A little more time was spent on 12 tone music including a discussion of its purpose and expression. We enjoyed hearing some Webern, Dallapiccola, Babbitt, and Boulez. We also found a couple of examples of 12 tone blues in the jazz world. We kept reminding each other that 12 tone music was born out of an interest in chromaticism and equalizing all the tones of the scale. The concept of serialism, ordering of events, extended to more than just pitch through the music of Boulez and Babbitt with other composers experimenting with the idea.
An abrupt jump back to the Pre-classical era caused us to look at the Mannheim school of orchestral development and the discussion of instrumental music in the Classical period. A little time was spent demonstrating the approach to classical music and the reactions against the excesses of the Baroque period. With the advent and organization of Sonata form, we see a system of music that continues to affect us today. Mozart, Haydn, and Beethoven form the canon of music of the classical period, and we still hear their music consistently.
We are now on the Romantic period which although vast and complicated will not be discussed with any depth. This is due to the common knowledge and interest that pervades most musicians. A study of orchestral repertoire and yes even choral concerts reveals an emphasis on Romanticism either in terms of the time period or in style. This is not a negative statement but rather the truth. Perhaps our human emotions find greater satisfaction in tonality and richness of tonal expression. Whatever the case, the ubiquitous usage of Romantic music causes us not to need another comprehensive discussion of this music.
So we will move onward to jazz and popular music of the 20th Century. The fun continues!
Thursday, October 29, 2009
Monday, October 26, 2009
Day 16
Today we spent some time in the primitivism of the 20th century including brief mention of Stravinsky, Antheil, Bartok, Honegger, and Prokofiev. This naturally took us to the use of folk song in 20th century music and yet another discussion of nationalism, with Shostakovitch as the forerunner of the talk. Reminders of the beautiful late Romantic composers--Rachmaninoff, Strauss, Hanson, and countless others including film composers led us to discuss composers whose Romanticism took them into other harmonic regions.
We abruptly jumped backwards into Wagner and his chromaticism. As we understood chromaticism, we found ourselves wondering how to achieve a greater sense of equality of pitch. Arnold Schoenberg's brand of Romanticism ultimately led to experiments in panchromaticism and the 12-tone technique. After a quick look at a matrix and a peripheral but pointed discussion of the various ways to use the 12-tone ideal, we delved into Schoenberg, Berg, Webern, Dallapiccola, and Babbitt. It is essential to understand the purist use of the 12-tone concept but just as valuable to know how and when the composers varied from the form. Here is a matrix to show the various forms of a 12-tone row. Give it a try!http://www.dancavanagh.com/music/matrix.php
The second Viennese school of Schoenberg, Berg, and Webern embodied the early use of serialism and 12 tone music through their magnificent output of music. With Schoenberg's beauty of line coming through while retaining a pure use of the 12-tone technique, we find music that is new, rich, yet still motivic in the German tradition. In Berg we find greater reliance on tonality in a more conservative and freer use of the technique, and in Webern we see a conciseness of form and structure in strict contrapuntal and pointillistic expression.
I encourage you open your mind and ears and enjoy the music of the 2nd Viennese composers. Listen to different examples and find one that you enjoy. Let me know what it is!
We will now spend a little time in the Romantic period, discuss some harmonic and theoretical concepts of the time, and begin taking some practice tests.
We abruptly jumped backwards into Wagner and his chromaticism. As we understood chromaticism, we found ourselves wondering how to achieve a greater sense of equality of pitch. Arnold Schoenberg's brand of Romanticism ultimately led to experiments in panchromaticism and the 12-tone technique. After a quick look at a matrix and a peripheral but pointed discussion of the various ways to use the 12-tone ideal, we delved into Schoenberg, Berg, Webern, Dallapiccola, and Babbitt. It is essential to understand the purist use of the 12-tone concept but just as valuable to know how and when the composers varied from the form. Here is a matrix to show the various forms of a 12-tone row. Give it a try!http://www.dancavanagh.com/music/matrix.php
The second Viennese school of Schoenberg, Berg, and Webern embodied the early use of serialism and 12 tone music through their magnificent output of music. With Schoenberg's beauty of line coming through while retaining a pure use of the 12-tone technique, we find music that is new, rich, yet still motivic in the German tradition. In Berg we find greater reliance on tonality in a more conservative and freer use of the technique, and in Webern we see a conciseness of form and structure in strict contrapuntal and pointillistic expression.
