��<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <HTML> <HEAD> <meta http-equiv="Content-Type" content="text/html;charset=UTF-8"> <TITLE>SJSU - Music Appreciation, MUSC 10A</TITLE> </HEAD> <BODY background="005-subtle-light-patterns.jpg"> <A NAME="top"></A> <H2 align=center>Music Appreciation, MUSC 10A (Adduci)</H2> <HR> <H3>MUSC 10A end of semester schedule (Spring 2015):</H3> <UL> <LI>5/5: American classical music <LI>5/7: American classical and popular music <LI>5/12: Jazz; Review for final exam (Last Class Day) <B>All Concert Reports due!</B> <LI>5/20: <B>Final Exam, <U>9:45 a.m.</U>!</B> </UL> <HR> <H2 align=center>Welcome to the MUSC 10A page!</H2> <H3>Please choose one of the following sections:</H3> <OL> <LI><A HREF="#syllabus">The greensheet</A> and other administrative documents <LI>A collection of music-related <A HREF="#links">links</A> from around the Web. <LI><A HREF="#handouts">Lecture Details</A> - any handouts or other materials mentioned in class. <LI><A HREF="#listening">Listening examples</A>. </OL> <HR> <A NAME="syllabus"></A> <H3>Greensheet</H3> <P>This section includes the greensheet and any other class policy documents.<BR> Left-click to view, right-click to download.</P> <UL> <LI><A HREF="MUSC 10A greensheet.pdf">Spring 2015 Greensheet</A> <LI><B>IMPORTANT:</B> Follow this link to <A HREF="http://shop.mheducation.com/mhshop/productDetails?isbn=1259157369">buy your textbook from the publisher</A>. <LI><B>IMPORTANT:</B> The web address for our class at McGraw-Hill Connect is <A HREF="http://connect.mheducation.com/connect/shortUrl.do?accessUrl=m-adduci-music-appreciation-spring-2015-1">http://connect.mheducation.com/connect/shortUrl.do?accessUrl=m-adduci-music-appreciation-spring-2015-1</A>. <LI>Concert Reports: <UL> <LI> <A HREF="concert reports.pdf">Guidelines for Concert Reports</A>. <LI> Examples of A+ concert reports. All three of these examples were written using diffrent styles, but all meet the assignment's three objectives: 1) sharing your thoughts, observations and reactions to the concert; 2) demonstrating your understanding of class concepts and observing them in the music; 3) excellent grammar and syntax. <UL> <LI><A HREF="CR sample 1.pdf">Example 1</A> <LI><A HREF="CR sample 2.pdf">Example 2</A> <LI><A HREF="CR sample 3.pdf">Example 3</A> </UL> </UL> <LI> Exam Study Guides <UL> <LI> (2/5/15) <A HREF="exam 1 review.pdf">Study Guide for Exam One</A> <LI> (2/26/15) <A HREF="exam 2 review.pdf">Study Guide for Exam Two</A> <LI> (4/9/15) <A HREF="exam 3 review.pdf">Study Guide for Exam Three</A> <LI> (4/30/15) <A HREF="modern review.pdf">Study Guide for the Modern Period</A> <LI> (4/30/15) A comprehensive <A HREF="final review.pdf">Study Outline</A> for the Final Exam. </UL> </UL> <A HREF="#top">back to top of page</A> <HR> <A NAME="links"></A> <H3>General Web Links</H3> <P>This section contains links to internet sites designed to help you with your understanding of Art music. The Internet is a fantastic resource for self-driven learning! If you find any interesting music websites, please let me know so I can add them to this list.</P> <UL> <LI><B>IMPORTANT:</B> The SJSU Music Department's <A HREF="http://www.sjsu.edu/music/discovering_music/events_cal/">Events Calendar page</A> has lists of on-campus concerts, both for the Listening Hour (T/Th 12:30-1:20 pm, in the Music Concert Hall), as well as for evening performances. <LI> An older edition of our textbook comes with an excellent  <A HREF="http://highered.mheducation.com/sites/007340134x/student_view0/concert_goer_s_guide.html">Concert Goer s Guide</A>, giving advice for what to expect and how to behave at concerts. This is definitely worth your time to read before you attend your first concert for this class. <LI> <A HREF="http://www.soundjunction.org">Sound Junction</A> covers music in a general way. For example, they have an informative but not-too-detailed <A HREF="http://www.soundjunction.org/instrumentsandvoices/default.aspa">guide to all of the different musical instruments</A>. <LI><A HREF="http://www.musictheory.net">www.musictheory.net</A> - interactive, self-grading