We spent a little more time on 12-tone music, pointing out different characteristics of the music including the multitude of ways to use a row. We also discussed how composers used this system and its contributions to contemporary music. Nice video about Schoenberg. But then we did an abrupt spin, went back a couple of hundred years and landed on 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 mentioned were 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.
How about that Crab Canon? Bach was a brilliant composer who melded mathematical purity and structure with great expression and powerful emotions.
Okay, were you moved, put off, confused or indifferent about the Vivaldi countertenor performance?
Thursday, September 30, 2010
Monday, September 27, 2010
Day Eleven--No class
Okay, you are off for Tuesday, September 28 due to the schedule change for the Encounter Week. Just study and listen.
See you Thursday. Chris, are you ready for Stravinsky?
See you Thursday. Chris, are you ready for Stravinsky?
Day Ten--Ravel, Schenkerian analysis, 12-tone
Before discussing a couple of composers and their musical language, it is necessary to take a few minutes to look at music a little differently. Although slow in embracing its concepts, I now subscribe, although not in its totality, to the Schenkerian approach to understanding a piece of music. Using a process of prolongation and reduction, we determine the foreground, middleground, and background of a piece of music. This then allows us to know the skeletal structure of work which then points us to the musical goals. Although absurd, in its extreme we determine that Beethoven's 3rd symphony is reduced and prolonged to an E flat major chord. In a odd way, this is also profound. I urge you to use whatever piece or song you are performing and think of its skeletal structure, finding new insights into the piece and applying performance principles to the composers ultimate intent. It can alter your own view of music and give you a higher sense of musical goals.
A brief look at the marvelous composer Maurice Ravel, and I was once again struck by his genius, his creativity, and mostly his commitment to musical excellence. Every piece he wrote is a gem, worth hearing, difficult to perform, emotionally charging, and shimmering with energy. In addition, he was one of the great orchestrators of all time as demonstrated in Pictures at an Exhibition. Ravel's language is that of neo-classicism, impressionism, modality, tonality, and layers of sounds. We enjoyed hearing Pavane, Bolero, and portions of Toccata for piano.
Our brief discussion on functional versus non-functional harmony took us to a new understanding of why composers began to seek out other forms of musical expression. Does a 7th chord have to resolve to the tonic? Are there appropriate uses of parallel fifths or unprepared modulations or equality of pitch? Can planing or the breaking of the harmonic series have purpose? Does all music have to be in Sonata-Allegro form? Is there a place for other instruments or sounds in music? What is music?
All these questions and more shaped and continue to shape the music of today. As we continue to learn the details of composers, their languages, their influences, and way music is put together, keep in mind that we are expanding the definition of excellence in music. This includes the use of 12-tone music as a form of creating new music in a marriage of precise order and musical emotion. We took a superfluous look at the essential elements of 12-tone music including its rationale, its design, and some examples. A brief overview of Schoenberg, Berg, and Webern accompanied our discussion that led us to a look at computer generated Matrix. More on this as we delve into this 12-tone world.
So honestly folks, what kind of music do you prefer? What is the first thing you hope to hear when you get in your car? I am just curious--no wrong answers are possible!
A brief look at the marvelous composer Maurice Ravel, and I was once again struck by his genius, his creativity, and mostly his commitment to musical excellence. Every piece he wrote is a gem, worth hearing, difficult to perform, emotionally charging, and shimmering with energy. In addition, he was one of the great orchestrators of all time as demonstrated in Pictures at an Exhibition. Ravel's language is that of neo-classicism, impressionism, modality, tonality, and layers of sounds. We enjoyed hearing Pavane, Bolero, and portions of Toccata for piano.
Our brief discussion on functional versus non-functional harmony took us to a new understanding of why composers began to seek out other forms of musical expression. Does a 7th chord have to resolve to the tonic? Are there appropriate uses of parallel fifths or unprepared modulations or equality of pitch? Can planing or the breaking of the harmonic series have purpose? Does all music have to be in Sonata-Allegro form? Is there a place for other instruments or sounds in music? What is music?
