mu 101: introduction to music · 2019. 2. 3. · bass (lowest parts) + accents in the melody +...

Attendance/ReadingQuiz!

Mu 101: Introduction to Music Instructor:Dr.AliceJones

QueensboroughCommunityCollegeSpring2019

SectionsC3(W9:10-12),C5(F9:10-12),F5(12:10-3)

Recap

• Melody•  Lineortuneofmusic•  Oftenthehighestormostprominentlineinamusicaltexture(butnotalways!)

• MusicoftheMedieval(ca400-1200)andRenaissance(1400-1600)periods

•  Muchmusicthatisavailabletodayfromthesetimeperiodsisreligious•  Attitudesaboutmusicchangedovertime,andthestyle(sound)ofmusicchangedtoo

• Musiccancommunicateseveralideassimultaneously•  Symbolism

Recap: Other music of the Medieval and Renaissance periods •  Sacredmusicisusedforreligiousworshipandrituals

•  ThisismusicthatwouldhavebeensungduringaMass(holyhighpointofprayersduringtheweekinCatholicfaith)

•  Secularmusicisanythingthat’snotintendedforreligiouspurposes

•  Thisismusicthatlikelywouldhavebeendancedto

Anonymous,"EntreAv'eEva"fromtheCantigadeSantaMaria(compiledinthe13thcentury)

JohannesOckeghem,Missaprolationum,Sanctus(ca.1460-97)

Why sing? •  Singingisawaytoremembermanyprayers(mnemonicdevice)•  Singingfeelsgood•  Singingcreatesasenseofcommunity

PraiseyetheLORD.PraiseGodinhissanctuary:praisehiminthefirmamentofhispower.Praisehimforhismightyacts:praisehimaccordingtohisexcellentgreatness.Praisehimwiththesoundofthetrumpet:praisehimwiththepsalteryandharp.Praisehimwiththetimbrelanddance:praisehimwithstringedinstrumentsandorgans.Praisehimupontheloudcymbals:praisehimuponthehighsoundingcymbals.LeteverythingthathathbreathpraisetheLORD.PraiseyetheLORD.(KingJamesBible,Psalm150:1-6)

Why dance?

•  Fun,exercise• Displayoftalent• Celebration• Ritual• Catharticescapefromdailylife• Community-buildingandcommunity-defining

Rhythm

• Closelyrelatedtophysicalmovement(pulse)•  Tapping,clapping,snapping,ordancing

•  Lengthofindividualnotes(duration)• Rhythmisameansoforganizingmusicaltime(meter,measure)

•  Meter–theregulargroupingsofstrongandweakpulses•  Ameasurecontainsastrongbeatfollowedbyweakbeat(s)

• Rhythmpropelsmusicforward

Another approach to music education: the Suzuki Method

Blue Blue Blue Blue

Another approach to music education: the Suzuki Method

Blue Blue BlueJello

Another approach to music education: the Suzuki Method

Blue BlueBlueJello

Another approach to music education: the Suzuki Method

Blue BlueBlueWatermelon

Another approach to music education: the Suzuki Method

BlueWatermelon

Jello Jello

Another approach to music education: the Suzuki Method

Blue Blue BlueShh

Another approach to music education: the Suzuki Method

Blue Blue BlueShh

Blue Blue Jello

1.

2.

Watermelon

Another approach to music education: the Suzuki Method

Rhythm and meter

• Organizingmusicaltime• Meter–theregulargroupingsofstrongandweakpulses• Ameasurecontainsastrongbeatfollowedbyweakbeat(s)

•  Thebeat(pulse)isliketheheartbeatofapiece–steady,ongoing,uniqueforeverypiece

• Groove(meter)–predictablerhythmicrepetitionofstrongandweakbeats

• Noteverybeatisequalintermsofweight(accent)• Duple(quadruple)meter=Strong-weak,strong-weak•  Triplemeter=Strong-weak-weak,strong-weak-weak

Listenforthepulse+changesinthebass(lowestparts)+

accentsinthemelody+eventsinthepercussion=METER

Rhythm: duple or triple meter?

JosephHaydn,SymphonyNo.100,“Military,”II.Allegretto(1794)

Listenforpulse+changesinthebass(lowestparts)+accentsinthemelody+eventsinthe

percussion=METER

WolfgangAmadeusMozart,EineKleineNachtmusik,III.Menuetto(1787)

MichaelJackson,BillieJean(1983)

JimiHendrix,HeyJoe(1966)

TheVillagePeople,Y.M.C.A.(1978)

JohnPhilipSousa,StarsandStripesForeverMarch(1896)

Rhythm: playing with expectations •  Metercanchange•  Syncopation–accentednotesoccurringinbetweenstrongerbeats,deliberateupsettingofthemeter

•  Playing“against”thebeat•  Livelyandtemporarilyunsettlingquality

•  Rhythmicinterestandvitality

GlennMiller,SingSingSing(1936)

DaveBrubeckQuartet,UnsquareDance(1961)

BandofHorses,IGototheBarnBecauseILikethe(2006)

Ewepeople(Ghana),Kinka

Break

JohannFranzHormannsperger,BallroomwithMusicians(1736)

