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Musical content: The basis of high school music teaching
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Musical content: The basis of high school music teaching
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■K MUSICAL CONTENT: THE BASIS OF HIGH SCHOOL MUSIC TEACHING by Rudolph Ben Saltzer A Dissertation Presented to the FACULTY OF THE SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (Music Education) January 1964 UMI Number: DP29402 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertetion PVbllisling UMI DP29402 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 Copyright by Rudolph Ben Saltzer 1964 D . M . / ? . M o S > FINAL DISSERTATION APPROVAL This dissertation, written by Rudolph Ben Saltzer under the supervision of.?li.?Gruidance Committee, and approved by all its members, has been presented to and accepted by the Executive Com mittee of the School of Music, in partial fulfillment of the requirement for the degree of DOCTOR OF MUSICAL ARTS w ith major in M u s l q M m a t . l O Q . ....... Dean, School of M usic GÜIDANÇ Dec. 11, 1963 D ate ITTEE: i Chair .2 lC/8-59 Mus 208 PART I THE HIGH SCHOOL MUSIC PROGRAM AND ITS CONTENTS TABLE OF CONTENTS Chapter Page I. THE PROBLEM............................. 1 Introduction Statement of the Problem Limitations of the Study Organization of the Study II. CURRENT AREAS OF CONCERN IN MUSIC EDUCATION 5 Music and the Educational Program Knowledge and its applications The performing and the non-performing class The activities of the non-performing class The activities of the performing class General music for the academically talented The Characteristics of the Educative Musical Experience Introduction Relating music to the student The choice of music materials The Music Teacher Qualifications of the music teacher The function of the music teacher Understanding the student The challenge to the teacher The specialist teacher in general music ill iv Chapter Page Music in the Various Grade Levels Summary III. THE PURPOSES AND OUTCOMES OF MUSIC IN GENERAL EDUCATION..................... 34 Introduction The Purposes of General Education % Pragmatic interpretation Realistic interpretation Sociological interpretation The comprehensive high school plan The purpose defined The Purposes of Music in General Education Introduction The purposes defined The Outcomes of Music in General Education The outcomes defined IV. THE BASIC CONTENT OF THE MUSIC CURRICULUM IN THE HIGH SCHOOL................... 56 Introduction The Constituent Elements of Music Form in Music Form(s) of Music (or Musical Forms) Texture in Music V. SUMMARY AND RECOMMENDATIONS................120 Summary Recommendations BIBLIOGRAPHY ................................... 126 (For Table of Contents for Part II, see second section, page 135-) CHAPTER I THE PROBLEM Introduction The American schools today are faced with great national concern over the quality of the entire educa tional program. This is not unique, but it has never been so vitally important to the actual survival of our society It encompasses all educational levels in every subject field, in all sections of the United States. Administra tors, supervisors, and teachers are all actively engaged in national, state and local programs which are attempting to keep pace with the incredible qualitative and quantita tive changes in today’s world. Most of this activity has direct implications for the music curriculum in our schools. Any subject must earn and keep its place in the curriculum of a school by virtue of its uniqueness and value in the life of the community. Knowledge is gained in a subject through the discovery of its essential elements and the ways in which they are organized and interrelated. Music education, therefore, is responsible primarily for the presentation of experiences in music through which the students will learn what it is and how it is organized as a communicative art. Statement of the Problem The purpose of this study was (l) to define, through verbal description and musical examples, the basic content and organization of music as an art; and (2) to demonstrate an approach to the teaching of music in band, orchestra, choir and the general music class which considers music in terms of its own content and organization. Limitations of the Study High school music programs often include classes such as theory, appreciation, piano, voice, and perform ance groups of many types. This study, however, will deal only with the symphonic band, the orchestra, the choir of 3 mixed voices and the general music class. Only European and American music, composed between I7OO and the present, was selected. Although historical styles and the rela tionship of music to other aspects of the culture have an important place in the educational musical experience, this study was concerned chiefly with the basic content of music, its organization and form. Organization of the Study In Part I the concerns of leading music educators were examined and current problems in music education were discussed. The purposes and outcomes of music as a part of general education were outlined. The basic con tent of music was set forth in terms of its constituent elements, their organization, interrelationships and characteristic designs. Form and texture in music were discussed. The musical examples were chosen from litera ture which is appropriate for use at the high school level. In Part II, representative guides were presented for the teaching of music in vocal, instrumental, and general music classes. These guide lines were drawn from compositions which readily demonstrate the validity of the 4 educational approach in each of the areas of music education. A summary with recommendations for continued study and future needed research constitutes the concluding section of this investigation. CHAPTER II CURRENT AREAS OF CONCERN IN MUSIC EDUCATION This chapter is a survey of the current concerns of leading educators in four critical areas of music education ; 1. The relationship between music and the other subjects of the educational program. 2. The characteristics of the educative musical experience. 3. The music teacher. 4. The relationship among the various grade levels in the teaching of music. The purposes and outcomes of music education (as stated in Chapter III) are designed, in part, to mitigate the problems discussed in this chapter. Music and the Educational Program Knowledge and Its Applications Knowledge and skills are developed through the study of the sciences and mathematics as means to economic, moral, cultural, and aesthetic ends. Under standings developed through these studies are to be used as the basis for discriminating judgments of values in all of these fields. The basic problem of our century is man's inabil ity to apply his great advances in scientific knowledge and technological skills to the improvement of relation ships among men. One step toward its solution might be achieved by a better balance between the teaching of knowledge and skills on the one hand and the development of a clearer sense of values on the other. The need for music and its sister arts in such a balanced curriculum has been recognized by public school administrators. The theme of the 1959 Meeting of the American Association of School Administrators was "Educa tion and the Creative Arts." The following resolution was voted by the members : 7 The American Association of School Administrators commends the president, the Executive Committee, and the staff for selecting the creative arts as the general theme for the 1959 convention. We believe in a well balanced school curriculum in which music, drama, painting, poetry, sculpture, architecture and the like are included side by side with other important subjects such as mathe matics, history, and science. It is important that pupils, as a part of general education, learn to create, to appreciate, to understand, and to criti cize with discrimination those products of the mind, the voice, the hand, and the body which give dignity to the person and exalt the spirit of man. (61:3) At the request of the National Association of Secondary School Principals, its bulletin for March, 1959; "The Music Curriculum in Secondary Schools" was prepared by the Music Educators National Conference. The introduc tion to this publication contains the following statement: It is our belief that music is as much an intel lectual discipline as are the academic subjects, and that an adequate amount of instruction should be provided for the boys and girls of the senior and Junior high schools in these fields. (59:2) The Performing and Non-Performing Classes A nationwide survey indicates that a relatively highly developed program of participation in performing organizations (bands, orchestras, choirs, et cetera) has enrolled an average of from 10 to 20 per cent of the 8 students of our high schools (37:21). Clearly, then, the larger proportion of students must be provided for in non-performing music classes. However, at the present writing, this is not being done. Whereas, theoretically, all students deserve the benefits of an educational musi cal experience, those who play and sing make up the majority of students now enrolled in music classes. This imbalance in musical opportunities available to students is the greatest single weakness in music education at the high school level. In comparison with the Junior high and elementary school programs, the senior high school has been concerned much less with the needs of the general student in music. The high school music program has too long been considered primarily as an adjunct of the athletic program and a source of entertainment for the school and the community. If the curriculum in high school music is considered critically, in the light of the purposes of general educa tion, the development of a program of general music which will balance the opportunities provided in the performing groups must inevitably result. Allen P. Britton, past president of the Music Educators National Conference, has stated: While it is true that many individual teachers have made splendid successes with Junior high school general music classes, the national situation seems to be that on the whole, general music classes are not as rewarding as they should be either to the teachers or to the students. A stimulating general music program of the elementary schools somehow seems to bog down at the Junior high school level. At any rate, the general music program terminates at the Junior high school level in most school sys tems, so that, in effect, we have no such program at the senior high school level. At the moment, the profession can give no satisfactory answer to a ques tion being asked with embarrassing frequency: What are you doing for the approximately 80 percent of high school students who do not play or sing in your performing organizations? (32:26) William C. Hartshorn, at a symposium in Albuquerque, described the imbalance in the present curriculum : The present music curriculum at the secondary level is out of balance in terms of the enrollment in per forming groups on the one hand and the enrollment in all other courses on the other. To a marked degree, it has been performance oriented. The major ity of the school population is being reached in either general music or performance activities. . . . We need to develop specialists in general music. . . We need more conviction as to the value of general music, plus an increased understanding of the con tributions it can make to the whole school population ... a need for greater continuity in the non performing areas of the curriculum. The non-performing student needs to learn how to listen. He also should develop some concept of 10 what he is hearing. The present curriculum does not give the general student a real knowledge of the literature of music which is a significant part of the cultural heritage education should pass on from one generation to another. (40:42) The executive secretary of the American Associa tion of School Administrators, Finis E. Engleman, also voiced the need for a general music program with regard for its educational validity: The school program should provide the opportunity for good general music for the great mass of stu dents who would not be professionals but who need education and experience in music as much as they need education in science, language or history merely as a basis for living a wholesome life. The music program should be treated as a serious and solid subject field. Truly the great life is always simple and quite readily discernible but the subtlety; the abstract depth; the mathematical scope; the range of meaning coupled with art and complex intri cacy of performance and interpretation permit music to match scholarship with any discipline. (35:38) In a balanced program, the experiences in all music classes will be directed toward the same purposes and outcomes, and will be appropriate to the interests and abilities of the students. Those enrolled in music classes which do not perform in public are Just as likely to develop interests and understandings in music and are, by nature. Just as susceptible to music on their level as students who choose to play or sing. Moreover, all 11 students have the right to develop their musical aware ness, insight, and responsiveness, regardless of the kind of musical activity in which they are involved. The Activities of the Non-Performing Class Experiences in these classes are usually based on listening to recorded music, but they should not be limited solely to this activity. The experiences should consist of a variety of activities which will also include sing ing, playing, discussion and reading. The class should be considered as a laboratory for the development of musical understandings. By this means these activities will involve the students in as many ways as possible, and will be aimed toward the development of musical understandings which will increase the students' ability to respond to music. For instance, listening activities should include recordings and live performances. Students and teachers, as well as trips to concerts, should provide the experi ence of direct communication between performer and listener. Melodies should be sung by the class to help fix their characteristics in the minds of the students. Concepts related to musical devices such as inversions and 12 canons can be clarified through singing. Instruments can be used to demonstrate the physical concepts of tones and tone production. The piano can be used to demonstrate the varying structures of scales and modes (see page 62). The above examples suggest the kind of balanced program which will provide a variety of experiences and develop interest in music through an educational attitude of inquiry and experimentation. Pupil activities involving the use of instruments and of singing to clarify theory, or as a means of lending a sense of reality to the intellectual and aesthetic study of music, are altogether different in educational intent and in theoretical Justifi cation from playing or singing indulged merely as an enjoyable sport. When pupils are encouraged to try their hand at producing musical sounds in an experimental attitude, then the level of interest is likely to be high and the learning good, no matter how unskilled the performance. (52:51) The Activities of the Performing Class The educational validity of the performing experience is based primarily on its potential for the development of understandings in music and its self- expressive and aesthetic values. Therefore, the time allotted for the performing group should be planned to provide balanced opportunities for adequate understanding 13 and technical preparation of the music. This should include performance, discussion, and research in the music itself, its history, its composers and its performance. Provision should be made for listening to music which the students would be unable to perform because of its techni cal difficulty or the unavailability of musical forces which it might employ. For instance, the choir which sings a chorus from "Elijah" of Mendelssohn should listen to other portions of the work, or to the entire work, if possible. The performing experience in the school must achieve more than emotional satisfaction or the develop ment of skills. For, indispensable as both of these are, neither constitutes the objective. Stanley Chappie, in a lecture to Los Angeles music teachers, said that a con ductor at rehearsals is a teacher. It is his function to show, through the aural process (in musical terms), how the intentions of a composer are to be realized. If the performer is an inexperienced musician, continues Chappie, the conductor should also include an analysis of the basic ingredients of the musical language--again through the aural process. It might be added that, in the schools, it 14 is often necessary to teach the performance techniques which will reproduce, with accuracy and fidelity, the musical ideas of the composer. Here, also, the objective is the development of musical understanding. Critics of performing organizations have claimed that there is too much emphasis on technique and high quality of performance at the expense of the educational values of the performing experience. This is no doubt true. But on the other hand, technique is the indispen sable means for the achievement of the musical and educa tional ends of the performing class. To strive for less than a high quality of performance is to accept distor tion in the re-creation of music. It hinders the develop ment of musical understanding and sensitivity and, what is worse, gives support to the mistaken idea that true musical experiences can be achieved with little effort and without much intellectual or spiritual involvement. It should always be borne in mind by the teacher and made clear to the student that technical problems arise from a need to convey the expressive meaning of the music as it was intended by the composer. When approached in such a manner, drill becomes purposeful and skill is developed in 15 terms of musical meanings. Thus the student learns and uses skills for what they are--means to the expressive ends of music. General Music for the Academically Talented The quality of American leadership in the critical years to come will depend on the quality and scope of the education of today's academically talented students. The basic problems that will face them in increasing abundance will not be primarily of a scientific or military nature. It is generally agreed by the leading thinkers of our times, that the underlying problems are political, social, and moral. It is the American moral attitude that will win or lose the cold war in the final analysis. It is our knowing and understanding of our fellow man that is the key to ultimate peace and it is in this area that we must provide an increasing quality of educational opportunity. Man expresses himself in art forms, and it is through this avenue that we come to know him. The school owes to the future American leader the same challenge and the same high quality of experience in music as he receives in English, mathematics, et cetera. As in other fields, this can best 16 be accomplished adequately in the music class specifically designed for him. In the first full treatment of music education for the academically talented student. Hartshorn states : By comparison with the average pupil, he is capa ble of responding to more mature musical meanings and of understanding more quickly and more com pletely the form through which these meanings are conveyed. He is capable of a high level of response to musical experiences that are both emotionally compelling and intellectually challenging. The academically talented student possesses the intellectual capacity to penetrate the complexi ties of music. Thus, he is able to hear more in a piece of music than other people can, and, hearing more in it he has a more complete aural concept to which to respond. (53:15) The Characteristics of the Educative Musical Experience Introduction The educative musical experience must have signi ficance in the lives of students. It must relate music to the time and the civilization of which they are a part. A truly musical experience is communicative. It is a man or a people "speaking" from a time and a place for a reason. For instance, Luther's melody, "A Mighty Fortress Is Our 17 God," through its musical elements and their organiza tion, conveys musical meanings which add another dimension to the thoughts contained in the text. In and of itself, this music is not religious. But through its communicative power it adds its own meanings to and becomes associated with the ideas of the text. The more that is understood of the music and the significance of the text related to it, the more meaning the entire experience will have to the student. Educative experiences^ in music should develop understandings of the music and its place in the scheme of human experience. Relating Music to the Student The first problem in the actual teaching of music is relating it to the student. Madison holds that experiences in music must bear a realistic relation to the national culture and recognize the many tastes that exist within our society (52:25). It is the teacher's responsi bility to organize musical experiences which, relating at first to immediate lives of the students, will form the basis for the development of understandings and broadening interests in music. The quality of immediacy that is an 18 important stepping stone to wider understandings must not be misconstrued to mean only music that is common or popular or the most widely distributed. Music generally classified as popular, commercial, or dance music is not the only music of immediacy. Much fine music of folk and religious origin also has this quality, but it has Inherent values as well and contains the formal and stylistic elements through which rich educational and musical experiences can be realized. The Choice of Musical Materials The choice of music is a basic responsibility and a continuing problem for the music teacher. Music for educational use should be selected from the literature of music which has intrinsic as well as extrinsic values. The question is immediately posed: What are the criteria for values in musical literature? Four representative viewpoints are discussed by Mueller (52:88-122). 