All these questions and more shaped and continue to shape the music of today. As we continue to learn the details of composers, their languages, their influences, and way music is put together, keep in mind that we are expanding the definition of excellence in music. This includes the use of 12-tone music as a form of creating new music in a marriage of precise order and musical emotion. We took a superfluous look at the essential elements of 12-tone music including its rationale, its design, and some examples. A brief overview of Schoenberg, Berg, and Webern accompanied our discussion that led us to a look at computer generated Matrix. More on this as we delve into this 12-tone world.
So honestly folks, what kind of music do you prefer? What is the first thing you hope to hear when you get in your car? I am just curious--no wrong answers are possible!
Tuesday, September 21, 2010
Presentation Assignments
Below are the presentation assignments for the next few weeks. I will fill in any gaps and do some reports on any composers or concepts not covered. These should be about 15 minutes and can include musical examples, power-point, hand-outs, or simply lecture style. You should cover the kinds of music the composer wrote and something about the composer's musical language.
Christopher Bell--Igor Stravinsky
Denise Wathen--Benjamin Britten
Alex Scholz--Aaron Copland
David Watson--Samuel Barber
Samantha Fenwick--Sergei Prokofiev
Christopher Bell--Igor Stravinsky
Denise Wathen--Benjamin Britten
Alex Scholz--Aaron Copland
David Watson--Samuel Barber
Samantha Fenwick--Sergei Prokofiev
Monday, September 20, 2010
Day Nine--Bernstein, Sibelius, Nationalism
Some discussion is necessary regarding Nationalism in music particularly as it relates to the 20th century. While it is just one of the defining characteristics of music of the period, in many ways the concept carries over into the music of most composers of our time. A composer cannot help but be enculturated into his environment thereby resulting in a language and sound that is directly related to his experience. This makes music that tends to define that time. We found this especially true in Leonard Bernstein but is also true of most composers. Between folk song, wars, experimentation, electronics, and the quick shifts of philosophical thought, it is little wonder that composers used a variety of techniques in their art music.
Using that concept as a springboard we delved into the illustrious career and music of hyper talent Leonard Bernstein. A man equally adept at speaking, composing, conducting, and performing, Bernstein's music continues to live in spite of or maybe because of its vast eclecticism and engaging style. A man devoted to reaching all people and a man whose religion was so ecumenical as to be almost without theological foundation, his music attempts to communicate with the non-believer, the Roman Catholic, the Greek orthodox, the Jewish, the Muslim, the drug user, the academic elite, the sophisticated, the uneducated, the traditionalists and the radicals. In many ways, this kind of global application is liberating, but also beyond the scope of most people. Because of our need for order and categorization, music for everyone that draws from a wide mosaic of styles, is almost beyond comprehension. Be that as it may, Bernstein's music is energetic, expressive, extreme, joyful, touching, and balances the craft of sophistication with the emotion of the masses. We listened to Chichester Psalms, Prelude Fugue and Riffs, Candide Overture, and parts of the incredible Mass. His music is distinctly American in its themes but universal in appeal. All part of the magic of Leonard Bernstein.
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.
A few minutes of Sibelius' 2nd symphony as it moves into the last movement, left most of us (but not all) breathless with the majesty and power of the music. Deep romantic lines melded with brass power and moments of gentle sensitivity to form some of the finest Romantic music of the 20th century. We need to discuss Ravel but it will have to be for next time!
What is your favorite Bernstein piece? Will his music withstand the test of time?
Using that concept as a springboard we delved into the illustrious career and music of hyper talent Leonard Bernstein. A man equally adept at speaking, composing, conducting, and performing, Bernstein's music continues to live in spite of or maybe because of its vast eclecticism and engaging style. A man devoted to reaching all people and a man whose religion was so ecumenical as to be almost without theological foundation, his music attempts to communicate with the non-believer, the Roman Catholic, the Greek orthodox, the Jewish, the Muslim, the drug user, the academic elite, the sophisticated, the uneducated, the traditionalists and the radicals. In many ways, this kind of global application is liberating, but also beyond the scope of most people. Because of our need for order and categorization, music for everyone that draws from a wide mosaic of styles, is almost beyond comprehension. Be that as it may, Bernstein's music is energetic, expressive, extreme, joyful, touching, and balances the craft of sophistication with the emotion of the masses. We listened to Chichester Psalms, Prelude Fugue and Riffs, Candide Overture, and parts of the incredible Mass. His music is distinctly American in its themes but universal in appeal. All part of the magic of Leonard Bernstein.
