sacredWe Yaakov, will work hear ingoodly thethe Jewishthyfirst dwel- section for cantor and chorus. It is called sictakenformsandjazz. wejazz thetoconsider thewasChristian folkan nativeoutgrowth music music Hawaiian--that idiom; toof otherit. this cultures. has of beenthe ukeleletrue where and missionariessteel guitar haveandThe Negro spiritual was an American Negro adaptation Of the hymn, Folk music has adapteJ various musical A vivid example is in the mu- youdevelopingJewsalings, listenlonely was Israel." toprimitiveincorporated intothis, such think chant. works into back asearly if Bach's you Christian can B-minor to themusic--it Mass, sound Beethoven's ofgrew the and Yemenite grew,"Missa finallyJew- Solem- - It is essentially an opening prayer for the service. Think also how the chant of the Pre-Christian As cussive,taught"aloha.'` the bearing natives, Actually, little and that resemblancethe musicreal nativeall to grew what Hawaiian out passes of Anmusicmissionary forinteresting theis primarilyreal hymns workarticle. that per-is werea masa that has been made by Congolese natives 20settingallandnis," centuriesthenow and techniquesthewe the have ancientago. Berlioz Ernest of Jewish musicRequiem. Bloch, textsdeveloped a fineto music 20thover 20whichcentury centuries- grew Jewish from -2000 composer,a Jewish years- source,using -and It went on through further developments, thewhochoirsis melodytextwere very oftaught rhythmicalis theboys quite massthe answering repetitious massbutusing haveby one'another.mucha suppliedBelgian andcomplicated is priest.antiphonalmusic drummingand rhythmswith to choirs bringof their ofout men own.the and rhythm; There is no harraofq; the timbre is Presumably, they have used It AVODATH HAKODESH, "MAH TOVU," Ernest Bloch (1880-1959) -- 3:05 DATA SHEET 3 KYRIE,choralit:eleison, thisMISSAwith isKyrie drumsLUBA, the eleison," and"Kyrie"Congolese the formfrom each Mass follors"Missa repeated -- 2:03 Luba,"the many text a times, Congoleseof "Kyrie of course. Mass.eleison, Christe Listen to OCCIDENTAL: Occidental is used in contrast to oriental. Things of the "western" world--Europe, North and South America. General Terms LITURGY: is -ENe prescribed liturgy in the Catholic church, and this includes the Prescribed forms of worship in the church, for instance, the Mass LITURGICAL DRAMA: throughoutareentire said form the ofservice. the mass, the words that are said, the order in which they where they are saids etc. Dramatic presentations of Biblical scenes which were at- Liturgy can also include the music BYZANTINE: thetemptedinto liturgy; the during liturgy. they the were 12th only century. partially successful and vere not incorporated The style of Byzantium, which was the Greek portion of the Roman It was intended that they would fit into ROMANESQUE: architecture,wasempire, Byzantium, including music, renamed old etc., GreeceConstantinople, all and under most Roman ofrenamed present influence; Istanbul. day Turkey.hence "Romanesque." First part of the Medieval Period, roughly 400-1000. Capital city Art, A CAPPELLA:HOMETING: by rhythmicA stops,cappella repeats choir" of singing notes. became the great style of singing from Cckeghem LiterallyUnaccompanied "hiccupping" choralmusically. singing, literally "as for the chapel." A means of syncopating music GOTHIC: of fluenceEurope--mainly in art, Francearchitecture, and Germany. music, etc., came from the "Gothic" sectionSecond part of Medieval Period, roughly 1000-1400. Dominant in- on; prior to that, each part had usually been sung by o single singer. John Dunstable -- Composers to Know -- 1390? - 1453 PROTESTANT REFORMATION:thenewothersstituting liturgy,religions, for reformall and startingthe particularly in reforms the with Catholic they thein demanded.thepattern art andof themusic Catholic of the church,church, but in- Demands of Lutherans, Calvinists, Anglicans and hurch. This caused sweepingThese groups changes attempted in to build Refor- MichaelHenryDietrichJohannes PractoriusPurcell BuxtehudeOckeghem 1658163215711430 - 1695162114951707 COUNTER-REFORMATION:thedemandsmation "competition' isfor often reform ofdated theto thefromProtestants. door 1517, of whenWittenberg Martin Cathedral.Luther nailed a list of 95 Action of the Catholic Church to meet the demands and Activity in ounter-reformation was RONDE AND SALTARELLO, Tielman Susato (16th century) ABSTRACT INSTRUMENTAL FORMS IN THE BAROQUE -- 1:43 particularlyart. strong in Italy and Spain, and much of it involved music and -- Musical Terms -- music,whodancescentury. lived one ofin of thethe the 15thearly very and 16thearliest 16th century. centuries ones, and under he collectedhis ownThe name. musicand published we just heardmany was dance music from sometimeIt in was the published late 15th by a Dutch music printer named Tielman Susato, Susato started off as a printer or A,fTIPHON:PLAINSONG: ed singmelody used to chant the Latin text of the liturgy. against" each other. A type of musicAnother in namewhich for two Gregorian or more musicalChant. groups or soloists For instance: leader, congregation, leader, Monophonic, simple, unadorn- feetlively,straightforward are and,supposed most and toimportantly, servemove. the purposethe rhythms of making set off theNow, the music those points move dances where and are soundthe pretty sample musically. This was dance music whose sole purpose was to The rhythms are very ANTHEK: betweencert"congregation. number.the priest for andBritish choir church of monks. service with trained choir. English protestant version of "antiphon." Many medieval works were written this way with alternation Became the typical "con- Congregation Medievalreligiousbe danced and musicto.Renaissance and almost periods all thatsecular did musicnot depend Soon farwords. as we know, dance music was about the only music of the entire as voCalthat is, it was All of the ORGANUM: ofsang a fifthhymnschoir lower. sang anthems. part sang exactlyParallel the singing; same thing the veryas the first melody type part, of polyphonic but interval music. Example: "Or- words,sung.sort no ofparticular story or storyhad some or meaning.specific meaning. Nowadays much of the musicIt was that made we of hear words is set purely to music. instrumentalno Music of that type we call "ab-Since it had words, it told some meaningstract"--that other than is, itsit existsown musical in its meaning.own nature At independenthas gone the of sameany specificway, so They"sonatas"--this called their worksname came"sonatas" from theto showLatin by word the "sonare,"title that meaning they were "to in-sound." ourtimestheythatsent present arewe inany now"abstract."which real timessee nearlyscene,many in whichabstract everyperson, there art paintingsor form isobject; much was or abstractiontiedthey sculptures simplyto a specific in representwhich both domeaning,music notthemselves- andrepre- to att. - So, we have gone from the medieval and renaissance readytendedandsung." heard thestrictly name isas usedinstrumental over a wide works; range that of is,time "to and be forms, played as rather you have than al- The word "sonata" was carried on from this rather simple meaning, purpose,theWe areclosest going it to didn'tto abstract survey have this musicany generalwords of this or trend story:time--dance toward so it abstraction.We music.comes started close off to by the hearing idea a renaissance band playing what is perhaps While it served a butHe of wrote heathe changedid Baroquemany develop insonatas key.Period, the forconcept did the much harpsichord,of tousing develop two mainly contrastingform ininDomenico piecesa skaplethemes forScarlatti, ABABA Aharpsichord. and form,B theand great harpsichord composer who lived at the end Listen to his "Sonata in D Major," and see if you can of aissance.abstraction.so much about already, was a composer who came alongAndrea at Gabriell, the end ofuncle the ofRen- the famous Giovanni Gabrieli you Hehave was heard born in 1510, died in 1586, and was director of music at SONATAthroughrecognize INthe theD ABABAMAJOR, "A" pattern.theme, Domenico the Scarlatti"B" theme (1085-1770and the general -- 2:13 form as he goes tune,"wrote2t.ofsuch latik's what manyandwork became itworksCathedralwas was in thatthea a principalforminled Venice tocalled Giovanni's baroquebefore "ricercar" his largeworks talented which form--thefor grandmeant nephew, fugue.concertato."to Giovanni.search out the srvq. of form of the vocal motet. It was the ancestor It was poly- One He differentYourlema single Boat,"of the key,theme, exceptfugue and aswasitthat in continuedthat roundsin fugueit wassuch to the based developas theme "Three on melodically;wasone Blind introducedideaThe only,ricercar however, eachand had sotime thethereled in prob-to awas the form called fugue, which used imitation of Mice" or "Row, Row, Row goingphonic,ingcase, out"to aand play quartethis the formelody. melodies ofyou, viols. the tended timbre to isbe thatmodal. of stringed instruments, in this This is Andrea Gubrieli's "Ricercar IX." Listen to it and see how the composer is "search- In the ricercar which I am possiblekey.howthenot differentthe "B"possibilityfor theme theideas sonata was asof of in ato adramaticthe beslightly sonata.a very conflict differentdramatic of workcharacteremotional even thoughandtensionsThis in itaprinciple differentbetweenwas ab- was much elaborated by later composers and made it You heard in the Scarlatti sonata RICERCARmentalthe principal IX,works Andrea whichinstrumental Gabrieli had imitated works.(1510-1586) vocal .Gradualiy ones,-- 2:09 suchthey Renaissanceaswere the mixed Ricercar withdance youinstru- forms have were carried into the early Baroque Period as thea singlestract. developing theme. sonata form eventua.ly overcame it.Johann Sebastian Bach, whose greatness Thelay fugue,in all onfields the otherof music hrnd, ex- had the limitation of being based on It was really the great form of the Baroque Period, but aourjust large instrumental heard; contribution but itmusic. was to thethe renaissancedeveloping abstractiondances whichThe of really keyboardmusic. led composers--those to much of writing for organ and harpsichord--made One of the polyphonicofsectiontainedcept the opera, wonderrully,theme,of texturehiswrote eachgreat many of time intricately "C thisof Majorat the wondern lowergreatestFugue." designed fugue. pitch, woi!is fugues. as forhe startsorgan. to develop the rich You can hear the four separate entries Listen to the exposition Many of these con- onricercars,Girolamoprincipal.composers all the Frescobaldi. laterpassacaglias, keyboard of keyboard andcomposers. other music types of ofthe works. early Baroque was the Italian, He wrote many works including toccatas, fantasias, He had much influence FUGUEmusic IN forC MAJOR, small Johannensembles Sebastian in which Bach he --combined 1:32 danceBach's forms contemporary, and the "learn- Telemann, wrote much "chamber music"--abstract verythechord.lar earlycharacteristic--just dance Baroque during Period that time. fromas recognizable the Renaissance. as those ofI amthe going minuet, to playwaltz, for you a pieceThis isof writtenFrescobal.di's in the formfor theof aharpsi- gailliard, Which was a very popu- The gailliard was a dance form brought into Its rhythm and style are wasmuchByed" thisperformedforms, enjoyedin timeevidence, such byabstractin asthetheir andthe people musicthediningfugue. baroquefor had halls whom become style orit largewasa ofvery written--theornamentationchambers real body - -it nobility.of is wasmusic also called whichmuch "cham- used.was In Telemann's music the basso continuo is Since it GAILLIARD,polka, or any Girolamo other dances.Frescobaldi (1586-1634) -- 0:55Giovanni Gabrieli end his contemporaries wrote many pieces they called mann'sberthetoconcert music"--it themelodic "Suite wayhalls. thelines.in was Gcontinuo Major"not intended forfunctions soprano as concert and recorder particularly music and for basso largeto thecontinuo. gatherings ornamentation in of I will play the "Sicilians," a dance movement, from Tele- Listen SICILIANA, PARTITA IN G MAJOR, Georg Phillip Telemann (1681-1767) -- 1:16 ALLEMANDE, "LES NATIONS," Francois Couperin (1668-1773) -- 1:35 uallyprincipleofwhose Domenico constructedchamber of Scarlattitwo music themeshis used sonatasand and thehis of sonatain harpsichorda threecontrasting principle or foursonatas. key, inmovements Giovanni aand, manner in in Battistaaddition,similar the manner toSammartini he that, ofus- was one of the late baroque composers Sammartini used the thesetheretwoand ofthe worksstill the concertos firstofwere Handel's, nolarge of large Corelli concert "The concert andRoyal works, Vivaldi.halls Fireworks both in thefor Music," earlyoutdoorLarge 18th wasconcertperformance, writtencentury. works to sincebegrew per- out of such pieces as Couperin's dance euites George Frederick Handel wrote One of twoSeemovement.athe trio recordersifsonatas yousonata can of and byhearCorelli, Sammartini;harpsichord. the differencesabout this which is between wethe will first eachhear movement, sectionmore in inana minute.thisallegro, sonata or forfast Listen for the contrast between melodies and for the key changes. Here is day.adancewhole greatformed tosuite successbycelebrate Aand very inthe largehisthe concerto, daysigning wind and band Handelareof awhileperformed peace wrote fireworks treaty. these with wonderfulaswere great being successworks Hereshot whichfor off...theeven our wereto- final number from "The Royal Fireworks Music" by George Using the form of the wasTRIO theSONATA Italian IN F composerMAJOR, Giovanni and violinist, Battista Arcangelo SammartiniThe Corelli, (1701-1773)man who who probably wrote --, 1:42 "sona-developed sonata form most in the Baroque Period Frederick"LA REJOUISANCE," Handel is "TheROYAL Rejoicing." FIREWORKS MUSIC, G.F. Handel (1685-1759) -- 2:20 Theweretasfoursonatas." "churchda that chiesa,"or morethe sonata" chamber danceor "churchwas pieces sonatas almost sonatas," for werealways solo actually andinstrumentfour "sonatas pieces dance (usually indasuites, thecamera," orderviolin) or collections orof "chamberandslow, continuo. of The rain differences, aside from where they were to be performed, SYMPHONY #1, D MAJOR, Karl Philip Emmanuel Bach (1714-1788) -- 2:07 CLASSICISMTREND AND TOWARDSONATA ABSTRACTIONFORM grossi"accompaniederalasfast, the "concerti ofslow,fugue. Corelli's byfast, stringgrossi" eachwere orchestra whichofthe the forerunners were four and sonatas piecesharpsichord of forbeingour twolater orof ororgan.the solomore "learned" concertossolo instruments type, and such They were almost always polyphonic. Corelli also wrote sev- These "concerti be themesusingroque.for orchestra sonataand key form, centers.as a whichwhole, was not based for anyon theparticular principle soloists.We of heard, contrast in thebetween last lecture, Ithow took sonata two formmain evolvedtracks, duringthe concerto the Ba- and the sonata, both types Some concertos, especially of Vivaldi, seemed to theme.masaftersymphonies.sonata Concerto." him then formwas the inis solohisvery debt. group,great, accompaniedand every composer by basso in continuo the next and hundred orchestra years Corelli's importance to the developmentYou will hear of firSt.theabstract musicorchestra in stating the slow movement Listen to the opening of his so-called "Christ- werements inoften vocalin calledsuites works "sinfonia.""sinfonias'--overtures since the 16th century, to andoperas, someThe oratorios,composers term "sinfonia" calledand cantatas first had beenmove- used as a name for instrumental interludes This name was used freely by the generation CONCERTOstrings, beginningGROSSO #8 theIN Gsecond MINOR, movement--the Arcangelo Corelli Allegro. Another(1653-1713) important -- 2:00 developer of the concerto was Antonio Vivaldi whose namenextof Bach's ofgeneration, the sons, sonata whothat for were oforchestra. Haydn,important "symphony" composers became themselves,You pretty have muchandjust in theheard the standard verythe opening of the "Symphony in D Major" by Karl to tra."certosinfluence,the beginning using especially as ofsoloists his on"Concerto nearlyBach, was every1n veryA Majorinstrument greet. known in his day. 