Resource Guide MUSIC ‘TIL DEATH DO US PART: MORTALITY MADE MUSICAL Chandler High School - Chandler, AZ 2019–2020 IN SICKNESS AND IN HEALTH: An Exploration of Illness and Wellness The vision of the United States Academic Decathlon® is to provide students the opportunity to excel academically through team competition. Toll Free: 866-511-USAD (8723) • Direct: 712-326-9589 • Fax: 651-389-9144 • Email: [email protected] • Website: www.usad.org This material may not be reproduced or transmitted, in whole or in part, by any means, including but not limited to photocopy, print, electronic, or internet display (public or private sites) or downloading, without prior written permission from USAD. Violators may be prosecuted. Copyright ® 2019 by United States Academic Decathlon®. All rights reserved. Table of Contents INTRODUCTION . .5 Harmony.............................23 Common-Practice Tonality ...................23 Chords ...................................23 SECTION I: BASIC ELEMENTS OF Triads...............................23 MUSIC THEORY...................6 Inversions . 25 Keys.....................................25 Sound and Music . .6 Key Signatures . 26 Hierarchy of Keys: Circle of Fifths .........27 Definitions . .6 Harmonic Progression.......................28 Music Is Sound Organized in Time . .6 Dissonance and Consonance ............28 Music of the Western World . 6 Diatonic Triads . 29 The Physics of Musical Sound .............6 The Dominant Triad’s Special Role . 30 Sound Waves ...............................6 Bass Lines . 30 Instruments as Sound Sources .................6 The Dominant Seventh Chord............31 Example: A Harmonized Melody . 31 Pitch, Rhythm, and Harmony ...........8 Other Diatonic Chords . 31 Chromatic Harmonies and Modulation...........32 Pitch .................................8 Beyond Common Practice....................32 Pitch, Frequency, and Octaves .................8 Pitch on a Keyboard .........................9 Other Aspects of Musical Sound . .33 Pitch on a Staff ............................10 Pitch on the Grand Staff . 11 Texture, Counterpoint, Instrumentation, and Overtones and Partials . 12 More Timbre..........................33 Equal Temperament: Generating the Twelve Pitches by Dividing the Octave ......................12 Dynamics, Articulation, Ornamentation . 34 Scales: Leading Tone, Tonic, Dominant .........13 Chandler High School - Chandler, AZ Intervals..................................13 Form in Music ......................36 Intervals of the Major Scale . 14 Minor Scales and Blues Inflections.............15 Perceiving Musical Form ................36 Melody Defined with an Example Elements of Form . .36 Using Scale Degrees ........................16 Motive . 36 Contour . 17 Phrase ...................................37 Range and Tessitura ........................17 Cadence ..................................37 Theme . 38 Rhythm . .18 Introduction and Coda.......................38 Beat . 18 Common Forms . .38 Tempo . 18 Repetition . 38 Meter: Duple, Triple, and Quadruple . 18 Variation . 38 Rhythmic Notation . 20 Theme and Variations ..................38 Time Signature ............................21 Twelve-Bar Blues......................38 Simple and Compound Subdivision ............22 Improvisation ........................39 Mixed and Irregular Meter . 22 Contrast ..................................39 Syncopation...............................22 Ternary and Rondo Forms . 39 Polyrhythm . 22 32-Bar Form . 39 Rhythm: Summary . 22 Verse-Chorus Form....................39 2019–2020 Music Resource Guide • (Updated September 3, 2019) 2 Development . 40 Listening Companion 4: Dido and Aeneas, Fugue...............................40 “Thy Hand, Belinda/When I am Laid in Sonata Form . 40 Earth” [Dido’s Lament] (1689) – Henry Which is the Real Music? Scores, Purcell . .68 Dying on Stage ........................70 Recordings, and Performance ..........41 The Classic Period: Patrons and the Section I Summary . 41 Public .............................71 Pursuing Happiness ....................71 A Changing World . .72 SECTION II: CHURCH, HOME, Death, Unfinished......................73 STAGE: DEATH KNOWS NO Listening Companion 5: Requiem, K. 626 BOUNDARIES . .43 “Sequence: Lacrimosa Dies Illa” (1791) – The Middle Ages: Rome, France, and Wolfgang Amadeus Mozart . .74 Christianity . .43 Section II Summary ..................76 Regulating Ritual—The Liturgy ...........46 Mass.....................................47 Offices . 47 SECTION III: MUSIC OF THE Proper and Ordinary ........................47 ROMANTIC ERA: DEATH AS Chant: A Little Bird Told Me . .48 DRAMA ..........................79 Dreading Death . .49 Hearts on Sleeves ....................79 Listening Companion 1: “Dies Irae” – Excerpt (Thirteenth Century) – Tiny Jewels: The Romantic Miniature ....80 Anonymous . .50 Death as Tempter . .82 Enough Is Enough: The Council of Trent ........54 Subsequent “Life” for a Death Chant . 