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.
A few minutes of Sibelius' 2nd symphony as it moves into the last movement, left most of us (but not all) breathless with the majesty and power of the music. Deep romantic lines melded with brass power and moments of gentle sensitivity to form some of the finest Romantic music of the 20th century. We need to discuss Ravel but it will have to be for next time!
What is your favorite Bernstein piece? Will his music withstand the test of time?
Thursday, September 16, 2010
Day Eight--Renaissance
We slid back over to an earlier time and began talking about the Renaissance. Although not necessarily the most exciting topic (especially compared with John Cage or Stockhausen), one cannot deny the inherent beauty in much of the music nor its influence on later generations. The congruent independence of polyphony lends itself to opportunities for both collective and individual expression of line. Never is this more true than much of the choral music of the Renaissance where beauty, shape, text, and form come together in glorious emotional and musical highs. While we learn the academic impetus behind the music of the Renaissance, and consider its unending influence, let us not ignore its remarkable ability to effect us through rich and sensitive polyphony.
The Renaissance period is an exciting time musically due to two pervading concepts that occurred. One is the methodical but certain progress from modality to tonality. This happened as musica ficta became more prevalent and as composers wrestled with its ubiquity in polyphony. Eventually a consistent use of musica ficta in the same melodic location formed a new key with the necessity for a key signature. The second event, while not necessarily musical, created a musical environment that exists to the present time. That is the Reformation and Counter Reformation. With the events of the Reformation ultimately leading to Protestantism and the Counter Reformation causing a resurgence of Roman Catholic piety, composers found themselves in a mild quandary, whether to write music in the traditions of the past or push forward with something new.
We talked about some facts regarding the period including some scholarship of the time. I pointed out the value of knowing something about Tinctoris and Zarlino, and discussed the concept of Cantus Firmus. We then waded into the world of Renaissance polyphony by singing a motet of Victoria. Separating the Renaissance into sacred music and secular music, we discussed the madrigal, the motet, the mass, and dance music. We mentioned many composers of the time and talked about text painting, modality, the polychoral music of Gabrieli, and the beauty of much of the music of Palestrina.
We did attempt to point out the distinction between composers who adopted a "traditional" approach to the music as opposed to those who pushed for something new. Gesualdo was mentioned and a brief reference to Monteverdi, who will need to be discussed further.
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.
We listened to several examples of the music and left the room feeling warmed by the beauty of polyphony of the Renaissance (at least I hope so!). So who is your favorite composer of the time period? Is there a place for this music in churches today?
The Renaissance period is an exciting time musically due to two pervading concepts that occurred. One is the methodical but certain progress from modality to tonality. This happened as musica ficta became more prevalent and as composers wrestled with its ubiquity in polyphony. Eventually a consistent use of musica ficta in the same melodic location formed a new key with the necessity for a key signature. The second event, while not necessarily musical, created a musical environment that exists to the present time. That is the Reformation and Counter Reformation. With the events of the Reformation ultimately leading to Protestantism and the Counter Reformation causing a resurgence of Roman Catholic piety, composers found themselves in a mild quandary, whether to write music in the traditions of the past or push forward with something new.
We talked about some facts regarding the period including some scholarship of the time. I pointed out the value of knowing something about Tinctoris and Zarlino, and discussed the concept of Cantus Firmus. We then waded into the world of Renaissance polyphony by singing a motet of Victoria. Separating the Renaissance into sacred music and secular music, we discussed the madrigal, the motet, the mass, and dance music. We mentioned many composers of the time and talked about text painting, modality, the polychoral music of Gabrieli, and the beauty of much of the music of Palestrina.
We did attempt to point out the distinction between composers who adopted a "traditional" approach to the music as opposed to those who pushed for something new. Gesualdo was mentioned and a brief reference to Monteverdi, who will need to be discussed further.