'Listen for Viola d'Amore andVivaldi Orches- wrote over 600 con- Classicalmodel,WithPhilipis him,the soEmmanuel sonataPeriod.itthe can elements Bach,formreally of who ofbeKarl sonatawassaid Philipprobably to form be Emmanuel theare the guidingcrystallized most Bach influential formalwhich and Haydnstructure clarified. of tookBach's offor thesons. his It LouisofCONCERTO any XIV, age INking since A MAJOR,of theFrance DarkAntonio (and Ages). Vivaldiprobably (1676-1741) the most powerful, Francois-- 2:00 Couperin,absolute monarchalso .a contemporary of Bach, was court composer to Couperin wrote much for the harpsichord, at callingestablishedMannheim some in sonataGermany.symphonies, form, somewas Johannconcertos, Stamitz, and somecourtAnother he composer called composer orchestraland who,conductor like quar- Karl Philip Emmanuel Bach, clarified and Stamitz wrote many orchestral works in sonata form, butworksfromnames, thishe alsohis isbut suite,verywrote still French many "Theabstract worksNations."in style, infor their theAnheavily allemandecourtactual ornamented. orchestra content. was supposedly of strings, a German and his dance,were usually in the style of dance suites, often with descriptive Here is the allemande notclosely,minuet,tets,fourth seem or fast,toyouorchestralmovement fulfill will with hear of theatrios. Stamitz'svery thatfirst important the movement "Orchestralharpsichord place in "Sonata as Triois it still indidForm." A inthere,Major." true thoughbasso continuo.it does Almost all were in four movements: fast, slow, I will play the If you listen 7111,1111MWMISMIWO.TMM....MMMMMOOMMMMIMMMIWOMMOOMMPINW...... M.PMS.WiMEM 4TH MOVEMENT, ORCHESTRAL TRIO E A MAJOR, Johann Stamitz (1717-1757) -- 1:42 wrote a concerto for this instrument, one which tookTowards advantage the endof theof Haydn'svalve life, the valve trumpet was invented. Haydn tetn,ingandsonata overJohann forty form.one Stamitz,string hundred trios perfectedsymphonies, and numerous classical over othertwenty sonata chanber concertos, formJoseph works,in theHaydn,forty mostprocess string usingof themof quer- sonatawrit- in foras it was developed by Emmanuel Bach He did this during a long, productive life, writing important pettrumpet's3RDsible concertos. MOVEMENT, before. ability CONCERTO to play FORscale TRUMPET, passages Joseph with Haydnagility -- which2:03 had been impos- This work stillHere isremains the third as perhaps movement the of greatest Haydn's of"Concerto the trum- for Trumpet." ningalyorganizationworks chance the of from bestwaywhich to abouthear ofI towill aa 1735 Haydnunderstandcomplete play until symphony, now. analysishis classical death piano of in sonatathe 1809. Haydn orform, Cymphorristring and quartetyou 4102, will is thebe probab- givenbegin- This was written around 1800; it represents A thorough study of the andtenshould intrios, sonata not a greatconcludeform. time from of pianothis thatsonatas. orchestral worksWe have were been the hearing, only ones in writ-this lecture, only works for orchestra. Far from it. This was the great age cf string quartets Li fact, this was the time when You 1STthe fullyMOVEMENT developed EXPOSITION, style SYMPHONYand structure. #102, B-FLAT MAJOR,1809) Joseph -- 4:05 Haydn (1732- wasorthe calchord. inanpiano thePeriodabstract formemerged was oftype casttheas of an concerto.in music.important sonata form, instrument whether totally it was replacingwritten for the solo harpsi- piano However, the greatest part of the instrumental music of the Classi- It was still usually a sonata, and this Andworkstrios,great he in wrote musicalsonataquartets, forty-one form.genius, concertos symphonies,Wolfgang for Amadeusviolin, plus a Mozart flute,group.Closely whoofclarinet, worksalso.associated organized wrotebassoon, withmany likeand Haydnimportant piano; (his pupil for a short time) was the Mozart wrote piano sonatas, violin sonatas, string aorganization.ance solo in instrument--inpublic. the space of thirty years Mozartor so. wrote some twenty-five piano concertos, all for his own perform- In addition they snowThese how quicklyall demonstrate the piano very had clearlydeveloped the as sonata principle of Here is part of the Nighimusic."mostformhesymphonies famouscalled and were serenades"cessations," but just somewhat asis muchthe "nocturnes""lighter" oneabstract called and music*a- "Eine more "serenades." as Kleineof tIle the purestNacht:::uf:ik"--"Aentertainment sonata. type. Little I will play the second movement of it; this is the tradii.ional They all used sonata One of his These 3RDthird MOVEMENT, movement PIANOof Mozart's CONCERTO "Piano 423, Con,Wolfgang :rto #23Amadeus inWe A MozartMajor."must avoid -- 2:20 the mistake of imagining that abstract music, particular- ROMANZA,veryslon song-like movement. "EINE style.KLEINE NACHTMUSIK," Wolfgang Amadeus2:05 Mozart (1756-1791) -- Mozart marks it "Romanza," meaning it should be played in a Butby concern,"'fly all "abstractmusic.as the it composersisso music"representeddescriptive foundmentioned bymusic,its the greatestso variousorfar, music andgrowth, kinds withopera words, ofand was sonata, was verywas perhaps stillmuchwas the amuchmost "going only withat kind us. It was not. You should recall that religious music was written theuallysecond last specifically movementslow, third may in minuet, besonata in sonata andform, the orwhich fourthrondo will form.fast. be Thediscussed classical seaprately, sonata consists and of four movements, the first a fast one, The first movement isYou us- have heard the first waitedclassicalone.home,ingly inuntil enough, theaesthetics, theClassical while20th andcentury musicPeriod the had sonatatowhere "gonedo theformfit abstract," same thiswas thing--buttheideal biggeststarting perfectly. more concern inThe aboutthe idea ofBaroque, thatofevery- clarity, art organization, coherence--this was the heart of Interest- thoughstillSymphonyNowmovement I studying willit 41 ofalready playina HaydncompositionC theMajor. shows'certnin thirdSymphony, movement,with the Haydn.signs second the that Minue movement were , clearlyfrom of Ludwiga MozartBeethoven's. van Serenade. Beethoven's This symphony was written while Beethoven was It sounds very much like Haydn, Lis- Concerto."later.as a composer, and it represents the most fully developedNow for our style final of number,the let's hear the Finale of Beethoven's "ViolinThis was written when Beethoven was at the height of his powers MINUET,becauseareten moreto SYMPHONYit it folicis cnrefUlIy. a dance.song4,1, likeC MAJOR, since Ludwig it is vana dance. Beethoven (1770-1827) -- 3:15 The structure of a Theminuet rhythm is quiteis always easy ato triple follow rhythm, and melodies FINALE,advanced,classical VIOLIN soconcerto; theCONCERTO, demands by Ludwigthis on thetime, van soloist Beethoventoo, violinare much-- playing4:25 greater. had become ever more In scaleintothe concerto, thesonata aolo for concertothe solo minuet and with wasorchestra orchestral 'omitted. in threeaccompaniment. movements:The baroque fast, concertoslow, fast. grosso was developed during the Classical Period This was a large "DEATH AND THE MAIDEN," QUARTET, Franz Schubert (1797-1828) -- 2:25 REVOLUTION TRENDAND ROMANTICISM TOWARD ABSTRACTION hisone work, of theand earlythis stringromantic quartet composers. is no exception.The piece you just heard was a string quartet smitten by Franz Schubert, Schubert used sonata form in much of It got its name, "Death manticthe tendency Period, toward descriptiveness which was so characteristic of the Ro- knowpiecedramatictheand melody aspointsthe the tone Maiden," of Remanticthe ofa songwaythe from toPeriod--thequartetof atheSchubert's strong factfits tendencytime thatthe called ofmoodthe revolution of second"Deathof the the 19th movementandsong, and century.the romanticism.and Maiden."uses in aas way, itsThe thisthemewhole This time we The andof inpeople much a personal, ofwho the were music revolutionary involved was used in political,byprotesting the composer social sense. to andThe express industrialmusic hisof theown revolution, 19thfeelings century is music expressive of the imaginations Beethoven had begun this, thequartet,tendencyit music. meaningful butI speak giving titles,of itis athat andprogrammatic ofby writingattempting or abstract descriptive to be music,descriptive character, such asof amoodsby string giving within Ultimately this tendency to use abstract music in a descriptive thisand1850. itwhole was periodcarried of on romanticism. by most composers in one wayJohannes or another Brahms throughout wasMost a German of the composer political who revolution wrote most in'Europe of his musicwas over after by then. Brahms moremannerfollowed about led when.wetoclassical a new discuss type structure of "program music, in the themusic." sonatasymphonic form Manypoem, end composers adheredwhich we to wrotewill the hearclaritymusic which was technically still classical; it verypiano.concertoswroteused'classical grand four and scale.great aforms, number symphonies, particularly of works a fewfor the chamberkeyboard sonata, works, instruments, in manythree of or hisparticularly four works. marvelous the In all of these his use of form is very classical, although on a He is quite the romantic composer in his use of complex He ThisHisuseasand music inisoforder hisasonata workwas "Italianof romantic, classicism.forform. double Symphony." largely string inquartet--eight that it was oftenseparate descriptive parts. in mood, I will play the Scherzo from his String Octet for Felixyou. Mendelssohn was one of those, like Schubert.But Mendelssohn was very classical in his Rhythms becauseminorblendsnesscross-rhythmic ofmodes. hisboth his music mannersmusic. devices, goes so back well. in emdhis forthorchestration so freely and between in the the extreme major expressive-and the His harmonies are very rich and full, quite romantic. Sometimes he is called a "classical-romantic" because he He is also called a "major-minor" composer Listen SCBiEZO,alive.musicare strong is OCTETvery but melodiccomplex;FOR STRINGS, and not seems alwaysFelix to Mendelssohn sopractically easy to count(1809-1847) dance, in iteven is patterns.so bubbly and -- 2:00 The CLARINETthisto this is abstractfragment QUINTET, musicof Johannes his but quintet veryBrahms expressivefor (1833-1897) clarinet of and itmelf.-- string2:15 quartet. See how mustman,tastique." know,Hector though, Berlioz. is that in this Work .Berlioz is Onewriting of the a symphony,most romantic true of the composers of this time was the French-In a moment I shall play another section of it. You have already heard parts of his "Symphonic Fan- The thing you tiful,thesymphonycomposers formal rich was go, senseharmonies a butmature but by filledthisandwork, thetime tonot powerful the hea "studenthadbrim writtenrhythmic with piece," lovely, many driveBrahma' andlesser noblethat it first wasworks.ismelodies, soclassicalsymphony much beau-a waxin written when he was 42 years old, old as His first movements:Scaffold";third--anenough, abstract movement, andfirst fifth a piece symphony,movement, "Scenesmovement, of music. inas"Reveries, "Dreamthewe discoveredCountry"; of Passions"; a Witches fourthearlier, secondSabbath." movement, is amovement, sonata "March for "A to orchestraLull"; the Berlioz's "Symphonic Fantastique" is in five Now, that gets peoplepartitself--itto doesofthe havethe mainnot doesn'tmusicfelt seerstheme thatof actually to inBrahms. itexpress the expresses finaledescribe some ofmesses".the anything.Brahms' noblest to "1styou. aspirations Symphony." of mon. This music ss abstract, "pure music," yet many It is abstract; yet, see if See for your- Listen mhat.thecanthen?one'spretty guesswhat imaginationOnmusicdescriptive, the is otherit &bout. iscan hand,andabout, supply so vithout doesjust much theby theof hearing music. thetitle, detail. it. it might be difficult to guess Well, listen to the second movement. Given the title of the movement, Is this abstract music See if you FINALE,ticism, SYMPHONY was the #1growing IN C MINOR,spirit Johannesof nationalism. Brahms -- Another2:15 aspect of the 19th century, this age of revolution Until the middle of the 19th and roman- Berlioz2ND MOVEMENT, was describing SYMTHONIE a FANTASTIQUE,ball (a dance) Hector musically--not BerliozIf (1803-1869) you too guessed hard to-- that do2:15 sincethat was the music for a ball, you were signs. birththatnationalitiesandcentury, Germany.became every Europe aindividual greatfor was a concern longa washodgepodge time. important,of artists, of littlea musicians,pride countries, in the and nationality writers.especially of in one's Italy A long series of wars had meant changing rulers and changing Now, in line with the romantic discovery Musicians thetive,descriptiondance 19th musicit certainlycentury isare justsuch often there loseswhatan somewhat importantvas wesome aare constantof harder;up partits against. quality of punhowever, a ball.betvesn of "allsoractness."this musical problem abstraction of musicalAll during and As soon s, music gets descrip-' Other types of musical soattempted inwe the had emerging theto writewriting nations music and thatofperforming Europe. sounded of like much the nationalistic Antonmusic Dvorakof their music,was own the especiallycountry, great composer of Bohemia (now a part of Czecho- "NIONIENNIEEMumwomw...... Is. ,1 1 1111 in what is almost a contest between soloist and orchestra--all this in or- oftenslovakia)."abstractconcertos,folk the songs way music," chamberandthe rhythmsnationalistic that music, forwherever asinstruments, wellcomposers he as could songs, worked.and as usingoperasthematic sonata and material. religious form, is works.still quite Dvorak really wrote very much like Brahms, but he used Bohemian Dvorak wrote symphonies, This was His FINALE,Hereder it to PIANOis, express, the CONCERTO Finale abstractly, #2,of Tchaikovsky'sPeter the Tchaikovsky bursting "Piano emotions (1840-1893) Concerto he poured #2."-- 2:50 into his music. rhythms.nationalistic1STto itMOVEMENT, and see because SERENADEif you of can theIN hear Duse MINOR, theof Bohemian soundAnton ofDvorak folk songs(1841-1904)music in hisit. --melodies 2:15 and I will play the first movement of his Serenade in D minor. Listen SYMPHONY #2 IN D, Jean Sibelius (1865-1957) -- 2:17 20TH CENTURY ABSTRACT MUSIC veryandchromatic--the romanticism,classical manner. muchmusic like is quiteBrahms. romantic sounding--yetCesar Franck Franck uses was forma French in a organist and composer who combined classicism His orchestral music, while highly expressive, re- His melodies and harmonies are very composer,wequite will a examinebit, Jean even Sibelius,separately. when we who exclude died inthe 1957. large body Todayof experimental we will consider music which20th century abstract music of which there is The piece you just heard was by the Finnish Many of the 20th century com- ALLEGRETTO,bymains the abstract.French SYMPHONY composer, IN CesarD MINOR, Franck. Cesar Franck (1822-1890) -- 2:15 This is the second movement from the Symphony in D Minor theUmostposers,similarstract lifetime all including forms--for toof theirs.ofthem Brahms Sibelius,still some and turnedof Tchaikovsky, theirwrote to greatestprogrammaticthe symphony and works. his musicormusic the of wasconcerto--both various originally sorts) veryab- but He is regarded as one of the important nationalist com- Sibelius had grown up in Ca sicperiod for withpiano, both especially Mozart and sonatas, Beethoven. written by themThe and piano by subsequenthad emerged com- as the queen of instruments during the classical There was a very large body of mu- posers, though he rarely Used Finnish folkmusic asAnother his thematic important material. composer of abstract music in the early 20th century ' makeposers. the place of the piano even more secure. During the 19th century there were several pianists who did much to Perhaps the greatest of these movement,binationswasintroducedstraction Gustave markedof Mahler. insingerssong the "Burleske," texts symphonic and andwith abstract offormthem Mahler'a becausesong music. texts. "Symphony in some of#9 hisin Dsymphonic Major." works, he Mahler, however, blended and tempered his use of ab- I will playSo, forhis yousymphonies the 3rd are com- Listen them:preludes,workstowas lyFrance Frederick everythingfor pianowhere Chopinnocturnes, alone,he livedwrote who mainly outlivedwasballades, histerriblyshort from rather Mazurkas,works--not1810-1849. romantic short, polonaises intragic sonatacontent life. andform. and etudes. style, yet it Chopin was Polish but moved He wrote many He called Near- BURLESKE,to thehis clarityharmonies SYMPHONY and and #9,simplicity the Gustave timbre ofMahler ofthe his Haydn(1860-1911) orchestra. Symphony, -- 2:02as an example. Compare it in your mind BALLADEwasexample: all abstract.IN A-FLATthis is MAJOR, Chopin'S Frederick "Ballade Chopin #3 in (1810-1849) A-flat Major." -- 1:55 Its meaning was a purely musical meaning. Here is an mainlytowardwas Tchaikovsky. lrogrammatic,the turn of the not century--most abstract. of them, however,The greatestwrote music symphony that wascomposer of the Russians during the 19th century There was a strong group of nationalist Russian composers Tchaikovsky wa4 the principle exception wasfamousin even every plunderedfor sense, his symphonies, yetby ourmuch "pop-tune" of and his especially music writers used forandclassical, hisre-writtenThe "Piano great abstract Concerto asRussian a hitforms. #1,"composer,tune which Peter Tchaikovsky, was a romantic composer He is TikhonRussianto this. Krennikov, composers Dmitriwith such Kabalevsky men as Sergeand Dmitri Prokofiev, Shostakovitch.The Aram 20th Khatchaturian, century has seen the strong continuation of the school of The last one, yet,tionalistic,called romantic "Tonight andas Wehishe Love." filledmusic is,his itmusic retains full inof itsthe abstractprotestTchaikovsky ofform, pir poured purelyown netore; outmusz.