practice on music fundamentals. <LI>If you are interested in what printed music looks like, the <A HREF="http://www.imslp.org/">International Music Score Library Project (IMSLP)</A> is an excellent source of musical scores in the public domain. </UL> <A HREF="#top">back to top of page</A> <HR> <A NAME="handouts"></A> <H3>Lecture Details</H3> <P>This section contains web links, handouts, assignments, and other information related to each class lecture. Check here if I tell you in class to go look at something on your own. Also check here if you miss class. Remember, reading and listening assignments must be completed at <A HREF="http://connect.mheducation.com/connect/shortUrl.do?accessUrl=m-adduci-music-appreciation-spring-2015-1">McGraw-Hill Connect</A>.</P> <OL> <LI> Lecture 1 - Introduction (1/22/15): <UL> <LI> Handout: <A HREF="studying.pdf">"The Primacy and Recency Effect"</A> (suggestions for studying) <LI> New Assignments, due 1/29/15: <UL> <LI> Assignment 1 - Reading (Part 1: Elements, all chapters) <LI> Assignment 2 - Listening: Farandole from l'Arlesienne (Bizet); Dance of the Reed Pipes (Tchaikovsky); The Young Person's Guide to the Orchestra (Britten). Note, the video question is optional. <UL> <LI> NOTE: Some listening assignments contain "quiz" questions. You make repeat these questions as many times as you want - if you get an answer wrong, do the question again until you have all answers right. It is not a quiz, it is intended as practice. Please don't submit the assignment with lower than 100%. </UL> </UL> </UL> <BR> <LI> Lecture 2 - Music Fundamentals I (1/27/15): <UL> <LI> Please make sure you have purchased the textbook and enrolled on the website so you can do your homework assignments. </UL> <BR> <LI> Lecture 3 - Music Fundamentals II (1/29/15) <UL> <LI> Handout: <B>Extra Credit assignment</B> - DUE Thursday 2/5/15 - <A HREF="U1-EX1.pdf">The instruments of the orchestra worksheet</A>. <UL> <LI> Review Link: Benjamin Britten, <A HREF="http://highered.mheducation.com/sites/007340134x/student_view0/part1/chapter2/young_person_s_guide_to_the_orchestra.html#">The Young Person's Guide to the Orchestra</A>. This is an interactive page from the old edition of our book. It will let you review the instruments of the orchestra after the assignment has been turned in. Follow the link, and then click again on the new link it takes you to. This will open up a new pop-up window with the interactive exercise. </UL> <LI> Assignments due today: 1, 2 <LI> New Assignments, due 2/3/15: <UL> <LI> Assignment 3A - Reading (Part 2: The Middle Ages and Renaissance. Read the introduction and chapter 1) <LI> Assignment 3B - Listening: Alleluia, vidimus stellam (Anonymous); O successores (Hildegard von Bingen); Puis qu'en oubli (Machaut); Agnus Dei from Notre Dame Mass (Machaut) </UL> </UL> <BR> <LI> Lecture 4 - Medieval Music I (2/3/15) <UL> <LI> Assignments due today: 3A, 3B <LI> Images associated with our discussion of the Medieval period: <OL> <LI> An <A HREF="manuscript1.jpg">illuminated manuscript</A> (Resurrexit) <LI> An <A HREF="manuscript2.jpg">enlarged view</A> of the illumination <LI> Another example of an <A HREF="puer natus.jpg">illuminated manuscript</A> (Puer natus est nobis) <LI> <A HREF="romanesque.jpg">Romanesque architecture</A>: Bodiam Castle, Sussex, England <LI> <A HREF="gothic.jpg">Gothic architecture</A>: La cath&#233;drale Notre-Dame de Paris <LI> Plainchant example - Alleluia vidimus stellam <UL> <LI> <A HREF="alleluia-neumes.jpg">original notation</A> <LI> <A HREF="alleluia-modern.jpg">modern notation</A> </UL> </OL> </UL> <BR> <LI> Lecture 5 - Medieval Music II (2/5/15) <UL> <LI> Extra credit assignment 1 due today (instruments of the orchestra worksheet) - see Lecture 3 to download. <LI> <B>Handout:</B> <A HREF="exam 1 review.pdf">Study Guide for Exam One</A> <LI> <B>Handout:</B> <A HREF="facts of life.pdf">Medieval period trivia</A> <LI> New Assignments, due 2/10/15: <UL> <LI> Assignment 4A - Reading (Part 2: read chapter 2) <LI> Assignment 4B - Listening: Ave Maria... virgo serena (Josquin des Prez); As