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.
We listened to several examples of the music and left the room feeling warmed by the beauty of polyphony of the Renaissance (at least I hope so!). So who is your favorite composer of the time period? Is there a place for this music in churches today?
Tuesday, September 14, 2010
Day 7--Moderns and Film
We looked a little more at some of the experiments of our time. This moved us easily into film music which like all music utilizes a vast amount of sounds, styles, and approaches. A study of the music of the architect turned musician Iannis Xenakis reveals a unique structure and sound unlike other composers. Does this make his music inferior or superior? Neither. It makes his music original and multi-dimensioned. On that subject, we discussed Minimalism a little more.
While this concept may have begun partly from the drug culture of the 60s with hints of Eastern mysticism (although I will argue that Minimalism as a technique has been around for centuries), it has taken flight and can now be found in mainstream media and is accepted as a style or genre on the par with any other kind of music. Anytime a new idea is born, artists take different pathways from that idea toward other means of expression. For Steve Reich, he took a less popular approach and began experimenting with complex rhythms and harmonies. This gives his music depth and complexity but not always a quick appeal. Philip Glass, however, took the idea to a "softer" more acceptable region and found himself immersed in the world of film music.
Back to Glass in a minute. Other composers such as John Adams, elected to incorporate the concepts of minimalism in his own brand of musical poetry and creative expression. This makes his music sound emotionally charged yet driven by text and story. Take a minute to experience Nixon in China on youtube. Search for Nixon in China. It is a powerful opera and monumental in many respects.
It is the music of Philip Glass that has had the most dramatic influence on music today. Film scores, symphonies, piano music, organ music, chamber works, concertos, and even commercials have adopted his music. A style of repetition, engaging harmonies, intriguing pulsation, trance-like rhythm, and depth of orchestration all lend themselves to an appealing sound not easy to dismiss nor forget. In many ways, his score fully represents and enhances the visuals of the film, such as in The Illusionist, a stunning and haunting work ideal for the techniques of Philip Glass. He continues to compose at a breakneck pace producing works for small ensembles, large orchestras, piano, organ, and film scores. Will his music withstand the test of time? Nobody knows but you are welcome to speculate!
A brief discussion of John Williams, Hans Zimmer, James Horner, Dmitri Tiomkin, and Erich Korngold reminded us not to dismiss the music of film scores. Often original, emotional, and well-crafted, film scores continue to be regarded as some of the finest music of the 20th Century and beyond. My respect for these composers cannot be overstated. What do you think? Do you like film music?
We jumped full force into the world of Oliver Messiaen, pointing out the melding of bird sounds with "Modes of Limited Transposition." Watching a video of Messiaen, followed by moment of listening to a portion of Turangalila, gave us a sense of the power, beauty, and creativity of Messiaen's music. Certainly masterful, yet difficult to perform, Messiaen remains one of the major composers of the last half of the 20th Century.
While this concept may have begun partly from the drug culture of the 60s with hints of Eastern mysticism (although I will argue that Minimalism as a technique has been around for centuries), it has taken flight and can now be found in mainstream media and is accepted as a style or genre on the par with any other kind of music. Anytime a new idea is born, artists take different pathways from that idea toward other means of expression. For Steve Reich, he took a less popular approach and began experimenting with complex rhythms and harmonies. This gives his music depth and complexity but not always a quick appeal. Philip Glass, however, took the idea to a "softer" more acceptable region and found himself immersed in the world of film music.
Back to Glass in a minute. Other composers such as John Adams, elected to incorporate the concepts of minimalism in his own brand of musical poetry and creative expression. This makes his music sound emotionally charged yet driven by text and story. Take a minute to experience Nixon in China on youtube. Search for Nixon in China. It is a powerful opera and monumental in many respects.