- his emotions into his music. He: was vc na- mostday,Shostekovich,havecertos, ofand developedhis heoperas, symphonieshas has written andandemerged descended muchare. many aschamber works,the from principal music. includingclassical composer 13usage, symphonies) of but the of Soviet course,several Union hiscon- to-use of Ae has continued to use symphonic forms as they Many of his works are abstract, as 42."impossible,cal meaning--not and he descriptive uses a very or large textual orchestra, meaning. playedWe will off close againstSee today how the withhe pianodemands the finale technical of Tchaikovsky's feats from the"Piano pianist Concerto that are almost 4THShostakovitch.tury.the MOVEMENT,elements ofSYMPHONY music--rhythm, #5, Dmitri melody, Shostakovitch harmony and(born timbre--is 1906) -- verx2:02 20th Listencen- to the 4th movement of the "Symphony #5"; this is by Dmrtri impressionismsceneguidinggan in orFrance. principleharnening was certainly wasbut tonot try tonot tobe abstract. conveyliterally by musicaldescriptive.Along terms about an impression 1875 the artisticof a movement known as "impressionism" be- Musicians took up the movement enthusiastically. It was descriptive, even if the Now, the music of Their VIOLINis Alban CONCERTO, Berg's AlbanViolin Berg Concerto. (1885-1935) -- 2,00 The piano concerto was one of the principal solo forms from the time evenusedinmusicaldescrIptir.!: melody, ifalso theydevices byharmony didn'tnon-impressionistwas ceased not and subscribeintended timbre.certain toto composersmusical beimpressionist realistic. developments, who liked idePls. the however, sounds theyparticularly heard, These new impressionist techniques were The use of impressionist Mauriceievskyof Bach. Haydn2nd Ravel, Piano and MozartfourConcerto. by continuing Rachmaninoff, the linethree begun or four with by andthe the Shoatakovitch,harpsichord Russians, Prokof-concertos the Stravinsky concerto, of whichIn yorthe heardlast lecturea part you heard, as the final number, the Tchaikov- Important ones written since then include two by hismuchsical life, descriptive form--specifically from about music 1910 in -1913, thethe impressionistsonata. he ban to write style; abstractThe but leader toward music of the theusing endmusical clas-of impressionists was Claude Debussy who wrote His abstract music, naturally enough, others,Coplandin an earlier usesand Georgethe lecture, traditional Gershwin. and several form of by the American concerto, composersThe but Gershwin it includingcombines concerto manyAaron is particularly interesting because it, like the .uses much toneof"SonataI the willscales impressionist playfor and Flute,for the you beautiful, Violastyle,the beginningand including coloristicHarp." of the timbresharmonies,first movementDebussy the wholehadof Claudediscovered. Debussy's This is abstract, impressionist music. binedBlue"otheroneelements of 1Americanand America's of"An American Americanjazz most with jazz successfulin the Paris."with piano regular composers concerto symphonic ofin popularhis techniques. Concerto tunes; in some F. of his works are the folk opera, "Porgy and Bess," the "Rhapsody in Listen now to how George Gershwin com- Gershwin was written1ST MOVEMENT, many descriptive SONATA FOR and FLUTE, programmatic VIOLA AND works, HARP, but Claude Igor--in 2:15addition, DebussyStravinsky, (1862-1918)he haswho is perhaps the great composer of our century, has PIANOthat CONCERTO in, music IN withF, George a meaning Gershwin which (1898-1937) is a purely -- musicalThrough 3:20 meaning.the last four lectures, we have listened to abstract music; I believe aswritten Piano.Iabstractthe will symphony, aplay substantial works next concertowith for numbertitlesyou. and ofsonata. abstracthis own devising.works using traditional forms, such Stravinsky calls it "Eclogue 1." It is from his "Duo Concertante" for Violin and He also has written a number oC.short One of these is the piece onthat stractsonatas,specifically,the you sonata willmusic, string principleagree thebut quartets sonata.thatthe and greatmost orall ofbodytrios, abstract. it ofhas concertosabstract been associated musicand symphonies--all is withreally structure, associated organized From the classical period on, we have had solo There are other forms of ab- compositionsECLWJE.1, DUO wer CONCERTANTE, Igor Stravinsky (bornThe 1885) atonal -- 2:15composers wrote many abstract works, although many of their expressionistic works, using songs and dramatic situations. begantowith literatureofbe the "goingmore sonata.18th abstract abstract"withcentury. the than symbolistabout visual 1900, art,poets and in andso, any suchtoo, case. novelistsin a limited as Kafkasense, and did James So, we have had in music an abstract art Perhapssince the this middle is because music, as a languag,, tends Visual art and sculpture Arnoldopustonalabstractthan Schonberg, those33a,center music iswho puts.aa forfollowedgoodwas which thebigexample leaderdemand him,atonality oftended ofonhis thedesign. is atonalto atonaltell use musicsuitedneo-classical school, n sincean and abstract its he,forms lackperhaps context.and of toamore singlewrite Schonberg's "Piece for Piano," Joyce.19ththe descriptivecentury. and programmatic in music especiallyIn asour it next developed unit, wein willthe survey "the other side of the coin"; that is, tainlypupils.PIECE FORnot PIANO,abstract, OP 33a,'though Arnold they Schonberg are surrealist; (1874-1951) Albanbut he --Berg, did2:04 writethe Austrian some ab- expressionist composer,He is bestwas oneknown of forSchonberg's his operas "Wozzeck" and "Lulu" which are cer- certoworkthe Hungarian wasforbut completedthenot entireacomposer, concerto just orchestra aBelafor couple anyBartok, with oneof brilliant yearssolowho diedinstrument;before soloin Now,BartokNew passages York,'inforrather, died. our going finalit1945. isto anumber,first con- a real abstract piece, let's hear a work by It is a con- This Tchaikovsky;ViolinThisandstract atonality,is Concerto works,a"lineal but including all anditdescendant castusesthe romanticinaatonality very theof thetraditionalgreat concertos asCorelli violinits harmonic ofConcertiform concerto Mendelssohn, of and theGross', which melodicviolin Brahms, combinesthe concerto.bases. Beethoven and tonality This one1ST"Concerto section, MOVEMENT, forthen Orchestra."CONCERTO another. FOR ORCHESTRA, Bela Bartok (1881-1945) This is from the first movement of Bela Bartok's 3:55 DATA SHEET 4 piecesof vocal in operasmusic inor motets.cantatas, eventually becoming "overtures," and where By the Baroque, sinfonias were the opening ABSTRACT MUSIC:human life,or poem no attemptor picture. to follow a scheme of emotions dictated by a story Music vehout any attempt to follow sounds of nature or of Music with strictly musical 'meaning. CASSATION: movements."symphony."the overture was played separately, the name sinfonia was changed to Type of piece like a Mozartlight, symphonywas the mainbut withcomposer two orof threethese. extra RICERCAR:PROGRAMMATIC MUSIC:tive Music Itscheme; doeswhich tell may attempts abe story. an outlineto follow of somea story sort or of may a descrip-be descriptive of nature. Polyphonic music for instruments. A form much used especially SERENADE: waybecausetaining outside cessations nature. the courtroom. were played outdoors in the "gasse"--a little alley- Similar to cessation. Cessations usually had more wind players than serenades Serenades often had only strings and wereSymphony-like pieces of a light, enter- FUGUE: werely.in theoften early in threeBaroque. or four voices; the saMs subjectRicercar was used meansThe bygreat "toeach searchpolyphonic out." form which developed from the ricercar. Used several short themes, each repeated canonical- Fugues RONDO FORM :' In its toredsimplestisusually aup "sonata-rondo" until form,played itrondo indoorscan isrivalform ABABA;when whichthe it however,sonata was developedmore formit quiet.has for been duringcomplexity; doc- the Romantic in fact, Period. there TOCCATA: ofciplevoice, the ofBaroque.but changing each voice key inbegan the insonata. a different key; a forerunner of the prin- Originally an improvisational type of piece played at the key- Fugue was the great polyphonic form 1500..Andrea GabrieliRemember (1510-1586) primarily it is ABABA. -- Time Chart -- Hightenaissence 1500 -/74FANTASIA: of organ or harpsichord.harpsichord,ually involved but fast primarily runs, muchfor consortsdisplay ofof technique.viols. Related to the ricercar, fantasias Frequently preceded a large fugue. were written for organ and Us- 1600..Arcangelo Corelli (1653-1713) *Domenico*Antonio*Girolamo VivaldiScarlattiFrescobaldiFrancois Couperin (1668-1733) Baroque 1600 PASSACAGLIA: point.long,came awas variation repeated form, over inand that over the again same with theme, constantly usually changingeight measures counter- In essence, the passacaglia is used by Originally12-tone composers a dance andform; also in the Baroque, the passacaglia be- 1700..Giovanni Battista Sammartini (1701-1773).*Joseph HaydnJohannKarlGeorg Philip PhillipStamitz Emmanuel Telemann(1717-1757) Bach (1681-1767) (1714-1757) .Pre-ClassicalClassicalPre-Classical 1700 MOVEMENT: moderate,natureby jazz ofgroups. etc.the movement of the music in the particular section: fast, slow, One section of a sonata, concerto or symphony. Wame comes i'rom 1800.tFranz Schubert *LudwigWolfgang*Hector van AmadeusBerliozFelix Beethoven Mendelssohn Mozart (1809-1847) RomanticClassical-RomanticClassical 1800 SONATA DA CHIESA: phonicsonata forms. written by Corelli and his contemporaries. Italian for "church sonata"; the four movement kind of This kind used noly- *Johannes*Peter"Frederick TchaikovskyBrahmsAntonCesar Chopin LvorakFranck (1810-1849) (1841-1904)(1822-1890) Romantic Nationalist DANCESONATA SUITE: DA CAMERA: ample:tainment, inthe nobleman's chambers. allemande, courante, bourree, gavotte, Groupgigue. of dance forms collected together into one piece.Italian for "chamber sonata"; sonatas written for enter- These were really dance suites. Ex- 1850..Gustave Mahler (1860-1911) *Arnold*Claude SchonbergDebussyBelaJean BartokSibelius (1881-1945) (1865-1957) EclecticAtonalRomanticImpressionist Expressionist Nationalist 1850 SINFONIA:CONCERTO GROSSO: more soloists with accompaniment of strings and continuo. Originally the littleinstrumental intertudes between sections A sonata, either "da chiesa" or "da camera" for two or *Igor*Alban Stravinsky BergGeorge Gershwin (1898-1945) Expressionist,Atonal"Pop" ExpressionistTunes, Musicals,Neo-Clas-Nationalistsicist, Atonalist Listed with dates on a previous data sheet. Shostakovitch (1906) Eclectic Nationalist...1900 Sometimes there is a speaker or singer directing theOur audience's next piece attention. does just that. It has a speaker who describes the MINUET FROM "A MUSICAL JOKE," Wolfgang Amadeus Mozart (1756-1791) PROGRAM MUSIC IN THE CONCERT HALL 1:25 Americanattemptedofanimals the poet,AW.mals," pictured a musicaladded ain the series"picture"the verses music, of shorttoof which the pieces music.animal.is from about Camille various St.-Saens' animals. "Carnival Ogden Nash, a contemporary Each piece musicacal story Joke."is full of villageof mistakes musicians (in this who case,take themselvesMozart wroteYou very have the seriously, justmistakes heard in!).but the whose Minuet from Mozart's Serenade called "A Musi- This was program music; that is, it tells a story, in this case phants.heavy"CARNIVAL timbre OFof THEthe ANIMALS:string basses ELEPHANTS," to suggest Camille the St.-SaensheavinessIn the (1835-1921) andfirst size piece of -- ele-you 1:40 will hear, "Elephants,"Listen and St.-Saens see if youhas thinkused thethis is a good picture. aNow,program story;sic,-which that music--musichave is was justa program?music the that oppositewithout tells aof somestery what kind orwe program.haveof a beenstory--thatWell, studying--abstract for has this a program.lecture mu- and the next we will deal with the problem of I think ther2 are ac least four ways. Now, how can music tell The first "CARNIVALcreatethe timbre the OFeffectof THE the ANIMALS: ofxylophone dancing FOSSILS," asbones. a solo St.-Snens instrument Anotheralong with picture the clarinetSt.