1. Music is "good" if it has a valid use. That is, if it is "good for something." This is the utilitarian viewpoint. In these terms, a cigarette commercial is good music if it helps to sell cigarettes, and a Bach cantata 19 is good if it serves its religious purpose adequately. The value of each is defined in utilitarian terms but no musical standards are considered. 2. Music which is personally gratifying and gives pleasure to the listener is good music. Neither its own musical ideas nor its relationships with non-musical ideas have anything to do with it. Neither of these two definitions considers music as having any intrinsic values, nor do they provide any criteria for the determination of value. V , 3. Good music is a matter of intrinsic value as defined by the expert. This concept of connoisseurship reflects the realistic philosophy of Broudy (52:86). It suggests a choice of musical materials which "the experts of successive ages have regarded as good and important." The contemporary and experimental are also acceptable, but they must be evaluated by the expert. The basis upon which the expert makes his judgment is knowledge and a "cultivated" taste. This viewpoint has no regard for utilitarian value or personal acceptance of music. 4. Musical values are based on degrees of con formity to various norms established by different groups 20 within a society. This is the pluralistic concept of taste described by Mueller (52:109). It is based on the position that a modern society is a heterogeneous, dynamic entity with a continuing competition of interests within the group as a whole, a constant readiness for change, and a "concurrent restatement of what is considered truth, right, and beauty." These latter two positions involve norms and standards of taste. The realistic philosophy "hands down" one hierarchy of values, whereas in the pluralistic view there can be various norms. "... there is not one legitimate taste, but many." (52:109) A definitive solution to the problems concerned : with the choice of materials for educational use is, of course, yet to be found. Moreover, further considerations, such as the student's own needs and the responsibilities of the music department to the school and the community, must be dealt with. The teacher's dilemma is described by Burmeister: The music educator occupies a somewhat precarious position in his role of arbiter on matters musi cal for both school and community. He represents an art which defines its values partially in terms of absolutes. He practices in a community which 21 generally respects the authority of his art but often seeks its enjoyment in more utilitarian forms of musical activity. He finds that he is expected to bring the best in music within the comprehen sion of his pupils, yet at the same time he is to use music as a tool in the general development of the child. (52:234) It is recommended that a choice of materials be made on the basis of a synthesis of the viewpoints described above, while also recognizing the educational purposes and needs of the school: 1. In so far as possible, music appropriate to a season or an occasion should be chosen. The choice of musical materials should reflect an awareness of functional values. The quality of music should not be defined solely by authoritarian standards. Music which might not be acceptable in the concert hall can be used in a program of music education if it is eminently suitable for the pur pose for which it is intended. On the other hand, this must not be construed as an endorsement of the practice of using cheap, shoddy materials even for functional purposes. The music educator who does so not only violates his integrity as a musician and debases his art but, what is probably more important, denies to learners their right to choose after having experienced the best that music can offer. Music education should attempt to recon cile 'music that is good for us' with 'music that is good by definition.' (52:223) 2. Music should be selected for its ability to produce an emotional impact through some feature of its own organization such as a soaring melody, a strong 22 rhythmic figure or a rich polyphonic texture. 3. The choice of music should be commensurate with the physical and mental development and technical capacities of the students. 4. The core of the educational musical experience should consist of music selected from the works of those composers whose historical and current significance in our culture is undeniable. There is much room for argument as to the relative significance of composers or of the compositions by a given composer. But the many fine composers and the great body of readily available music are certainly no confining factor in the choice of materials. For instance, a list of leading composers of choral music from 15OO to 1900 would invariably include Josquin Des Prés, Lassus, Victoria, Palestrina, Monteverdi, Schütz, Morley, Bach, Handel, Haydn, Mozart, Mendelssohn, Brahms, and Bruckner. Each of these com posers has contributed music which meets the requirements of the above recommendations. Music has infinite variety. Many believe that in order for music in the schools to be interesting it must consist mostly of popular or "light" selections. In using 23 such music in the schools, teachers are actually denying the value of the literature of music which is the primary justification for the existence of music education. Per formances for the public should be an outgrowth of the instructional program. They can be most rewarding when they contain the best music, well performed. Good music is not dull— but poor performances are. It is the slip shod, uninspired performance of good music that people dislike. Better music and better performances of good music are more than entertainment, they are food for the mind and the spirit. It is, moreover, unfair to the students of secondary schools to assume that their innate desires and preferences are for ideas and experi ences that lack cultural, moral, or aesthetic significance} On the contrary, they will fill classes the offerings of which are characterized by intellectual challenge and cultural value. The Music Teacher Qualifications of the Music Teacher Today's music teacher must be both musician and educator. His primary concerns must be the art of music. I 24 the means through which he projects the art to the stu dent, and the student himself. Neither the musician who lacks an understanding of the student and his educational needs nor the teacher who lacks musicianship will meet the requirements. No methodology can help a teacher com municate the meaning of something he does not know him self, nor can the finest musician successfully teach* • music without having a clear view of the purposes and out comes of music education and the educational tools to achieve them. "It takes no elaborate research to know that communicating knowledge depends in enormous measure upon one's mastery of the knowledge to be communicated." ( 4:88) In a statement of philosophy the Educational Policies Commission of the National Education Association also makes this point: It is crucial that the teacher possess a thorough knowledge of the material to be taught, a mature mastery of a variety of teaching procedures, an understanding of his pupils and the quality of judgment that will enable him to blend all in mak ing decisions. (57:17) It is axiomatic that the amount of interest generated by the students in an educational experience, particularly in the arts, reflects the attitude of the teacher toward the 25 subject and the students. Karl D. Ernst, in discussing quality teaching in music poses these questions for music teachers: (1) Do my pupils seek opportunities to par ticipate in music outside of school? (2) Do my pupils seek opportunities to listen to good music outside of school? (3) Do my pupils desire to practice at home, to seek advanced instruction, to obtain better quality instruments? (4) Have many of my pupils been inspired to become music teachers? (38:29) The answers to these questions, Ernst says, "are directly related to our enthusiasm and sincerity." He continues: In interviewing candidates for music teaching positions, it is this intangible ingredient which does not necessarily appear in the candidate's transcript of grades or in the recital programs which he presents, but which nevertheless has such an important bearing upon his success as a teacher, which I try to discover. For no amount of train ing, scholarship, or even musicianship will compensate for it. The very nature of music is such that we should be the most inspired and effec tive teachers in the business. (38:29) The Function of the Music Teacher The music teacher must have the knowledge and the vision to guide his students toward the understandings and the insights which make up the basis for a truly musical 26 experience. In one sense "teacher" is a misnomer. The music teacher should provide the emotional and intellec tual environment which leads, almost entices, the student to seek new answers, and through them, to discover con cepts and meanings. The basic function of the music teacher is to organize the musical experiences of the classroom through which the student will increase his own ability to respond to music. He only has to bring the student to the threshold of music, give the student the vision to perceive and understand music's unique quali ties, and music itself will do the rest. In discussing this need to understand music, Broudy states; In front of each work of art, especially if it is complex, stands a symbolic gate. No one enters Shakespeare without going through the symbolic gate of language; no one goes into the music of the 'masters' without negotiating the obstacles of complexity in materials and subtlety in form. If this is so, then the duties of music education become clear. First of all, it has to lead each individual to the gate, open it as wide as musical training can, invite all to pass through it and finally, hope that life and general education will make a whole-hearted entry probable, if not inevit able. (52:81) Understanding the Student No known limitation exists for the potential of 27 high school students to understand clearly, and respond deeply, to man's finest artistic achievement. The achievement of students has been limited by the under estimation and misunderstanding of that potential. Oleta Benn said that "a child's concept of any subject should be limited only by his own capacity, not that of his teachers." (52 ; 346) D'Andrea speaks for the adolescent: Aesthetically, the adolescent is ready for a more penetrating understanding and feeling of the import and communication of art. The definable and undefinable universal meanings, emotions and revelations of great music are not beyond his intellectual powers and interest. Death, Love, Man, God, Tragedy, Comedy, Struggle, as contained in music, hold and exercise him as perhaps no other medium of expression can. An adolescent's inquisitiveness into humanity, its ideas, motives and ideals of life will soar to unimagined heights in the music of great composers, and there find individual stimulation and the gratification of feeling as one with all men. (33:76) The Challenge to the Teacher The music teacher sometimes finds an inertial predilection of the student to like "his" music and be prejudiced against "your" music. The students will often be surprised to find that the perception and understanding 28 of music can be a difficult intellectual task. Student resistance at this point must not be confused with a lack of desire to learn, for it is here that the teacher justi fies his existence. He must lead his charges to the rewards of understanding the musical ideas and designs involved and responding to the aesthetic and emotional qualities of the experience. This takes courage and effort on the part of the teacher, but the students and the music are worthy of it. The Specialist Teacher in General Music The need for the specialist teacher was voiced in 1953 by Russell V. Morgan; "Ultimately the secondary school will realize the need for another or different faculty member in addition to those now catalogued as vocal and instrumental teachers." (19:11) This has been reemphasized by William C. Hartshorn, Karl Ernst, Allan P. Britton, and Ralph Rush. The 1959 Interim Meeting of presidents of the Federated State Associations and the board of directors of MENC devoted much of its time to the general music program and its purposes, content, and importance. They 29 agreed that: (l) it was of basic import to the music education program; (2) it would have academic status only to the extent that the content is substantial, well defined, challenging and rewarding; (3) the general music (or non-performing) course would meet the above require ments as teachers are specifically prepared to offer such a course. The official report states: "The training of music educators in colleges and universities should include more and better education regarding the status of general music as a part of education and in providing skills necessary for successful teaching of general music.' (36:39) It was stressed repeatedly in the report that it is of primary importance that the professional organiza tions of music educators should take the necessary steps to insure the status of general music as fundamental to the entire music education program. The practical advantages offered by the inclusion of the general music specialist as part of the music educator's team are the following : 1. He would be able to devote himself entirely to the planning and bringing to life of a course of musica 30 learning which is challenging and rewarding for both pupil and teacher. 2. He would not need to divide his energies among athletic events, concerts, rehearsals, and the general music class. 3. His preparation time, already limited by many activities and responsibilities, would be devoted to only one area of teaching. 4. He would be able to engage in adequate long- range planning for the equipment and educational needs of the general music classes, 5. The general music program, which should be serving 80 per cent of the students, would have someone to speak for it to insure its fair share of support along with the bands, orchestras, and choirs. Music in the Various Grade Levels The music program must be planned, organized, and articulated to promote and insure consistent growth in musical understanding, awareness, sensitivity, and ability throughout the range of the American school system from kindergarten through college or university. 31 Musical growth does not imply "easy" music for young children and "difficult" music for the older stu dent. Nor does it entail the teaching of certain music in one grade or school— never to be repeated--and the teaching of another type or kind of music at some other level. It is geared to the growing ability of the student to develop broader and more incisive understandings of basic musical concepts related to the constituent elements^ forms, and styles of music. The second movement of Haydn's "Surprise" Symphony can be appreciated on the elementary level. It can also be a worthwhile and aesthetic experience on the high school level, being a lucid example of an often-used musical form. A Schubert lied, a Beethoven quartet, a Bach fugue, a Strauss tone- poera, or an opera of Mozart could achieve the same ends. There are, of course, many exceptions, but in the vast world of music there is no dearth of good material which can be taught and understood on any level. This is true of both the listening and the performing experience. It is not incongruous for sixth graders to sing an English madrigal or play a Haydn quartet and also to perform these 32 same works in high school or college. At these upper levels the understandings of form will be more penetrat ing, the technical ability will be more refined, and the appreciation of style more sensitive. The students' interest in the works will be heightened, not lessened by their ability to recognize and cope with the limitless challenges offered by such music. Summary The investigation of the areas of current concern of leading educators is summarized as follows: 1. There must be a balance in the educational experience between music and the arts on one hand and the sciences on the other. The music program itself must provide greater balance between the opportunities offered to the performer and the non-performer. The activities of performing groups must be balanced in their provision of opportunities for rehearsal and study as well as per formance. Literature chosen for performance can and should be of high musical quality, and interesting as well. 2. The educative musical experience must bear a 33 realistic relationship to the social, cultural and emo tional life.of the student. It should be based on music literature which contains the best representatives of a wide variety of musical forms and styles. 3. The music teacher should be a student of music and of students themselves. Educators must recognize the need for a third speciality in music educa tion— general music. The universities and colleges should train all music educators in the field of general music as they now all study vocal and instrumental music. 4. The music program should be organized in the schools to provide consistent and organized growth from one grade level to the next. There is a great need for planning and closer cooperation among educators working on the various grade levels. CHAPTER III THE PURPOSES AND OUTCOMES OP MUSIC IN GENERAL EDUCATION Introduction The public high school is part of an educational system which reflects the unique historical and political characteristics of the United States of America. It did not evolve from a religious system since religion has not been permitted to control the affairs of state. It did not evolve from private schools for the training of an elite since "upper classes" and nobility have not existed in a controlling group. It did evolve as a system of free public schools which is dedicated to the purpose of edueat ing and enlightening its entire citizenry. The public schools have developed according to the needs and desires of the nation. However, they have always moved toward two ideals, equality of opportunity and equality of status (5:7). Because it aims to serve 34 35 all youth and to provide a general background on which to base future growth as a responsible and contributing I citizen, this educational plan is known as general educa- ; 1 tion. An investigation of the literature indicates several interpretations of general education and its purposes. This chapter contains (l) interpretations of general edu cation and its purposes, and (2) description of the pur poses and outcomes of a program of music education which is consistent with those of general education. The Purposes of General Education The concept and purposes of general education have been variously interpreted in the light of different philosophies. Pragmatic Interpretation Foster McMurray, a pragmatist, sees the aims of general education as perpetuating the "accumulated herit age" of man, and converting the "public culture into personal possession" in hope that one will behave differ ently in a positive direction. This is to be achieved 36 through the use of "accumulated knowledge, values, and skills, to acquaint everyone with the more subtle forces in his world which influence his life, with the hope that ... he can control his relations with his environ ment to gain more good." The key ideas are (l) the use of knowledge to guide behavior; (2) the belief in "the inseparable relations of 'cognitive' with ethical and aesthetic judgment," and (3) education as involved with the "more subtle forces of the world." (52;41) Realistic Interpretation From the point of view of realism, as stated by Harry Broudy, general education includes only (l) what cannot be learned or learned well through informal means; (2) what is judged to be essential (by the expert) for all members of the community to know. Through this, general education must achieve "the cultivation of capacities for realizing values." (52:76) Sociological Interpretation The sociologist, John Mueller, sees general education as achieving "the socialization of the child. 