It is the music of Philip Glass that has had the most dramatic influence on music today. Film scores, symphonies, piano music, organ music, chamber works, concertos, and even commercials have adopted his music. A style of repetition, engaging harmonies, intriguing pulsation, trance-like rhythm, and depth of orchestration all lend themselves to an appealing sound not easy to dismiss nor forget. In many ways, his score fully represents and enhances the visuals of the film, such as in The Illusionist, a stunning and haunting work ideal for the techniques of Philip Glass. He continues to compose at a breakneck pace producing works for small ensembles, large orchestras, piano, organ, and film scores. Will his music withstand the test of time? Nobody knows but you are welcome to speculate!
A brief discussion of John Williams, Hans Zimmer, James Horner, Dmitri Tiomkin, and Erich Korngold reminded us not to dismiss the music of film scores. Often original, emotional, and well-crafted, film scores continue to be regarded as some of the finest music of the 20th Century and beyond. My respect for these composers cannot be overstated. What do you think? Do you like film music?
We jumped full force into the world of Oliver Messiaen, pointing out the melding of bird sounds with "Modes of Limited Transposition." Watching a video of Messiaen, followed by moment of listening to a portion of Turangalila, gave us a sense of the power, beauty, and creativity of Messiaen's music. Certainly masterful, yet difficult to perform, Messiaen remains one of the major composers of the last half of the 20th Century.
Thursday, September 9, 2010
Day 6--The Moderns
Today began with a lively discussion of the college music curriculum. Should we be teaching film music, popular music, rock, contemporary Christian? Several opinions later, we jumped into the experimental art music of the last 50 years. Any discussion of experimental music cannot be made without an understanding of two things: music of John Cage and a broad definition of music. A good video of John Cage helps articulate his view of music: http://www.youtube.com/watch?v=pcHnL7aS64Y. Cage's experiments in sound including prepared piano led the way to the "happenings" movement of the 1960s. Happenings were musical and extra-musical experimental events that qualify as sound or aural events in time (http://en.wikipedia.org/wiki/Happening). Happenings have led to performance art of today which seems to be reserved for nightclubs or college activities on certain campuses. But there is no denying the influence of the various musical experiments of the 60s.
If music is sound, regardless of its system or organization, and regardless of man's attempt to compartmentalize its role and purpose, then it stands to reason that music is only limited by man's creative spirit. With that in mind, we jumped into some sounds and music that are being performed today. The influence of John Cage cannot be overemphasized, but equal to Cage, although in a more traditional framework, is the music of Edgar Varese. We listened to a little bit of Ameriques and discussed the sounds and approach of Varese. A bit strident at times, shocking, yet oddly sensitive, Varese's music opened the door to new sounds and textures for future composers.
The composers Ligeti, Lutoslawski, Babbit, Xenakis, Boulez, and Stockhausen to name just a few have all been involved with experimentation and searching for new sounds and aural expression. A riveting recording of Helicopter String Quartet by Stockhausen led us to a wide variety of opinions and but little discussion. Each member of the string quartet plays inside a flying helicopter where the sound is heard on the ground by the audience. We listened to approximately 3 minutes of the lengthy piece and some of us seemed taken with the concept and the resulting sound. Perhaps this is due to the direct imagery of 4 helicopters, not sure though.
A quick shift of thought took us back to minimalism, with the goal of landing on the music of Phillip Glass. We will be listening to a few examples and discussing his remarkable career in film music. Historically, minimalism grew out of the tension of the 1960s with a pulsating, process-oriented style exemplified by Terry Riley and Steve Reich. Eastern mysticism and subtle development in increments characterize minimalism. Beginning with early efforts including Einstein on the Beach, Philip Glass has had a tremendous influence on music. In an almost unprecedented rise, Philip Glass's career took a meteoric rise several years and he became one of the most sought after film composers of our time.
We concluded with comments about minimalism and other kind of music of today. So what kind of music do you despise? Why? Is John Cage right or wrong about sound? What causes composers to experiment with different kinds of music?
If music is sound, regardless of its system or organization, and regardless of man's attempt to compartmentalize its role and purpose, then it stands to reason that music is only limited by man's creative spirit. With that in mind, we jumped into some sounds and music that are being performed today. The influence of John Cage cannot be overemphasized, but equal to Cage, although in a more traditional framework, is the music of Edgar Varese. We listened to a little bit of Ameriques and discussed the sounds and approach of Varese. A bit strident at times, shocking, yet oddly sensitive, Varese's music opened the door to new sounds and textures for future composers.