Music in the French royal court at Versailles • KingLouisXIV(r.1643-1715)

• KingLouisXV(r.1715-74)• Versailles

•  Château(palace)•  HomeoftheFrenchroyalfamily,1682-1789

•  Employed120musicians• Musicfordancing,concerts,balls,eating,andwakingup KingLouisXIVofFrance,portrait

byHyacintheRigaud,1701

Jean-Baptiste Lully, Gavotte from Atys (1676)

LaBelleDanse(Toronto),2008JenniferFellandCatalinaFey,dancers

Music in the French royal court at Versailles • Audiencesforcourteventswereoftenforeigndignitaries(princes,ambassadors)

• GermannoblemenhiredFrenchmusiciansasperformersandteachersandcomposers’

•  FrenchwasconsideredthemostsophisticatedlanguageandcultureintheBaroqueera

Versailles

“Nothingmarksthegreatnessofprincesbetterthanthebuildingsthatcompelthepeopletolookonthemwithawe,andallposterity

judgesthembythesuperbpalacestheyhavebuiltduring

theirlifetime.”–Jean-BaptisteColbert(1619-83),

ministeroffinancetoLouisXIV

Fashion: from the French court

•  (Red)highheelsandculottes•  KingLouisXIVwasanexcellentdancerandhadwell-definedcalfmuscleswhichhelikedtoshowoff

•  Lookingtaller• Wigs

•  Licecontrol•  LouisXIII(r.1610-43)wentprematurelybald•  Physicalgrandeurandexpense

KingLouisXIVofFrancedressedasApollo,1653

The patronage system •  Patronssupporttheartsbecauseitgivesthemlastinginfluenceandprestige

•  Musicisasocialcommodity–patronsdisplayedtheirwealth,power,andsophisticationbyassociatingthemselveswithfineartisticproduction

•  Employmusiciansascomposers,performers,andprivateteachers•  Hiremusiciansforspecialevents•  Buysheetmusic,instruments,andotherartisticworks•  Documentmusicalperformancesinword,intapestry,andinpainting

•  Majorpatronsusedmusictodisplaytheirwealth:•  TheCatholicChurch•  Theupperclasses(nobility,aristocracy,royalty)

•  Musicmakeseventsmorelavishandimpressive(bothsecularandsacred)

•  Thepatronagesystemisthemeansthroughwhichmostmusiciansearnedalivinguntilthe19thcentury

Anonymous,ConcertofWomen(ca.1530-40)

Thinking like a musicologist (somebody who studies music)

•  Thinkingaboutmusiclikeamusicologistmeansaddressingimplicitquestionsinatext

•  “Text”=writtenwords,apieceofmusic,animage

• Biasesdeterminehowwereadatext•  Power•  Systemsandstructures•  Individualbiases(oftheauthor/creator,andyourownbiasesasalistener/reader/viewer)

Biases

“Whocontrolsthepastcontrolsthefuture.Whocontrolsthepresentcontrolsthepast.”

—GeorgeOrwell(1903-50),1984(1949)

“Thegreatforceofhistorycomesfromthefactthatwecarryitwithinus,areunconsciouslycontrolledbyitinmanyways,andhistoryisliterallypresentinallthatwedo.”—JamesBaldwin(1924-87),

ThePriceoftheTicket:CollectedNonfiction

1948-1985

“Wedonotseethingsastheyare;weseethingsasweare.”

—AnaïsNin(1903-77),TheSeductionoftheMinotaur(1961),

aftertheTalmud

An account of dancing at Versailles by Pierre Rameau • Whatdowelearnfromthistext?• Whoisthere?

• Whoistherebutisn’tmentionedinthetext?

• Whowastheintendedaudienceofthistext?

• Whatdoweknowabouttheauthor?• Whatquestionsdowestillhave(whatarethelimitsofourknowledge)?

Thinking like a musicologist: Questions to ask yourself

• Whoisinpower?• Whatistheauthor’s/artist’srelationshiptothatpower?

• Whyisthisstorybeingtoldandnotanotherone?

• Whathistorical/structuralforcesareinfluencingthisparticulartellingofhistory?

• Whatlong-termchangesorforcesareatplaythatweknowaboutbuttheauthormightnotseeorarticulate?

• What/whoisleftoutofthisdepiction?• Whatperspectivesaremissing?

• Whataremylimitationsasareader/viewer/listener?JudithLeyster,BoyPlayingtheFlute(1660)

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Jean-BaptisteLully,GavottefromAtys(1676)

Dancing at the court of Versailles

DanceensembleatVersailles,1696byAntoineTrouvain

Homework and reminders •  ThecurrentOnlineDiscussion(Theethosonnow)endsSunday,February10

•  Seeemailforthisweek’swritingtip•  Readthediscussionpostclosely:Yourtaskthisweekistopostanythingotherthanmusic!

•  Nextonlinediscussion:Musicandthebrain(Feb11-17)•  Assignedreadingfornextclassisavailableonline:reviewofmelody,rhythm,andintroductiontoharmonyandform(Clark);musicalform(Forney);studyingmusichistory(Samson)

•  Reflection#2isdueFFeb27/WFeb22•  Haveagreatweek!