-Saens to attempts is that of "Fossils"; her -- 2:00 he uses thewhichandsicsounds othermost caseis fit obviousprogramtypes the together singerI ismusic;want for to simplyto thebutform discuss musicwe tellsthe will story.with tothe disregardbe you.story sung inby it music;a forsinger the words ortime singers,and because musical in it is In this sense, then, all vocal mu- adescribedand rather the orchestralunusual at the butmoment, music effective socreates here manner. poetrya stronger and musicpicture have ofIn "joinedthe"Carnival animal forces" ofbeing the in Animals" the combination of the speaker's verses takeand cantata. aup story this toldentire through subject song, in theacting, next scenery,lecture. costumesFirst, cicarly'related and so on. to song itself, is opera, operetta, oratorio All are dramatic works involving singers, instrumentalists, I will ideashort"Pictures"Peter to piecesrepresent and at the an Wolf."aExhibition," particular idea,and it thing, was originally or personAnother writtenin waya story, ofas tellinga asseries in aof story in music is to use a particular musical or piano. Our next piece uses theEach same piece idea. was a musical picture of a drawing the It is called dancers;selffor,in which themust in dahoe. thethattell story case,the story.is :titles told by of dancers the music while and the the instrumentalists Nownature we ,:omeof the to music theplay last it-music two types of program music. Much of the ballet music can be performed away from the One is the ballet, Chicks"ofcalledcomposer, fromthe pictures."Promenade," onefrom Moussergsky, picture "Pictures torepresents theathad an next;seen Exhibition." the atso composeran"Promenade" exhibition. himself appears walking-- between "promenading each of several " I will play for you the "Promenade" and "Ballet of the The central musical idea, -- vanmanyderinstruments storms,Beethoven, famous birdstorm sometimeswhich calls, scenes he.called etc. imitatenave been"The well-known written.Pastorale sounds, Symphony," Then,such asfinallyhas bugle a storm wecalls, have scene. thun-program music for instruments only. Storms are good subjects fororchestrks, and The "6th Symphony" of Ludwig Here the forPICTURES piano ATin AN1874; EXHIBITION: however, "PROMENADE"the suite was and not "BALLET n greatMoussorgsky OF successTHE CHICKS," (1839wrote until -1861)the Modeste19P2, "Pictures -- 2:05 at an Exhibition" as a suite of pieces "STORM,"istenThe the tostorm stormit; SYMPHONY issee fromfollowed if #6,Beethoven'sit doesn'tLudwigby a prayer van sound"Pastorale Beethoven oflike thanksgiving thunder,Symphony." (1770-1827) rain from and the lightning. peasants. -- 2:57 ThisLis- bringofbeingtures"when his thethe afor music picturesbrilliantFrench orchestra. was Impressionist, todescriptive, orchestrator. life. hadcomposer, a story, Maurice was "program Ravel, arrangedmusic." the "Pic- The brilliant timbres be created did much to really Ravel was an important composer, as well Sinceas he was an impressionist, nearly all After all, edSometimesthe program village inof feast programthe concert,goes music on--all suggestingthese described sounds what are by the describedsounds listenerBeethoven's from by should thenotes orchestra.storm bein hearing.theends, print- the peasants come out from under shelter and piecesticandthing.that's situations. thebased whatmusic loosely an were impressionist onalive certain and bubblingtriedof the to Mother withdo--create descripticrsGoose anstories. impression of various of fahtas- Ravel's music was most often in the world of fantasy; the stories Revel's setting of the "Mother Goose Suite" includes five Titles arc a real ofThegiven, Sleeping"Sleeping fire. Imt piece theBeauty." Beauty," restin navel's is you left should "Mother to the 'know Goosemusic that Suite"and she the didn'tis imagination entitled dance "Pavane aof pavane; the ofhearer. butthe Now, a pavane is a stately dame. If you know the story beautifulthesing way can indeed.he be did; grateful now we've to Respighi had a chance for writing to hear this the particularnightingale, piece and ofit musicis MOTHERSleepingpectedthat doesn'tGOOSE to Beauty" fillSUITE, bother out by"PAVANE theRavel.Maurice story OF Ravel.THEto suitSLEEPING himself. BEAUTY," Maurice Ravel (1875- He tells a "sort-of" story--the listener is ex- Here is the "Pavane of the performedNevsky.""AlexanderlNevsky,"Is the "BattleaJ a large on thescale but Ice" latercantata--like from the Serge music Prokofiev'san was opera, publishedAnother but great without separately,piece work, ofstaging. "Alexander descriptive, and it is programmatic music thatThis seems music quite was real originally written as the sound track for the movie butthe whatmusic it may does have tell been of perfect,its story, to itothers tells it by may suggestion, notWell,1937) tell --.it thewasnot1:27 storylovelyby real at music. all, The title may make some difference; to some Graduallyareulartonic"The locked is BattleKnights the in battlebeaton combat.on the oftheir line Ice"the heavydrawshorsesis a warhorsesmusicalcloser hooves and pictureit across closer,sounds ofthe almosttheand ice longfinally oflike Lakecharge athe locomotive.Chud. oftwo the lines Teu- This music manages to conjure up pictures of battle, So reg- couldStrauss,sounds. describe the German in music expressionist a glass of composer.stale water Anothersitting greaton a shelf!writer of programmatic, descriptive music was Richard Strauss once boasted that he If that ALEXANDEReven though NEVSKY, it uses "THE only BATTLE conventional ON THE ICE," instruments Serge Prckofiev and2:15 musical (1891-1953) sounds. -- largesounds orchestral easy to you, works try with to thinkfairly what definite the music programs, mightStrauss orsound wrotestories. like. several works which he called "tone poems." They were One of whenStravinskyand it the was raging first proeuced in Paris in 1916. For today's last number, listen to the "Sacrificial Dance' from Igor "Rite of Spring." asymmetrical rhythms made it seem very hard to understand. This was the ballet which caused a riot Its wild, dissonant sounds eaoaC) thatEmlenspiegel,"allyaboutthe the bestthe apeople boywholeknown in andhe town14this playedhe "The wascentury Merrythefamousso outraged tricksGermany. Pranks as aon practicalatof didn't him,Till thinkthatEulenspiegel." joker. hesh.,:y was arrested,were funny. brought He had the preposterous name of "Till The only thing was This story is Fin- Eventheto successwithout imaginehelp of orseeing athe dancefailure dance? the of asdancesacrifice program which tomusic: would sach cango.music. itwith carry the itsmusic, message it is alone passible If it can, then it can exist as independent progrem This is the measure of its without barrelswillsomebefore hearofgo a therolling magistrate,commences tricks, down justincluding sentencedthrough as Till the and ismainone hanged.brought wherestreet beforeTill of thelets the town. ajudge whole for load sentencing. of beer In the music Strauss describes The part we music"LE"Sacrificial inSACRE its DUown PRINTEMPS"Dance" right, from as (SacrificialthisStravinsky's music has Dance) "The ever Rite fromsince ofStravinsky"THE 1916.Spring." RITE OF(born SPRING," 1885) Igor-- 1:37 Here it is, the youYou listen,managedly,tion can Straussand hear somehowseeyou the hasifcan judge, you towrittenhear havecan Till'syou hearthea canlittle lastallsoul hear these laughcodamounting Till inthings. becauseprotest, which up above heit you hassounds the can become town.. hearas though anthe angel. execu- Till has Here it is, the finale Then, curious- As "LE JEU DE ROBIN ET MARION," Adam de la Halle (1220-1287) -- 1:18 "DRAMMA PER MUSICA" TILLof "The EULENSPIEGEIS Merry Pranks LUSTIGEN of Till STREICHEN,TWaenspiegel." Richard StraussThe Italian(1864-1939) composer, -- 3:05 Ottorino Respighi, was influenced by impression- testscalledis aRobin's "Robinvery early loveand Marion"ancestorby means and ofof iswhata hat.a sortwe now of knowsilly as Youstory "opera." have about just how heard Marion a pastoral play from the 13th century. This is a alcory told in music and it I played it for It is beHill." sounds.Inism,heard. his but tone in poem,much of"The his Pines music of he Rome," could Respighibe quite actuallyspecific usesin his real descriptions. live birdAt the end ofThe this third piece, movement the singing ofListen "The of closely;Pines" real liveis you'll called nightingales hear "Pines them. oncan the Janiculum formprogramyou becauseof thisis an todayis out-and-out the we opera, will storydealoperetta withset ortothe musicalmusic. problem comedy. of Theprogram Italians, music whowhere invented opera quite by accident around the year By all odds, the most common the THE PINES OF ROME, "PINES ON THE JANICULUM HILL," OttorinoThose1936) of-- Respighius2:15 who have never had the good fortune to hear the nightingale (1879- Claudiowhey1600,along they called shortlyMonteverdi, were it trying afterward."drama whom to per Iinvent--a havemusica"--that mentioned drama withtois, you music."drama before. with music." The first ready successful opera composer was The name "opera" came His first great That was opera, was "Orfeo," but he wrote several more after that. His style of writ- per musica," or "music drama" rather than "opera," to describe his works. pressive.the"Theing types Combat sounds of ofinstrumentsa Tancredibit "dated" andused toClorinda." andus now,the expressivethough the qualitymusic is of beautiful the music. and ex- I am going to play for you the opening of Monteverdi's opera, Liston particularly to the style, Wagnerperson,He itscompletely'wrote leitmotifcalled thing on subjects differentaor "leitmotif"; couldidea ofinbe formal Germanhisheard whenevermusic idea inmythology, thedramathan aorchestra. particular thathad and aof hisspecial the musicsubject Italian. musical was was organized ontheme stage, which on a The singer generally did Every important IL COMBATTIMENTO DI TANCREDI E CLORINDA, Claudio You2:15Monteverdi may have (1567-1643) noticed that -- there was more "reciting" style singing than ednot somethingmoat sing of melodic, thelike rhythmic a song-likesmooth and recitation melodicmelciies, ideas.over but therather orchestra, a typeI'm chich ofgoing melody really to playwhich present,- a waspart of a piece from Wagner's opera, "Die Walkure." wardniques"song-like" because were he workedand was that able out never tolater, make did butittwo excitingMonteverdi people singto gavethe atThe peopleoperathe "drama same aof powerful time.perhis musica"time. push for-evolved into three main forms: the opera itself, These tech- As activitytheirtime.imbeddedyou listen leitmotifs ofmagically tosinger it, are youandin heard awillorchestra. tree, inhear theand the orchestra.the singer orchestra telling is busilya story playing about aall sword Asthe the singer mentionr different people and things in her story, Listen for this combined thewhichactinguallythe cantata, wastrappings; had ora dramaticsceneryawhich religious the began andproductionoratorio, wsssubjectes aperformed shorter, whichactedand was was oninsecular usuallystagethesimilar oratory versionwith performed to costumes, operaof of the thewithoutexcept church; oratorio,scenery thatcostumes, finally, andit ofus-all DIE Euxunr, Richard Wecrxrir (1813-1883) -- 2:18The Wagnerian style of opera was very influential, especially with offspring,isten all performed a very the broadasoperetta chamber subject, and music the so formusicalwe willthe entertainmentcomedy.limit cutselves of tothe opera nobility. and its This tendingverypoems.traditionother similar German more was tocomposers.and Richard that more of towardStrauss Wagner, atonality who 1-At was his alsoand harmonies expressionism.a very successfulsoon became writer more dissonant,of tone Remember his "Till Eulenspiegel "? Probably the most successful in carrying on this Strauss began writing in a style He turned to hadclubs,nationover aEurope. lotofall our goingrolled present for into it: -day one. it picturecombined shows, the dramatelevision, withOpera music, live caught shows, dance, on and veryscenic nik,,ht strongly art, with Monteverdi, and it soon sprcad all By 1700 it was the principle form of entertainment - -a combi- Opera was total entertainment, and it really asWildebasedopera the onafterhadlibretto, the written hebiblical had or the writtenscript, storybiblical hisforof Salome,tonestoryhis opera.poems. into Herod play and form; John Straussthe Baptist. used this play SalomeHis first was operaa real was "shocker" "Salome," in Oscar beautifulSeville," ooltumes; and at its best, it was very good.One cr the molt successful operas is Gioach!no Rossini's "Bnrberhit ol was written in 1816. It has been Performed thousnnls e't' power,"its time, but creating it is now an aartistic standard furor, work inand opera it still repertoire. Ihas shall considerable play a portion "shock of it, a scene where John the Baptist can be quiteanddardtines humor. repertoirc.familiar. since then and still is ow: of the most popular operas in the star- In addition, it has a delightful story. I am going Ttto usesplay beautiful,for you an 1.11ting ensemble melodies from "The and Barber is full of or rhythm hinny if its songs nre; musicdancener.whileheard changes forshoutingHerod, him. suddenly his out wife prophecies and Herodias he bursts from and out,hisher dungeondaughter"Tanze mich."cell Salome under are the Therefinishing dining is much hall,a din- discussion after which Herod suddenly asks Salome to If you listen closely, you will hear it--the mood of the forwardawareversationspressesSaville." of harmonies,some Rossini's within idea ofa the use grouphis tinforeof own, alwaysrythm,"his butof do.theit nllmelodicmusic comes and lines, outthe rightformal the ':ogethercletr-cut, structure ns straight-with con- In this ensemble you Till hear several people singing; each ex- As you listen to this, you should be SALOME, Richard Strauss (1864-1949) -- 2:36 As you heard, "Salome" was written in a musical style that tended THEhasphrase BARBER had linesso OF much SEVILLE: clear popularity. and QUINTET, uncluttered. "DON BASILIC! COSA VEGGO!" It is easy to understand why this music (Don Basilic)! 0, asandtowards Schonberg, led atonality.naturally Berg toand the Webern. kind of works produced byThe the Italian reel atonalistsopera tradition, such meanwhile, continued more or less on the Stmuss's later operas went further in this tendency by type,the Germanwhich evolvedcomposer, from Richard it but Wagner, is quits who different, used the "Thethe olderwas devil:),Barberdevisel term, of "dramaandGioachino Seville" written Rossiniiv a good (1r2-1868) example of-- Italian 2:19 opera. Another madevocallinen up parts of a works waswhole dominant similar series andtoof "Theseparateset formsBarber numbers, -ere of Seville";the each rule.The complete that great is, composerin melody itself. inof the Italian opera in the 19th century was Giuseppe Italian opera was Verdi, who wrote "Aida," "La Traviata," "Il Trovatore," "Falstaff," "Othello" wrote operettas along similar lines. Gradurlly a distinctively American whichoperasistformed.and technique.severalyou include have others. heard"La Boheme," a part. "Madame Butterfly" and "Gianni Schicchi," of Giacomo Puccini was another very successful Italian composer. Verdi's operas are still among the most frequently per- Puccini adopted some of the French Impression- His worksandhasmoretype I,"seenandof involve musical"Southmorethe productionserious Pacific,"show came subjectssubjects of "Lostinto such havebeing.setin works the inbeen theStars"as introduced. "Oklahoma,"format and ofmany the "Carousel,"others. "mu-ical." At fi,t they were all comedies, but The last thirty years Many of these The King Gian-CarloIttors,"tional is performed whichstyle Menotti. heof everywroteItalian yearas operaan during opera as ittheto developed beChristmas performed through seasonA oncontemporary television Verdion television, and Italian-AmericanatPuccini, Christmas. but isit composer who has carried on the tradi- Menotti's best-known work is "Amahl and the Night Visi- Rodgersourof cen3ents thefinal moreand number ofHammerstein.successful opera, today, have musicalsI shallbeen veryplaysince successfula aboutsong from1940. and "The Hichard,Rodgersare Sound extremely of Music" popular. and byOscar Hammerstein have been responsible for many This is a song in which Maria is teaching the These shows, direct des- For is inalso English, given inso manyit should live stagebe perfectly performances. understandable.Listen to the miracle scene where Amahl finds out that he can walk; this tica simple"Amahlitchildren ensemblehas anddevelopedsong, how theas to it theNight singusesfrom quintet Visitors." byallthe using theveryfrom resources solf-fa beginning."The Barber syllables. and oftechniques Seville" ofor compositionthe finale fromas This piece is as truly an opera- Although it is basically AllAHLItalian AND typeTHE NIGHTof ensemble, VISITORS, involving Miracle severalScene, Gian-Carlosingers,That-- each3:25scene Menotti developing from (born Menotti's 1911)ideas "Amahl and the Night Visitors" was a typical "DO-RE-MI" fromLTHE SOUND OF MUSIC, Richard RodgersHammerstein (born 1902) (1895-1960) and Oscar -- 6:05 Theyyoudirectthingof heardhisare aboutown--allnot competitionin usuallythe Menotti's ensemblein song.performedwith operas fromother in"The isBroadway operathat Barber theyhouses. shows, of are Seville." andperformed they hold on Broadwaytheir own. in Essentially, the technique is the same as that Menotti himself calls his The interesting PROGRAM MUSIC: tativetures sounds, which theetc. music seems to bring out by means of musical ideas, imi- Music based upon a scheme of literary ideas or mental pic- DATA SHEET 5 allopera,works the "lyric thelines other dramas"--not were the sung, somewhat butoperas. in lighter the comic "comic opera, opera" Bymany 1800type. of operathe lines, had developed espe- two main lines: one was the large, serious In serious opera, SYMPHONIC POEM: butacomposers; story.with a "program." compositions organized of the formal structure of the symphony, Also called "TONE POEM"--a development of the romantic Symphonic type pieces of program music which tell thedialoguetertainingcially operetta those with kind concernedled songs of to light ourinterspersed just "musicalopera with developed dramaticcomedy."in it; thisfrom action, wasthis. knownwere spoken.as "operetta." It had much