I encourage you open your mind and ears and enjoy the music of the 2nd Viennese composers. Listen to different examples and find one that you enjoy. Let me know what it is!
We will now spend a little time in the Romantic period, discuss some harmonic and theoretical concepts of the time, and begin taking some practice tests.
Monday, October 19, 2009
Day 15
Today is a quick but hopefully pointed discussion of the Baroque Period. We discussed the two types of Sonatas, the parts of a suite, the trio sonata, the passacaglia and chaconne, the toccata, the cantata, and of course opera. Composers we mentioned are Corelli, Vivaldi, Rameau, Frescobaldi, Purcell, and J.S. Bach. Theoretical concepts include the anatomy of a fugue, da capo aria, non-harmonic tones, homophony, text painting, the doctrine of affections, and the establishment of major and minor keys.
Johann Fux's text on counterpoint and Rameau's text on harmony are both very important treatises as are the writings on music by Michael Praetorius.
The anatomy of a fugue includes the subject, countersubject, answers--both real and tonal, development, the use of stretto, contrary motion, sequence, augmentation, diminution, pedal point, and motivic application. We listened to several examples of fugues from the Well-tempered Clavier http://www2.nau.edu/tas3/wtc.html. As we listened, we pointed out the different kinds of answers and the various techniques used by Bach for his fugues.
Continuing study on the fugue and Baroque theory, we discussed counterpoint, harmony, and found ourselves in the land of the Doctrine of Affections. Connected to this was a brief listen to the music of Rameau and his influence on music history. His identification of the application of the harmonic series, his recognition of the sounds of nature, and his use of the the doctrine of affections for particular emotional response, were all established as significant.
Finally we get to the master himself, Johann Sebastian Bach whose music ranges from concertos to masses, cantatas, chorales, organ works, instrumental pieces, small forms, and large forms. His music is characterized by beauty of line, adherence to structure, complex counterpoint, harmonic invention, rhythmic drive, and richness of texture. All these things within the established Baroque harmonic framework! I encouraged everyone to study the Well-tempered Clavier as a way to understand the parts of a fugue as well as the harmony supporting the fugue.
Next week it is back to the 20th century with more discussion of primitivism, folk influence, and finally 12-tone music.
Johann Fux's text on counterpoint and Rameau's text on harmony are both very important treatises as are the writings on music by Michael Praetorius.
The anatomy of a fugue includes the subject, countersubject, answers--both real and tonal, development, the use of stretto, contrary motion, sequence, augmentation, diminution, pedal point, and motivic application. We listened to several examples of fugues from the Well-tempered Clavier http://www2.nau.edu/tas3/wtc.html. As we listened, we pointed out the different kinds of answers and the various techniques used by Bach for his fugues.
Continuing study on the fugue and Baroque theory, we discussed counterpoint, harmony, and found ourselves in the land of the Doctrine of Affections. Connected to this was a brief listen to the music of Rameau and his influence on music history. His identification of the application of the harmonic series, his recognition of the sounds of nature, and his use of the the doctrine of affections for particular emotional response, were all established as significant.
Finally we get to the master himself, Johann Sebastian Bach whose music ranges from concertos to masses, cantatas, chorales, organ works, instrumental pieces, small forms, and large forms. His music is characterized by beauty of line, adherence to structure, complex counterpoint, harmonic invention, rhythmic drive, and richness of texture. All these things within the established Baroque harmonic framework! I encouraged everyone to study the Well-tempered Clavier as a way to understand the parts of a fugue as well as the harmony supporting the fugue.
Next week it is back to the 20th century with more discussion of primitivism, folk influence, and finally 12-tone music.
Thursday, October 15, 2009
Day 14
Today was primarily centered around the music and influence of Monteverdi, a composer with one leg in the Renaissance and the other in the Baroque. Using madrigals, drama, and opera, Monteverdi helped usher in a new type of music that became known as the Baroque. While the music of the High Renaissance was polyphonic with independent lines working congruently, and the music was primarily linear with resulting vertical harmony, the music of the Baroque was driven more by the bass line and subsequently the harmonic implications.
The concepts of basso continuo, a melody served an accompaniment, and an establishment of sharps, flats, and key structures affected music development most dramatically. This is seen in the late madrigals of Monteverdi. In an ironic sense, the bass line began to serve as the foundation for the music, rather than serving as another melodic line. This then led to a greater realization of the harmonic series and its importance in designing the overall sound of music.