Vesta was Descending (Weelkes); Kyrie from Pope Marcellus Mass (Palestrina). </UL> </UL> <BR> <LI> Lecture 6 - Renaissance Music I (2/10/15) <UL> <LI> Assignments due today: 4A, 4B <LI> Examples of Renaissance painting: <UL> <LI>Paulo Uccello, <A HREF="uccello.jpg"><I>Battle of San Romano</I></A>, c. 1440  panel painting <LI>Michelangelo, <A HREF="michelangelo2.jpg"><I>Doni Tondo</I></A>, c. 1507  round frame, panel painting <LI>Titian, <A HREF="titian.jpg"><I>Bacchus and Ariadne</I></A>, c. 1523  oil painting <LI>Gerard van Honthorst, <A HREF="honthorst.jpg"><I>The Matchmaker</I></A>, 1625 - shows <I>chiaroscuro</I> technique </UL> </UL> <BR> <LI> Lecture 7 - Renaissance Music II (2/12/15) <UL> <LI> <B>Handout:</B> <A HREF="concert reports.pdf">Guidelines for Concert Reports</A> </UL> <BR> <LI> Lecture 8 - Unit I Exam today! (2/17/15) <UL> <LI> Please remember to bring a scantron form to the exam - you need the "General Purpose Answer Sheet," which is a full-page, blue, scantron form. <LI> New Assignment, due 2/24/15: Assignment 5A - Reading (Part 3: all, except for chapters 8-9 and 12; this translates to pages 96-122, 126b-132, 134-148) <LI> New Assignment, due 2/24/15: Assignment 5B - Listening: Brandenburg Concerto, movement 1 (Bach); Organ Fugue in g minor (Bach); Tu se' morta from <I>l'Orfeo</I> (Monteverdi) <LI> New Assignment, due 2/26/15: Assignment 5C - Listening: "La Primavera" from <I>The Four Seasons</I>, movement 1 (Vivaldi); "Wachet Auf" movement 7 (Bach); "Ev'ry Valley" and "Hallelujah" chorus from Messiah (Handel) </UL> <BR> <LI> Lecture 9 - Baroque Music I (2/19/15) <UL> <LI> Examples of the contrast between Renaissance and Baroque style in sculpture. Music shows a similar contrast: <OL> <LI> <A HREF="michelangelo.jpg">Michelangelo's "David"</A> (1504) <LI> <A HREF="bernini.jpg">Bernini's "David Slaying Goliath"</A> (1624) <LI> <A HREF="two davids.jpg">Bernini's piece contrasted with Michelangelo's</A> <LI> A <A HREF="two davids closeup.pdf">closeup</A> of the two statues' faces <LI> Bernini's <A HREF="pluto1.jpg">"Pluto and Proserpina"</A> (1622) - The Abduction of Persephone <LI> "Pluto and Proserpina" <A HREF="pluto2.jpg">closeup</A> </OL> <LI> Pictures of <A HREF="oboes.jpg">Renaissance, Baroque and Modern oboes</A> </UL> <BR> <LI> Lecture 10 - Baroque Music II (2/24/15) <UL> <LI> Assignments due today: 5A and 5B. </UL> <BR> <LI> Lecture 11 - Baroque Music III (2/26/15) <UL> <LI> Assignment due today: 5C. <LI> New assignments for next week: <UL> <LI> Due 3/3/15: Assignment 6A - Reading (Part 4: all chapters, pages 150-203, but <B>not</B> pages 175-176a, 181-189, 192-193a) <LI> Due 3/5/15: Assignment 6B - Listening: Symphony No. 40, movement 1 (Mozart); Eine Kleine Nachtmusik, movement 3 (Mozart); String Quartet in c minor, movement 4 (Beethoven) </UL> <LI> <B>Handout:</B> <A HREF="exam 2 review.pdf">Study Guide for Exam Two</A> </UL> <BR> <LI> Lecture 12 - Classical Music I (3/3/15) <UL> <LI> Assignment due today: 6A </UL> <BR> <LI> Lecture 13 - Classical Music II (3/5/15) <UL> <LI> Assignment due today: 6B <LI> <B>Handout:</B> <A HREF="symphonic forms.pdf">Forms used in the Classical symphony</A> <LI> New assignment, due 3/10/15: Assignment 6C - Listening: Symphony No. 94, movement 2 (Haydn); Don Giovanni, video excerpts (Mozart) </UL> <BR> <LI> Lecture 14 - Classical Music III (3/10/15) <UL> <LI> Assignment due today: 6C. </UL> <BR> <LI> Lecture 15 - Classical Music IV (3/12/15) <BR> <BR> <LI> Lecture 16 - Unit II Exam today! (3/17/15) <UL> <LI> Reminder: Concert Report 1 due Thursday 3/19. <LI> Reminder: No class 3/24, 3/26, 3/31 - Spring break and Cesar Chavez day. <LI> New assignments for after Spring Break: <UL> <LI> Due 4/2/15: Assignment 7A - Reading (Part 5: chapters 1-4, and 9-11 - pp. 204-220, and 235b-244) <LI> Due 4/2/15: Assignment 7B - Listening: Erlkonig (Schubert); Symphonie Fantastique, movement IV - March to the Scaffold (Berlioz); The Moldau (Smetana) </UL> </UL> <BR> <LI> Lecture 17 - Romantic Music I (3/19/15) <UL> <LI> <B>Reminder:</B> Concert Report 1 due today! <LI> <B>Handout:</B> Lyrics and translations