spoken A more en- And BALLET: duction,continuedon stage; and sinceballetit exists then. was separately.quite well developed in 17th century France and Thehas general name for a formalized type of dance usually performed It is used in opera to help with the operatic pro- Ballet can be said to parallel music formsusedettasEnglish awhichof combinationteam Italian satirized of Gilbert opera, of Britishthe andsuch standard Sullivan. aspolitics the typerecitative, and of socialdramatic ariaOne life. dialogueofand the ensemble. most and successfulthe set series of operettas was produced by the They wrote a whole series of oper- Their operettas I will BALLET SUITE: inanalogous whichthe sense theto somedancethat abstract ballettells acan musicalstory. be organized forms, and as ita formal,can be71117R7Film" abstract dance ballet, A group of instrumental pieces from a particular ballet, play- YouGilbertjustplay will heard;for hearand you Sullivan.thatthe the style,thisfinale has however, of the Gilbert same is elementsdistinctlyand Sullivan's as Britishthe operetta,Menotti and uniquelywork "The that Mikado." that you of SYMPHONIC SUITE: stage"Petrouchka,"ed simply production as program "The of Ritesome music ofsort, withoutSpring." either the play ballet or opera.itself. A group of musical pieces which originally were part of a In many cases,Examples the are: FINALE,very popularTHE MIKADO, here W.S.in America Gilbert from (1836-1911) about 1900 and on. ArthurThe-- European 2:12Sullivan operetta, (1842-1900) especially those of Gilbert and Sullivan, was Many American writers PASTORAL PLAY: right.musicseparate has been "suite" so good, and beenthat veryit has successful been organized as program by the music composer in its into own a Examples; Forerunners of the opera; pastoral plays flourished in"Peer the Gynt," "L'Arlesones." MUSICAL COMEDY: This is the name of the adaptation of American composers ple,which15th"Robin rural totold 18thand people.a Marion"storycenturies, and (13th dance; although century). usually they theybegan were By 15th century, they included songs earlier, as in the case of about shepherds or sim- American,to realcaningoperetta. MUSICAL the comedies,they dramatic beganCOMEDY. and introducingand the musical name hasmorestyle elements of As Americans began using subjects that were Since about 1930, many of the subjects have gradually changed to just plain MUSICAL. the OPERETTA to that of the Ameri- of jazz, gradually chang- typically not been DRAMA PER MUSICA: aboutentinecited 1600. =aeratein a singing attempted way (recitative)to develop in and an accompaniedeffort They "invented" a type of play in which the Literally, "drama with music"; this was what the to reform Italian dramaby music. lines were re- This was Flor- SET FORMS: Mus eels)a form. are written in a series of These are calledMoat Italian "set forms." opera, and most European individual pieces, each of which has operetta and American OPERA: theSo, beginning a whole ofgroup opera. of "works," or The word "opera" is the plural of "pieces," would be called "opera." "opus," or work, composition, etc. In RECITATIVE: dramatically.Itor isprose usually form notof singingparticularly in which One of the principle set forms of opera. emotional, since its functionthe is dramaticto move action is moved forward. This is the recited OPERA SERIA: practicalwork,to be calledmore fact, "heavy." OPERA- mince -thata DRAMMA name PERstuck. MUSICA was a Serious opera; often on a tragic cubject; series of pieces, it came usually a longer ARIA: opera.operetta in which the singer expresses the Another set form; this is the poetic,The arias are the "songs people tend to emotionalsong-like development part of opera of the or remember" from the opera. OPERA ciUFFA: buffainjects opera might than buffa. be those spoken. found in OPERA SERIA. Comic opera; subjects were more often everyday type Style of RECITATIVE (recited lines) much faster Also, some of the lines in opera of sub- ENSEMBLE: ingopera,It like canthe inbeanopera--they thatveryaria, eachcomplex, but canpersontwo allbutor canmore--oftenbeit singingbeis perhaps atup to In opera, the ensemble is a musical set expressing a different viewpoint regard- once--yetthe most uniquethesix--different composer thing aboutcan people con- the take part. piece organized very much GRAND OPERA: A term themuchTheseing operetta misused,specifically operas type. oftenwere toof Frenchthe OPERA operas SERIA of type,the period More accurately, GRAND OPERA is a French term in the sense of all opera, not of invariably contained five acts, from about 1830 to 1890. apply- cantrol inbe the thisdone situation way.so. so that the view he MusicNo other which dramatic is "through-composed" form can do what is thethat opera in wants to dominate at any moment whichensemble there man."Exampleslarge ballet are: and chorus, and always had some "Samson and Delilah," "The Huguenots," "The Flying sort of great disaster staged. to opera. Was devel- Dutch- THROUGH-COMPOSED: needskeepsmusic,are no ofon the"set thegoing. music pieces,"moment. follows each the in linea of the words Hew musical ideas are constantly introduced Wagner's music is "through - composed." particular form. of the play and simplyIn "through - composed" to fit the ORATORIO: tion,didhenceopedTy butnot the churchofuse name a staging.biblical composerORATORIO. Astory. narratorfor presentation usually wasin the oratory A very important type of work very similar As in opera, ORATORIO was a dramatic presenta- Used soloists) choruses, orchestra, but used to fill in the dramatic of the church, LEITMOTIF: representleitmotiffor a particular heaven;for "heaven" person,whenever which thing the would notionor notion.be ofa shortheaven was This is a German word which can translate For instaace, there could be amusical idea which would beingroughly discussed as "main oridta" CANTATA: part"Belshazzar's of the story. Feast." Similar to oratorio, but not on such a large scale. Began as chamber music for entertainmentExamples of oratorios: "Messiah," "The Creation," of Italian noble- Often used referred to, the "heaven leitmotif" would be playing. -- Time Chart -- OPERETTA: oratoriomen.only soloists. and was often used as a church service. By the time of Bach, the 2antataUsually had become thought very of as using the organizing principle of opera, similar to a small 1600..Florentine1750..End of Baroque Camerata...DRAMMA Period PER MUSICA ClaudioDevelopment Monteverdi of Venetian,Oratorio (1567-1643) andRoman, Cantata Neapolitan Opera 17501600 --171T-TRat operettas areposershalfplaceettas usually ofof usuallyfrom thethe%. aboutabout19th do century,notlight,1900 use to "entertaining" "recitative,"1930.but they were butwidely rather Operettas originated in Europe especially in the copied by American com- have spoken lines in ideas. second Oper- 1810..Beginnings of Romanticism GioiacchinoLudwigWolfgang van Amadeus BeethovenRossini Mozart (1792-1868) (1770-1827) (1756-1791) 1810 F \' RichardRicllardCamille Wagner Saint-Saens (1813-1883) (1835-1921) Frank Proffitt. I want to play for you a well-known folksong by a folksinger named He is generally regarded as a TRADITIONAL type of folk 1850 OscarArthurModesteW.S. GilbertWilde Sullivan Moussorgsky (1856-1900) (1836-1911) (1842-1900) (1839-1881) Poet and Librettistplaywright of "Gilbert and Sullivan"Composer of "Gilbert and Sullivan" 1850 Franktosinger--"tradition" FrankProffitt: Proffitt singing is the "Tom name Dooley." of one style of folksinging. TOM DOOLEY -- 3:00 Listen now OtorinomsuriceTgorRichard iscarStravinsky RavelRespighi Strauss Hammerstein (1875-1937) (1879-1936)(born(1864-1949) 1875)(1895-1960 Librettist of "Rodgers and Hammerstein" tica great song hitof thesong people, a few yearstelling ago; a storybut "Tom of crimeDooley" Now,Thatand was punishment.then,version originally what of is"Tom an FOLKSONG? authen- Dooley" was the one that was copied and made into It has been defined as "A song concern- 1900 OgdenRichard1875-1900: Nash Rodgers (born (born1902) 1902) Greatest time of developm of PROGRAM MUSIC American humorist and poet Composer of "Rodgers and Hammerstein" 1900 work,AnotherdientIted is withof isa definition love, chroniclethetruth. interestsof war goesof andevents. likeof tragedy, the this: folk of and fun, in ofcomplete joy and possession misery, of of protest. the folk." It is universal." It tells a single story, and its chief inure- And"It one is other the musicthing--it of life is aand song death, that of Gian-Cailo Menotti (born 1911) FOLK SONG Dooley.""thecomes folk"from theis thepeople. TRADITIONAL style--the style ofFolksong Frank Proffitt can generally in "Tom be classed in a few broad styles.A TRADITIONAL singer, like Frank Proffitt, is a genuine member of Closest to to well-knownTHE BIG ROCK Berkeley CANDY MOUNTAIN,folksinger, Barry Barry Olivier Olivier. -- 1:58That was "The Big Rock Candy Mountain" being sung and played by the I would suppose that most Frankedfrom"the hisProffitt, afolk"--one songslittle fromforcountry of example,his the father,village people is aunclesinwho tobacco the use andmountains folksong farmer other andolderofas Northapart-time meansfolks Carolina. ofwho carpenterexpression. had learned He learn- of right.talkyou tohave you already today aboutguessed folksong--if from hearing that Derry's is what songUp you tothat guessed,now, I ampractically goingyou were to everything you have heard here was "composed numberon.them the of same areas way. and people who prodece them. AOf secondcourse, style the "traditionalof folksong, style"a little of morefolksinging removed isfrom as "thevaried folk," ss the is This is the traditional way in which folksong is passed Thisspecificallyuntilanother--rulersmusic kind "roughly --cf musicmusic to the pleasein for didn'ttime government, and them.of generallybecome the Baroque ingenerally bythe the Period;church, people available evenin who society thenwereto the rulersit or ordinarywasn't in inbusiness. onewritten people way or It is this large body of composed music which wayTRADITIONAListhe he INTERPRETIVEtradition.INTERPRETIVE heard singers,them style done,style. and singing.even he triesthough to he sing himself them mayas faithfullynot have grown as he up can, with the L'sten to "Dewn the Road" being sung by "Doc" Ultson. Tn this, the singer han learned his songs from This beentowe us.study written mainly down -- untilpartly very because recently. it was written down,But, thusthere it has is beenavailable another large body of music, most of which has not This was the music of the people- - natural--"untrained""Doc" Watson: sounding. "Dec" Watson was the singer, and as you could hear, his voice was quite DOWN 'r ROAD -- 2:50 This is a characteristic of either TRADITION- itandmost "folk the particularly slaves--thismusic." of isthe the poor music people: of "the the people"--"theserfs, Therepeasants, are folk"--and manyfarmers, forms we yes, ofcall folk music, both instrumental and vocal, and AL really"Doc"theuntrained,or INTERPRETIVEtimbre Watson"folk ofand music"was TRADITIONAL the singers,in INTERPRETIVEsince"folk sinceitstyle:"singers. is thebothsinger using TRADITIONAL vocal imitates,fiddle and instrumental.andsinger as banjo, perfectly is, andof necessity,soas thispossible) is The instrumental accompaniment with GoinggrantingSinceSc,there it is toitis folk a very music big from subject...one nearly aqirTlace which is so is a great deal more thatonecouldwhere veryshould easilythere small be aretake studied.side people--"folk." years of it, to alwaysstudy. We are mannerattemptit, thenatural to singersound to "artistic."maythe havesinger--nothing a trained voice, "folksy," though "arty,"A therethird orwillgeneral "jazzy." usually style be of no folk song is called the STRAIGHT style. The song is usually sung in a straightforward Probably In playJoanisms--justthe for best-InownBaez you singinga songsimple, of ofathe songhers.STRAIGHT STRAIGHT of love presentation singers and death, is Joan of"The the Baez. River story in in the song. Pines." Listen to how simply she sings--no manner- In a moment I will This generalfrom the categories blues, which of folksong.is certainly a type of folksong,ROCK too.'N ROLL is almost always sung, and the songs fit neatly into the For our final number I will play The Byrds Joansinging. Baez: So far we have heard TRADITIONAL, INTERPRETIVE and TheSTRAIGHT traditional styles one,of THEsung RIVER by Frank IN THE Proffitt, PINES -- dealt 3:33 with crime and theywith"...forin use,their"Turn! it everythingrhythmic Turn!,ecomes Turn!" and"composedthere harmonic is afolk season."treatment song." especially, and with the timbres This is a "ROCK" treatment of at biblical text- - The way The Byrds have handled it, Here it is. punishment.of sorts, and Joan Baez sang a tragic song of love and death. "Doc" Watson's song, "Down the Road," was a humorous love song These, of The Byrds: TURN! TURN: TURN! -- 3:45 mow m.r. withedcourse, singer carefully are presents all controlled subjects a folk closevocalsong astotechnique beautifully"the folk." and usuallyand artisticallyAnother with stylea very as of sophisti-he folk can, song is called the ART style. In this, a train- Ed (Kid) Ory: MUSKRAT RAMBLE -- 1:45 WHAT ABOUT ALL THIS JAZZ? manynia,Richardcatedsings typesandaccompaniment. Dyer-Bennet,songswho of laterfolksongsfrom studiedthe who Appalachianincluding was guitar trained manywith mountains in fromRey music dethe ofisat British southeasternTorre.the University Isles. United of Califor- States. Probably the beat-known of the ART-folksingers is Dyer-Bennet sings He also thetheiting first hasOrientthing--it's hadkind too.its of influencesjazzthe onlywe had. purelythroughout American the westerncontribution Forworld those toand music ofa goodyou so whopartfar, didn't ofand recognize it, that was New Orleans jazz- - This whole business of jazz is an interest- artistListensome singerValley."to him in Youallthis canways. song hear which how tellshe brings of man's to bear trials, the fullcrossing control "The of Lone- the This is Richard Dyer-Bennet, singing "The Lone- playedstreetsthe century,marches of Storeyville, andwhen spirituals; little a beadsdisreputable but used they to played partride ofaroundby Newear,The Orleans.in beginningsand wagons they playingimprovised of jazz in canthe be traced to New Orleans about the turn of These bands traditionalRichardsung inDyer-Bennet: a folkslightly songs, jazzy and way,other often composed with tobands, sound orchestras,Still like anotherfolk music,or stylechoruses are of folksingingtz is the "POP" style. THE LONESOME VALLEY -- 3:32 In this, many Orleansmadeon the tune--a rhythmtunes asjazzyquite they sortbouncy played, of andmarch. and exciting. they gave it allThe a "ragtime"piece we heardbeat whichwas called "Muskrat Ramble." It was an early New listensingersTRIO,back them THE tosing up.themLIMELIGHTERS proteot in "If songs. I andHad PETER,a Harmer." PAUL AND MARY. Examples of POP- folksingers are: Peter, Paul and Mary do several of these- - THE WEAVERS,Many THE of KINGSTON the POP-folk- thetainlywas themost "the"blues." important blues" ofcan the be earlyclassed blues as "folksingers song" was Another onHuddie most veryLedbetter,counts. important known jazz form to find its beginnings in the south This was a sort of jazz type of Negro spiritual--and cer- One of folkhearing,Peter, song. Paul not andby writing;Mary: and traditionally, no oneFolk knows song the was composers traditionally of passed from person to person by singing andWe are having an interesting phenomenon right now, though, in IF I HAD A HAMMER -- 2:15 listenaboutgoingfamousgenerally a to once-toMississippi playhowas -and "Leadbelly."thea record amongharmony River ofthe flood.moves"Leadbelly" songs in he a sangsteady singing were pattern, "Backwatermany "blues" very Blues"-.4much songs. like storya He was a TRADITIONAL folk singer--one of the As you hear "Leadbelly" singing this, I am A verytheretheythat havesoundmanysuccessful,are manynot peoplelike beenothers folksongs. aresell-known paused "writingas well. on songwriterover folk a songs"--thatperiod of thisof years typeis, fromtheyis Bob personare Dylan, writing to andperson. songs In many ways they are