Monteverdi's contributions to music were not only in the area of musical development but also in music drama and orchestration, as his use of instruments as an important force in opera, make his music among the most influential of his time. We listened to Tancredi and Clorinda, pointing out the string tremolos, the layering of sounds, and the vocal inflections adding to the drama. The development of opera music included the rise of the importance of the orchestra. As the instruments themselves became more sophisticated and composers began to make more technical demands on the players, the orchestra took on a greater role. This role included enhancing the drama and even playing its own overtures. Ultimately these "sinfonias" separated to become what we now know as the symphony. Perhaps the most respected early opera that is still performed today is Monteverdi's L'Orfeo, a wonderfully expressive and complex retelling of the ancient Greek story of Orpheus.
As we concluded Monteverdi, we jumped into a quick and somewhat superficial discussion of the fugue and its anatomy. Please study the following website for further detail and cognition: http://jan.ucc.nau.edu/~tas3/fugueanatomy.html. This link also includes a robust link allowing for a comprehensive understanding of Bach's Well-tempered Clavier.
Tuesday we will continue with the Baroque period before jumping back to the 20th century where we get to discuss folk song, primitivism, and finally the 2nd Viennese School. The future is bright!
The concepts of basso continuo, a melody served an accompaniment, and an establishment of sharps, flats, and key structures affected music development most dramatically. This is seen in the late madrigals of Monteverdi. In an ironic sense, the bass line began to serve as the foundation for the music, rather than serving as another melodic line. This then led to a greater realization of the harmonic series and its importance in designing the overall sound of music.
Monteverdi's contributions to music were not only in the area of musical development but also in music drama and orchestration, as his use of instruments as an important force in opera, make his music among the most influential of his time. We listened to Tancredi and Clorinda, pointing out the string tremolos, the layering of sounds, and the vocal inflections adding to the drama. The development of opera music included the rise of the importance of the orchestra. As the instruments themselves became more sophisticated and composers began to make more technical demands on the players, the orchestra took on a greater role. This role included enhancing the drama and even playing its own overtures. Ultimately these "sinfonias" separated to become what we now know as the symphony. Perhaps the most respected early opera that is still performed today is Monteverdi's L'Orfeo, a wonderfully expressive and complex retelling of the ancient Greek story of Orpheus.
As we concluded Monteverdi, we jumped into a quick and somewhat superficial discussion of the fugue and its anatomy. Please study the following website for further detail and cognition: http://jan.ucc.nau.edu/~tas3/fugueanatomy.html. This link also includes a robust link allowing for a comprehensive understanding of Bach's Well-tempered Clavier.
Tuesday we will continue with the Baroque period before jumping back to the 20th century where we get to discuss folk song, primitivism, and finally the 2nd Viennese School. The future is bright!
Sunday, October 11, 2009
Day 12 and Day 13
Handing out an exam which is due on October 22, we looked through the many items and found ourselves humbled by the sheer magnitude of knowledge need for a thorough comprehension of music.
We continued discussions of our selected composers and did some listening to music. We are meeting in the music library now which is a very nice place for learning. We added to the knowledge of Copland, Ravel, and Barber, continuing on to Messiaen. The Copland discussion mentioned his use of polytonality, open texture, and experiments in 12-tone writing. We listened to the Fanfare for Common Man, parts of Rodeo, and mentioned the beautiful and stunning Red Pony score. Copland remains an important composer of American music, and a composer who was never satisfied with one level of creative expression. He is set apart by his use of folk song, rhythm experiments, and theatrical elements, all of which can be found in his music for large forms as well as smaller genres.
A brief discussion of Ravel included hearing moments of Bolero, and the Piano Concerto for the Left Hand. Ravel's impressionistic style gave way to an acceptance of older forms in a kind of quasi neo-classic approach to music. Other works such as the string quartet and Pictures at an Exhibition demonstrate Ravel's exceptional knowledge of instruments and color.
On Thursday we jumped full force into one of the greatest although not often performed music of Oliver Messiaen. We listened to Turangalila and Quartet for the End of Time. We also marveled at the youtube video of Messiaen discussing his use of bird sounds in his music http://www.youtube.com/watch?v=9QdgUJss9BU. A theoretical look at the Modes of Limited Transposition allowed us to understand Messiaen's system and perhaps his sense of symmetry. Together with bird calls, elaborate texture, and expressive depth, Messiaen developed a musical language that is breath-taking and complex. As a highly skilled church organist, much of his music demonstrates the breadth of sound capable on a pipe organ.