37 and his maturation into a productive member of society." To this end, education must "teach the skills which are necessary for the performance of the higher functions" while "taking cognizance of the personality, individual talents, and disposition of the pupils." Provision must also be made for a broad base of "cumulated knowledge" for professional and vocational training (52:120). The Comprehensive High School Plan In describing the Comprehensive High School, Conant lists its purposes: (1) to provide a general education for all the future citizens; (2) to provide good elective programs for those who wish to use their acquired skills immediately on graduation; (3) to provide satisfactory programs for those whose vocations will depend on their subsequent education in a college or university. (5:17) Educators in every subject recognize that the achievement of educational purposes is dependent on the efficient development of the human intellect. Current activities in educational theory and curriculum, experi ments in school plant organization and scheduling, and the 38 application of new technologies reflect this attitude. | ( The Educational Policies Commission has described j I the development of the ability to think as "the pervasive concern of the work of the school." The rational powers of the human mind have always been basic in establishing and preserving freedom. In furthering personal and social effectiveness they are becoming more important than ever. They are central to individual dignity, human progress, and national survival. The individual with developed rational powers can share deeply in the freedoms his society offers and can contribute most to the preserva tion of those freedoms. At the same time, he will have the best chance of understanding and contribut ing to the great events of his time. And the society which best develops the rational potentials of its people, along with their intuitive and aesthetic capabilities, will have the best chance of flourishing in the future. To help every person develop those powers is therefore a profoundly important objective and one which increases in importance with the passage of time. By pursuing this objective, the school can enhance spiritual and aesthetic values and the other cardinal pur poses which it has traditionally served and must continue to serve. (57:11) Moreover, the Educational Policies Commission is well aware of the uniqueness of music's challenge to the intellect and its contribution to the achievement of education's central purpose: Study of an abstract subject like mathematics or philosophy, in and of itself, does not necessarily enhance rational powers, and it is possible that experiences in areas which appear to have little 39 connection may in fact make a substantial con tribution to rational development. As a case in point, the abilities involved in perceiving and recognizing pattern in a mass of abstract data are of considerable importance in learning to analyze, deduce, or infer. These abilities may be developed in the course of mathematical study; but they may be developed as well through experiences in aesthetic, humanistic, and prac tical fields, which also involve perception of form and design. Music, for example, challenges the listener to perceive elements of form within the abstract. Similarly, vocational subjects may engage the rational powers of pupils. (57* * 17) The Purposes Defined The various viewpoints on general education indi cate four areas of agreement. The purposes of general education are defined in terms of those areas: 1. To develop those knowledges and skills which can be efficiently transmitted to the new generation only through the school. 2. To use knowledges and skills as a basis for valid judgments of moral and aesthetic values. 3. To choose materials and, through them, teach in such a way as to exert as great an influence on later life as possible. 4. To provide a balanced background of social and 40 cultural knowledge on the one hand and specialized knowl edge for specific utilitarian purposes on the other. The Purposes of Music in General Education Introduction The basic Justification for the teaching of any subject within the framework of general education is its own ability to contribute to the realization of the pur poses of general education. Therefore, the purposes of music as a part of general education are outlined below in terras of those unique qualities of the musical art which make it a necessary part of a well-rounded curricu lum. There are types of musical activities which have value in the educational program only if they are consciously directed toward the achievement of its pur poses. Performing skills, for instance, both vocal and instrumental will have educational validity only if the skills are developed in relation to the interpretation of musical ideas and styles which are understood by the students. Musical performances, per se, contribute to 41 general education's purposes when they are an outgrowth of the study of significant music which has led to under standings concerning its inner organization and meanings. Such understandings permit the deep emotional involvement on the part of the performer and the listener which characterize the finest performances. The purposes of music in general education are directly sought in the day-to-day experiences of the classroom. All musical activities should be directed toward the investigation of the characteristic qualities of significant musical literature as an ordered, organized art form. As the purposes are achieved, understandings in music will grow and, through them, responsiveness, atti tudes, value judgment, and interests will develop. These latter personal qualities are outcomes. Music education works toward these outcomes. They are the end results of its educational purposes, and will be achieved best throu^ an orderly investigation into the content and organization of music. The Purposes Defined Music education, as a part of general education in the high school, should develop; 42 1. Understandings of the nature, meaning, and structure of music as an art. Man is uniquely receptive to musical tone. He can enjoy music on a purely sensual level, but he can deepen his responsiveness to music by learning to perceive and understand the nature of music, i.e., the ways in which it is designed and organized as it moves through time. In order to understand a piece of music, it is necessary, first, to perceive the constituent elements which are, basically, patterns of successive tones, known as melody, patterns of simultaneous tones, known as harmony, and patterns of their movement through time, known as rhythm. The ability to perceive pattern in music therefore, is the essential foundation for under standing a musical composition. In this regard Mursell writes: "Musical growth depends altogether upon study of and dealing with music itself and upon differentiating the constituents which determine its significant expressive ness, its appeal, its beauty." (52:150) Roger Sessions, in discussing the need to be aware of the elements of music, says that ". . . it is through our perception of these elements, our awareness of them, that they have meaning for us." (24:15) Musical elements. 43 however, must be related and organized in order to convey musical meanings. Stravinsky's statement is succinct: "Tonal elements become music only by virtue of their being organized." (25:24) The meaning of a musical composition is to be found in the relationships among its elements and the ways in which they are varied. The first two phrases of Mozart's Symphony No. 40 in G Minor, for instance (see example on page 112) have the same rhythmic pattern but different melodic and harmonic patterns. This pair of phrases is repeated immediately with essentially the same melodic and rhythmic pattern but with different harmonic implications. The ways in which these phrases are related constitute an inner design which is part of the larger structure of this composition. The music's mean ing lies in this structure. "... the whole purpose of composition is to weave these materials into a pattern that has continuity and dramatic structure. . . . Let us call this continuity and structure the form or the design of the composition." (52:71) Form in music has several aspects which are dis cussed in Chapter IV (see page 89). The understanding of 44 musical form is, as Oleta Benn has written. the central purpose of all those who would have their students hear or produce music musically." She continues: Music is a form of communication which man has developed into an art of the highest order, using the unique medium of sound. We are compelled to teach to others the forms and symbols which will permit them to understand its meaning. Such mean ing is not conveyed through formlessness. It can not be discerned, therefore, by those who fail to recognize the order of its statement. In this context, by form we are really speaking of design. It includes all those effects of sound which com posers use to make their musical ideas known to others, the final organization of which may result in the simplest of four-measure rote songs or the grandeur and complexity of a symphony. (52:341) The nature, meaning, and structure of music are understood and, therefore, must be learned through a study of music’s constituent elements and their design. 2. An awareness and understanding of the litera ture of music which is a significant part of America’s cultural heritage. Music is taught in the schools because it is a significant means of human expression and communi cation, and because of "the pervasive presence of music in social life." (52:120) We realize that a primary purpose of schooling is to perpetuate an accumulated cultural heritage by doing what is often called ’passing it on’ to new generations. By this expression we seem to mean that we encourage new generations to convert our 45 public culture into a personal possession. (52:40) It has been pointed out previously (see page 18) that there are several viewpoints concerning the meaning of "significant" in relation to the value of music or types of music in our culture. However, the musical literature compatible with the purposes of general educa tion is more clearly delimited. The various philosophical interpretations of general education agree in substance with McMurray, who states that the aim of general educa tion is "to acquaint everyone with those more subtle forces in his world which influence his life." To him, the key word is "subtle," and he explains it in these terras: "We do not need a formal school to communicate that which is obvious or so prominently observable within the environment that one need only to live within it to perceive it." (52:41) Accordingly, the literature of music which is ■presented in the classroom should consist primarily of great works, which, according to Mueller, "carry a histori cal prestige all their own." He has further described such music as being: 46 ... a mixture of the approved masterpieces which carry a historical prestige all their own, plus the conviction that ’high’ and ’good’ in the aesthe tic world assume a certain intellectual complexity, a certain seriousness, a certain permanence, in contrast to the transient, the light, and the simple, which are easily comprehended by the unsophis ticated. It is such works of art which we like to contemplate and linger over and whose repetition of unexhausted novelty we anticipate with emotional and intellectual pleasure. (52:109) Within this frame of reference the basic litera ture of music education should include, for instance, suites, concertos, and the cantatas of J. S. Bach; the concertos of Vivaldi, Mozart, Brahms, and Bart6k; the symphonies of Haydn, Beethoven, and Mahler; the tone poems of Liszt and Richard Strauss; the madrigals of Morley and Monteverdi; the chamber music of Haydn, Mendelssohn, and Brahms; the songs of Schumann, Schubert and Wolf; the ballets of Ravel, Stravinsky and Copland; and the operas of Wagner, Verdi, and Berg, et cetera. The absence of "popular" and folk music may be noted here. The relationship of the purposes of music education to music of this kind is probably most often misunderstood by administrators, teachers and parents, alike. Jazz, and music from stage shows have an important function in our culture. Such music abounds in our 47 environment partly because of its commercial value, but primarily because it has functional and musical values within its own style. It permeates many areas of American culture. It is heard on radio, television, in night clubs, movies, on the stage, and even as a background to the sale of merchandise. Its omnipresence and its consequent familiarity are precisely the reasons why the teaching of such music in either performing or non-performing classes is unnecessary. Students already know it and, generally, like it. It is not at all "a subtle force" in our environment. Folk songs, however, should not be neglected. The students* familiarity with this music, for instance, could be used as a vehicle for approaching particular compositions which bear musical relationships to those songs. Tunes like "Greensleeves," "Simple Gifts," and "Gaudeamus Igitur," bear valid relationships to the "Fantasia on Greensleeves," by Ralph Vaughan Williams, "Appalachian Spring" by Aaron Copland, and the "Academic Festival" Overture by Brahms, respectively. 48 The Outcomes of Music In General Education The Outcomes Defined Musical experiences which are planned and directed toward the achievement of the purposes of music in general education will: 1. Result in increased understandings of the meanings and functions of music and will evoke deepening responses to music at the level of feeling. As music is more completely perceived and under stood, its impact upon the student is increased and responses at the level of feeling are more likely to be deepened and intensified. The fullest responses to music involves the essential duality of man’s nature. Woodruff states : Man is a rational being, but he is also an emo tional being. He not only thinks, he also feels. When he has a feeling, it is a feeling about some thing which he is thinking about, and whenever he is thinking about something, he is also having some kind of feeling about it. . . . Popular beliefs suggest that thought and feelings are separate and often opposed to each other. This is not really so. (30:75) One can respond to music as merely a pleasant experience with little or no understanding of music, but 49 the depth of emotional responsiveness can be increased greatly through developing one's understanding of music, While arguing for the importance of pleasantness in the educational music experience, Mursell says: Musical experiences certainly should and can be a pleasure. But music will not yield its rich est pleasures if it is treated merely as happy play and if the fact that it is an organized art is ignored as a matter of policy. (52:157) A unique outcome of the truly educative musical experience involves the emotions in the intellectual process of learning as well as in the response to the music itself. Some of the greatest pleasures and satisfactions in life come from the discovery of intellectual insights. In fact, such discovery can be very exciting, and there is a strangely mysterious inter-action between success in activities lead ing to intellectual understanding and enjoyment at a more physical-emotional level. Perhaps the ultimate listening is achieved when, at a point of emotional climax in the music, there is also at that moment a flash of understanding that reveals a hitherto unsuspected relationship of form. (52:265) The degree to which concentrated attention is focused upon the music (and not upon how he is reacting to it) is the degree to which the listener will have a perceptive basis for all of his responses to music. Therefore, if the student attempts to analyze his personal ! 50 I ' reactions while listening, the quantity and quality of his responsiveness to music will be inhibited. The elements and structure of a musical composi tion may be related to non-musical ideas and be expressive of them. Such music is best appreciated in terms of its musical meanings together with their non-musical associa tions. For instance, the understanding of an opera libretto and the musical ideas associated with it is necessary to the fullest response to the opera. However, music which is an expression of purely musical ideas with little or no association with extra-musical ideas can and should be understood in musical terms alone. 2. Result in attitudes toward music which are based on the discovery of its true nature and scope. The high school students brings certain attitudes to the music class which have been shaped by many personal experiences. Probably the most influential of these are the kinds of musical experiences the student has had in the home and in the school, and the prevailing attitude toward music among his peers. Of great importance also, are the attitudes of the teacher toward music, his fascination with music, the value he places on the musical 51 experience, and his ability to communicate effectively with his students. Even the weather, the time of day, and the day of the week can influence the student's attitude toward a musical experience. The true nature of music lies in its own tonal medium and the ways in which patterns of tone are organi zed. Because of the impelling force of music, it is often associated with non-musical ideas or activities, which should not be construed as necessary characteristics of the musical experience. It is the responsibility of the teacher to organize and direct the musical experiences of his stu dents so that their awareness of the true meaning and ^ expressive quality of music will serve to remove any misconceptions that they may have. McMurray writes: An important part of a music teacher's task is to remove popular prejudices and negative biases against serious music. They are a hindrance to perception and may prevent a pupil from finding in music the many elements which are perceivable by an educated listener. (52:43) 3. Result in increased ability to judge musical values. Musical understandings can be taught directly-- value judgments cannot. However, understandings provide a 52 basis upon which to develop one’s own preferences and values. Broudy writes : The goal for every rational man is a taste shaped by his own knowledge and discriminative experience. To be sure, one starts with the taste of others, but as knowledge and skill grow, freedom to experi ment, to be creative, to judge, and to choose and to reject also grow. (52:86) Educators should always make sure that the literature chosen for study contains the imaginative, subtle organi zation which evokes the greatest responses and dis tinguishes the best music of any type. Broudy, the realist philosopher, considers the "connoisseur" as one who can detect and appreciate those very qualities of musical organization: Within any genre the connoisseur is the only reliable source of standards. For the expert, the better is that which is more subtle, more complicated, less obvious, whether the music is serious or popular. . . . Technically and form ally good works of art will also achieve greater expressiveness and have greater import for human life than the inferior sort. (52:84) Although the judgment of values is in the final analysis ultimately personal and private, one restriction should be applied. Relative values should not be assigned to musical compositions which have different purposes and functions. "America, the Beautiful," for instance, as a 53 melody, should not be Judged as better or worse than "La Donna e mobile" of Verdi, because their functions, the reasons for their having been written, are different. Sessions has written: Unfortunately, we have to some extent acquired a wholly artificial set of standards, which con fuses functions with values--a really serious confusion, leading to many misunderstandings. It would be such a good thing if we would take more note of the fact that, for instance, a good piece of popular music has a far better chance for what we call ’immortality’ than a bad symphony; that the two belong to different categories which make quite different demands, and fulfill quite differ ent functions, each having its inevitable and presumably legitimate place in our cultural life. Each category contains its own particular types of good and bad music. (24:4-3) Music teachers should always bear in mind their responsibility to help students develop their own under standings as a basis for judgment of