The composers Ligeti, Lutoslawski, Babbit, Xenakis, Boulez, and Stockhausen to name just a few have all been involved with experimentation and searching for new sounds and aural expression. A riveting recording of Helicopter String Quartet by Stockhausen led us to a wide variety of opinions and but little discussion. Each member of the string quartet plays inside a flying helicopter where the sound is heard on the ground by the audience. We listened to approximately 3 minutes of the lengthy piece and some of us seemed taken with the concept and the resulting sound. Perhaps this is due to the direct imagery of 4 helicopters, not sure though.
A quick shift of thought took us back to minimalism, with the goal of landing on the music of Phillip Glass. We will be listening to a few examples and discussing his remarkable career in film music. Historically, minimalism grew out of the tension of the 1960s with a pulsating, process-oriented style exemplified by Terry Riley and Steve Reich. Eastern mysticism and subtle development in increments characterize minimalism. Beginning with early efforts including Einstein on the Beach, Philip Glass has had a tremendous influence on music. In an almost unprecedented rise, Philip Glass's career took a meteoric rise several years and he became one of the most sought after film composers of our time.
We concluded with comments about minimalism and other kind of music of today. So what kind of music do you despise? Why? Is John Cage right or wrong about sound? What causes composers to experiment with different kinds of music?
Tuesday, September 7, 2010
Day 5--Machaut and the Middle Ages
Jumping in the deep water of early music, our talk was rather superficial and general, skipping through a few hundred years fairly quickly, but still informative. Becoming too detailed would prevent further necessary discussions of other great topics! We discussed monody, plainchant, plainsong, early notation, Gregorian chant, and church modes. We recited 7 of the modes in order: Ionian, Dorian, Phrygian, Lydian, and Locrian, deliberately avoiding much discussion of the hypo varieties.
A brief talk of tropes, sequences, and conductus explained how music came to be added to the Mass and how composers were needed to develop these additions. Much of the additions were born out of practical necessity to have music during the Mass. Since text was also needed with the music, eventually the motet was developed.
Spending some time on meter and rhythm, we alluded to the rhythmic modes used in sacred and secular music and then looked at how meter signatures developed. It really is a fascinating study and explains where we get the C that most people call "common" time. For an indepth understanding, see http://en.wikipedia.org/wiki/Mensural_notation
Organum is an early type of polyphony that likely resulted from the overtones in a Cathedral. There are different kinds of organum and different approaches to organum including melismatic organum and free organum with varying types of motion used, syllabic, oblique, and contrary. Eventually the voices became more independent, resulting in what we know of as polyphony. Passing through French Ars Nova, the Italian Ars Nova, Trouveres, Troubadours and host of other terms related to early music, we landed on Machaut where we discussed Isorhythm. An understanding of Talea and Color is central to knowing what Isorhythm means and how it is used in music. We looked at an example of this, referencing the amazingly clever piece My end is my beginning by Machaut. I will send a pdf of this piece to you by email.
You may ask what is the value of this kind of clever approach to music? It has to do with unifying the elements of a piece. A piece of music becomes consistent within itself through its unifying elements. Otherwise we simply have a gushing of complex emotions without any consistency. Isorhythm is simply one way, albeit an excellent way, of giving a piece unity.
Another "exciting" day in music 4000. Please read the early music articles in www.lcsproductions.net.
Okay, is Chris Tomlin a great composer? Why is his music successful? What makes some music meaningless and trite, while others seem to speak for centuries?
A brief talk of tropes, sequences, and conductus explained how music came to be added to the Mass and how composers were needed to develop these additions. Much of the additions were born out of practical necessity to have music during the Mass. Since text was also needed with the music, eventually the motet was developed.