Unfortunately, perhaps due to the large forces required, we do not have an opportunity to perform Messiaen's music; yet there is little question as to the joy and beauty of the sound. Certainly one of the most influential and creative composers of the twentieth century.
The last 10 minutes of class, we got in our fast moving boat and traveled backward to Monteverdi where we entered the world of early opera. A brief discussion of the music drama Tancredi and Clorinda ended the class which is where we will begin again on Tuesday. See you then.
We continued discussions of our selected composers and did some listening to music. We are meeting in the music library now which is a very nice place for learning. We added to the knowledge of Copland, Ravel, and Barber, continuing on to Messiaen. The Copland discussion mentioned his use of polytonality, open texture, and experiments in 12-tone writing. We listened to the Fanfare for Common Man, parts of Rodeo, and mentioned the beautiful and stunning Red Pony score. Copland remains an important composer of American music, and a composer who was never satisfied with one level of creative expression. He is set apart by his use of folk song, rhythm experiments, and theatrical elements, all of which can be found in his music for large forms as well as smaller genres.
A brief discussion of Ravel included hearing moments of Bolero, and the Piano Concerto for the Left Hand. Ravel's impressionistic style gave way to an acceptance of older forms in a kind of quasi neo-classic approach to music. Other works such as the string quartet and Pictures at an Exhibition demonstrate Ravel's exceptional knowledge of instruments and color.
On Thursday we jumped full force into one of the greatest although not often performed music of Oliver Messiaen. We listened to Turangalila and Quartet for the End of Time. We also marveled at the youtube video of Messiaen discussing his use of bird sounds in his music http://www.youtube.com/watch?v=9QdgUJss9BU. A theoretical look at the Modes of Limited Transposition allowed us to understand Messiaen's system and perhaps his sense of symmetry. Together with bird calls, elaborate texture, and expressive depth, Messiaen developed a musical language that is breath-taking and complex. As a highly skilled church organist, much of his music demonstrates the breadth of sound capable on a pipe organ.
Unfortunately, perhaps due to the large forces required, we do not have an opportunity to perform Messiaen's music; yet there is little question as to the joy and beauty of the sound. Certainly one of the most influential and creative composers of the twentieth century.
The last 10 minutes of class, we got in our fast moving boat and traveled backward to Monteverdi where we entered the world of early opera. A brief discussion of the music drama Tancredi and Clorinda ended the class which is where we will begin again on Tuesday. See you then.
Monday, October 5, 2009
Day 10 and Day 11
Okay, I got a little behind on blogging, but meanwhile we have been doing reports on different 20th century composers. We will do this for a couple more days, then run back to the end of the Renaissance and the Baroque period. Furthermore it is time to take a test on several items just to check ourselves.
So far we discussed Copland, Ravel, Stravinsky, and Sibelius. We have some more discussion on Barber, Messiaen, Bartok, and Prokofiev coming up. Our Copland moments included listening to Billy the Kid and talking about his use of polyrhythm and bitonality. Copland's emphasis on American folk songs gives his music a nationalistic spirit and made him known as the Dean of American Composers. Ballets, suites, film scores, concertos, chamber music, songs, and choral music comprise his immense and varied repertoire. Of greater interest is the "Copland sound" which includes open 5ths, 4ths, and expansive utilization of the harmonic series. In spite of the use of dissonance and hints of serialism, Copland's ability to open the textures, provides his music with an engaging and palatable mosaic still heard today.
Our brief minutes spent on Ravel revealed a composer steeped in classical forms but adopting a coloristic approach to music often called Impressionistic. Ravel's remarkable gifts found fruition in concertos, ballets, piano works, chamber pieces, songs, and orchestral showpieces. Known as one of the great orchestrators in music history, his Pictures at an Exhibition continues to be played frequently in concert halls. Perhaps the most performed Ravel piece is Bolero, a piece with 2 themes and a repetitious rhythm. Without a development section, Bolero never fails to elicit great emotional response from listeners and players.
Moving on to Sibelius, and one must wonder why a late Romantic is included in this discussion, we discussed his symphonies, concertos, and suites. Listening to Finlandia gave us an opportunity to talk about Finnish music and nationalism in general. Sibelius' use of orchestral padding, large forms, tonality, and vibrant orchestral textures tends to set his music apart from many of his contemporaries. Among the most beautiful pieces in orchestral repertoire is the Violin Concerto by Sibelius. A special piece demonstrating his use of tonality and layering of orchestral texture. His commitment to composing music in an older model in the midst of other more progressive composers is both admirable and anachronistic. Yet he composed at such a high level, he remains influential in today's eclectic world.