value and consciously to avoid imposing the teacher's own taste on the students. MacMurray writes: A teacher’s job is only to show his pupils what is to be found in music when obstacles to per ception are removed and when the learned capacity to attend and to hear has been developed. If, when a pupil has truly learned to hear more of what is potentially there, he does not value high ly the new content, then that evaluation is his own rightful concern and no one else’s. (52:43) 4. Result in deeper interest in music which will 54 continue to grow throughout adult life. Interest develops along with the capacity to respond emotionally to that which is perceived intellectually. MacMurray says that "the presence of emotional coloring, or interest, is essential to good learning." This does not imply that "pleasure" or "fun" is necessary to good learning. It refers to "any kind of emotional response that is appropriate to situations encountered, no matter whether obviously pleasant or not. In fact, a mere feeling of pleasure is not the kind of interest that is most con ducive to further growth." (52:48) Interest in music is based on the challenge to understand as well as the ability to enjoy. If the literature is worthy and has been well taught, its chal lenge will be accepted by the student and the discipline of the classroom will be controlled by the interest implicit in such a learning situation. Students often lose interest through the way in which subjects are taught, rather than the failures of the subjects them selves to create and maintain interest. Interests which continue into adult life are the residue of the best school experiences. In music they 55 will be based on understandings and emotional experiences of the good performance, whether as a performer or as a listener. The student who enjoyed the "Academic Festival" Overture is likely to buy a recording of Brahms’s Fourth Symphony. The student who enjoyed singing a Bach chorale will attend a concert of the St. Matthew Passion, and his interests will continue to grow. Such examples are typi cal of the results of the educative musical experience. As interest in music is developed, it will moti vate further activity in music. This will lead to broader experiences, increased understandings, deepening responsiveness, and, inevitably, greater interest. The kindling of interest in the worthy pursuits of man is among the teacher’s most important responsibilities, for it is the indispensable spark to the fire of his greatest achievements. CHAPTER IV THE BASIC CONTENT OP THE MUSIC CURRICULUM IN THE HIGH SCHOOL Introduction The underlying thesis of Chapter III was the achievement of the purposes and outcomes of music in general education through the study of the nature and structure of music. This was based on experiences which dealt with the constituent elements of music and the ways in which they were organized. The present chapter contains definitions and examples of those elements and the ways in which their changing interrelationships constitute the inner designs and the overall structure of a musical composition. The textures of music are des cribed as a function of design and form. Each definition is accompanied by musical examples from the different categories of the musical literature, i.e., instrumental music, piano music, songs, choral music, et cetera, likely 56 57 to be used in high school. The Constituent Elements of Music Music is tone moving through time. It is organized in terms of melody, rhythm, and harmony, which are its constituent elements. The interrelationships among them constitute the musical designs which charac terize a musical composition. The expressive qualities of these elements are affected by dynamics (loudness or softness), tempo (fastness or slowness), and the tone color of the instrument or instruments, including the voice. Pitch movement or change is a characteristic aspect of a melody. The expressive quality of a melody may be affected, however, when it is repeated at differ ent pitch levels. Melody The contour or shape of a line of single tones is perceived as a melody. A melody is characterized by a tonal pattern of relative upward and downward pitch move ment and the rhythmic organization of that pattern. Although the tonal and rhythmic aspects of melody may be 58 examined separately, it is the combination of the two which characterizes a given melody. Examples of patterns of pitch movement in melody Scalewise movement: Joy to the World, Mason p . , ...... M S t I J o ) ) lb 1HE kbR U )! 1f)£ Lord is come Rigoletto, Act I, "Caro Nome," Verdi n Z2 C A - 1 ? 0 n o - M E CHE I L M I O COR F e s - t i P R ) - M o P A L - ? ! - Y A R _ _ _ _ _ _ _ Symphony No. 7 , Sibelius Adagio fj) I X i Q pASL/Re(T) f CŸTZSC. ¥ Mazurka, Op. 7 3 No. 1, Chopin VIVACE f j - =5o) i IMEasuRe(^ / 59 Examples of melodic movement by leaps in a chordal outline : Symphony Mo. 3 (Eroica), First Movement, Beethoven ALL= CON BRIO rJ - = 6 6) _____ Ê MEASURE @ f Symphony Mo. 94 (Surprise), Second Movement, Haydn AMDAmte w~:~w #— # j) 'MEASURE Per Schmied, Op. 19^ Mo. 4, Brahms e— :— f— P----- ---f-- F f = M ^ 4 J r ■ f ------- ... j r ■ — 1 ' . . . i IC H HOR’ M E IA iS M SCffATZ DEM H A M M E R ER iCRW lAlGÉtDAS The Star-Spangled Banner H - g '... a OH--- 7 SAV Î CAM VûU 5EE 60 Examples of rhythmic patterns In melody: The Star-Spangled Banner L 0^__ ! Cf\N )Jûü S££, _E^RL^___ I'm Going Away, Brahms y I ’ M Going A - WA)I, I CAN - Alcyf £W, I’ M L E A -W M 6 M V T R U E , L 0 / £ T o - XA^ Symphony No. 40, First Movement, Mozart M olio Alleg r o M3 V1ÉA5URE The tonal patterns of most melodies are organized with reference to a central or key tone and ultimately resolve on the key tone. 61 Examples ; America I IE i FROM eV’ - RV LAST TOUR M E A S U R E S MÔUN-TAIN SIDE, LET FREEDOM RfAiG , All Through the Night 7 L n J -- K— — - V > ~ - 1-------------- s— I - - — C 4 ^ — J L_— J I, AlV LOWAIG V I - GIL KEEPING^ ALL IHROUÛH IUE AllGAl LAST FOUR m e a s u r e s _ z _ . . ___ Cradle Song, Brahms g p y n r h ^ ^ 1 f ~ o o p * w f L L T N w smtr W A K E ; T f < r 4 ^ / v / / V 4 'b^^ak. \ r L A S T FOUR MEASURES Melodies can be related to scales, which are characterized by their arrangement of whole steps and half-steps within an octave. Six such scales and their characteristics can be discovered by playing eight consecutive white keys of the piano upward, starting with middle C, D, E, P, G, and A, respectively. 62 The white-key scale beginning on C is called the major scale. whole .STEP HALF ... ______arme. It has half-steps between the third and fourth tones and the seventh and eighth tones of the scale. The white-key scale beginning on A is called the (natural) minor scale, or Aeolian Mode. 4ALF WHOLE St e p It has a half-step between the second and third tones and the fifth and sixth tones of the scale. Examples (these melodies are written in the natural minor scale or .Aeolian Mode, transposed to E): F ' 63 Merry Mount Suite, "Maypole Dances," Hanson 0 Come, 0 Come, Emmanuel . 1 J r. -c F*------- «----- 0 C O M E , O O D M E , - M A N g V m - s o M CAP-riW£ _is_ K A E l . Rhythm The longer and shorter time values of tones and the recognizable durational patterns that exist among them are perceived as the element of rhythm in music. Patterns of rhythm may be perceived in relation to the melody (see page 60), the pulse, the meter, and the underlying beat of music. In most music there is a recurring pulse that may be likened to the heartbeat of the music. It may coincide with the beats indicated by the meter signature or it may be multiples or fractions of 64 them. It sometimes assumes a prominent role in the fabric of a musical composition. Following are musical examples wherein the pulse is explicit, i.e., in the bass line of the music of Bach, in the upper line of the piano accompaniment for "Calm as the Night," and in the bass line of the example from the works of Haydn. Examples : Suite No. 3, "Air," J. S. Bach V L .I 65 Calm as the Night, Bohm É % CALM AS tn e N IG H T, MEAsuft(D •v - e - ’ Symphony No. 101 (The Clock), Second Movement, Haydn ' AN3 JAMTE i t t s - - 1 f f — 4 1 f - f f f - 4 - f f f \ r. 4 1 j Meter is the organization or grouping of time values into measures of music. It is indicated by the meter signature and bar lines. In a meter signature such 2 as 4 the "four" indicates that the quarter note is the 66 unit of time, and the "two" indicates the number of quarter notes, or their equivalents, contained between two bar lines--i.e., one measure. In most music, the meter will be organized in groups of twos, threes, or fours, or in combinations of them. Meter is not one of the basic elements of music, but rather a grouping of time values within bar lines which serves practical pur poses in reading the notation of music, in performing and in conducting it. In helping young children to feel and understand rhythm and meter, undue stress is frequently given to the first beat of each measure, resulting in the notion that the beginning of each measure is always accented. Students in the secondary schools, however, should have had sufficient musical experience to understand that the first beat of each measure does not necessarily call for a perceivable accent. In fact, the most artistic perform ance of many phrases )is_ completely without rhythmic accent. The following are examples of such phrases. Examples : Concerto for Violin and Violoncello Second Movement, Brahms Solo Vln ü Aald CELLO ---------- Symphony No. 9 , Fourth Movement, Beethoven Elijah, "He, Watching Over Israel," Mendelssohn ^LUMBERSAlol NoA BLEEPS RA - EL AE, WAlCHl/MÛ 0 _ v'ER Music of dance origin is usually based on a regular metrical pattern. 68 Examples : Elne Klelne Nachtmuslk Minuet Mozart Nutcracker Suite, ’ ’ Trepak,'- TsChaikovsky VIOLIN I. Liebeslieder Waltzes, Op. 52, No. 5, Brahms 5 IE K£ The meter in a composition may be a combination of unequal groupings of beats. 69 Examples : Symphony No. 6 (Pathétique), Second Movement, Tsehaikovsky Ê ’ gJLLQ 9 ^ # Four Slovak Polk Songs, Song No. 2, Bartok ANDANTE f i = isa) m— t---- — #--- f \ — -1 f— --- w * — P M # # i . ' " à - 8— F •.... ^— wLS---- - — ^— Wtt£R£ The ALPS iOAR So FREE f u ) W -R y VPiLB ^RfGHTWrfH & L fF j measure ( T ) The meter in a composition may change. In contemporary music, it may change frequently. Examples : Appalachian Spring, Copland A l l e g r o (J = rrrrrrriTTW 5 jT Y T O c t f C (MEASURE ® 70 The Rite of Spring, "Dance of Abduction," Stravinsky T R E s ro = 1 ^2 ) L m p IMEâSt/RÊ (4^ Glory to God in the Highest, R. Thompson ALL^ :SFIRirO£b (J = if# V-i L / r ï î 0 r V - t f a , . . ----------- 1 --- « à I I '^ 4 = ' - - - - - - - - - - -* tnW - R V 1D) MEASURE Q m IINj T0E rai -Esr r, The Underlying Beat The longest unit of time value which it is possible to conceive easily in relation to the music is the under lying beat. It is a unit of time--often unheard except in the mind--over which move subordinate pulses and the rhythm of the music. It is not necessarily a series of beats, such as two beats in a measure of two-four meter or three beats in a measure of three-four meter. Rather, it is a concept of time which includes groupings of beats. 71 measures, or even of phrases. It is particularly important for teachers of per forming groups to understand this aspect of music * s move ment which is not only indispensable in determining correct tempo but also in phrasing music properly. Phras ing is more closely related to the underlying beat than to any other rhythmic aspect of music. The following are rare examples of an underlying beat which is specified by the composer. Examples : Symphony No. 9, Second Movement, Beethoven Example A--The underlying beat occurs every three measures. I > 1 TR£ bATTUTE X' 0 0 * f f f I Se-fnpre. ^ SefTopre. p 72 Example B--The underlying beat occurs every four measures MdltT) \/iV ^ce(J-^ UG) K ltM O I » a U A ffR O 3 A TTU TE w m Measure (27^ Harmony Harmony is that element of music which pertains to chords. A chord is a group of three or more pitches heard simultaneously. In a melody, the tones are heard in succession, and its over-all contour is determined by the intervals which it contains. In like manner, the character of a chord is determined, in part, by the par ticular intervals that comprise it--intervals that are heard simultaneously in a vertical relationship. An individual tone takes on a particular melodic meaning when perceived in relation to an organized suc cession of tones. An individual chord takes on a particular harmonic meaning when perceived in relation to an organized succession of chords. 73 Examples : One tone--as a part of a melody One chord--same chord as a harmony r r 1 j # r A l i f e r? V I a-miti. G maj. DMAI. g mat. f \V J W j/ll I a t n t f t . C M A T . ] ) M A J . £ M f l J (Note the change in the character of the D Major chord when heard in a different harmonic context.) A succession of tones in a melody may outline a chord., in which case the harmony is implicit in the melody. (See examples of melodies which outline chords, page 59.) 74 In traditional harmony, a chord may be built on each degree of a scale by superimposing thirds, the notes of which come from the scale. These chords are designated both by name and by number. Example : Chords Based on the Major Scale NAME — NUMBER _ NAME ___ C r D i i Ln C 7 ) O E iii 3 m W i - A Ln § é 3 > 2 G y O 2 2 > -A A v i Lo c D 3 2 m y 3 > 2 B yi f* 3> In traditional harmony, chords are of various types, depending upon the intervals involved. Example : Different Chord Types I ■m 3 $ -try - 3 + T 7 3 * M 3 M AJOR CHORD MINOR CHORD DIMINISHED 7 m CHORD SEVENTH CHORD Augmented SIXTH CHORD 75 Theoretically any chord can progress to any other chord, but the resolution of one chord to another is based on the natural physical relationships of tones to a funda mental tone. A musical tone is actually a composite of many tones. A musical instrument, which is essentially a string, a column of air, or a solid, capable of vibrat ing, will vibrate as a whole providing its fundamental, and also in fractional parts, i.e., halves, thirds, fourths, fifths, et cetera, providing successively higher and fainter partials. Demonstrate On the piano, depress the white keys of the entire octave from middle C upward to the next C (leaving all of those strings free to vibrate sympathetically) and strike the C an octave below middle C. Middle C, the G above it and the upper C will vibrate sympathetically and be heard. This is because they are the natural over tones produced by their fundamental tone, the low C. A similar procedure will demonstrate that E and G (a 10th and 12th above middle C) are also overtones and, there fore, have a close physical relationship to the 76 fundamental tone which was struck. Higher overtones include all the additional tones found within an octave on the piano. Example : A Fundamental Tone and Its Overtones w z: _i ÜJ <c Z V- P "Z V- LU oc w <c >- A O z 3 U_ 3 t oj tn V O C Q - vn A V-%±: A stringed instrument, such as the cello, can also be used to demonstrate. Bow the open ”0” string. Then touch the string at the midpoint without depressing it to the fingerboard and bow the string again. This technique will cause the string to vibrate in halves and will produce an overtone, also known as a harmonic, which will sound an octave above the pitch of the open string. 77 A similar procedure at 1/3, 1/4, and 1/5 of the string will produce the tones indicated below: OPEN C fouCH 5TRIN&)K 3 iR lN lj AT M i d p o i n t V iB R A iE S STRING VIBRATES IN H A L V E S IN THIRDS string s t r in g VlbRATES V ib r a te s in in fifths FOURTHS -o- ^ C o) . — Q 40)- ' m ( 0* ■ ) The tonal point at which the string is touched is indicated by a <> . A major triad consists of the fundamental tone and the two overtones which have the closest physical relationship to it. From the overtone chart (page 76), it can be seen that G and E are the first two tones in the harmonic series (other than C). Therefore, they bear the closest physical relationship to the fundamental tone C. Because of the close physical relationship between a given tone and the tone a fifth above it, the chord based on the fifth tone (the dominant harmony) bears the closest relationship to the chord based on the key tone (the tonic harmony). Thus, the natural resolution of the dominant is to the tonic, which is its harmonic 78 generator. The dominant chord frequently may progress elsewhere, wandering away from its home base, but its natural resolution is to the tonic. Examples : The chord built on G is the dominant harmony in the key of C major. In the same manner: D is the dominant harmony in the key of G major. A is the dominant harmony in the key of D major. JGL V W V 1 V Music is said to have modulated from one key to another when it shifts from one tonality to another and the new tonality is firmly established. Because of the close relationship between the dominant and tonic harmonies, a very common modulation is one in which the original dominant harmony becomes the tonic harmony of the new key. 79 Example : Suite No. "Gavotte/' J. S. Bach 4 -feA yfl J j. , 1 6fRINGS / j y tei " " 1 F = # f = pE-f-r f "1k^#==p. MODULATION To A MAJOR g 22 r ■i j . r i ÀA I M E r r Following a modulation, the passage in the new key may be very brief. The original key is resumed almost immediately. Examples : Messiah, He Shall Feed His Flock Like a Shepherd Handel LA R6 A ET% ) E TIANO AND H E j SHALL- Th êR Th e LAMDS VlTH HIS ARM, W ith A piece of music may modulate from its original key to any other key. Examples : Wedding March" from Lohengrin, Wagner Parsifal, Wagner Compositions can be based on more than one tonal center at the same time. Music in two keys is called "bi-tonal" music. 82 Examples : The Rite of Spring, "Dance of the Adolescents," Stravinsky MAJOR CHORD _ With added 3£\Z £N T H t îɱtt J MAJOR. CHORD Music can be organized without reference to a tonal center. This is sometimes called "atonal" music. As a means of communication, music must be understand able. It must have a logical organization through which it "makes sense" to the listener. The tones of music, therefore, must have perceivable patterns and relation ships as they pass in time. Traditionally, music has derived much of its meaning from its relationship to a tonal center. In music which is atonal, however, melody and harmony are not organized in the traditional sense. Successive chords are not related as harmonies, nor are linear patterns related to a tonal center. In atonal music, natural tonal relationships may be perceived 83 harmonically and melodically, but they are not the intended results in this type of music, which is without key center. The most widely used technique of composing atonal music is based on a linear pattern which utilizes all of the tones within a given octave. Since there are twelve tones within any octave, this pattern is called a twelve-tone row. The row itself is only a tonal formula without rhythmic organization. In writing music using the row, the composer is free to organize it into whatever rhythmic patterns he chooses during the course of the composition. The row may be presented in many ways or in combinations of these ways: 1. in its original form 2. backward--called retrograde 3. upside down--inverted 4. upside down and backward--inverted retrograde The tones of the row can be used both horizontally and vertically; as melodic lines, "chordal" groups of tones, or in a combination of the two. The entire row may be transposed to any other pitch level. Any tone in the row can be sounded in any octave. 84 Examples : Variations for Orchestra, Op. 31^ " T h e m e Schônberg Tr£ KOW £ 1 2, 3 ' ' T k -*- 4 5 6 7 8 q l o 11 12 MOLtO MÛ3)Î^(J»88) I original Rou/1 z 3 4 ' 5 "Theme," Measures 34-57 g 7 a 4 10 11 iZ p - J. ^ r é t r o ô a d é AW L (T R A N S T O S E D ) /AI/E.RSIOA/ 12 11 10 9 8 5 4 3 Z 1 'RETROGRADE 12 11 10 8 7 G S 4 3 2 i # # £ iMi^ERSioAi (Transposed) #r- ' f . r t i r f l A ' Ê 3 1 2 3 4 3 G 7 8 9 10 i l 12 85 Dynamics and Tempo "Dynamics" refers to the relative loudness or softness of tone. "Tempo" refers to the relative speed at which music moves through time. Although dynamics and tempo are often Inter related, dynamics is associated with the sound of music, and tempo with its movement. All musical Ideas have a perceivable dynamic level and a tempo. Dynamics and tempo, are therefore not superimposed or added to music; rather, they are always present In some degree. The relative degrees of loudness or softness, and of quickness or slowness are perceived as dynamics and tempo. Dynamics and tempo are integral qualities of the total musical meaning of a composition. Even slight variations of these qualities can add a new dimension to a phrase. They are important aspects of styles which characterize the music of various historical periods. For Instance, Beethoven was very explicit In his dynamic mark ings. He rarely Indicated dynamic levels beyond "pp" for very soft, and "ff" for very loud as Tsehaikovsky did. The same dynamic markings, therefore, had different meanings for each composer. The gradual increase and 86 decrease of dynamic level ("crescendo" and "decrescendo") was also important in Beethoven’s music. He was, more over, the first person to indicate exact tempo through the use of metronomic markings In his scores. J. S. Bach, on the other hand, employed relatively few dynamic or tempo indications. The crescendo and decrescendo, as found In Beethoven's music, are not a part of musical style in Bach's time. Original publications of choral music of Renaissance composers such as Josquin or Lassus contained no tempo Indications, dynamic markings, or bar lines. Hence the text (in vocal music) and the meter signature are the most important clues to tempo and dynamics in this music. Listening to authoritative recorded and live per formances will help to develop true conceptions of dynamics, tempo and balance in the performance of music. Dynamics and tempo are so potent In their ability to enhance and Intensify the expressive qualities of music that they sometimes become as important in the design of music as the elements themselves. Students can develop understandings of the importance of dynamics and tempo through experiences with music In which these qualities are salient expressive features. 