folksongs, except that beat";endschurch"bluesstep andshortly hymn.and form."the the melodiesto seventhbe followed are lowered--"blues sung by ina shorta "blues instrumentalnotes." style" with interlude. the third scale The rhythms are syncopated; that is, accents are placed "off Also, notice how each line This is ROCKPOSED.themjazz now.'N at ROLL. all. We have mentioned several folk Onesong other styles; type I belongswould like properly to summarizeThe to are:folksong, I think, and thatIt iscame outSome of themay worldargue ofthat jazz, it belongsI believe, with most jazz; particularly but it isn't reallyTRADITIONAL, INTERPRETIVE, STRAIGHT, ART, POP and COM- theymarchesHuddie kept Ledbetterhave the a generalstrict (Leadbelly): form.outlines of the form of theThe march. "blues" always follows a very strict formal pattern, and, of course, When they were changedBACKWATER into Dixieland BLUES -- jazz, 3:15 of which developed a slightly different jazz style Jazzof its caught own. on, and it moved to New York, Kansas City and Chicago, each dance to them in ballrooms all over the nation. These big bands played for dancers by the thousands; people cane to Every band had singers, wasportant1920's stillsmoothed theDixieland,thing off"Chicago toa bit.remember but Style" the aboutbandswas pretty jazzwere isbigger,much this: the someit big was ofthing. stronglythe rough influenced edges were by It was slightly more sophisticated Dixieland. Essentially it By the late One im- ofGoodmanListenplaybut the instrumentalpart music toband howof iswas onesmoothly clear, justofmusic the assteadythis was greatgreat theis and Bennyasplayed.big comfortablythat craze.Goodman of a symphonyhits, paced "Sometimes for orchestra. dancing, I'm andHappy." the The musical discipline of theTo illustrate the sound, I'll The rhythm Afterarttalthe1930's, accompaniment.that,whileblues, somethingfolksong comeswhich closestis iselsea essentiallysort tooccurs. ofbeing folk ourvocal. song; real but American even the instrumental blues used folkinstrumen- music. The point is this: jazz is fundamentally an instrumental Well, listen to the "Chicago-style jazz." But jazz, at least up into the Bennymelodyadvanced Goodman: is always and complex, emphasized, compared very tosingable. the rough timbres of Dixieland. SOMETIMES I'M HAPPY -- 1:30 Timbre of the band is quite TI-eandSullivan,This Capitol Zutty is a Singleton.JimmybandJazzmen: madeNoone, up Daveof some Matthews, of the Billyjazz "greats"--JackMay, Dave Barbour, Teagarden, Art Shapiro Joe ThisI'M is SORRY "I'm ISorry MADE IYOU Made CRY You -- Cry."3:16 isstillplayingit anin inexample1938 init. Renoto ofstart andhis Lashis"big Vegasown band" band, with in whichthetwo swingor has three beenstyle, of going Harry theand originalever ofJames the since, hadsolo members been stilltrumpet a trumpeter with Benny Goodman's band, but he quit He was one of the finest trumpet soloists of the time. Here whichwerebigger. trainedcontrolled and thecould music write more music. carefully. "Chicago Jazz" was an improved DixielandArrangers and had wereadded experimenting musicians who with different combinations of in. They began making written arrangements By the 1930's bands had become HarryO'Clockstyle James: ofJump." Harry James. TWO O'CLOCK JUMP -- 3:15 This is the James arrangement of Count Basie's "Two Dukecometoo,orchestralstrumental Ellington toso athat fasttimbres.timbres, andfrom twelve-beat, Fletcher the even old asHendersonsyncopated andcomposers this were wasfour-beat of bigknownthe namesBaroque asof "swing."Dixieland,in hadthe experimentedjazz rhythm field- had -with Rhythms had become more complicated and sophisticated, By this time, Thisbeat,show is youyou. something may have we noticed, seem to wasbe losingstill comfortable,in our'more Inmoderneminently spite jazz, of danceable. all as theI will activity in Two O'Clock Jump," its basic rhythmic andOneeach sang,ofhad the fine and all-time bighis bands.style greats has inhad this an enduringfield was influence "Fats"By theWaller. on time jazz of singers the.30's, and too, there were several fine jazz pianists. "Fats" played whichconcerntheness. tendedappearance themselves to force of "combos," withthe "bigmore newbands"advanced timbres and harmonies thewere large heard, andThe ballrooms especiallyandend theof Worldoutplayers withof Warbusi- verybegan InII place into 1946 of thebrought big bands,changing many economic small "combos"conditions began to appear. With pianistsreally"Fats" evermakes Waller: since. the swinging rhythm drive. FLAT FOOT FLOOGEE Listen to him in "Flat Foot Floogie." See how he 3:05 mentedplaincomplex "BOP."trying rhythms. to find just the right sound. A new jazz was heard, called "BEBOP"; then came "BEBOP"--finally just Styles changed almost from week to week as everyone experi- Finally "BOP" evolved into allnet,the oflastand that theparts wasgenerally oftypically "Fats" rough Waller'sDixieland improvising recording: jazz. of the bandI'm on surethe finalthat manychorus- of you- heard elements of the old Dixieland style in the "hot licks" from the clari- Dixieland,is"COOL like JAZZ" classicalewing, and bopultimately chamber and cool music, a jazz.kind or of rather, ECLECTIC modern JAZZ,The chamber combiningreally music--itdifferent elements doesn't thing of about jazz since 1947 is that so much of it GlenCrosby'sFletcherjazz. Gray and DixielandHenderson the Casa Band,and Loma Duke Glennband, Ellington. Miller,Benny Goodman, Harry James, JimmieFrom and 1935-1947Lunceford, Tommy and is Bob Jimmya periodThis was many the consider real "big as band"a sort period, of "Golden carrying Age" onof from the lead of The big band period saw the rise of tionsworks;howfind.seem they oftoin three befact,sound. dance orthere fourmusic. is of even the "atonalmodern styles,jazz." just to give you an idea ofIt's just as new and obtuse as many of the avant garde "serious" Rhythms are asymmetrical, melodies are hard to I'm going to play short por- wasout,first-rateleadersDorsey--all danceable. was werecomplex musicians. withfine and fineperformers very 'Thebig advanced, bands;music themselves, theyand but therewrote above and wereand theyall, playedmany usedthe more. musicwasarrangers carefully of this who periodworkedwere These band DizzieStars. Gillespie: First let's hear a bit of "BOP,"This with is Dizziefrom 1947 Gillespie and is calledand the "Leap All- Here." LEAP HERE -- 1:20 Milesjazz." Davis, a St. Louis jazzman, did much to developFor theall soundthe frantic of "cool activity there,Listen it's to hisnot "Mooneasy toDreams," find a andbeat. as you listen, think about how he whereingfrom they willother arebe natural naturalsung by sources theto thepeople -- area parents, - where-not commercially.uncles,he lives, aunts, and etc.accoc- Ding instru- He has learned them His way of sing- Milesveryhandleselements. cloveDavis: the to elements "serious of chamber music comparedmusic." to early Dixieland use of the same There is a world of difference,MOON and DREAMS this --"cool 1:25 jazz" is coming INTERPRETIVE: Margaretments, Berry,if used, Jeannie will alsoRobertson,"Traditional" be natural Phil Singers: toTanner, the area. Frank Proffitt. The interpretive singer imitates the traditional singer as Texas Gladden, Emma Dusenberry, Molly Jackson, own"chance music. music." One of the real avant What comes out is pure chance. In this, everyone plays in a jazz style, but makes his garde jazz movements is ,..osely related to The same piece can never by Listen to Jeanhassingers,closely goneRitchie, toas and apossible. Hedyparticular tries West, to"Interpretive" soundJeanarea, Redpath, aslearned Singers: "Doc"the songs Watson. from He may not have grown up in the tradition, but hePeggy Seeger, Bascom Lamar Lunsford, Burl Ives, traditional as he can himself. traditional playedJoehis Harriott:piecetwice. called "Shadows." OneSHADOWS of the --leaders 1:16 in this line is Joe Harriott. See what happens to the musical elements here. STRAIGHT: rather than directly from traditional singers. Straight singers often learn their songs from books or recor They are not concerned , stantlygoingmuch ofin changing. itso doesn'tmany directions seem to haveit's muchhard connectionto tell. Well,to folk you music, can see but that its jazz has gone "pretty far out." Like folk song it is con- At this time, withsincegest.forward trying they manner, to are sound not following authentic;identified"Straight" whatever rather;with Singers: athe particularthey music sing of inregionalthe an song honest, style.seems straight- to sug-"Straight" singers often sing many different kinds of folk songs, Judy Collins, Bonnie Dobson, Ed McCurdy, Pete techniquefact,like the its one ofpractically youchanging, just heard. aasymmetrical symphonic band, rhythms, but ultramodernhe usesI'm much going harmonies of tothe close new and jazzwith a number that is.fairly "far out," but not Stan Kenton has kept a "Big Band" going; in ART-FOLK: ticatedSeeger,songs audience.Paulwith Clayton,polished Joantexts Baez. and style to appeal to an artistically sophis- Concert singers with cultivated, trained voices who sing folk StanKenton'sbrilliant Kenton: bigtimbres band toin produce"Commencement." a kind of "symphonic jazz." COMMENCEMENT -- 3:28 This is Stan POP-FOLK: They are often accompanied"Art-Folk" by bands Singers: and choruses. "Pop" singers adapt folk songs to the style of popular music. AlfredOdetta, Deller, The Weavers,Richard Dyer-Kingston Bennet. Trio, The Limelight- FOLK MUSIC: Instrumental or vocal music "of the folk," usually passed from DATA SHEET 6 COMPOSED FOLK SONG: songsers, Peter, but are Paul actually and "Pop-Folk"Mary. new pieces. Singers: Many people are writing pieces which sound like folk They usually find their subject- music,"musicpersonIndians,song. oftento but person it wherein is the byreferred there formrote, isof ratherto only"folk as "primitivethe thandance" music in butwritten ofmusic." also"the form. usedfolk," to asaccompany with American folkFolk music is said to exist where there is also a written "art Instrumental folk matterstyle. in typical folkFolk sources, song composers: and the musical style conforms to folk Bob-- Dylan; Other manyTerms Rock -- and Rollers. FOLK SONG: protest-withandconditions: Life is constantly-alland death,(1)problems it changing,work,is oftransmitted "thelove, (3) folk." war it orally,andhas Folk tragedy,existed song(2) itusually infun, hasthe joy numerous oralfits and traditionthree misery, variations special for Songs concerned with the people--"the folk"--songs concerned VOCALMANNERISM: TECHNIQUE: natural,performance untrained style peculiartechnique, to orthe it individual may be highly performer. trained and very con- In singing or playing, little personal touches or tricks ofThe particular way a singer uses his voice. It may be a TRAD/TIOXAL: a number of years. The singer has learned his songs by growing up in the locale -- Folk Song Styles -- PROTEST SONG: type,ditionssciously though of controlled society.there are use a goodof the number voice. of older protest songs that conform A type of folk song which raises protest against some con- Many protest songs are of the "composed folk song" JAZZ: musiciansto 1900all andthe of 1914. basicthe N-..nc requirements Orleans area.of pure folk song. A type of Alio-American music descended from Negro and Creole folk Jazz had two main sources in New Orleans music: (1) rag- The first signs of jazz were between eachlines(flatted short the same;line.3rd andand 7th"the scale break"--an steps); instrumental three-line verseinterlude form atwith the first end oftwo wordtime,"toname togossip,which "jazz"mean was "speed v.:probably instrumental, chatter." things comes up" from andin their(2)Creole "the music--"to use blues," of the jazzwhich French it was up."word vocal. "jaser"-- Negroes and Creoles of New Orleans used the The RAGTIME: namecallyminstrelRagtime for Negro wasthisshow "jazz"instrumental rhythmdances patterns patternbeing music, played tois "speedSYNCOPATION.consisting with up" rhythmic the of music.tunes patterns such aswhich marches were andtypi- One of the immediate aLcestors of jazz ("the blues" was the other). Technically, the NEW ORLEANS JAZZ:musicbinedin whichwas"ragtime" pretty everyone and"rough "thein theand blues" bandready," intended abut free-wheeling toit improvisewas very improvisationalmuchat the alive. same time. style The style of jazz from about 1908 into the 1920's--com- This BIGSYNCOPATION: BANDS: within the rhythm pattern. Normal instrumentationDeliberate could include shifting four of trumpets, accents sofour that trom- the fall on weak beats CHICAGO JAZZ: witheachhalf the ofmember restthe 1920's.of the band inimprovised a supportive on the position. tune, but it was done in turn Similar to New Orleans jazz but became dominant in latter This was a "take-your-turn" form of hot jazz in which SMALL COMBOS: listbones, above. five saxophones, three violins, piano, bass and drums.had its own sound, so there were additions and alterations to the VariousThis "big little band" groupsinstrumentation of three towas five typical players, from usually1935-1947. with Each "big SWING: involvedjazz even more though virtuosity it was calculated,by the players, planned, had acarefully slightly written"slicker"Swing music. was sound, the style of the mid-30's. It was very danceable. It had many elements of hot It mer.only"NEW one THING"--experimental of a kind; for instance, jazz involvingone brass, almost one reed, total one "chance bass,"Small music."one drum- combos" were used primarily in bop, cool jazz and now in the BEBOP, BEBOP, BOP: jazz,nonsensical.and a subtlerand used beat. very advanced harmonies and rhythms with much contrapuntal BOP was somewhat cooler than swing, softerThe jazzthan ofmuch the hot middle 40's. Lyrics tended to be very AVANT.