for the <A HREF="art song.pdf">Art songs</A> we listened to in class today. <LI> Examples of Romantic painting, featuring "topics" of Love, Nature, and the Supernatural: <UL> <LI> John Constable, <A HREF="constable.jpg">"Stour Valley and Dedham Church"</A> (1815) <LI> Caspar David Friedrich, <A HREF="friedrich.jpg">"Man and Woman Contemplating the Moon"</A> (1824) <LI> J. M. W. Turner, <A HREF="turner.jpg">"Slave Ship"</A> (1850) </UL> <LI> Modest Mussorgsky - Pictures at an Exhibition (1874), based on paintings of Viktor Hartmann: <UL> <LI> <A HREF="pictures1.jpg">"Ballet of the Chicks in their Shells"</A> <LI> <A HREF="pictures2.jpg">"The Catacombs"</A> <LI> <A HREF="pictures3.jpg">"The Great Gate of Kiev"</A> </UL> <LI> <A HREF="schubert1.jpg">Franz Schubert</A> - music for the middle class </UL> <BR> <LI> Lecture 18 - Romantic Music II (4/2/15) <UL> <LI> Assignments due today: 7A and 7B <LI> New assignments for next week: <UL> <LI> Due 4/9/15: Assignment 8A - Reading (Part 5: chapters 5-7, 12, 14, 16 - pp. 221-230a, 245-247, 250b-253, 256-265) <LI> Due 4/9/15: Assignment 8B - Listening: Symphony No. 9 in E Minor, "From the New World", movement 1 (Dvorak); Symphony No. 3 in F Major, movement 3 (Brahms) </UL> </UL> <BR> <LI> Lecture 19 - Romantic Music III (4/7/15) <UL> <LI> <B>Handout:</B> The <A HREF="berlioz.pdf">"program"</A> (story) for Berlioz's program symphony, <I>Symphonie Fantastique</I> (1830) </UL> <BR> <LI> Lecture 20 - Romantic Music IV (4/9/15) <UL> <LI> Assignments due today: 8A and 8B <LI> <B>Handout:</B> <A HREF="exam 3 review.pdf">Study Guide for Exam Three</A> <LI> New assignments for next week: <UL> <LI> Due 4/14/15: Assignment 9A - Listening: Estrella (Schumann); Reconnaissance (Schumann); Nocturne in E-Flat Major, Op. 9 No. 2 (Chopin); Etude in C Minor, Op. 10, No. 12, "Revolutionary" (Chopin); Trancendental Etude No. 10 in F Minor (Liszt) <LI> Due 4/16/15: Assignment 9B - Listening: La Boh&#232;me, act 1 video excerpt (Puccini). </UL> </UL> <BR> <LI> Lecture 21 - Romantic Music V (4/14/15) <UL> <LI> Assignment due today: 9A <LI> A picture of pianist <A HREF="liszt.jpg">Franz Liszt</A> (1811-1886) </UL> <BR> <LI> Lecture 22 - Romantic Music VI (4/16/15) <UL> <LI> Assignment due today: 9B </UL> <BR> <LI> Lecture 23 - Unit III Exam today! (4/21/15) <UL> <LI> New assignment, due 4/23/15: Assignment 10A - Reading (Part 5, Chapter 27 - Richard Wagner - pp. 266-271) </UL> <BR> <LI> Lecture 24 - Modern Music I (4/23/15) <UL> <LI> Assignment due today: 10A <LI> New assignments for next week: <UL> <LI> Due Tuesday 4/28/15: <UL> <LI> Assignment 11A - Reading (Part 6: introduction, and chapters 1,2,5,6 - pp. 276-290, 296-302a) <LI> Assignment 11B - Listening: Stravinsky, Le sacre du printemps (The Rite of Spring), Parts I and II (excerpts) </UL> <LI> Due Thursday 4/30/15: <UL> <LI> Assignment 12A - Reading (Part 6: chapters 3,4,7,8 - pp. 291-295, 302b-309) <LI> Assignment 12B - Listening: Debussy, Pr&#233;lude a l'apr&#232;s-midi d'un faune; Schoenberg, Pierrot lunaire and A Survivor From Warsaw, Op. 46. </UL> </UL> </UL> <BR> <LI> Lecture 25 - Modern Music II (4/28/15) <UL> <LI> Assignments due today: 11A, 11B <LI> <B>Handout:</B> <A HREF="carmina burana.pdf">Latin and English text</A> for "<I>O Fortuna</I>," movement one of Carl Orff's secular cantata, <I>Carmina Burana</I> <LI> Modern period links: <UL> <LI> <A HREF="big ad.mp4">"The Big Ad"</A> (uses music from Carl Orff's <I>Carmina Burana</I>) </UL> </UL> <BR> <LI> Lecture 26 - Modern Music III (4/30/15) <UL> <LI> Assignments due today: 12A, 12B <LI> New assignments for next week: <UL> <LI> Due Tuesday 5/5/15: <UL> <LI> Assignment 13A - Reading (Part 6: chapters 11,12,14,16,17 - pp. 316-322a, 324-326a, 328-334) <LI> Assignment 13B - Listening: Bart&#243;k, Concerto for Orchestra; Still, Afro-American Symphony; Copland, Appalachian Spring </UL> <LI> Due Thursday 5/7/15: <UL> <LI> Assignment 14A - Reading (Part 6: chapters 15,19,22 [stage, not film] - pp. 326-328, 338-347, 370-375) <LI> Assignment 14B - Listening: Gershwin, Rhapsody in Blue; Adams, Short Ride in a Fast