Spending some time on meter and rhythm, we alluded to the rhythmic modes used in sacred and secular music and then looked at how meter signatures developed. It really is a fascinating study and explains where we get the C that most people call "common" time. For an indepth understanding, see http://en.wikipedia.org/wiki/Mensural_notation
Organum is an early type of polyphony that likely resulted from the overtones in a Cathedral. There are different kinds of organum and different approaches to organum including melismatic organum and free organum with varying types of motion used, syllabic, oblique, and contrary. Eventually the voices became more independent, resulting in what we know of as polyphony. Passing through French Ars Nova, the Italian Ars Nova, Trouveres, Troubadours and host of other terms related to early music, we landed on Machaut where we discussed Isorhythm. An understanding of Talea and Color is central to knowing what Isorhythm means and how it is used in music. We looked at an example of this, referencing the amazingly clever piece My end is my beginning by Machaut. I will send a pdf of this piece to you by email.
You may ask what is the value of this kind of clever approach to music? It has to do with unifying the elements of a piece. A piece of music becomes consistent within itself through its unifying elements. Otherwise we simply have a gushing of complex emotions without any consistency. Isorhythm is simply one way, albeit an excellent way, of giving a piece unity.
Another "exciting" day in music 4000. Please read the early music articles in www.lcsproductions.net.
Okay, is Chris Tomlin a great composer? Why is his music successful? What makes some music meaningless and trite, while others seem to speak for centuries?
Thursday, September 2, 2010
Day Four--September 2
Finishing up the test discussion and talking through various issues related to pieces of music, we then dived into Wagner's Tristan and Isolde. Unfortunately not everyone was present which made me hesitate a little since I wanted everyone to experience the same music. But I pressed forward and we listened to the Prelude followed by Liebestod.
From its inception through the development of chant, polyphony, key signatures, instruments, and finally Romantic music, from the pen of master composer Richard Wagner, there came a piece of music that blossomed forth as the crowning achievement of all that is Romantic--Tristan and Isolde. Yet that same piece, though shining as the epitome of the age, also projected a future that we are still in today. A quick study of the "Tristan" chord reveals a complicated structure emanating from chromaticism and suspensions. This hint of emancipation from tonality ultimately took us to atonality and finally music of today known as "tonality with an attitude!" This pivotal chord, richly romantic but mysteriously ambiguous, acts as a catalyst for future musical innovations while establishing the Romantic period in music, a period frothy with emotion and bathed in human expression.
As stunning and rather bold as this statement is, it is actually the expression of unbridled passion that occurs in Liebestod where we find Wagner at his finest. We listened carefully and intensely to Liebestod, with its 6-5 suspensions, its stunning motion, breath-taking harmonic rhythm, motivic development, and mostly its sense of direction and purpose, all surrounding a gripping, even monumental expression of love and death. Marvelous piece for sure and unforgettable once experienced.
A short discussion on church modes followed with the encouragement to study the Middle Ages articles on www.lcsproductions.net.
So if the purpose of music is to elicit, express, cleanse emotions, have we as musicians achieved this purpose?
From its inception through the development of chant, polyphony, key signatures, instruments, and finally Romantic music, from the pen of master composer Richard Wagner, there came a piece of music that blossomed forth as the crowning achievement of all that is Romantic--Tristan and Isolde. Yet that same piece, though shining as the epitome of the age, also projected a future that we are still in today. A quick study of the "Tristan" chord reveals a complicated structure emanating from chromaticism and suspensions. This hint of emancipation from tonality ultimately took us to atonality and finally music of today known as "tonality with an attitude!" This pivotal chord, richly romantic but mysteriously ambiguous, acts as a catalyst for future musical innovations while establishing the Romantic period in music, a period frothy with emotion and bathed in human expression.
As stunning and rather bold as this statement is, it is actually the expression of unbridled passion that occurs in Liebestod where we find Wagner at his finest. We listened carefully and intensely to Liebestod, with its 6-5 suspensions, its stunning motion, breath-taking harmonic rhythm, motivic development, and mostly its sense of direction and purpose, all surrounding a gripping, even monumental expression of love and death. Marvelous piece for sure and unforgettable once experienced.
A short discussion on church modes followed with the encouragement to study the Middle Ages articles on www.lcsproductions.net.
So if the purpose of music is to elicit, express, cleanse emotions, have we as musicians achieved this purpose?
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