- GARDE: ontoowriters, "catchesto far something ahead etc.) up," of who"further andthe are theyaudience way out."cease out to into be front,be popular. "avanc-garde" experimenting. unless they have moved Literally, "advance guard"--that is, the musicians (artists, Eventually the audience Usually they are COOL JAZZ: greatrigidlyplaying. freedom even, ofmusic melodic was generallyinvention. rather quiet, harmonies very extreme, An extension of the techniques of BOP. COOL JAZZ usually played by small Rhythms ceased to be LA MER, Claude Debussy (1862-1918) -- 2:05 IMPRESSIONISM AND NEO-CLASSICISM ECLECTIC JAZZ: Orleansferentgroups--trios andsources." Chicago or quartets. jazz, swing, bop and cool jazz. The word "ECLECTIC" means "drawing togetherEclectic from many Jazz dif- is a type that combines elements of New This is jazz for listening, not for dancing. It's a little more notIt an was attempt called to "La give Mer"--"The a literal Sea"--and picture ofwas the a musicalsea,That but impressionmusic only wasan impression byof thethe Frenchsea; impressionist composer, Claude Debussy. IMPROVISING: Dixieland.danceable than bop or tool jazz and more interesting musically than Making up variations and changes in the chord patterns and withpressionismexcessestheof it.the last painters ofquarter was German primarily and of romanticism.poets--Claudethe 19tha French century movementMonet, as aCamille reactionin style, Pisarro, against and it Edouard thecame emotional during Monet, Today we will be studying this whole notion of impressionism. The impressionist movement began first Im- BLUES: ofsation;melodies music. inof fact,a jazz it tune. is the chief difference between jazz andA styleother offorms vocal music coming from the southern Negroes. Jazz depends heavily on this element of improvi- Probably tosceneEdgar impressionists."the withDegasoutdoors spontaneity and andAuguste to sunlight.and Renoir freshness, are the and painters to find usually this quality, considered they as went "the They tried to paint their own momentary impressions of a They used bright, strong colors, and they BLUES STYLE: inBluescame the from hadstyle textsthe of "cry," theat first;blues. the "holler"after a while,and from instrumental work songs piecesand spirituals. were written Generally melancholy emotional content; use of "blue notes" Allanpaintedcism. Poe, from who life. was introduced into France by Baudelaire.At the same time, theThe "symbolist" French poets poets had had been turned strongly away influencedfrom romanti- by the American, Edgar The poets, Mallarme taneoususednuanceand Verlainesymbolism which.musicimpressions. and in Rimbauda hadmanner already particularly, similar achieved. to that brought of the language painters: into to the Musicians were soon caught up in the same movement. These poets, called "symbolistss," create spon- subtlety of PINEShearing along this,OF THE thesee APPIAN famouswhether WAY, Appian the Ottorino music Way between isRespighi successful long rows in creatingof pine trees. (1879-1937) -- 2:05 this impression. As you worldespeciallyDebussyimpressionist aroundround revolted Wagner, about"man, subject. againstrather wasand impressionism.attempted thanthe hyperemotionalhis toromantic write emoti-,As.music romanticism which would of thepicture Germans, Debussy wrote many othT works, nearly all of them So, "Thc L.,2 is quite a typical This "picture of the the posedpoetican impressionist. to landscape the complications and "twilight" of German sounds romanticism. and moods.The English composer, Frederick Delius, is generally Like Debussy, he had a fondness for modal scales and for HisLike music Debussy, is more he wasemo- op- considered to be Faun,"of the "Iberia," descriptive, "Three impressionistic Nocturnes" and type--worksso on. suchAnother as very successful impressionist composer was Maurice "Afternoon of a Ravel. In thequitecomposed.histional melodiesSerenade charming. than Debussy's,havefrom a"Hassan" "folk" however, qualityby Frederick and about introduces Delius.them, thoughEnglish the:* are Much of his music has a clarity and simplicity to it which This can be heard in the next piece I will play. folksong. actually Many of This is is don'ttiveform--inheara momentofthat receive a aSpanish heveryI useswill a advancedvery folktheplay real musicaldance,the way, impression thealthoughelements--rhythm, Malaguena. of he Spanish is writing melody,music--a music picture of "Malaguena" from his "Spanish Rhapsody." You can Listen to it and see if you harmony, timbre and which is descrip- Spain, SERENADE, from HASSAN, Frederick Delius Spain produced at least one composer who was strongly influenced (1862-1934) -- 2:45 by MALAGUENA,in music. from SPANISH RHAPSODY, Maurice Ravel (1875-1937) -- 2:20 nerandimpressionism.sinceimpressions Ravel.of Spanish it does ofmusic; not Spain, really that and is,use in itSpanishmany uses ways rhythmsfolk the music. music is truly impressionistic, De Falls wrote nusle about Spain. This was Manuel de Falls, who was befriended by both Debussy Allthat of hisare musiccharacteristic contains of It is written in the man- butvoltedorchestrationof there impressionism, againstwere many andGerman othersthesuch romanticism,basic as who the descriptivefollowed, types but, of who harmonicinapproach. usedthe end,manypatterns,Debussy they andreally the Ravel only are the most eminent of the impressionist composers, The impressionists re- stylistic elements style of sub- isdeandSpain. theFalls's timbres opening best-known seem part to ofimitate worksit, a isSpanishsection the ballet, usecalled of "Theguitar"The Three-Cornered and Melodic lines resemble Spanish dances and songs, and the harmonies Neighbors." percussion. Hat." One of This moodlikesoundsstituted and romanticism,the ofatmosphere, Germanatimbres. more romanticists,sophisticated theythey triedwere fondto theFrench draw ofFrench programmusic,form impressionists of painting,musicromanticism and and loved itselfpoetry as They rejected "classical" rigid forms, they emphasized poetic titles, and, beautiful because, closely mayTHE THREE-CORNEREDremember I made HAT, the Manuelpoint thatde Falls impressionism (1876-1946)So -- far 2:05 we have been hearing examples of impressionist music, really turned out to be a and you musicatogether French during astype theythat of could.romanticismperiod. of the late So, in the end, impressionism must be considered 19th century; and it dominated ortheresophisticated in thecame guise a trend French of Frenchto formget impressionism.awayof romanticism. from romanticism, eitherSeveral "-isms" came along as reactions to romanticism and About the turn of the century, in the German form its French portsmanyiscalled impressionistain portion the"Escales"--"Ports Mediterranean, of "Escales"techniques, ofaabout very Call"--andwas theimpressionisticJacques Sicilian is Ibert. an portimpressionistAnother type of Palczmo. ofFrench piece composer, identified mainly with a later group but His most famous work is subject. about sea- This using posedtrieddeveloped,form, to impressionism. keepsee andespeciallyhis portrayown feelings inthe art, world clear with "as outthe it of "cubists"really the work. and the One of these was "Objectivism" in which music and art is." TheA artistcult of was pure sup- form"Constructivists." feltPALERMO, in other from countriesESCALES, Jacquestoo. Ibert (born 1890) --While 2:17 impressionism was primarily a French movement, its effects were The Italian composer most associated with withwhichand hismusic.artists monumental and musicians work, "The drew Rite their of Spring,"inspirations soAnother primitive from "-ism" which burst forth in this reaction was Igor Stravinsky was the great musical primitivist at that African sculptures "primitivism" in that it set off time, piecepoems,going"TheImpressionism which Pines"Fountainsto play reallyof nowthewas of tries"TheJaniculumOttorino Rome" Pinesto and create Respighi Hill" of"Pines the anwith Appianwhoseimpressionof live best-knownWay." nightingales of the works Roman singing. are the Rome." You may recall hearing This is an impressionistic legions march- Itone am anda riot we willat its hear first examples performance. of sure of this in a later"Urbanism" lecture. and "machine ucie were other reactions to romanticism,

,111111100.% EXPRESSIONISM AND ATONALITY writeSatie,called music who"neo-classicism." which wrote was parodfes simple, of direct, impressionist well-ordered, music.Finally, entertaining 7"amer and and pleas- satire set in, and music turned to a style which was The "high priest" of the neo-classiciSts was Erik His primary aim was to whichMOONSTRUCK, the artist from strives:PIERROT LUNAIRE,to express Arnold himself." Schonberg (1874-1951)"There is only-- 1:40 one greatest goal," wrote Arnold Schonberg, "towards Expressionism was the German GAMESimpressistanding. wroteOF GARGANTUA, for music smaller isErik Erikgroups. Satie Satie's (1866-1925) "Games --of 1:50 Gargantua."So, he avoided the richness of orchestration of the impressionists A good example of this anti-romantic, anti- Listen to it. innerrealityusedfromanswer athenature. to highlyof outerFrench the refinedouterworld; impressionism. world naturethe Germansand poetry attempted dug while down to the deepexpress expressionists within. the reality rejected of man's the Inner experience was regarded by the expressionists as the The French depicted impressions received The impressionists grouptothe beinClassical calledParis known"neo-dlassical." Period as had"The done. Six." Satie's music emphasized clarity and simplicity, somewhat as music of Satie had aFor number this ofreason admirers, it and especially music like a it cameThey all believed in his ideas about the Freudof onlythe wasreality.impressionists, developing his but theories expressionism of the unconsciouscentered onPainting natureVienna andofwhere man.poetry Sigmund began the expressionist movement, as they had that withwhichwittyprinciples jazz andhad inentertaining. madeof their neo-classicism its music.way to Europe and wereby the full 20's, of theand ideathey thatwere musicexperimenting should be All were fascinated with the new American jazz notionsDehmel.Kokoschka, of beauty,Paul Klee and and musical Franz expressionismMarc; poets were likewise StefanExpressionist rejected George andwhat painters Richard had beof that time wereThe Wassily painters Kandinsky, painted distortedOscar visions that defied traditional basedexamplePoulenc'svery French,on ofelegance, "Sextetthis elegant, type foiclarity, of Pianoclear music wit,and of Wcsdwinds,"witty.satirethe 20's...the and entertainment.and FrenchyouFrancis will neo-classical hear Poulenc, an excellent the music, youngest of "The Six," wrote much music, all of it Listen to the "Divertissement" from nique."themelody,fore musical been harmony thoughtlanguage and beautiful. timbre,of the expressionistsform and tonality. in the form of the "12-tone tech- This rejection led to new notions of rhythm, In fact, atonality became DIVERUSSEMENT, from SEXTET FOR PIANO AND WOODWINDS,Still Francis1963) another -- Poulenc 2:00 form (1899 of neo-classicism - came in the music of the German overwhelmingoneseeminglythe ofrather the unmelodic firstextreme high greatpitched vocallines expressionist styleofemotions melody. called and pieces. "sprechstimme,"the strange,You macabre,heard, and the in grotesque angular,the opening ef- piece from Schonberg's "Pierrot Lunaire," This piece, "Pierrot Lunaire," was It showed the traditional Hindemith,tweensincethecomposer, classical thehe likefeltelementsPaul otherthatformsHindemith. of formneo-classicists,rather music. was strictlyessential (sonata,attempted to the clarityconcerto, to restore of symphony,his a balancework. etc.), be- Hindemith, like many other neo -Where classicists, the romanticists used had used harmony, Also, mostfects of theof whichrcmantic the sortcharacteristics.expressionists of "last gasp" were ofso Germanfond. romanticism--itSchonberg wrote emphasizes"Pierrot Lunaire" and overdoes in 1912 when he was most strongly Actually, expressionism is "Mathiasofrhythm, the ent're andthe timbrePainter." musical for idea their and own design. sakes, the neo-classicistsOne of Hindemith's made them greatest part works is his opera, "Mathis der Mahler"- - After he had written the opera, he arranged music usewhat;termstechnique"identified of his ofthe thewriting standardin witholder the hadexpressionism. years diatonicforms. absorbed that forms. followed, many neo he- classical always attempted features, to including use it in the In that year--1942--he wrote his Piano EvenConcerto, though he worked out the "la-tone By 1942 he had modified his views some- ody,velopedberidealsfrom aharmony, portionit neo-classical ofinto clarity, timbre ofthe this form and straightforw=rdnessstylesymphony. ofform--are a ofsymphony. Hindemith. made to and conform order. to the n*eo-classical This is a good example of the highly de- I am going to play for our final num- In it all elements--rhythm, mel- This is the finale of berg'syottAs isOpusyou knowmuch 42.Pianolisten, howless Concerto,to "difficult"try sing to syllables, findOpus to the42. hear, scale try less, toand find the'far thekey out" "do";center than this of"Pierrot theis Arnoldpiece. Lunaire." Schon- Even though he uses his famous "12-tone technique," the concerto if FINALE,Paul Hindemith's MATHIS DER symphony, MAHLER, Paul"Mathis Hindemith der Mahler." (1895-1963) -- 3:45 thePIANO natural CONCERTO, inflections OPUS 42, of Arnold their Schonbergtexts when -- they 3:15 Priorwrote tosongs. the e::ressionists, composers had attempted to make music fit Expression- Schonberg'shavior.edist "ato composers reality use violent friendof deliberately the plots andsubconscious," pupil, or subject-matterdistorted Alban as Berg. normalthey fullthought. accentuations of violence ofand words unusual to securebe- A fine example of this is the expressionist opera "Wozzeck" by In "Wozzeck" there are all the Also, expressionism tend- musichowmony--iftofor the hearisOrchestra." timbre"cool,"there how angularisare comparatively constantly Asany you itlarge is,listen changed,blockswith unemotional, to great it,of many chords. bejagged particularly timesand leaps.it almost takes aware notecareful byof note.the.listening. melody Another thing to hear is Also listen for har- This certaintyness.tualhisexpressionist gradualsuicide, and mental agonytogetherelements: breakdown;of thewith the players muchinner the incidental murderemotionalvery well. of histurmoil mistress; of the and hero, his Wozzeck;own Theeven- music, using the 12-tone technique, expresses the emotional un- violence, cruelty andThe strange-opera is a great master- VARIATIONSHere it is: FOR Anton ORCHESTRA, Webern's Anton "Variations Webern (1883-1945;for Orchestra."Webern's output was small. His complete works are recorded on four 3:30 Mariepiece.interlude; is in front then ofthe the scene house. begins on the street in frontI will of play Wozzeck's a part house.of Scene 3 ter you. The regimental band comes marching by. It opens with an orchestral Herevocal,musicjudginglong-playing is which enda song fromyou is bycanstherecords; modelWebern: imaginetype to ofbut it composers thatmelodiciswithin called, the linethemelodiesthe "Du, spaceworldin thedir are ofover. "Variations ices thosesomewhat nicht works, sagedifficult for he "Orchestra." has-- "You,toleft sing, Much of his music was MarieSCENEelements.See flirtshow, 3, fromin with one WOZZECK, thevast Drum musical Alban Major, Bergfabric, and (1885-1935) Wozzeck the composer threatens -- 3:45 shows her. all these different This is real expressionist music. Listen to it. DU,whom DIRI do ICHS not NICHTtell." SAGE, Anton Webern One of Webern's disciples in the younger generation is Karlheinz Stock- 0:54 of expressionismexpressionism; and and the as musicalthe influence language of ofimpressionism atonality.Just as spread,Paris was so thedid centerthat of impressionism, so Vienna was the center An Italian composer timbre,elementstechniquehausen, dynamics aof ofGerman the serialization music;andcomposer densities. the bornseriesand hasin includes 1928.attempted not to only gain pitches, minute controlbut rhythm, over all In his "Zeitmasse " -- "Tempos " -- written in Stockhausen has continued Webern's 4(1) melodictraditionwholeavessic adopted is lines theparticularlywith the 12-toneare the expressionist less severity row interestingjagged when of than atonalitthe suits becausethoseViennese style his of it waspurposes.the12-tone combines LuigiViennese school. Dallapiccola. the atonalists. Italian lyrical His music is emotional Dallapiccola's His mu- He yetZEITMASSE,1956, it"Zeitmasse." has Stockhausen a delightfullyKarlheinz has Stockhausen managed improvised this (born sound.almost 1928) total -- 2:33serialization of the music, This is Karlheinz Stockhausen's tainlyTowerThisand exciting. is ofin s Londonthesong main basedprior stream onto a heroftext expressionistexecution. by Mary Stuart, music. who was imprisoned in the I am going to play for you one of his "Songs of Captivity." The emotional expression is cer- finiteLiketurned Stockhausen, variety.to 12-tone Boulezwriting has because worked it to seemed achieve to totalofferAnother serializationthe followergreatest of freedom.with Webern's inis the French composer, Pierre Boulez. Boulez his been particularly concerned with rhythm and has He twoCANTYsuccess principal DI PRIGIONIA, as anfriends opera Luigi andcomposer studentsDallapiccola with of "Wozzeck," Schonberg. (born 1904) and Dallapiccola--Webern 3:13 has become had studied the model with both Alban Berg and Anton Webern, the Berg had considerable sicpercussionasmanner.developed in contains oriental asounds theorythe music. clear as of in whattimbre the hecriental ofcalls bells "rhythmgamelan and other cells"--organizedorchestras; percussion so instruments.much in ofa serialhis mu- The result is that his music in very free and supple, rhythmically, Also, Boulez is very fond of the timbre of bell and mentstechniquemente12-tonefor all intobased system,the ofhis on atonalistswriting writings.the but repetition asbecame hesince grew more hisof older, theandtime. 