Machine; Bernstein, "Tonight" from <I>West Side Story</I> </UL> </UL> <LI> <B>Handout:</B> <A HREF="modern review.pdf">Study Guide for the Modern Period</A> <LI> <B>Handout:</B> <A HREF="final review.pdf">Study Outline for the Final Exam</A> <LI> <B>Handout:</B> <A HREF="pierrot lunaire.pdf">German and English text</A> for Arnold Schoenberg's <I>Pierrot lunaire</I> <LI> Examples of Impressionist painting: <UL> <LI> Claude Monet, <A HREF="monet1.jpg"><I>Impression: Sunrise</I></A> (1872) <LI> Berthe Morisot, <A HREF="morisot.jpg"><I>The Cradle</I></A> (1872) <LI> Armand Guillaumin, <A HREF="guillaumin.jpg"><I>Sunset at Ivry</I></A> (1873) <LI> Claude Monet, <A HREF="monet2.jpg"><I>Woman with a Parasol</I></A> (1875) <LI> Mary Cassatt, <A HREF="cassatt.jpg"><I>Lydia Leaning on Her Arms</I></A> (1879) (American, lived in Paris) </UL> <LI> Examples of Expressionist painting: <UL> <LI> Edvard Munch, <A HREF="munch.jpg"><I>The Scream</I></A> (1893) <LI> Franz Marc, <A HREF="marc1.jpg"><I>Large Blue Horses</I></A> (1911) <LI> Ernst Ludwig Kirchner, <A HREF="kirchner1.jpg"><I>Nollendorfplatz</I></A> (1912) <LI> Franz Marc, <A HREF="marc2.jpg"><I>Deer in Woods</I></A> (1914) <LI> Ernst Ludwig Kirchner, <A HREF="kirchner2.jpg"><I>Self-Portrait as a Soldier</I></A> (1915) </UL> </UL> <BR> <LI> Lecture 27 - Modern Music IV (5/5/15) <UL> <LI> Assignments due today: 13A, 13B </UL> <BR> <LI> Lecture 28 - Modern Music V (5/7/15) <UL> <LI> Assignments due today: 14A, 14B <LI> New assignments for next week: <UL> <LI> Due 5/12/15: Assignment 15A - Reading (Part 6: chapter 21 - pp. 357-368, to end of Bebop section) <LI> Due 5/12/15: Assignment 15B - Listening: Joplin, Maple Leaf Rag; Smith, Lost Your Head Blues; Armstrong, Hotter Than That; Parker, KoKo. </UL> </UL> <BR> <LI> Lecture 29 - Modern Music VI (5/12/15) - Last day of class. <UL> <LI> Assignments due today: 15A, 15B <LI> <B>Revision of Concert Report 1 due today!</B> <LI> <B>Concert Report 2 due today!</B> </UL> <BR> <LI> FINAL EXAM: Wednesday, May 20, 9:45 am. Remember your scantron form! </OL> <A HREF="#top">back to top of page</A> <HR> <!-- <A NAME="listening"></A> <H3>Listening Examples</H3> <P>This section contains links to musical examples referenced during class. The examples are provided for class purposes only.</P> <P>You need the <A HREF="http://www.apple.com/quicktime/download/Quicktime">free Quicktime plugin</A> to play these .mp3 files.</P> <P>To play, left-click the excerpt title and then click "play" when the player opens.</P> <OL> <LI> <U>Musical Texture</U> - the concept of texture deals with the relationships between the different lines of music ("voices") that are coexisting within the piece. Some types of music use only one kind of texture, but for many styles all textures are possible and composers change texture as a way of introducing variety and contrast into their music. Before listening to the examples below, consider the folk song "Row, Row, Row Your Boat." It is possible to perform this song using any of the textures described below. <UL> <LI><B>Monophonic</B> texture ("monophony"): basically, a unison melody. All performers are doing exactly the same thing, so there is only one "voice." <UL> <LI> "Row, Row, Row Your Boat" - have everyone sing the melody together at the same time, with no other music. <LI> <A HREF="mono1.mp3"><I>Puer natus est nobis</I></A> (~800), an example of Gregorian style plainchant. <LI> While plainchant is one of the few musical genres that is totally monophonic, many other types of music will include sections in monophonic texture. Even a group as large as a symphony orchestra can perform monophonically: <A HREF="mono2.mp3">Mozart, Symphony No. 40, movement 4 (development)</A>. </UL> <LI><B>Polyphonic</B> texture ("polyphony"): polyphonic texture features many independent melodic lines, each equally important (no single voice stands out as the most important melody). The most popular use of this texture is in fugues and canons, where one tune is passed through many voices equally. <UL> <LI> "Row, Row, Row Your Boat" - sing this song "in the round," as it is