Many consider Stravinsky the greatest of 20th Century composers. From the 3 early ballets, through stunning neoclassicism, and finally serialism, Stravinsky epitomizes excellence in musical craft, expression, and creativity. Using bitonality, primitivism, complex rhythm, planing, and almost endless coloring, Stravinsky rocked the musical world with Rite of Spring. Following that shocking debut, he altered his style to a more conservative flavor drawing from classical music. Distinctly his own, Stravinsky's adoption of older forms never interfered with progressive creativity that tested the boundaries of tonality without abandoning the classical framework. Finally, in his mature years, he experimented with serialism, composing the deliciously complex Agon ballet.
The clarity, starkness, sophistication, and fastidiousness of Stravinsky's music continues to fascinate audiences and intrigue musical scholars. Each piece is a magical expression of his genius regardless of the language used at the time. 3 stages of composition, each stage being treated with utmost care, defines his illustrious career, a career that remains enviable for its prolific and complex output.
I would urge readers to listen to music of the composers studied and find a selection you like. What is your favorite Copland piece? Why? What is your favorite Stravinsky work? Sibelius? Ravel?
So far we discussed Copland, Ravel, Stravinsky, and Sibelius. We have some more discussion on Barber, Messiaen, Bartok, and Prokofiev coming up. Our Copland moments included listening to Billy the Kid and talking about his use of polyrhythm and bitonality. Copland's emphasis on American folk songs gives his music a nationalistic spirit and made him known as the Dean of American Composers. Ballets, suites, film scores, concertos, chamber music, songs, and choral music comprise his immense and varied repertoire. Of greater interest is the "Copland sound" which includes open 5ths, 4ths, and expansive utilization of the harmonic series. In spite of the use of dissonance and hints of serialism, Copland's ability to open the textures, provides his music with an engaging and palatable mosaic still heard today.
Our brief minutes spent on Ravel revealed a composer steeped in classical forms but adopting a coloristic approach to music often called Impressionistic. Ravel's remarkable gifts found fruition in concertos, ballets, piano works, chamber pieces, songs, and orchestral showpieces. Known as one of the great orchestrators in music history, his Pictures at an Exhibition continues to be played frequently in concert halls. Perhaps the most performed Ravel piece is Bolero, a piece with 2 themes and a repetitious rhythm. Without a development section, Bolero never fails to elicit great emotional response from listeners and players.
Moving on to Sibelius, and one must wonder why a late Romantic is included in this discussion, we discussed his symphonies, concertos, and suites. Listening to Finlandia gave us an opportunity to talk about Finnish music and nationalism in general. Sibelius' use of orchestral padding, large forms, tonality, and vibrant orchestral textures tends to set his music apart from many of his contemporaries. Among the most beautiful pieces in orchestral repertoire is the Violin Concerto by Sibelius. A special piece demonstrating his use of tonality and layering of orchestral texture. His commitment to composing music in an older model in the midst of other more progressive composers is both admirable and anachronistic. Yet he composed at such a high level, he remains influential in today's eclectic world.
Many consider Stravinsky the greatest of 20th Century composers. From the 3 early ballets, through stunning neoclassicism, and finally serialism, Stravinsky epitomizes excellence in musical craft, expression, and creativity. Using bitonality, primitivism, complex rhythm, planing, and almost endless coloring, Stravinsky rocked the musical world with Rite of Spring. Following that shocking debut, he altered his style to a more conservative flavor drawing from classical music. Distinctly his own, Stravinsky's adoption of older forms never interfered with progressive creativity that tested the boundaries of tonality without abandoning the classical framework. Finally, in his mature years, he experimented with serialism, composing the deliciously complex Agon ballet.
The clarity, starkness, sophistication, and fastidiousness of Stravinsky's music continues to fascinate audiences and intrigue musical scholars. Each piece is a magical expression of his genius regardless of the language used at the time. 3 stages of composition, each stage being treated with utmost care, defines his illustrious career, a career that remains enviable for its prolific and complex output.
I would urge readers to listen to music of the composers studied and find a selection you like. What is your favorite Copland piece? Why? What is your favorite Stravinsky work? Sibelius? Ravel?
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