12-tonemore he began"serialized"; series. incorporating that is,more all tonal ele- ele- Webern became the real, all-out atonalist; his Actually, Schonberg had devised the Nearly all composers manyaout series resemblancesa Master." of short to pieces,Schonberg's alternating "Pierrot between Lunaire" instrumental Boulez'sof 1912. best-known works and workshort is "Le Marteau sans Maitre"--"The Hammer with- This is music to the surrealist poetry of Rene Char and bears "Le Marteau" is receptivedeath,1945interested in "The an musician." unfortunateday in of12-tone Anton This accidental writingWebern's from Stravinsky!have deathscooting, followed should and Webern'sbe Igor a :Isy Stravinsky techniques. of mourning said forof hisany He died in LEtimbres.duction;songs MARTEAU with listenSANS instrumental MAITRE, to the Pierre freeaccompaniment. rhythm, Boulez the(born1925) angular melodies-- 1:27 and the interesting This is "Le Marteau sans Maitre" by Pierre Boulez. I am going to play for you the iLtro- 12-tone writing. Webern's music is regarded as reaching perhaps the purest style of I am going to play for you a portion of his "Variations el. 100 I 20TH CENTURY EXPERIMENTAL MUSIC of this type very well, and Varese doesn't use them in the old sense, either; wasBABNFAHRT the sound (Train track Ride) of a-- film 1:30 produced in Germany inDid the that 1920's sound and like was a antrain in a film cartoon? It wan supposed to; it rangebothmostTimbreinstead, concerned melodyof is pitlhes,he still andrecognizes with harmony,the including now.sadraement, four except slidingelements: that and pitches the thistimbre, experimentalists is such whatpitch, as many you intensity experimentersheard use an and infinite duration. are Pitch is similar to the older concept of pitch in in "Ioniza- theshouldmovies,somethingexperiment nature soundI'm else. of insure. likethe cartoon.ause train; of conventional second, it shouldmusical be instruments humorous, into keepingsound like with You've heard many piecedIt likewas intendedit on television that it shouldand at dothe two things: first, it If it did those two things, it was successful. ortion." com'rnedlowedtensityhow short his isiloudness with lead,a sound the use formalor theseor silence softness structurefour is." elements of theof their sound,primarily, pieces. and durationalthough meansthey are"how still long Scales, as you probably realize, use pitch in stepwise manner. Varese, and many others who have fol- In- Machines,piecesto 1928make of Mossolovthe Thethis orchestra Steel type wrote Foundry."is soundaby piece the like Russianfor machines. symphony composer, orchestra AlexanderOther entitled, composers Mossolov. "Symphony attempted of even more ambitious works in which they tried In this piece the only sound producer not One of the most successful In aninasorchestra orchestra;thisthose piece of which Varese; andis he sopitches calladifferent,that is:"Atmospheres."are timbre,confused it is notpitch, by easythe intensity useto The tellof youngso whetherand many duration.composer, at this once. is Gyorgy really Ligeti, has written a work for symphony This uses the same sound concepts Timbre In- orderregularlyusesuccessfully toall produce foundthe standard Mossolov inhis the effect. orchestraelements makes the ofis orchestra music,a thin butsheet sound he ofconcentrates like metal. a factory. on timbre in Here is "The Steel Foundry." Listen to how He has to ATMOUHERES.aretensitiesis strongly Gyorgy are Ligeti'sGyorgycontrolled. amongst Ligeti "Atmospheres." the principle(born 1923) elements -- 2:02 of this piece, and durations Listen to it with these elements in mind. This bethereTHE quite STEEL were repetitious, FOUNDRY,occasional Alexander bitsas they of Mossolovit.would be (bornin a factory1900)Melody -- where 1:17 has the been same pretty gears well go suppressed in "The Steel Foundry," although Rhythms were rather strong and tended to Theimentersuse piano conventional has here had is much theinstruments ofAmerican, this typein Henry unconventional of activity.Cowell, who ways Stillhas towritten anotherproduce works typenew usingof experimenting has been that in which composers One of the leading exper- sounds. aiarround chance form; and to andround recognize form at itselfthe it. same was speed. also there, althoughThis you business probably of didn't imitating get sounds of our environment started long be- Harmony was there, but not in very famil- ghostlyainon"tone grand whichthe effect. clusters"--great stringspiano. he slides of thehis pianofingersgroups without ofup notesand using down all thethenext keys.strings to each to other--and produce a playingvery This is Henry Cowell playing his piece, "The Banshee," on Here is a piece of his wasofthat.fore from incorporating 1900. the very early non-conventional 1800's, and theresounds were into many our earliermusic. attempts thanHowever, from the 1920's we have gone more and moreRemember in the Beethoven's direction storm in the "Pastorale Symphony"? That THEpianos BANSHEE, he hadHenry altered Cowell by (born adding 1897) bells, -- 1:32rubber andAnother wooden experimenterobjects, and isby John Cage who wrote and played pieces for ments.scalelimitusing andourselvesmany by types sticking severely of "sound to ourby producers" stickingconventional to other a instruments.12-tone thanOne the divisionof conventionalthe leaders of pitches ininstru- this in afieldVarese is Edgar regarded Varese, all whosound composed as potentially music musical and felt that we Varese has written ofparedchanging Steinwaylikeimportance pianos"a piano.the grand timbres inoften piano,this soundsand music; alteredpitches. like primarily byan Johnoriental itCage. is gamelana music orchestra,of timbres ratherand rhythms; than The next piece I will play for you is being performed on n The result is that one of Cage's "pre- Melodies and harmonies are not andofmany happensconventional hisuses works works some tousing ofsuchconventional musicalthis both things sort conventional sounds, as ispercussion melodycalled which and"Ionization." I'llinstruments non-conventionalharmony let youin plusthislisten some piece.instruments. for. other rather TA was written in 1926 ThisNotice is whatEdgar One DANCE,aand, "prepared as John such, Cagepiano" it (bornsounds in his1912) like composition --"primttive" 1:45 called, music. simply, This is John Cage playing "Dance." Varese'sIONIZATION, "Ionization," Edgar Varese written (born in 1885)1926. -- 0:55 Our conventional five elements of music don't really operate in music prescribedperimentingaretantly interested as aand withleader controlled,in "happenings" the in chanceexperimenting but element inmuch art. of within the music, "chance music even Johnismusic." improvisedas Cage artists Many is known musicianswithinare notnot the ex-only as a preparer of pianos, but more impor- In chance music certain elements are limits of the controls. It is made up on the spot by the performers. The by means of manipulations of the tape, combining them into a beautiful piece chancewayshavethatresult usesalways music,way isimprovisation. again,hadabsolutely since a certainsince everyone originalchance amount improvised will musicof chancenot which onreproduce thein will theirchorus neverit music, exactly.at be once. performedbecause jazz exactly al- Even the old New Orleans bands actually had much Jazz musicians On the jazz FANTASYhe :mile IN SPACE,"Fantasy Otto in LueningSpace." (born 1900) -- 1:30The Dutch composer, Henk Badings, has written conventional music, music sourcesremember.lecture for / hisplayed experiments some modern with jazz chance experiments music. withJohn chanceCage uses music--you conventional may instruments and all sorts of other sound The piece I am going to are.soundtheicfor music. piececonventional tracks is accompanyinglike anda concerto electronic the insoloist whichinstruments, takethe violinthe and part isa goodofthe the soloist,bit Theusual of firstall-electron- accompany-and piecethe two is for violin and two sound tracks.I am going to play two pieces of his to show how the differences In actual fact, Listenplayhe"Fontanaone ishas ofto called comea itMix."song now. up"Aria hewith wrote, with a new Fontanaand one, the whichMix."other he a callatape of"Aria many with sounds Fontana which Mix." he called By combining the "Aria" tape with the "Fontana Mix" tape, It is a combination of two tapes: CAPRICCIOTwothising Sound isorchestra. a Tracks."violinFOR VIOLIN concerto. AND TWO SOUND TRACKS, Henk }Wings (born 1907) -- P:40 Listen to it with that thought in mind, that essentially This is Henk Bneings' "Capriccio for Violin and whichandARIA mayothers WITH be FONTANAexcitinglike him MIX, and.usableare Johnsearching Cage in (borntheout newand 1912) music.finding -- 1:45Well, ways manyof making of you new may sounds like it, and many may not. No one claims that this The fact is, Cage time,"timatelysources.tions," "Intermezzo," inended which up hewith uses"Waltz," six five pieces andelectronic which"Finale." are sound called generatorsA "Overtur2,"completely as his electronic"Air," sound "ling- work by Badings is his balletThen suite, he has "Evolu- recorded, re-recorded, transformed the tapes and ul- So, even though the instrument thingstheseis necessarily experimentsin music. beautiful,are not irresponsible, or even that andit isthey Anotherart--although'it may wellchance lead music usmay tocomposerbe--but new is Larry Austin who is a professor of fromisI thoughtatotally Henksort Hidings'ofyou electronic, jazzy might Balletpiece, be interestedhe Suite,basedstill onuses"Evolutions." toNew hearolder, Orleanb the conventional onejazz. he calls forms "Ragtime." in this piece. This is the " Ragtime" This bemusic elementssomecalledcompletely at of the "Improvisations theof Universityimprovised;jazz,music symphonyis writtenof forbut California andSymphonythere out chance inare atconventionalOrchestra "control allDavis. in one. andpoints." style Jazz butSoloists." much of it is to He has written a piece This combines In this RAGTIME: from EVOLUTIONS, Henk Badings DATA SHEET 7 3:40 IMPROVISATIONS FOR SYMPHONY ORCHESTRA AND JAZZ SOLOISTS,The1930) last --Larrygroup 1:45 Austinof experimenters (born to consider at this time is the rether IMPRESSIONISM: beginningtodepicting,avoided. lose groundin artleaving aboutand literaturethe 1915. details about to the 1883; observer. in music about 1885. The artist attempts to re- create the impressionA style ofin whatart, heliterature, is and music in which detail is Impressionism was essentially the last form of Primarily a French style It began poserswholemagneticelectroniclarge newuse group tape fieldas soundssoundrecorder;of of electronic musicalsourcesfrom and various compositionconventionalsincecomposers. typesthe perfectionhasof instruments, soundopened generators. ofup. the prerecorded tape recorder, noise, a or Their principle instrument is the The electronic com- Then they do all OBJECTIVISM: below.correspondedromanticism in roughly France. to neo-classicism in music, which will be described The objectivist painter tried to paint Athings style exactlyof painling as they which was a reaction to impressionism and motionultimatelysorts picture of marvelous end being up withonthings film. a composition to the sounds on tape,by means something Columbiaof the intape University the recorder manner has ofand hada an experimental tape laboratory for some CUBISM: metric:artistswere--photographically. planes.attempted to break up light and color and show them on variousTwentieth geo- century painting style which followed objectivism. The years.soundtimefield now. ofand a haveflute, directed then he experiments has transposed at the and Columbia transformed laboratories the flute for sounds some Vladimir Ussachevsky and Otto LueningIn the piecehave .been I am pioneersabout to inplay, this Otto Luening has recorded the PRIMITIVISM: music.AfricanSpring." and Polynesian folk-art. The most famous example is probably Stravinsky'sExcessive "The emphasis Rite onof attempts to re-create a style similar to Primitivism was found in painting and ' EXPRESSIONISM: but more or less parallel to, French impressionism. Essentially an Austrian-German movement a little later than, This was the German MauriceErik Satie Ravel FrenchFrench Impressionist Neo-Classicist 1875-19371866-1925 rules"artist.cordViennese"last and in gasp" psychoanalyst,expressorder of to romanticismthe give inner themselvesSigmund psychological and Freud. found the greatestits and impetus emotional freedom in the experiencesof writingsexpression. ofof thethe Expressionists painting and music tended to "throw away the Expressionism is supposed to re- FrancisPaulJacquesOttorinoManuel Hindemith dePoulencIbert Respighi Falla FrenchGermanItalianSpanish Neo-Classicist Impressionist 1899-19631895-1963born1879-19371876-1946 1890 SERIAL MUSIC: pitchesdeveloped arranged by Arnold in series;Schonberg, that it is, is ina harmonicserial order. and melodic system using Also called. ATONAL or 12-TONE MUSIC. Based on principles EdouardCamille ManetPisarro French Impressionist Painters 1832-18831830-1903 MUSIQUEMACHINE CONCRETE:MUSIC: calto expresspictures, the."machine at times. age" through music. Some twentieth century composersMusic euperimented based on sounds with fromtrying nature or the environment and "The Steel Foundry" is a good example. They attempted literal musi- PierreClaudeEdgar Degas RenoirMonet French ImpressionistSymbolist Poet. 1841-19191840..19261834-1917 bywas onconventional originally electronically usedmusical togenerated showinstruments. it sounds.as the opposite of "abstract music" made 1Musique concrete" is a term which In its simplest ArthurPaulStephene Verlaine Rimbaud Mallerme French 1854-18911842-18981844-1896 Totr INTENSITY: A way ofprincipleissense, describing considered it referselement aby characteristic manyto of loudness nUITE:avant and of softness,sound. but it also means garde composers to be, with "duration," & timbre. It Sigmund Freud -- Expressionists and Atonalists -- Austrian Psychoanalyit 1856-1939 TONEDURATION: CLUSTERS: sity."composers consider "duration" to be an element of music along with A way of describing how long a sound or silence lasts.Use of many notes sounded at once, all very close together Many "inten- AlbanAntonArnold BergWebern Schonberg Austrian Expre,:sionist-AtonalistExpressionist-AtonalistExpressiouist-Atonalist Composers 1885-19351883-19451874-1951 CHANCE MUSIC: fromtypein pitch. manyof music. sources. Henry Cowell and ErnstMusic Krenek created arc mostin performance associated bywith chance this combinations of sounds The composer of chance music selects sound sources, WassilyLuigi Dallapiccola Kandinsky RussianItalian Expressionist-AtonaliatExpressionist Painters born1866-1944 1904 ELECTRONIC MUSIC: entirelyprovides bya minimalvarious amounttypes of electronicdirection,chance. instruments,and allows sounds including to be computers, combined John Cage is the leader in this field. This is a form of "musique concrete." It is generated FranzPaul KleeMarc GermanGerman-Swiss Expressionist Expressionist Poets 1879-194o1880 -1916 manyandnetic it of is tapethe produced presentrecorder. by pant-garde electronic composers.instruments, most particularly the mag- -- Impressionists and Neo-Classicists Much interest is centered on electronic music by RichardStefan DehmelGeorge Experimental Composers, 20th Century German Expressionist 18631868-1933 -1920 FrederickClaude Debussy Delius EnglishFrench ImpressionistImpressionist Composers 1862-19341862-1918 HenkOttoHenryJohnEdgard BadingsLuening CowellCage Varese- American,French,Dutch, MUsiquo Electronic ChanceElectronicTone ClustersConcrete Music Music Music born 18851912190719001897 PierreKarlheinz Boulez Stockhausen German,French, Serial Music, Electronic,Electronic Chance Music born 19251928 BOOK LIST FOR MUSIC AS A HUMANITY Humanities Books Barnes,VanFlemming,Wold Loon, and Harry Cykler,Hendrik,William, Elmer, AN THEARTS INTRODUCTIONAN ARTS,INTELLECTUALAND IDEAS,1937. TO 1962. MUSICAND CULTURAL AND ART HISTORYIN THE WESTERNOF THE WESTERNWORLD, 165. Janson, H.W., HISTORY OF ART, 1965. WORLD (3rd Ed.), 1965. Art Books Perrine, Laurence, SOUND AND SENSE, 1965. MusicLiterature Books Miller,Ferguson,Grout, Hugh Donald Donald,M., Jay,HISTORY A AHISTORY HISTORY OF MUSIC OF OF MUSICAL(CollegeWESTERN THOUGHT, MUSIC,Outline 1960. 1948.Series1960. #55, 3rd Ed.), Machlis,Scholes,UlrichStringham,Cannon, Joseph,and Percy, JohnsonPlst, Edwin, INTRODUCTION THE A and HISTORYOXFORDLISTENING Waite, COMPANIONOFTO ART MUSICTOCONTEMPORARY MUSICOF ANDMUSIC,TO CREATIVELY,MUSIC.MUSICAL 1960.MUSIC, STYLE, 1961.1959. 1963.