87 Examples : Peer Gynt Suite No. 1, "In the Hall of the Mountain King," Grieg. A composition which gradually increases its dynamic level while increasing its tempo. Adagio for Strings, Barber. A composition which gradually Increases its dynamic level to a point of climax and then decreases to the end with a consistent tempo throughout. Messiah, "Worthy Is the Lamb That Was Slain," Handel. A composition which has abrupt changes of tempo from one section to another. Tone Color Musical Instruments, voices, and combinations of them, are capable of an Infinite variety of tone colors. The choice or use of certain tone colors Is an important aspect of the musical meaning of many compositions. The choice depends not only on the tonal qualities of the Instruments themselves but on their appropriateness to the 88 melodic, harmonic, and rhythmic nature of the music. Examples : Contrast the quality of the low staccato tones of the solo bassoon in the Sorcerer's Apprentice of Dukas (measures 72-99) with that of the upper register of the solo bassoon at the beginning (measures 1-5) of The Rite of Spring of Stravinsky. The quality of tone in each case is appropriate to the expressive Intentions of the music. Listen to the contrasting tonal qualities of the voice as it projects the three characters in the Erl King of Schubert. The quality of the vocal tone and the character of the piano accompaniment are expressive of the feelings of the frightened child, the protective father, and the enticing Erl King. Compare the Instrumental color of the First Move ment from the Symphony No. 6 ("Pastorale") of Beethoven, with the Afternoon of a Faun by Debussy. Note the way In which the use of Instruments, In each case, is appropriate to the melodic and harmonic nature of the music. Compare the Prelude to Hie first act of Lohengrin of Wagner with the Prelude to the third act of the same opera. The 89 choice of instrumental color, in each case, is the result of the composer's musical Intent. These preludes are associated with two different dramatic situations which are expressed. In part, by widely divergent tone colors. Form in Music Form or design in music results from the relation ships that exist among Its constituent elements. They may exist within a theme or among themes. It Is essential to understand the melodic, rhythmic, and harmonic structure of a theme In order to recognize and understand altera tions In this structure. A theme Is a basic musical Idea consisting of a particular design with inherent melodic, rhythmic, and, often, harmonic qualities. In the theme which follows, the element of melody is characterized mainly by the repetition of Its three-note pattern. The rhythm of this pattern Is the chief rhythmic characteristic of the theme, which itself is as much rhythmic as it is melodic. The element of harmony is simple. Only the tonic and dominant chords are used. 90 Example : Symphony No. 8, Second Movement, Beethoven ALL* SCHERZAND0(i^=06) FfG. A i t VLN.I, . 1 M E A S U R E (T) HARMONIC DESIGN: # A composition derives organic unity through repetition of some of its elements. It derives variety and contrast as one or more of them is altered while the others are repeated more or less identically. The recognition of these relationships--of the way In which one part of a composition is derived from, but is differ ent from, an earlier part-^-ls an indispensable factor In understanding the process through which a composition makes sense. The musical design resulting from this process is perceived as form in music. A few of the many ways in which relationships among the elements of a theme can be varied in the design of a composition are illustrated on the following pages. 91 A theme may have a characteristic rhythmic pattern (A^) which may be repeated with varying melodic material (A^) and (A^). Examples : The Magic Flute, Act I, "Es Lebe Sarastro," W. A. Mozart W-f' - -K-- A - ' » * ■ ------------: -0--- —#- P -- ^— -^-f---- - * r; ^-\. ^—— ■ ^-- ^---- — — —*— WL, f \ , r . tra ■ l r J r - . SE T ree ea -rasTrû V /TA GREAT EX- AL-TA-TlOAl — 1 ■ # - • — f- f . - f— W--- — ' 7 : r il==^f=fc=_' /— i=r. r ~ ^ = ^ ^--------- y—-— — / P ' ' -----' We mail Thee 5A ^ kastro With D eep rA'Tion Symphony No. 8, Second Movement, Beethoven |ALL2 SCHERZAA1D0(-^ = 88) ^ . 2 y . . . y ÿ M£ftSUR£(T) MEASURE(3 ) t = ± % S — » MEASURE ff 1-1 . i —y- 92 The characteristic melodic pattern of a theme may be repeated with changes in the rhythmic pattern, the meter, and the tempo. Examples : Till Eulenspiegel, R. Strauss COMFOPTABU VlNI MEA5URE(^ .... LI/EU C L A « . i — 1 - — G---- r : ----h—f c ----a—jr k ' ' ■ 0— -----h-j— 1 ----7 4 ^ b— j -4 . . { MEA5URE(^ Symphony No. 9 , Fourth Movement, Beethoven lALLEGRO ASSAI Ü = 8o] w — P ieasureQ ^ ALLEGRO r r if J measure (6^ The melodic contour of a theme may be retained while its harmonic structure, rhythmic design, and tempo are changed. Examples : Chester, Overture for Band, W. Schuman Cantata No. 4, ’ ’Christ Lay in the Bonds of Death,” J. S. Bach V£R5£ V / l l “ CHORALÉ GRATEFUL AEARTs WE All ARE MET (Compare the soprano line above with the bass solo line which follows.) V£RSE V. ANDANTE i^ O N Aîoro.J=Ô8 BASS ny) 1 H E T A S - C H A L V i c . - T I M A E R E WE The essential design of the elements of a theme may be repeated with a change In tone color. The first example from "Nocturnes” Is scored for muted trumpets the second Is to be played by woodwinds. Examples : Debussy Petes Nocturnes MEASURE 95 Mother Goose Suite, "The Conversation of the Beauty and the Beast,” Ravel MODERATO So CoNTRA-n-î—3 MEASURE A L l T i L E 5 L 0 U / £ f ? measure (^8 \/E R V £LO\*/LS CELLO MEASURE r 150 The tonal relationships of a theme may remain the same while being lengthened In time. This aspect of form In music Is called "augmentation.” Examples ; German Requiem, Part V, Brahms ANDANTE . 1 --- lORlglNALj SûPR SOLO 4 - M E A S U R E /^ SHALL A - GAIN BE - HOLD M E , AfiJi ^OUR fiEftRTSMLL BE Iû ÿ ‘ EUL., AN]) ) AUüMEMTATtÔN? f Ténor:à S £ f MEASURE ycA, ViLL COMFORT :^0U, VEA Appalachian Spring;, Copland O B O E MEASURE M47) iVLA. dotez The melodic contour of a theme way remain the same while being shortened In time. This aspect of form In music Is called ’ ’ diminution. Examples : Chester, Overture for Band, W. Schuman R e L I Û IDSO 72) MEASURe(^ P d o tc ^ Ic ^ a io ALLEGRO V IV O *160) M E A S U R E Carmen, Bizet "Prelude” Act I, ’ ’ Entrance of Carmen ALLEGRO i b# A theme, or a pattern from it, may be turned upside down. This aspect of form in music is called Neither of the following pairs of examples inversion. represents an exact inversion, but the relationship between the inverted version and the original is clear in each case. 98 Symphony No. 3j First Movement, Brahms GRAZIOSA _ ^ ^ 0B0£ VL(\ i d Measure (?^ ^ 4L VLN J SRAZIOSA m M e a su r e - r x j p . esjor-ess. CJJ fN/ERSION First Suite in for Military Band, "Chaconne,” G. Holst Allegro mqierato o i , 3— ,— ^ r : — W-^ --- I. ? h 4 r = w ^ =J=4 M e a s u r e ( 1 ) ir«lVERSION OF YM£ME fCORMETS, £üPHONIO/H,SARlTûN£ . ) 1 1 — c i ? 1 y --------------------------J --- ■ w ....... J - _ ....J- — J ? 1 f 1 MEASURE (^. A tonal pattern in a melody or theme may be repeated successively at either the higher or lower pitches. This aspect of form in music is called a "sequence." 99 Examples : Alleluia, R. Thompson LENTO t o r i T ] p # J. # 1 # Al - L E - L U - lA SEGlULNCE MEASURERS) ur ^ AL - LE-LU - IA Fugue In G Minor, "The Little," J. S. Bach 5EQUEN MEASURE J I Forms of Music Forms of music refers to the broad framework or over-all structure of musical compositions. The rondo, theme and variations, sonata-form, and binary form are examples of forms music, or musical forms. Although a given form of music has certain char acteristic qualities, the different compositions written in that form can vary greatly in their interior design. 100 The relationship between form music and form of music is analogous to the relationship between the inner design and the over-all structural form of the great medieval churches of Western Europe. These churches vary in the number, size, design, and placement of their windows, in the design of their facades, in the number and placement of their steeples, and in the individual designs of their altars, columns, and chancels. These (and many other features, of course) are the distinguishing and unique qualities to be found in individual medieval churches. All churches, however, have the same structural form which has greatly affected their inner design. They are all based on the cross. Therefore, they all have a nave, transepts, and a chancel. Although their inner design may be unique, the relationships among these parts of the whole is based on that larger design. In the same manner, a form of music gives its own meanings to the designs within it, and at the same time, is characterized by the uniqueness of the musical ideas which make up those designs. Each part of the whole is functioning in the whole, but we experience the part only through the whole. . . . Every form has a structure, although the form 101 is more than the structure. Nevertheless, the comprehension of the whole is through its parts, for whatever the whole is, it is that by virtue of the parts that compose it. (22:156) The understanding of musical forms, therefore, is based on the perception of musical elements and a compre hension of the design and interrelationships among those elements. One kind of musical composition, for instance, is based on a single theme. In this case, the theme is stated and then followed by a series of sections, each of which varies the theme in some distinctive manner. Its rhythmic or melodic pattern might be altered. Its tempo, dynamics, pitch level, or instrumentation might be changed. Several such changes might even be combined. Each of these variations is patterned in such a way as to reveal the musical relationship between the variation and the theme itself. The theme together with its variations constitutes the form of music known as Theme and Varia tions . Each composition written in this form has its own unique musical significance, achieved through the individ ual quality of its theme and the ways in which it is varied. For example, a theme may be varied by ornamenting the original melodic line with additional patterns of 102 tones. THEME Symphony No. 5^ Second Movement, Beethoven ANDANfE C O N MoTo(J^*.^2 'P ' ' ^ p do( MEASUREQ ------- ( h # • ' K, ...^ . 1 r - r ’ . . . «tir • ■ r ... . s s --- " r p - : _______________________ : _________________________ V A R I A T I O N II ^ M E A S U R E 9 9 -16E) p d o C & c MEASURE A variation section may be based on a change in mode (major to minor), although the rhythm of the theme is preserved. In the example which follows, the rhythmic design is maintained; but the detached, staccato style contrasts with the flowing motion of the theme and serves to change its musical character. 103 Symphony No. 5 , Second Movement, Beethoven V ftW A flO N III. _ ^ I'A f A à m__________ k Î ± Î & a t e t Variation can also be achieved through the addi tion of something new, such as a countermelody, to the theme. Example : Symphony No. 94, Second Movement, Haydn Am d a m t ê ^ P T J! Measure @ V A R lA n O N I . MEASURE ( a i 104 There is a type of theme and variations in which each repetition of the theme is accompanied by melodic variations in other instruments or voices which move around the theme. A composition known as a chaconne, or a passacaglia, is organized in this way, as are some arrangements of folk songs. The theme itself may appear at different pitch levels, be varied slightly, or even be inverted, but the chief characteristics of the theme can usually be recognized. (See Part II, Chapter 3.) Complex, extended compositions of more than one movement, such as symphonies, are sometimes unified through consistent references to a single theme or even to a motive. (A motive is a brief musical idea with a clearly defined, characteristic pattern.) For example, the motive which is woven into the entire fabric of the Symphony in D Minor by Cesar Franck is a three-note figure consisting of a downward half-step followed by an upward leap of a diminished fourth. Its appearances are marked by changes in its rhythmic pattern, melodic pattern, tempo, tone color, and pitch level. It becomes an integral characteristic of the several differ ent forms within this work. 105 Examples : cf-asc. A LLE 6R 0 NON T&OPft) MOf) /E A TtM PO A(VD MEYER CHANGE Second Movement M o tiv e A \* /iT H A ^ E L O D lC , K h vT H m ic , h a r m o n ic , TËMPO AND METER CHANGES. 106 Third Movement ALLBjRo n o nTroppo ? s ff J to ^ c c cciiJra.S’i l c Motive A within a major mode, with new tempo, meter, and harmonic changes The Cantata No. 4 by J. S. Bach is an example of a theme which serves as the unifying force in an extended work. Each of the sections of this cantata is based on the chorale melody "Christ Lag in Todesbanden." The first section of its melody appears below: Cantata No. 4, "Chorale," J. S. Bach U ------r ‘ .. ... - - ■ M ’ l» 1» 4 ^-4 107 Following are some of the ways in which the melody appears. (Only the first two phrases are quoted.) Cantata No. 4, "Verse I," J. S. Bach The melody is in augmentation. SOPRANO A . ^ W P t MEASURE (D —-- Cantata No. 4, "Verse IV," J. S. Bach The melody is in diminution. à (Mê ASURE © / V / é w 8 Cantata No. 4, "Verse V," J. S. Bach The original melody is changed rhythmically and metrically. Each phrase is sung by the bass solo and imitated by the first violins at a different pitch level. 108 Bass Solo and First Violins Fmsf g.fia. i ^ M EASUR E(D tH E TBS - CHAL M C - flM ______________ F irs t ftiRAse im itateb HERE WE é ê ÉEÊ i< Ê S T i # .SEE A s CHHL y ic - T im HERE W E jE E , A musical composition may be based on two or more themes. Its over-all structure may be developed in terms of the design and relationships of its themes without reference to a form of music. For example, in the chorus "He Watching over Israel," from Elijah, its two themes are so designed that they can be presented separately and then,, later in the composition, simultaneously. 109 Elijah, "He Watching over Israel," Mendelssohn Sof^ aJo 1^- i - ^ M easure© he, u^ aT ohNû over is - ra- el , clumbers a/ dt, a/ or . sleeps i -reuoR *c - 44.1 I #=P ; MEASU/&@ .SHOULlfef lk )U W^LKiN(r /N GRiEF I M __ ÛûflSH^HE WilQüICRêN tflEE Soprano and Tenor A * 3B f ~ f r J J j j > f J MEASURE [0=1^ ( f ) ^ ® /a\ pff r é è i f = F This technique is used frequently by Wagner. In the overture to Die Meistersinger, for example, he presents several themes which are important in the opera, and, in one section, beginning at measure I58, he combines three of them. 110 Prelude to Die Meistersinger^ R. Wagner c" p J. ^ MEAsure(P ..J S ; MEASURE 0 r I r f r M64$UAg 47 Measure 158-I6I \/iQLiN I .. Vio l a, woodwI aids (l^lM IM UriO N OF BRASS AND W. _ MEASURE P P VlOLINl (M ELODV , CLARINET I. , OF V IO L IN I- IN Ê H O R N I -, cello M E A S U R E T(^ANSV0S£D T o C-) brass in s t r u m e n t s BRASS AND W O O D W IN D S (m E lg in of brass ano W ood W inds- N6ASURe(Î) .) Ill The relationships among the several themes of a composition may be conceived within an over-all structural form, such as the Sonata form. For example, in the first movement of the Symphony No. 40 by W. A. Mozart, there are three basic thematic ideas of contrasting characteristics, not only in their melodic and rhythmic structures, but also harmonically. The first theme, in the key of g minor, consists of a closely woven design. 1. It is based, primarily, on the rhythmic structure of its first phrase, which itself is based on the repetition of one motive. 2. The first four phrases consist of a repetition of the rhythmic pattern of the first phrase, while its melodic pattern is varied. 3. The melodic pattern of the first two phrases is repeated at a lower level (in sequence) in the third and fourth phrases. 112 Example : Symphony No. 40, First Movement, W. A. Mozart First Theme 'PHRA&eCi M ouro ALLÉôRO i MEASURE 1 ThRASEw g A transitional theme (measures 28 through 42) has definite harmonic implications resulting from the chordal aspects of its melody." The sequencing of its chordal pattern points up its harmonic movement, which starts in Major and ends in F Major. Example : Transitional Theme ViOLlNS ê f t t t MEASURE EC The second theme is characterized by a smooth, downward moving, chromatic melody. This theme is centered 113 around one key^ that of Major. Example : Second Theme VIOLINS Mil» Wbo])M#S M6te^RE@ After the statement of the themes (a repetition is called for, but not always performed), the first theme seems to begin again, but a definite melodic change is heard at the end of the second phrase. It will be noted that the key and pitch level are also different. Example : Original Theme MOLXq allegro : Gr Ml not -H— H r " , f I # ; . , ;------ ^ f - — P--- =-1# — 0— “H P — p— ^ LT r P M 114 Altered Version of Theme • F M l’hof % # * ^LT c r e x ) M£i.oi>y b Ç - Xry V'p f 0 P=9 jMEASuRg (4^ In this new section, the first and second phrases of the first theme are heard many times and are altered from their original appearance in many ways. They appear in the bass line. They are heard in other keys, including C Major. The basic rhythmic motive of the first theme appears in its original form. It is inverted against the chordal motive of the transitional theme, which is itself inverted at one point. Example ; First Theme in C Major m MEASURE 115 t t 3 iViÊASÜRê ^ ygTiyf OF Piggr 7>f ! 4 R ^ *> f. ü A i W a S a ■^7<y " ^ m ï i Finally^ the first theme is heard again, quite the same as it was originally. The transitional theme, however, is approached differently and appears first in Major. It is also extended in time through many dif ferent harmonies based on its original chordal pattern. It arrives at a new key, as it did earlier in this move ment. This time, however, it is D Major. The second theme appears here, but in a minor key— g minor. The movement ends shortly thereafter. The following conclusions can be reached from the demonstration above ; 1. The whole movement consists of three large 116 sections : (a) The first section presents three basic themes. (b) The second section presents the themes (in this case only two of them) with many changes in their original design. (c) The third section repeats the basic themes with one important change; the second and third themes appear in new keys--the latter in the same key as the first theme (g minor). 2. The transitional theme, in each case, moves from the key in which the first one ended to the key in which the third one begins. 