usually done around the campfire. Each group of singers (a "voice") is equally as important as any other group. In this example, each voice is using the same tune, but that is not a requirement for polyphonic music. <LI> J.S. Bach, <A HREF="poly1.mp3">Fugue in a minor</A>. A fugue is a very organized form of polyphony. The melody is called the "subject." The subject gets played by each voice, along with a countermelody (called the "countersubject") that each voice plays after it finishes the subject. For example, at the beginning of this excerpt you will hear the subject in the soprano voice; when the subject starts over in the alto voice, the soprano plays the countersubject. Sections of the piece where neither melody is being played are called "episodes," and are designed to give your ears a break and introduce new melodic material. This piece is a four-voice fugue - can you hear the subject enter in all four voices? <LI> Perotin, <A HREF="poly2.mp3"><I>Sederunt</I></A> - an example of organum, a style of sacred vocal music popular around the year 1200. This example has four voices - one voice (the tenor) sustaining long notes, and three more rhythmically active voices (all four voices are not always present at the same time) <LI> Andrew Lloyd Webber, <A HREF="poly3.mp3">Phantom of the Opera</A>. Sometimes polyphonic music can sound chaotic and disorganized, particularly if the different voices are not using the same rhythms. In this excerpt, there are at least three different tunes overlapping, but all are equally important to the plot. In live performances, the characters tend to spread out on the stage and sing to different parts of the audience to avoid confusing the listeners too much. At the beginning of the excerpt the texture is homophonic, even though different characters are singing - they are all taking turns and contributing to one melodic "voice" against the orchestra. The polyphonic section starts after Mme. Giry sings "we have seen him kill..." </UL> <LI><B>Homophonic</B> texture ("homophony"): music using homophonic texture features one prominent melody, with all other voices acting as support - providing harmony and accompaniment. The melody is the most important or most dominant voice. <UL> <LI> "Row, Row, Row Your Boat" - for homophonic texture, have everyone sing the melody in unison while someone plays chords on the piano to harmonize the melody. <LI> Homophonic music can be as obvious as a single solo instrument with accompaniment - in this case, <A HREF="homo1.mp3">oboe and harp</A>. <LI> Most symphonic music is primarily homophonic, although any texture can be used in an orchestral piece. This example is from the last movement of <A HREF="homo2.mp3">Symphony No. 8 in G Major</A> by Anton&#237;n DvoY&#225;k. <LI> Here is another homophonic example from DvoY&#225;k's <A HREF="homo3.mp3">Ninth Symphony</A>, "From the New World" (first movement) <LI> Bach chorales are an interesting transitional form between polyphonic and homophonic texture. They are homophonic in that the soprano line is the dominant melody and all other voices are accompanying and supporting the soprano line, but each line is also its own independent melodic line - a hold-over from the Renaissance when polyphony was the most important type of musical texture. This chorale excerpt is from Bach's <A HREF="homo4.mp3">St. John Passion</A>; here is another chorale, from Bach's <A HREF="homo5.mp3">St. Matthew Passion</A>. The chorales are accompanied by orchestra and organ. </UL> <LI><B>Heterophonic</B> texture ("heterophony"): heterophonic music features more than one voice performing the same melody, but each voice is embellishing the tune so that the voices do not "line up" - making it sound different from simple monophony. <UL> <LI> "Row, Row, Row Your Boat" - to achieve heterophonic texture, each member of your group needs to sing the tune at the same time, but taking their own liberties with the melody by adding embellishments, ornaments, etc. <LI> "Lonesome Valley" from the movie <A HREF="hetero1.mp3">O Brother, Where Art Thou?