55 Listening Companion 6: “Erlkönig,” op. 1, D. 328 (1815) – Franz Schubert.....83 The Renaissance: Music in the Home and Music Goes Massive . .85 Courts.............................55 Death, Diabolically ....................86 New Genres, New Media ................56 Listening Companion 7: Symphonie Death, Be Kind ........................57 Fantastique, Mvt. V “Dream Of A Witches’ Chandler High School - Chandler, AZ Listening Companion 2: “O Deathe, Rock Sabbath” (1830) – Hector Berlioz .......88 From the Concert Halls to the Movies ......91 Me Asleepe” (c. 1536) – Anne Boleyn (Attributed).......................58 The Swan Song . .92 Death, Alone..........................93 The Baroque: Music Reaches the Stage ...60 Listening Companion 8: Sechs Lieder, op. 1, The Florentine Camerata and Monody . .61 No. 1 “Schwanenlied” (Pub. 1846) – Fanny The Actors Start to Sing . .61 Mendelssohn Hensel..................94 Music Conquering Death ................62 Listening Companion 3: L’Orfeo, “Tu se’ Opera on a Grand Scale ...............96 morta” [Orfeo’s Lament] (1607) – Claudio Death, Together . .97 Monteverdi..........................62 Listening Companion 9: Aida, “O Terra, Opera Hits the Road (and Goes Public).... 64 Addio” [The Tomb Scene] (1871) – Giuseppe The Continuo Age......................65 Verdi . .98 Death, Invited .........................67 Section III Summary . .100 2019–2020 Music Resource Guide • (Updated September 3, 2019) 3 SECTION IV: MUSIC AS MOCKERY, Concert Hall Threnodies ...............128 MUSIC AS MEMORIAL . .102 A Medieval Sequence and the Silver Screen.........................130 A Funeral March . .103 Death So “Sad” . .105 Music for Grief.....................131 Listening Companion 10: Symphony No. 1 in Music as Therapy .....................132 D Major “The Titan,” Mvt. III “Feierlich Measuring the Music (Therapeutically) ....132 und gemessen, ohne zu schleppen” (1888/ Repurposed for Death . .133 Rev. 1906) – Gustav Mahler ...........108 Listening Companion 14: Adagio for Strings (Arrangement of String Quartet Art, Present and Past . 111 in B Minor, op. 11, Mvt. II) (1938) – Samuel Dancing to Death .....................112 Barber .............................135 Listening Companion 11: The Rite of Spring, “Sacrificial Dance (The Chosen One)” (1913) Section IV Summary ................138 – Igor Stravinsky....................114 CONCLUSION . .141 Musical Monuments.................116 Flying to Death.......................118 TIMELINE . .143 Listening Companion 12: Le tombeau de Couperin, “Toccata” (1917) – GLOSSARY......................147 Maurice Ravel . .120 New Sounds, Old Terrors.............124 NOTES ..........................151 Death Approaches . .125 Listening Companion 13: The Banshee BIBLIOGRAPHY . .155 (c. 1925) – Henry Cowell . .125 Chandler High School - Chandler, AZ 2019–2020 Music Resource Guide • (Updated September 3, 2019) 4 Introduction Death is a part of life—yet many humans fear or Romantic (early 1800–c. 1900), and the current are fascinated by death. For countless centuries, unnamed era that began around the start of the composers have crafted music that addresses the twentieth century. Like people in every time period mortality all people face. Music can bring comfort before us, however, we often call music of our era to mourners; it can admonish them to lead better “Modern.” lives; it can make death less frightening—or even more terrifying. This Resource Guide explores many This Resource Guide considers a sampling of of the ways that music has confronted mortality, musical works, ranging from songs to symphonies, focusing on Western European musical practices that reflect humans’ continual awareness of death. To since most of the music heard today in the United help with understanding the features of each piece, States derives from that tradition. Section I introduces the specialized vocabulary and notation system used by musicians. It explains many Musical styles have ebbed and flowed over the of the ways that musical pitches are manipulated centuries, sometimes changing characteristics and combined, and it identifies various larger fairly rapidly, and sometimes holding onto certain relationships and structures that can be crafted from approaches for long, long stretches. As with fashions these components. in clothing, there are always people who are trendsetters, and there are those who cling to the old, As new categories of music, or genres, have arisen familiar choices. But, when a majority of composers in each succeeding historical era, composers have are writing music that shares