3. The dramatic qualities of the music are to be found in the contrast among the characteristics of each of the themes and the various ways in which the melodic and rhythmic content of the themes were treated. Based on such experiences with music in the Sonata form, an understanding of the generalized plan of Exposi tion, Development, and Recapitulation can be developed. This understanding will be a basis for further, richer experiences with music written in this form. The same 117 approach will be valid in the presentation of other large forms of music. It may be concluded that the development of an increasing responsiveness to music which is organized within a particular musical form depends on the develop ment of the ability to recognize; (1) the patterns which characterize the basic musical ideas of a composition; (2) the relationships that exist among those ideas; and (3) the over-all structural plan made apparent by their subsequent appearances in identical or altered form. Texture in Music The various ways in which the voices or parts within a composition can be combined result in character istic textures of tone. There are, basically, two types of textures in music. Music which consists of several melodically independent but usually related "voices" has a polyphonic (many-voiced) texture. (See the examples on pages 109-110.) Music which consists of one important melody supported by other subservient voices which create a harmonic or chordal background has a homophonie texture. The supporting voices may be organized in a rhythmic 118 pattern unlike the predominating melody. Example : Symphony No. 7, Second Movement, L. V. Beethoven ^ " A M ' — ^ ± 1 C t . A 21; : : m a MEASURE The supporting voices may be organized in a rhythmic pattern which is essentially the same as that of the primary melody. In the following example, the melody is in the soprano voice. Example ; Elijah, "Be Not Afraid," F. Mendelssohn J bTXI U U - r— r FRAIDt SAlTH ÛOD 1k£ r - r r LORD. The inner designs which constitute certain tex tures are basic to certain forms of music. If, for instance, an identical melody is presented by several 119 voices entering at different points in time, this creates the form known as a canon. (See Part II, Chapter I, ’ ’ General Music Guide.”) A more complex application of this same principle of organization is the basis for the opening section of a composition called a ”fugue.” (See Part II, Chapter IV, ’ ’ General Music Guide.”) CHAPTER V SUMMARY AND RECOMMENDATIONS Summary There must be a balance in the curriculum between the sciences and the arts so that future citizens will possess the knowledge, skills, and the discriminating sense of values that are necessary for a satisfying and productive life. The school curriculum should offer opportunities through which students can develop their full potential to create and communicate through the many avenues which the human being is inherently capable-- language, music, and the visual arts. The schools should provide challenges commensurate with the abilities of students in whatever field they choose to emphasize and wherever they show promise. The achievement of balance within the high school music curriculum calls for the assumption of responsibil ity on the part of the music educator for the musical 120 121 education of all students, performers and nonperformers alike. It would seem that in many instances music teachers at the secondary level have not utilized the support available from their administrators. Although the direction of growth and the emphasis in curricular matters reflect administrative and supervisory leadership, the administrator* s respect for music in the curriculum will be determined largely by the quality of the classroom experience which is the direct responsibility of the teacher. Materials for music classes should represent the broad spectrum of significant human experience as it is expressed in musical terms. Music should be chosen for its ability to demonstrate the kinds of ideas and forms which are the source of its communicative powers. More over, it should be emotionally appealing, and presented in ways which will develop the understandings and skills that nurture future growth and interest in music. Though no one would deny that music has a function in recreation or entertainment, the music program in a school is justi fiable primarily in educational terms. Although performing 122 groups may be expected to provide some entertainment, their reason for being is to study music through perform ance, and their repertoire should be representative of the best music there is. Much of the finest music is emotionally more compelling than most of the music which is merely ’ ’entertaining.” Moreover, the school is primarily responsible for presenting those experiences which are not readily found in one * s environment. In performing classes, the development of musical understanding and technical skill should go hand in hand. The teacher should guide the students toward a clear and correct conception of the musical design and form of a composition. He should lead them to an understanding of the function of the various parts in producing the over all tonal fabric. The goal should be the perfect perform ance. It may never be reached, but the student should be taught to conceive it in his mind and be inspired to work toward it. The purposes of music in general education are to (l) develop an understanding of the nature and meaning of music as an art; (2) become acquainted with the significant literature of music; and (3) develop an 123 understanding of the scope and significance of music in our culture. The outcomes of music education are produced as the purposes are achieved. They are (1) deepening responses to music at the level of feeling; (2) the development of attitudes toward music based on an under standing of its true nature; (3) the development of the ability to Judge musical values; and (4) the broadening of interest in music. Recommendations As the result of this study, the following pro grams and actions are recommended. 1. School districts should examine their cur ricula in terms of the need for greater balance between the sciences and the arts. Specific requirements for courses in the fine arts should be a part of all educa tional programs. 2. Greater emphasis should be placed on the musical and educational value of performing activities. In general, the need exists for a careful appraisal of the amount and quality of the music performed in American 124 high schools. 3. A clearly articulated program of music educa tion should be developed for the general music student, as well as the player or singer, from the primary grades through the high school. 4. Studies should be undertaken to develop techniques and approaches in the teaching of music in all classes which are consistent with music’s own content and its associations with the experiences of man. 5. Colleges and universities should provide for the training of all music teachers in the field of general music. 6. A corps of specialist general music teachers should be developed and recognized as a full partner in music education. The general music class will be success ful only'in the hands of the well-trained teacher who has the time and energy to prepare adequately. 7. Guides for the teaching of specific composi tions in general music, based on experimentation in the classroom should be produced. 8. Music educators know that the study of music is a difficult and demanding discipline. The challenge of 125 perceiving the patterns and understanding the abstract forms of music will spark interest, which is not created through story-telling and non-musical associations. The music educator should develop a zeal for discovery and learning which will induce his students to accept the intellectual challenge and reap the emotional rewards of that educational and musical experience. BIBLIOGRAPHY Books 1. Barzun, Jacques. Teacher in America. Garden City, New York: Doubleday Anchor Books, Doubleday & Co., Inc. 280 pp. 2. Copland, Aaron. Music and Imagination. New York: Mentor Book, The New American Library of World Literature, Inc., 1959- 150 pp. 3. . What To Listen for in Music. New York: Mentor Book, The New American Library of World Literature, Inc., 1953- 150 pp. 4. Bruner, Jerome S. The Process of Education. Cam bridge: Harvard University Press, 196I. 92 pp. 5. Conant, James B. The American High School Today. New York : McGraw-Hill Book Co., Inc., 1959• 140 pp. 6. Davison, Archibald T. The Technique of Choral Com position. Cambridge : Harvard University Press, 1955. 206 pp. 7. Dewey, John. Art as Experience. New York : G. P. Putnam’s Sons, 1958. 349 pp. 8. Dudley, Louise, and Austin Parley. The Humanities, Applied Aesthetics. New York: McGraw-Hill Book Co., Inc., i960. 466 pp. 9. Earhart, Will. The Meaning and Teaching of Music. New York : Witmark Educational Publications, 1 9 3 5 . 2 5 0 p p . ___________________ 127___________________________________ 1 2 8 10. Farnsworth, Paul R. The Social Psychology of Music. New York; The Dryden Press, 1958. 304 pp. 11. Highet, Gilbert. The Art of Teaching. New York : Vintage Books, Inc., 1958. 259 pp. 12. Hindemith, Paul. A Composer’s World. Cambridge: Harvard University Press, 1952. 221 pp. 13. Howerton, George. Technique and Style in Choral Singing. New York : Carl Fischer, Inc., 1957. 201 pp. 14. Jones, Archie N. (ed.) Music Education in Action. Boston : Allyn & Bacon, i960. 523 pp. 15. Leonard, Charles, and Robert House. Foundations and Principles of Music Education. New York: McGraw-Hill Book Co., 1959. 375 PP. 16. Lundin, Robert William. An Objective Psychology of Music. New York : The Ronald Press, 1953• 303 pp. 17. Machlis, Joseph. The Enjoyment of Music. New York: W. W. Norton & Co., 1957. 452 pp. 18. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: The University of Chicago Press, 1956. 293 pp. 19. Morgan, Russell Van Dyke. A Living Power in Educa tion . New York : Silver Burdett Co., 1953. 122 pp. 20. Morgan, Russell Van Dyke, and Hazel N. Morgan. Music Education in Action. Chicago : Neil A. Kjos Music Co., I96O. 200 pp. 21. Murse11, James L. Music Education Principles and Programs. New York : Silver Burdett Co., 1956. 386 pp. 129 22. Schoen, Max. The Understanding of Music. New York: Harper & Bros., 1945. 231 pp. 23. . Education for Musical Growth. Boston: Ginn & Co., 1948. 343 pp. 24. Sessions, Roger. The Musical Experience. Princeton: Princeton University, 1958. 127 pp. 25. Stravinsky, Igor. Poetics of Music. Trans, by Arthur Knoll and Ingolf Dahl. New York : Vintage Books, 1959. 146 pp. 26. Stringham, Edwin John. Listening to Music Creative ly. Englewood Cliffs, New Jersey, i960. 600 pp. 27. Sur, William R., and Charles P. Schuller. Music Education for Teen-Agers. New York : Harper & Bros., 1958. 478 pp. 28. Toch, Ernst. The Shaping Forces in Music. New York: Criterion Music Corp., 1948. 245 PP* 29. Wilson, Harry Robert. Music in the High School. New York : Silver Burdett Co., 1941. 440 pp. 30. Woodruff, Asahel D. Basic Concepts of Teaching. San Francisco: Chandler Publishing Co., 1961. 237 pp. Periodical Articles 31. Baumann, Victor H. "Teen-Age Music Preferences," Journal of Research in Music Education. Washington, D. C.: Music Educators National Conference, 8:75-84, Fall, i960. 32. Britton, Allen P. "Music Education in the I96O’s," Music Educator’s Journal, 47 ; 23-26, June- July, 1961. 130 33‘ D*Andrea, Prank. "Music and the Adolescent," Music Educators Journal, 47:75-77? February-March, 1961. 34. Duffield, Paul E. "General Music in Senior High School," Music Educators Journal, 36:23-24, November, 1949. 35. Engleman, Finis E. "Music and Public Education," Music Educators Journal, 47:35-39? February- March, 1961. 36. Ernst, Karl D. "The General Music Program," Music Educators Journal, 46:19-20, January, i960. 37. . "The Report on General Music," Music Educators Journal, 46:21-23, June-July, 196O. 38 . ________. "Quality Teaching Is Our Answer," Music Educators Journal, 45:27-29, April-May, 1959. 39. Hartshorn, William G. "Integrity in Music Education," Music Educators Journal, 46:29-32, September- October, 1959. 40. . "The Music Curriculum Present and Future," Music Educators Journal, 47:42-45, April- May, 1961. 41. Horn, Francis. "Music in General Education," Music Educators Journal, 40:25-26, September- October, 1953. 42. John, Robert W. "The General Music Program," Music Educators Journal, 47:55-60, February-March, 1961. 43. Kerman, Joseph. "The Place of Music in Basic Educa tion," Music Educators Journal, 46:43-46, April-May, i960. 44. Krone, Max T. "Jazz and the General Music Class," Music Educators Journal, 39:23-24, June-July, 1953. 131 45* Marple, Hugo D. "The Challenge of the Conant Report to Music Education," Music Educators Journal, 47:35-36, 96, November-December, I960. 46. Moses, Harry E. "General Music in General Educa tion," Music Educators Journal, 47:51? 52, 54, February-March, 196I. 47. Mueller, Kate Hevner. "Studies in Music Apprecia tion," Journal of Research in Music Education Washington, D. C.: Music Educators National Conference, 4:3-25? Spring, 1956. 48. Mursell, James L. "American School Music--An Assess ment," Etude Magazine, 75:23? 60-62, January, 1957. 49. Sand, Ole. "NEA Project on Instruction," National Education Association Journal, 50:53-54, May, 1961. 50. Sur, William R. "Music for Teen-Agers," Music Edu cators Journal, 47:62, 64, 66, 68, November- December, i960. 51. Tischler, Hans. "The Teaching of Music Apprecia tion, " Journal of Research in Music Educa tion. Washington, D. C.: Music Educators National Conference, 7:169-173? Fall, 1959. Publications of Professional Organizations 52- "Basic Concepts in Music Education," The Fifty- Seventh Yearbook of the National Society for the Study of Education. Chicago, Illinois, 1958. 355 pp. 53. Hartshorn, William C. "Music for the Academically Talented Student in the Secondary School," National Education Association Project on the Academically Talented Student, Music 132 Educators National Conference, Washington, D. C.: National Education Association of the United States. 54. Morgan, Hazel N. (ed.) "Music in American Educa tion, " Music Education Source Book Two. Washington, D. C.: Music Educators National Conference, 1955* 365 pp. 55. __________. Music Education Source Book One. Washing ton, D. C.: Music Educators National Con ference, 1947. 256 pp. 56. "Music in the Senior High School," Music in American Life Commission on Music in the Senior High School. Washington, D. C.: Music Educators National Conference, 1959. Ill pp. Pamphlets and Bulletins 57. "The Central Purpose of American Education," Educa tional Policies Commission of the National Education Association of the United States and the American Association of School Admin istrators . Washington, D. C.: National Education Association of the United States, 1961. 21 pp. 58. "The Function of Music in the Secondary-School Cur riculum," The Bulletin of the National Association of Secondary-School Principals, Vol. 36, November, 1952. Washington, D. C.: National Association of Secondary-School Principals of the National Education Associa tion, 1952. 126 pp. 59. "The Music Curriculum in Secondary Schools," Music Educators National Conference for the March 1959 Bulletin of the National Association of Secondary-School Principals and reprinted by permission. Washington, D. C.: Music Educa tors National Conference, 1959. 115 pp. 133 60. "Music Education in Oregon Public Schools," Oregon State Department of Education, i960. Salem, Oregon: State Department of Educa tion, i960. 169 PP* 61. "Your AASA in 1958-59?" Official Report, American Association of School Administrators for the Year 1958. Washington, D. C.: American Association of School Administrators, 1959* 255 pp. Unpublished Materials 62. Bentley, Richard R. "A Critical Comparison of Cer tain Music Aptitude Tests." Unpublished Doctor's dissertation. University of Southern California, Los Angeles, 1955* 164 pp. 63* Smith, Edgar H. "An Experiment to Determine the Value of Notated Thematic Excerpts Relative to the Recognition of Aural Musical Themes." Unpublished Doctor's dissertation. New York University, New York City, 1952. 131 pp. PART II GUIDES FOR THE TEACHING OF MUSIC IN HIGH SCHOOL TABLE OP CONTENTS Page INTRODUCTION...................................... 136 Chapter I. GUIDES FOR THE TEACHING OF COMPOSITIONS BASED ON A FORMAL DESIGN................ 138 Band Guide I Orchestra Guide I Choral Guide I General Music Guide I II. GUIDES FOR THE TEACHING OF COMPOSITIONS WHICH DO NOT RELATE TO PARTICULAR FORMS OF M U S I C................................ 162 Band Guide II Orchestra Guide II Choral Guide II General Music Guide II III. GUIDES FOR THE TEACHING OF MUSIC BASED ON THE REPETITION OF A SINGLE THEME . . . 196 Band Guide III Orchestra Guide III Choral Guide III General Music Guide III IV. GUIDES FOR THE TEACHING OF MUSIC BASED ON THE FUGUE............................ 222 Band Guide IV Orchestra Guide IV Choral Guide IV General Music Guide IV ______________________ J . , 3 5 ________________________ INTRODUCTION The following chapters represent concrete examples of an approach to the teaching of music based on the content and organization of the music itself. Wherever possible, the same composition is used as the basis for the band, orchestra, chorus, and general music guide in order to indicate the validity of this approach in all music classes. Each composition has a structure which is understood as a musical concept or a group of interrelated concepts. The concepts are stated in terms of the relationships among the musical ideas which characterize that composition. A concept is the mental image which is derived from a perceptual experience, or a group of related perceptual experiences. In music, such experiences are based on listening. The organization of these experiences should be consistent with the structure and design of a musical composition. A fugue, for instance, is generally heard first as a series of statements of a single theme on 1 3 6 137 different pitch levels. In this way students are estab lishing relationships (in their own minds) among the parts of a composition rather than learning through definitions and facts. The significance of particular melodies and rhythms found in a composition is, there fore, more readily understood because they are experienced within a related whole. These guides describe activities which are for both the teacher and the students because they are involved in the same experiences. They need not be carried out in one day. They should all take place, how ever, sometime during the course of the experience with that composition, and in the order indicated. CHAPTER I GUIDES FOR THE TEACHING OF COMPOSITIONS BASED ON A FORMAL DESIGN Band Guide I Concepts A round is a melody which is begun by a single part and imitated exactly by other parts which enter in turn at successive points in time. As each part completes the melody, it returns to the beginning. A round may be repeated as many times as is desired. A composition can be based on the characteristic qualities and organization of a round. Materials Score: When Jesus Wept, "Prelude for Band," William Schuman (Merlon Music Co.) Recording: New England Triptych, "When Jesus Wept," William Schuman (Columbia ML 5347--Kostelanetz) 138------------------------- 139 Although in a different key, this orchestral version is essentially the same as the band arrangement by the composer. Song: Notated on chalkboard When Jesus Wept, Billings PHRASE " A ' ' p— » Û--H ------i -f " É --- / — J-G---^ ^ PHRASe’ B" FHRASc" 1 r i é Rmrase g # E i 122 Experiences Classroom experiences through which the concepts will be developed are : a. Listen to a recording of the entire composition, while following the music in the separate parts. 140 B. Listen to the Euphonium play the first phrase of the melody (measure 5 with pick-up through measure 8), followed by the solo B^ cornet playing the next three phrases (measure 9 with pick-up through measure 20), while reading the notation on the chalkboard. C. Sing the song, listening for the distinguish ing characteristics of its melodic structure and phrasing. D. The students will discover through listening and discussion: 1. The number (4) and the relative (equal) length of the phrases. 2. The characteristic rhythmic figure— J * J 3. The characteristic tonal movement of the melody. The melody combines scale-wise movement with leaps of thirds, fourths, and fifths. E. Play the melody in unison, reading from the chalkboard. P. With the band divided into two groups (tenor and bass instruments in one group, and soprano and alto instruments in the other), play the theme through twice. Start the first group alone and bring the second group in when the first group begins the second phrase. Continue in this manner. I4l G. Through rehearsal, non-technical analysis, and discussion, students will discover the combinations of phrases made possible by this organization of musical materials, which is called a round. Develop a diagram: Phrases of "When Jesus Wept" Group I ab e d a bed Group II a b c d a b c d H. With the band divided into four groups (soprano, alto, tenor, and bass instruments), play the melody as a four-part round, reading from the chalkboard Diagram the four-part round: Group l a b c d a b c d Group II a b c d a b c d Group III a b c d a b c d Group IV a b c d a b e d (The box superimposed on the melody above refers to J. ) I. Listen to and identify the phrases played separately by each of the groups below, starting one beat before measure 44 and continuing through the first beat in measure 51. 142 Group I 1. 1st Clarinet 2. 1st Et) Alto Saxophone 3. 1st French Horn Group III 1. Third B^ Clarinet 2. B^ Tenor Saxophone 3. The second French Horn Group II 1. Alto Clarinet 2. Bass Clarinet 3. 4th French Horn 4. Euphonium Group IV 1. 2nd B^ Clarinet 2. Bassoons 3. 2nd E^ Alto Saxophone 4. 