</A> <LI> Dixieland or New Orleans Jazz is famous for its use of heterophony, particularly at the head of the tune when different musicians improvise on the tune at the same time. This example is from <A HREF="hetero2.mp3">"Hotter Than That"</A> by Louis Armstrong. </UL> <LI> Summary - Leonard Bernstein, <A HREF="texture1.mp3">West Side Story</A> - this excerpt demonstrates polyphony, homophony and heterophony, and also shows how a composer can move freely between textures to suit their music. The excerpt starts with Tony singing a verse of the song "Tonight" with the orchestra, followed by an orchestral interlude (all homophonic). Next, the Jets sing their song as they prepare for their fight with the Sharks (homophonic), but soon after they start their song Maria joins in singing "Tonight" (polyphonic). While this is going on, the Sharks start singing their own version of the Jets' song, and Anita sings her own version of "Tonight" (heterophonic - there are two simultaneous variations on each song). The excerpt finishes with Tony and Maria singing "Tonight" together, the Sharks and Jets singing their tune together, and Anita singing a countermelody (polyphonic - all voices equal). They all end on a single chord together (homophonic). </UL> <BR> <LI> <U>Cadences and Phrase Structure</U> - A cadence is a musical punctuation mark, used to give a sense of flow and pacing to music. The strength of a punctuation mark (like a comma versus an exclamation point) communicates to the reader whether the idea is complete or if the writer is just pausing for emphasis. Just like a run-on sentence, music written without cadences can sound breathless, hurried and panicky. Consider these points about how cadences are used: <OL> <LI> A cadence only occurs at the end of a musical phrase. <LI> When phrases are paired together (into a musical "period"), the first (antecedent) phrase usually ends with a weak cadence, and the second (consequent) phrase usually ends with a strong cadence. When thinking about periodic structure in music, think of the antecedent as a question, and the consequent as the answer. The question does not make sense unless it is immediately followed by an answer. Using a weak cadence tells the listener that the answer is coming. Using written English as an example, which of these two statements makes the most sense? <UL> <LI> I woke up! And went to school, <LI> I woke up, and went to school. </UL> In the first example, the presence of a strong punctuation mark in the middle of the statement disrupts the flow of the argument. The lack of a strong ending to the statement leaves the listener wondering what has been left out. The second example is correctly punctuated - the first clause is a complete statement in itself, but it is not the entire argument so it ends with a comma to tell the reader to expect more afterward. Like written language, music needs to have a meaningful balance of motion and rest for it to be understandable to the listener. Cadences are one important way for the composer to communicate clearly with the audience. <LI> In music of the Common Practice era (approximately 1600-1900), there are four main types of cadences. Music written before and after this period has additional types of cadences. For MUSC 10A, you do not need to know the names of these cadences - they are provided for your information only. <UL> <LI> <U>Authentic Cadence</U>. The most common and most obvious type of cadence; in an authentic cadence, the harmony moves from dominant-function (5 or 7) to tonic (1). There are two varieties: <UL> <LI> Perfect Authentic Cadence (PAC) - for an authentic cadence to be perfect, three things must be true. 1) the harmony moves from 5 to 1. 2) the bass voice leaps from Sol to Do (up or down). 