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


Blue Blue BlueJello


Blue BlueBlueJello


Blue BlueBlueWatermelon


BlueWatermelon

Jello Jello


Blue Blue BlueShh


Blue Blue BlueShh

Blue Blue Jello

1.

2.

Watermelon

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!

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

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