3rd French Horn It will be noted that; Group I plays phrases "c" and "d" of the theme. Group II plays phrases "b" and "c". Group III plays phrases "a" and "b", and Group IV plays phrases "d" and "a." (One tone in phrase "d" has been altered: Group IV, measure 45; Group III, measure 49*) As each group plays, there should be a concern for proper phrasing and accuracy of rhythm and intonation. J. Play measures 44 through 51 as written. It will be discovered that this alignment of phrases is identical to the central portion of the original four-part canon of Billings. (See box on diagram of H. ) 143 K. Listen to a recording of the work to discover the ways in which the entire composition is developed from the melody, texture, and phrase relationships of the original round, 1. The entire melody is heard as a solo near the beginning and also near the end of the composi tion. 2. The flutes, oboes, and first clarinets, playing a passage derived from the melody, are accompanied by the brasses with a colorful harmonic progression (measures 28 through 35). Till M05SO (J s Circa 72) ' ,1 l U h a £ f I f nÉASl/RÉ p f f W P-c- m m - O ' £ 3. The literal use of a portion of the round in four parts starts with the last beat of measure 44 and continues to the first beat of measure 51 « (See box in diagram of H.) 144 j . ; 4. A sequence of the rhythmic figure is played by the high woodwinds in measures 73 and 74, while the fourth phrase of the theme is played by the brasses. L. Further discussion concerning features of interest, but not directly relevant to the concept being learned, could pertain to the Aeolian Mode or Natural Minor Scale. 1. As the melody is sung by the class, the teacher will abstract the tones of the melody, placing them on the chalkboard in scale order. 2. The resultant scale can be played on the piano by a student or by the teacher while the class listens to discover which intervals are larger (whole steps) and which intervals are smaller (half steps). Whole : Si£.? 3. After the discovery of the pattern of whole steps and half steps, which is characteristic 145 of this scale, the students can be directed to build a scale beginning on A which has the same order of intervalst They will discover that, in this case, no sharps or flats are needed. This scale is called the Natural Minor Scale or Aeolian Mode. Orchestra Guide I Concepts A round is a melody which is begun by a single part and imitated exactly by other parts which enter in turn at successive points in time. As each part com pletes the melody, it returns to the beginning. A round may be repeated as many times as is desired. A composition can be based on the characteristic qualities and organization of a round. Materials Score: New England Triptych, "When Jesus Wept," William Schuman (Merion Music Co.) 146 Recording: New England Triptych, "When Jesus Wept," William Schuman (Columbia ML 5347--Kostelanetz) Song: Notated on chalkboard xo When Jesus Wept, Billings fkRASE " A " t e I zz . PMRASQ^B" i -o- 1 r 0 PWRASE g f xz Experiences Classroom experiences through which the concepts will be developed are : A. Listen to a recording of the entire composi tion while following the music in the separate parts. B. Listen to the bassoon play the first phrase of the melody (measure 5 with pick-up through measure 8), 147 followed by the oboe playing the next three phrases (measure 9 with pick-up through measure 20), while read ing the notation on the chalkboard. C. Sing the song, listening for the characteris tic qualities of its melodic structure and phrasing. D. The students will discover through listening and discussion: 1. The number (4) and the relative (equal) length of the phrases. 2. The characteristic rhythmic figure--J' J 3. The characteristic tonal movement of the melody. The melody combines scalewise movement with leaps of thirds, fourths, and fifths. E. Play the melody in unison, reading from the chalkboard. P. With the orchestra divided into two groups (tenor and bass instruments in one group, and soprano and alto instruments in the other) play the melody through twice. Start the first group alone and bring the second group in when the first group begins the second phrase. Continue in this manner. G. Through rehearsal, non-technical analysis, and discussion, students will discover the combinations of 148 phrases made possible by this organization of musical materials, which is called a round. Develop a diagram : Phrases of "When Jesus Wept" Group I a b c d a b c d Group II a b c d a b c d H. With the orchestra divided into four groups (soprano, alto, tenor, and bass instruments), play the melody as a 4-part round, reading from the chalkboard. Diagram the 4-part round: Group I a b c d a b c d Group II a b c d a b c d Group III a b c d a b c d Group IV a b c d a b e d (The box superimposed on the diagram above refers to J.) I. Listen to and identify the phrases, played separately by each of the following instruments, starting one beat before measure 44 and continuing through the first beat in measure 51* It will be noted that the viola (upper part) plays phrases "a" and "b", of the theme, the viola (lower part) plays phrases "b" and "c", the 2nd violin (upper part) plays phrases "c" and "d", and the 149 2nd violin (lower part) plays phrases "d" and "a". (One tone in phrase "d" has been altered; 2nd violin, lower part, measure 45; 2nd violin, upper part, measure 49.) J. Play measures 44 through 51. As each group plays there should be a concern for proper phrasing and accuracy of rhythm and intonation. It will be discovered that the alignment of phrases is identical to the central portion of the original four-part canon of Billings. (See box on diagram of H.) K. Listen to a recording of the work to discover the ways in which the entire composition is developed from the melody, texture, and phrase relationships of the original round, 1. The entire melody is heard as a solo near the beginning and also near the end of the composi tion. 2. The first violins, playing a passage derived from the melody, are accompanied by the other strings with a colorful harmonic progres sion (measures 28 through 35). 150 TiD WoiSû fJ = Circa7z) Ü -g- © T tf M E A 5 U R C —6— f irs #2[ t e #-q Cotv Sord-tht A» B L t \ 3. The literal use of a portion of the round in four parts starts with the last beat of measure 44 and continues to the first beat of measure 51. (See box in diagram of H.) 4. A sequence of the rhythmic figure J * i is played by the violins in measures 73 and 74, while the fourth phrase of the melody is played by the violas and cellos. L. Further discussion concerning features of interest, but not directly relevant to the concept being learned, could pertain to the Aeolian Mode or Natural Minor Scale. 1. As the melody is sung by the class, the teacher will abstract the tones of the melody, placing them on the chalkboard in scale order. 2. The resultant scale can be played on the 151 piano by a student or by the teacher while the class listens to discover which intervals are larger (whole steps ) and which intervals are smaller (half steps). 3. After the discovery of the sequence of whole steps and half steps, which is characteris tic of this scale, the students can be directed to build a scale beginning on A which has the same sequence of intervals. They will discover that, in this case, no sharps or flats are needed This scale is called the Natural Minor Scale or Aeolian Mode. 152 Choral Guide I Concepts A round is a melody which is begun by a single part and imitated exactly by other parts which enter in turn at successive points in time. As each part com pletes the melody, it returns to the beginning. A round may be repeated as many times as is desired, A composition can be based on the characteristic qualities and organization of a round. Materials Vocal Score: When Jesus Wept, William Billings (Lawson- Gould 913--ed. Shaw, Parker) (it is assumed that each member of the class has been provided with a copy of the music.) Recording: New England Triptych, "When Jesus Wept," William Schuman (Columbia ML 53^7“ '~Kostelanetz ) Experiences Classroom experiences through which the concept will be developed are : _________ _________________________ 153 A. Reading from the top staff, the class will sing the song from the beginning through the second beat in measure 16. B. The students will discover through listening and discussion: 1. The number (4) and the relative (equal) length of the phrases. 2. The characteristic rhythmic figure--J * JJ 3. The characteristic tonal movement of the melody. The melody combines scalewise move ment with leaps of thirds, fourths, and fifths. C. The altos will sing their part on the second staff beginning on the last beat of measure 4, and con tinuing through the second beat of measure 20, while the other sections listen. The tenors and basses will sing their respective parts on the third and fourth staves, beginning in measures 8 and 12. As each part sings there should be a concern for proper phrasing and accuracy of rhythm and intonation. The class will discover that all vocal parts have the same melody. D. Through rehearsal of the music, non-technical analysis, and discussion, the students will discover that 154 1. The entrances of each part follow the preceding part by the length of a phrase. 2. Many combinations of phrases are made possible by this organization of musical materi als, which is called a round. Develop a diagram of the entire composition. Phrases of "When Jesus Wept" Soprano a b c d a b Alto a b c d a Tenor a b c d a bcd Bass a b c d a b e d (The box superimposed on the diagram above refers to E-3.) E. Listen to "When Jesus Wept" from the record ing of the New England Triptych which is based on this round. Discover the ways in which the entire composition is developed from the melody, texture, and phrase rela tionships of the original round. 1. The entire melody is heard as a solo near the beginning and also near the end of the composition. 2. The first violins, playing a passage derived from the melody, are accompanied by the other strings with a colorful harmonic progression (measures 28 through 35)• Tiù Mo5SûrJ=C IR C A rz) - 3— j h l B a ffüg: r MEASURE P g lES: 2: F* — ---------- 'O ' CON SORDINI Jb^ P B 3* A portion of the round in four parts starts with the last beat of measure 44 and con tinues to the first beat of measure 51. (See box in diagram of D.) 4. A sequence of the rhythmic figure J* is played by violins in measures 73 and 74 while violas and cellos are playing the fourth phrase of the melody. P. Further discussion concerning features of interest, but not directly relevant to the concept being learned could pertain to the Aeolian Mode or Natural Minor Scale. 1. As the melody is sung by the class, the teacher will abstract the tones of the melody. 156 placing them on the chalkboard in scale order. 2. The resultant scale can be played on the piano by a student or by the teacher while the class listens to discover which intervals are larger (whole steps ) and which intervals are smaller (half steps). 3- After the discovery of the pattern of whole steps and half steps, which is character istic of this scale, the students can be directed to build a scale beginning on A which has the same order of intervals. They will discover that, in this case, no sharps or flats are needed. This scale is called the Natural Minor Scale or Aeolian Mode. 157 General Music Guide I Concepts A round is a melody which is begun by a single part and imitated exactly by other parts which enter in turn at successive points in time. As each part com pletes the melody, it returns to the beginning. A round may be repeated as many times as is desired. A composition can be based on the characteristic qualities and organization of a round. Materials Vocal Score : When Jesus Wept, William Billings (Lawson- Gould 913--ed. Shaw, Parker) Orchestral Score: New England Triptych, "When Jesus Wept," William Schuman (Merion Music Co.) Recording: New England Triptych, "When Jesus Wept," William Schuman (Columbia ML 53^7— Kostelanetz) Song: Notated on chalkboard 158 When Jesus Wept, Billings KtRA$E"A" r p ^ IF'' -O--- 0 \ #RA6E "C" PHRASr B 1 r f o. a f »0/f 'RfRASf s — a a < ■ 4 \ 1 —aL — F— ^— —J y ........./ I 0 --X \ . Experiences Classroom experiences through which the concepts will be developed are: A. Listen to the theme as played by the bassoon and oboe (one beat before measure 5 through measure 20) while following the notation of the song on the chalk board. Listen for the distinguishing characteristics of its phrasing and melodic structure. B. Sing the entire song with regard for phrasing and intonation. 159 C. The students will discover through listen ing and discussion; 1. The number of the phrases (4) and the relative (equal) length. 2. The characteristic rhythmic figure--^» J 3. The characteristic tonal movement of the melody. The melody combines scalewise movement with leaps of thirds, fourths, and fifths. D. With the class divided into two equal groups, sing the song through twice. Start the first group alone and bring the second group in when the first group begins the second phrase. Continue in this manner. E. Discuss the combination of phrases made possible by this means of organizing a musical composi tion, which is called a round. Develop a diagram: Phrases of "When Jesus Wept" Group I a b c d a b c d Group II a b c d a b c d P. Sing the song in four parts. Diagram the 4-part round: - r 6 ' 0 - Group I a b c d a b c d Group II a b c d a b c d Group III a b c d a b c d Group IV a b c d a b e d superimposed on diagram refers to G—3 of this G. Listen to the entire composition to discover the ways in which the composition relates to the song and the round. 1. The entire melody is heard as a solo near the beginning and also near the end of the composi tion. 2. The first violins, playing a passage derived from the melody, are accompanied by the other strings with a colorful harmonic progres sion (measures 28 through 35-) #-e- Tli) M o iS O f J = C l R C A 7:) i l MEASURE 3 r À * o: Coti. Sordlnt F b ' I D * * A*’ 1 0 - 3. Different phrases of the theme, and pas sages derived from these phrases, are played simultaneously by the strings. All four parts are heard as they were in the original round in the I6l section from measure 44 with the pick up through the first beat of measure 51• (These phrases and their organization are indicated in the box super imposed on the diagram under F.) 4. A sequence of the rhythmic figure is played by the violins in measures 73 and 74, while violas and cellos are playing the fourth phrase of the theme. H. Discuss the structure of the melody as it per tains to the Aeolian Mode or Natural Minor Scale. 1. As the melody is sung by the class, the teacher will abstract the tones of the melody, placing them on the chalkboard in scale order. 2. The resultant scale can be played on the piano while the class identifies the intervals which are larger (whole steps) and those which are smaller (half steps.) In this case, no sharps or flats are needed. This scale is called the Natural Minor Scale or Aeolian Mode. CHAPTER II GUIDES FOR THE TEACHING OF COMPOSITIONS WHICH DO NOT RELATE TO PARTICULAR FORMS OF MUSIC Band Guide II Concept A composition may be based on a single theme, achieving unity through the repetition of certain elements of its design, while creating contrast through the alteration of other elements. Materials Score : Chester, "Overture for Band," William Schuman (Merion Music, Inc.) Recording : Chester, "Overture for Band," William Schuman (Decca 8633--Goldman) Song: Notated on Chalkboard 162 163 Chester, William Billings é LET f^RANTS 5H A W E IHEIR I - ÏÏOM T ? d L b É I L f- r -I r f-' 22: And 5LAV- R’ÿ CLANK HER ' Gall ^~ ing Chains, — £ 2 - E V l ’l l TE A R Them noT , WE TRUST. IN Cod, % ---- ,--------------- : --- 1 _ ------ ______________________ _ ; r ~ 3 - > - r J ....-^1 - ...... AIEW— , En g l a n d^ For - W 1 EV £R 1 1 REIGNS Experiences Classroom experiences through which the concepts will be developed are: A. Listen to the recording of measures 1 through 37, while following the notation of the song on the chalk board. B. Sing or hum the song to develop familiarity with the melody. C. Play the melody, in unison, from the chalk board. 164 D. Rehearse the woodwinds and brasses from measures 1 through 32, to develop proper phrasing, cor rect intonation, and technical facility. E. Discover the prominent characteristics of the theme through listening, performance, and discussion. 1. The melody moves in a scalewise manner with occasional leaps of thirds, fourths, and fifths. 2. The melody is organized into four equal phrases of four measures each. a. The first three phrases start with the rhythmic pattern J J > but the beginning of the fourth phrase is characterized by a distinctive rhythmic figure : J# J J The rhythm of the last two measures of every phrase is the same. b. The opening motif of the first phrase appears in the middle of the third phrase. 3. In measures 1 through l6, the melody is harmonized in a four-part homophonie texture (the same as Billings' original choral setting). a. The first two phrases end on the chord 165 of D Major, the dominant harmony, and the last two phrases end on G Major, the tonic harmony. b. The ending of the statement of the melody by the brasses (measure 17 through measure 32) is on a C Minor chord instead of an Eb Major chord, as expected. This is a deceptive cadence. P. Listen to the recording of the entire composi tion to discover the most obvious characteristics of the music as a whole, and those musical details which are discernible at the first hearing. 1. In the beginning the theme is played twice. First by the woodwinds and then by the brasses. 2. Almost immediately, the theme is played again by the woodwinds at a very fast tempo. The last two measures of this statement are repeated many times with rhythmic changes. The melodic pattern sounds the same but the rhythm is differ ent . 3. The first two phrases of the theme are played with rhythmic alterations, including 16 6 syncopation, while the theme, itself, is altered by the addition of certain notes. 4. The entire theme is varied melodlcally, rhythmically, and harmonically. Only its general contour is maintained. G. Through rehearsal and non-technical analysis and discussion, the students will discover numerous passages in which one aspect of the theme will be identi cal with its original statement, and one or more aspects will be different. The rehearsals should include discus sions of the ways in which a passage differs from its source. Following are some examples. 1. Listen to the woodwinds play measures 1 through 17 and measures 46 through 6l. It will be noted that the melody is the same but its rate of speed has been increased about four times. The time values of the notes have been cut in half, the meter has been changed (from 4/4 to 2/4) and the tempo has been approximately doubled. 2. Woodwinds play measure 60 and the first eighth note of measure 6l. Discuss the melodic structure of this pattern (the last 2 measures of 167 the theme) noting that it consists of an upward leap of a fourth followed by a downward scalewise motion. 3. Rehearse the band in the section from measures 60 to measure 101, discovering the ways in which the pattern of measure 60 is varied. J . iGo .....V;:'y ■ 2^---- m#.-T'—" - ' — #— ^ X .. “---- m - —--- ■ / r i . ..... r i " f J , A y (6^ 1?HyriHMlcVARlATlC>N D /m im ü Y io w r (MEASURE @ Ilz2 -~L ! # -h---p:#: ^ -f— k » ^ : v - : . f— y 4 "- f . ^ , ■ VARIED ■RE?ETiriOMS | ' ' J 4. Listen to the first Bb cornet and first Eb alto saxophone play measures 101 through 122, to discover that the first and second phrases of the melody are ornamented and varied rhythmically Listen to the other saxophones and brasses to 168 discover the varied harmonic accompaniment which is played in the same rhythmic pattern. miGiOio f J = 7 2 ) PiRst'PflRAsE ÛF Thème rfRANSRosEB fo £*) M easure Qoi 5. Compare measures one through eight with measures 154 through 171 as played by the wood winds . Discover that while the general contour of the melody is retained, its intervals are changed and some tones are deleted while others are inserted in the melodic line. Listen to the brasses in this same section to discover that the harmonies have also been varied. " R R S t TNRASF 7 VARIED) ' : ---------- — F lo w in g J = 16o Î i > i g f * MEASURE (154) & w lJ 169 6. Listen to the brasses at measures 212 through 219 to discover that the tonal and rhythmic characteristics of the melody are retained while its harmonies are changed. SECOND fMRASe OF fHEMC WITH ORIGINAL HARMOVCS 4 d-— J - 1 f j— r r , r f A r r T i cMAy. SECOND %RASE OF Th e m e With ’ A /EW ' fiARMoNlESÏMÊAiüRÊS 2.16- 2 n J TRR i &ASSES r f ' I i 4 0- MgA£üRÉ(Zdi "sr p: eW . t f t ^ Wft, < F ( W at. . g/w^r. 7. Compare measures 9 through 12 with measures 220 through 226, as played by the wood winds, to discover that although the notated values appear twice as long in the latter example (the third phrase of the theme) the quicker pulse ( j = 7 2 vs. l60) causes it to move at approximately 170 the same tempo. j*c.72 4 T h i r d ? h t î a s£ û f û rig im a l Theme. , •9 I f - - - ^ -- 0 —$ - £t. a 'MEASUR^ Jsl60 4 732: m f MéASüR ê 8. Listen to the trumpets in measures 228- 230 to discover that the first two measures of the fourth phrase (measures 229 and 230) are immediately preceded by that pattern in diminution (measure 228). _______ D/MiA/L'TlOAi m & A - h - V i 4 ■ / / / (MEASURE « rj-ra 1 L-J ^— 1 - 9. While rehearsing the last section, from measures 232 to the end, discover the ways in which it is related to the first phrase of the theme. 