3) The soprano voice ends on Do. If <U>all three</U> of these requirements are not met, the cadence is not a PAC. <LI> Imperfect Authentic Cadence (IAC) - the harmony moves either 5 to 1 or 7 to 1. No other requirements are needed. <LI> Example 1: the final phrase of the fourth movement of Felix Mendelssohn's Symphony No. 5, "Reformation," Op. 107 (1832) ends with a <A HREF="mendel5-4b.mp3">perfect authentic cadence</A>. <LI> Example 2: at the beginning of the same movement, the third and fourth phrases are a period. The antecedent phrase ends with an <A HREF="mendel5-4a.mp3">imperfect authentic cadence</A>, and the consequent phrase ends with a perfect authentic cadence. </UL> <LI> <U>Plagal Cadence</U> (PC). The plagal cadence moves from 4 (subdominant) to 1 (tonic). This cadence is commonly called the "Amen cadence" because it is often found at the end of Protestant hymns in Major keys, accompanying the word Amen: Ah (IV) --- men (I). In classical music, the plagal cadence is often in a minor key (iv-i). <UL> <LI> Example 1: in Mendelssohn's Reformation Symphony, the first movement ends with a <A HREF="mendel5-1.mp3">plagal cadence</A> in the key of d minor. <LI> Example 2: in Johannes Brahms's Symphony No. 4 in E Minor, Op. 98 (1885), the first movement also ends with a <A HREF="brahms4-1.mp3">plagal cadence</A>, in e minor. </UL> <LI> <U>Half Cadence</U> (HC). The half cadence ends on the dominant chord, 5. Any other chord may be used in the first half of the cadence. The half cadence is a weak gesture (a musical "comma"), and so it appears at the end of an antecedent phrase of a period. A lot of Common Practice music is built using periods that arch upward to the dominant (antecedent, ending with HC) and then fall back to the tonic (consequent, ending with PAC or IAC). <UL> <LI> Example 1: The very first phrase of Beethoven's Symphony No. 5 in C Minor, Op. 67 (1808) ends on a <A HREF="beethoven5-1.mp3">half cadence</A>. <LI> Example 2: The first two phrases of the Minuet (third movement) from Haydn's Symphony No. 6 in D Major, "Le matin," Hob. 1/6 (1761) are a contrasting period. The antecedent phrase ends with a <A HREF="haydn6-3a.mp3">half cadence</A>, and the consequent phrase ends with a perfect authentic cadence (V-I harmony, the flute ends on Do, and the bass leaps Sol-Do). </UL> <LI> <U>Deceptive Cadence</U> (DC). In general terms, a deceptive cadence is one that moves from 5 to any chord other than 1 - our ears are programmed to expect to hear the dominant chord move to the tonic chord, and any other destination sounds misleading. However, in common usage the deceptive cadence is specifically when the harmony moves from 5 to 6 (usually V-vi in a Major key). This works best by having both chords in root position, and by resolving the leading tone up to tonic as it should, but then moving the bass up by step from Sol to La instead of leaping from Sol to Do. <UL> <LI> Example 1: The minuet from Haydn's Symphony No. 6 also has many <A HREF="haydn6-3b.mp3">deceptive cadences</A>. In this particular example, after the deceptive cadence the phrase is then extended with an additional authentic cadence, but this is not a requirement. </UL> </UL> <LI> More on periods: <UL> <LI> A <U>Parallel Period</U> is one where the antecedent and consequent phrases start the same way. The consequent phrase can have a different ending - only the beginning of the phrase has to be the same as the antecedent. For example, the childrens' song "Mary Had a Little Lamb" has two phrases that both start with the same melody, forming a parallel period. <UL> <LI> Phrase One: "Mary had a little lamb, little lamb little lamb" (Mi Re Do Re Mi Mi Mi, Re Re Re, Mi Sol Sol) <LI> Phrase Two: "Mary had a little lamb whose fleece was white as snow" (Mi Re Do Re Mi Mi Mi Mi Re Re Mi Re Do). </UL> <LI> A <U>Contrasting Period</U> is one where the consequent phrase starts differently than the antecedent phrase. <LI> The antecedent phrase should end with a weak cadence: IAC, HC, or DC. <LI> The consequent phrase should end with a strong cadence: PAC, PC (or IAC - less common). </UL> </OL> <BR> <LI> Minuet and Trio Form, listening example: <UL> <LI>Franz Joseph Haydn, <A HREF="haydn6-3.mp3">Symphony No. 6 in D Major, third movement</A>. </UL> </OL> <HR> --> <CENTER> <!--HR width=50%--> <P>Click to <A HREF="#top">go back to the top of the page</A>.</P> <P>Click to <A HREF="../index.htm">return to the main menu</A>.</P> </CENTER> </BODY> </HTML>