171 Orchestra Guide II Concept A composition may be based on a single theme, achieving unity through the repetition of certain elements of its design, while creating contrast through the altera tion of other elements. Materials Score: New England Triptych, ’ ’Chester,” William Schuman (Merion Music, Inc.) Recording: New England Triptych, ’ ’Chester, ” William Schuman (Columbia ML 53^7““Kostelanetz) Song : Notated on chalkboard Chester, William Billings __ é 1?OM A n d iLAv'- R’ y clank HER ' Ga l l iNG Chains, a W l’ ll Tear Them noT, we TRUST. IN G oD , t g NEW — ENGLAND j Go d . For - EV. E.R "R êicîns 172 Experiences Classroom experiences through which the concepts will be developed are ; A. Listen to the recording of measures 1 through 17, while following the notation of the song on the chalkboard. B. Sing (or hum) the song to develop familiarity with the melody. C. Play the melody, in unison, from the chalk board. D. Rehearse the woodwinds in measures 1 through 17, with concern for proper phrasing and correct intona tion, and to develop technical facility. E. Discover the prominent characteristics of the theme through listening, performance, and discussion. 1. The melody moves in a scalewise manner with occasional leaps of thirds, fourths, and fifths. 2. The melody is organized into four equal phrases of four measures each. a. The first three phrases start with the rhythmic pattern J J J, but the beginning 173 of the fourth phrase is characterized by a distinctive rhythmic figure: ^ J b. The opening motif of the first phrase appears in the middle of the third phrase. 3. The first three phrases of the theme are written in a four part homophonie texture (which is the same as Billings* original choral setting), with the first two phrases ending on the chord of D Major, the dominant harmony, and the third phrase ending on a G Major chord, the tonic harmony. The last phrase is played as a solo. P. Listen to the recording of the entire composi tion to discover the most obvious characteristics of the music as a whole, and those musical details which are discernible at the first hearing. 1. In the beginning the theme is played by the woodwinds at a moderate tempo. 2. Almost immediately, the theme is played again by the woodwinds at a very fast tempo. The last two measures of this statement are repeated many times with rhythmical changes. The melodic pattern sounds the same but the rhythm is differ ent . 174 3. Portions of the theme are heard in the following manner: a. The melodic pattern of the first phrase is heard with some of its tone lengthened in time. b. The first half of the second phrase is altered melodically and rhythmically with repeated and added tones. c. The third phrase is heard in approxi mately the same tempo as the beginning. d. The first half of the fourth phrase is shortened in time--i.e., diminution--and is repeated at half that speed. 4. The coda is based on the first phrase. G. Through rehearsal and non-technical analysis and discussion, the students will discover numerous passages in which one aspect of the theme will be identi cal with its original statement, and one or more aspects will be different. Rehearsals should include discussion of the ways in which a passage differs from its source. Following are some examples. 1. Listen to the woodwinds play measures one through 17 and measures 22 through 37* It willL 175 will be noted that the melody is the same but its rate of speed has been increased about four times. The time values of the notes have been cut in half (diminution), the meter has been changed (from 4/4 to 2/4) and the tempo has been approximately doubled. 2. Woodwinds play measure 36 and the first eighth note of measure 37- Discuss the melodic structure of this pattern (the last two measures of the theme), noting that it consists of an upward leap of a fourth followed by a downward scalewise motion. 3. Rehearse the woodwinds in the section from measures 36 through 63, noting the ways in which the pattern of measure 36 is varied. r MEASURE 36 J=16o 160 r" J -"T“l K . é j . ^ P 'f I ■ -REfËT I Tiom -^PEfrfnTAT . r— : ---1 r 176 À J. y / ûaOE k EN&RpgN C L A R . T f f . r REPETITION ^ IM IA lÜ T lO N LZ ' Æ 5 j ' r f .^é''’CLAR jT 4. Listen to the brasses play measures 80 through 90 to discover that the melodic pattern of the first phrase is heard with some of its tones lengthened in time. 5. Listen to the trumpets and French Horn measures 91, 92, and 93 to discover that the first half of the second phrase appears with a rhythmic variation and tones added to an altered melodic line. F i r s t h a l f ' o f s e i c o n d t h r a s e 177 i J :ig ;TR«. I & FR.HNSJI r Jr MEASURE 91 6. Play measures 122 through I27. Compare the appearance of the first half of the fourth phrase in measures 122 and 123 with that in meas ures 124 through 127 to discover that it is repeated twice as slowly (in augmentation), while its descending tonal pattern is heard in a rhythmic variation. 122:-123 “ “ ■■ ^ M ^ P iS ü R e 1 Î2 .4- i l l 178 7* Listen to the brasses in measures 131 through l4l to discover that two parts of the theme are heard simultaneously. The tuba and trombones play the last half of the fourth phrase with a slightly altered melodic line while trum pets and horns play the first half of the first theme. 8. While rehearsing from measures 144 to the end, listen for and discuss some of the ways in which it is derived from the first phrase. a. Listen to the woodwinds play the first four measures (the first phrase) of the composition. Compare this with the follow ing passages. b. Listen to the horns in measures 147 through 152. I -Id HORN MEAS. 147.1^1 c. Listen to the trumpets and violins in measures 152 through 154. 179 fRPfS.V TiolimS a MêAS. lSl-iS4 jt d. Listen to the orchestra in measures 158 through 162 "ORCW. I t M E A S . Ise - ISA Choral Guide II Concepts A composition may be based on a single theme, achieving unity through the repetition of certain ele ments of its design, while creating contrast through the alteration of other elements. Materials Vocal Score: Chester, William Billings (Lawson-Gould 501 ed. Shaw, Parker) 18 0 Recordings: Chester, "Overture for Band," William Schuman (Decca 8633--Goldman) Experiences Classroom experiences through which the concepts will be developed are: A. Listen to the first 16 measures of the composi tion as it is played on the piano while reading the parts in the score. Sing in parts, as it is repeated. B. Rehearse the voice parts on the first stanza of the composition to develop technical facility, proper phrasing, and correct intonation in each part. C. While altos and basses listen, sopranos and tenors sing (in their own vocal range) together on the soprano part and then on the tenor part of the first stanza (measures 1 through I6). Repeat the procedure immediately in the second stanza (measures 17 through 32) to discover that the sopranos and tenors interchange parts in the first and second stanzas. D. Examine the tenor and soprano parts in the third stanza to discover that: 1. The upper part of each section sings the l8l melody at the interval of an octave. 2. The lower part of each section sings the tenor part of the first verse at the interval of an octave. E. Listen to the altos and basses each sing their parts int second and third stanzas. Compare them with the first stanza to discover that the music for those parts, in all stanzas, is the same. P. Discover, through singing, listening, non technical analysis, and discussion that; 1. The music and text usually move together in all parts, constituting a four part homophonie texture. 2. Each stanza is organized into four equal phrases of four measures each. 3. The melodic movement of each part involves leaps of thirds, fourths, and fifths. 4. The melody, in the soprano part, has certain tonal and rhythmic designs; a. The first three phrases start with the rhythmic pattern J J J , but the begin ning of the fourth phrase is characterized by 182 a distinctive rhythmic figure; J. i J The rhythm of the last two measures of every phrase is the same. b. The opening motive of the first phrase appears in the middle of the third phrase. 5. Each of the first two phrases ends on the chord of C Major (the dominant harmony) and each of the last two phrases ends on F Major (the tonic harmony). Chester, William Billings * LET tyrants 5AAKE iHEIR I - Fom it A AID . 5LA7 - RV CLANK ÏA-------: -- '- if - - A ---------- HER ' Gall— ing Chains, a ■ ■f I r f ^ Vl’ ll TEAR Them imoT, we Tr u st. IN G ol> I i l AIEW— , ENGLAND j GddLt ^ - FoR -EM. E.R "RêIcîNÏ 183 G. Listen to the sopranos and basses sing the first stanza together to discover that the rhythmic pat tern of both parts is identical, with the exception of two notes in the first measure of the last phrase. H. Through listening to a recording, discussion, and non-technical analysis, discover the ways in which the band composition based on "Chester" is related to the theme and its choral setting. 1. Listen to the statement of the theme as played at the beginning of the recording while following the notation of the first l6 measures of the vocal score. It will be discovered that; a. The theme is played by the woodwind twice as slowly as it is sung with each of the voice parts appearing just as it is in the vocal score. b. This is repeated by the brasses in a different key. 2. Almost immediately, the theme is played again by the woodwinds at a very fast tempo. The last two measures of this statement are repeated many times with rhythmical changes. The 184 melodic pattern sounds the same but the rhythm Is different. 3. The first two phrases of the theme are played with rhythmic alterations, including syncopation, while the theme, itself, is altered by the addition of certain notes. 4. The entire theme is varied melodically, rhythmically, and harmonically. Only its general contour is maintained. I. Through repeated hearing of the music and non-technical analysis and discussion, the students will discover numerous passages in which one aspect of the theme will be identical with its original statement, and one or more aspects will be different. The discussion should include descriptions of the ways in which one passage or another is different from the source from which it is derived. Following are some examples. 1. The melody is played by the woodwinds (measures 46 through 6I) approximately four times as fast as it was heard originally. The time values of the notes have been cut in half--diminu- tion--and the tempo has been approximately doubled. This is accompanied by a dissonant 185 chord repeated as a rhythmic pulse by the brasses O R I G I N A L T H E M E (J=7Z)' --p- i : ^t E ASU flte (2) Diminution N = # > - MEASURE ACCOMTAAiyiNG CHORD s 2. Measures 101 through 122 consist of rhythmic, melodic, and harmonic variations of the first two phrases of the theme. miGlOiO C J = 7 2 ) FRST ?ARA5E Û F T H E M E CTRAN S P O S E B f o £ j cc b a - . F. % A h r ^ < i ) # w # - f } V J 4 • L | — i t# Ë Z Z Z< ^ L Z _ £ i± l: MC A SURE 3. In the woodwinds from measure 154 through 171, the contour of the melody is retained but its harmony is different, its intervals are 186 changed, and some tones are deleted while others are inserted in the melodic line. PHRASE Z PHRA4Ê i , 5 4. The first and second phrases of the original melody are played by the brasses in measures 212 through 219, but the harmonies are altered. SECOND ÎH R A S e OF "AiEME WITH ORIGINAL HA'RMOAIIES t r r S=Je * J J n t t J - ft j CMAI. 6 f MAr C,«AT 187 Second'BfP.Ase of Theme with Uiw AARwomiEs fMSA^uREs l i 6 - zig) t r p . -e T r f TR&. ÉUPH. BASSES 1 # A Î e: S: MEASt/RE(0) ■p i^in, S 'fvtîfi, < f MA7, A . @/W4 J% 5. Measure 228 is derived from the first two measures of the original theme. This is true also of measures 229 and 230. Careful listening and examination of the notation of these three measures will show that 228 is a diminution of 229 and 230. ______ D/MiA/L/Ti OAJ — — L U — MEASURE (228) 6. The coda is based on the first two measures of the theme and consists mostly of rhythmic variations. 188 General Music Guide II Concept A composition may be based on a single theme, achieving unity through the repetition of certain elements of its design, while creating contrast through the altera tion of other elements. Materials Score: Chester, "Overture for Band," William Schuman (Merion Music, Inc.) Recording: Chester, "Overture for Band," William Schuman (Decca 8633--Goldman) Song: Notated on chalkboard 189 Chester, William Billings — : — — ----------n ^ II LET TbiRANtS StAKE lAElR I - Fon t FcO) E r r ^ p And .SLAV-R’ y clank HER Gall— ing Chains, a r r ir r f_ r w l ’l l TEAR Them noT, w e Tr u s t. IN Go d , ± AIEW — êNGLANd’g Gdd. For - £V. £R W & " Experiences Classroom experiences through which the concepts will be developed are : A. Listen to the recording of measures 1 through 37, while following the notation of the song on the chalk board. B. Sing the song to develop familiarity with the theme. C. Discover the prominent characteristics of the theme through singing, listening, and discussion. 190 1. The melody moves in a scalewise manner with occasional leaps of thirds, fourths, and fifths. 2. The melody is organized into four equal phrases of four measures each. a. The first three phrases start with the rhythmic pattern cJ J J , but the beginning of the fourth phrase is characterized by a dis tinctive rhythmic figure : J* ^ J J The rhythm of the last two measures of every phrase is the same. b. The opening motif of the first phrase appears in the middle of the third phrase. 3. The theme (as heard in the first l6 measures) is presented in a four part homophonie texture with the first two phrases ending on the chord of D Major (the dominant harmony), and the last two phrases ending on G Major (the tonic harmony). D. Listen to the recording of the entire composi tion to discover the most obvious characteristics of the music as a whole, and those musical details which are 191 discernible at the first hearing. During the course of the listening the teacher will point to those parts of the theme (notated on the chalkboard) which are most obvious in the music. 1. In the beginning the theme is played twice. First by the woodwinds and then by the brasses. 2. Almost immediately, the theme is played again by the woodwinds at a very fast tempo. The last two measures of this statement are repeated many times with rhythmical changes. The melodic pattern sounds the same but the rhythm is different. 3. The first two phrases of the theme are played with rhythmic alterations, including syncopation, while the melodic pattern is altered by the addition of certain notes. 4. The entire theme is varied melodically, rhythmically, and harmonically. Only its general contour is maintained. 5. Just before the coda the third phrase of the melody is lengthened in time. (Augmentation) 192 E. Through repeated hearing of the music and non technical analysis and discussion, the students will dis cover numerous passages in which one aspect of the theme will be identical with its original statement, and one or more aspects will be different. The discussion should include descriptions of the ways in which one passage or another is different from the source from which it is derived. Following are some examples. 1. The melody is played by the woodwinds (measures 46 through 6l) approximately four times as fast as it was heard originally. The time values of the notes have been cut in half--diminu tion- -and the tempo has been approximately doubled This is accompanied by a dissonant chord repeated as a rhythmic pulse by the brasses. ORIGINAL T heme' fJ=72)' | * ^ f---1 p I * f " MéÂSÜRêQ) ' DIMINUTION MEASURE I ACCOMPANYING Chord ij: & ■ - 193 2. Measures 101 through 122 consist of rhythmic, melodic, and harmonic variations of the first two phrases of the theme. -RELIGI060 rJ = 72) PlRST ?ARASE OF THEME (TRANSFD.SEB 1b E ') a M éasuré: cioi 3. In the woodwinds from measures 154 through 171, the contour of the melody is retained but its harmony is different, its intervals are changed, and some tones are deleted while others are inserted in the melodic line M£ASUf?£ds4) 194 4. The first and second phrases of the original melody are played by the brasses in measures 212 through 219, but the harmonies are altered. 5ÊCÔN» ?HRASe , OF 1h£M£ VlTH ORIGINAL HARMONIêS i J f r r =j= r f 32: e«Aj, - - & f MAT G- - Second'BiP .A s e of T himc w'ita /V £W H armonies imêasurés lié-aig) trp. a fff r f f f i B . BAS5ES a I Ê 0 - MÉAiLlRÊ 5. Measure 228 is derived from the first two measures of the original theme. This is true also of measures 229 and 230. Careful listening and examination of the notation of these three measures will show that 228 is a diminution of 195 of 229 and 230. The coda is based on the first two measures of the theme and consists mostly of rhythmic variations. CHAPTER III GUIDES FOR THE TEACHING OF MUSIC BASED ON THE REPETITION OF A SINGLE THEME Band Guide III Concepts A composition can be based on a single theme repeated over and over throughout the course of the work. Each repetition of the theme is accompanied by musical variations in other instruments or voices which move around the theme. A composition known as a chaconne or a passacaglia is organized in this way. The theme, itself, may appear at different pitch levels, be varied slightly, or even be inverted, but its characteristic tonal shape is not changed. Materials Score: First Suite in E Flat, "First Movement (Chaconne),’ G. Holst (Boosey and Hawkes) 1-96_________________________ 197 Recording: Suite No. 1 in E-Flat, "Chaconne," G. Holst (Mercury MG 50088--Fennell) Chalkboard: Theme notated. Experiences Classroom experiences through which the concepts will be developed are : A. All play the theme in unison, reading from the chalkboard. B. Listen to a recording of the composition to discover that: 1. The theme is stated numerous times. Although it is played by different Instruments and is varied slightly it remains essentially the same throughout. 2. The music in the accompanying instruments varies from one statement of the theme to another C. Compare subsequent occurrences of the theme with the original statement to discover the ways in which it is varied or changed. 1. Trombones, other low brasses, and low saxes play the fifth variation (from the pick-up 19 8 to measure 42 through measure 48). Discover that the contour of the theme remains the same but the tones are "punched out" instead of sustained. A11 z<jTo yhodie^aio Ê t k û ^ 1 I . # ^.. ■ P •. .....1 ...--------- hr— ^ r- ■ ' p-- - -1-- - ✓ — 1 — --- : . ÊRlLLIAMte V" ■ — ■ f y /- f- V Y — U ’ f - / — fn-- 9 L , , • ^.7 . A — < 7 K / A — /_ Z X _ r - m : : — — 0 / P y i p.jy • 1 — F— “ — - "■ " .. I / : ' J:: f ■... ^ 2. Eb horn, alto saxophone, and Bb clarinet play the ninth variation (pick-up to measure 73 through measure 80) followed by cornets and low brasses and saxes in the tenth variation to dis cover that both of .these variations are inversions of the theme. 199 /ViAlTH VARIATION zz JL 9". ÿ 3. Listen to the trombones play the twelfth variation from the pick-up to measure 89 through measure 96 to discover that this variation pre sents the theme two steps higher, while remaining in the original key. $ s A 3 a fWELFTH /ARlATiON a' Or M r 4 ■S' 5: -r 4. Listen to the high woodwinds, French horns and 1st cornets from the pick-up to measure 105 through measure 113 to discover that the theme 200 is heard in the higher pitched instruments and is extended slightly before its last full statement in the lower instruments. D. Discover, through rehearsal, non-technical analysis and discussion, the ways in which the variations differ from one another: 1. Listen to the instruments which play the accompaniment to the theme in the first three variations to discover the gradual shortening of note values from one variation to the next. Variation I m Variation II MCAÔLiRg 1% MESURE @ Variation III 201 2. Note the contrast achieved by following the heavy instrumentation of the fifth and sixth variations with clarinets and French horns alone in the seventh variation and high woodwinds and also saxophone in the eighth variation. . 3* Play the first variation (from the pick up to measure 9 through measure l6); play the l4th variation (pick-up to measure 114) through measure 120). Discover through listening and discussion that the same accompanying melody is used but the instrumentation is greatly increased from cornets and trombones to the full band. 202 Orchestra Guide III Concepts A composition can be based on a single theme repeated over and over throughout the course of the work. Each repetition of the theme is accompanied by musical variations in other instruments or voices which move around the theme. A composition known as a chaconne or a passacaglia is organized in this way. The theme, itself, may appear at different pitch levels, be varied slightly, or even be inverted, but its characteristic tonal shape is not changed. Materials Score : Chaconne in G Minor, Purcell Transcribed by J. Barbirolli (C. Fischer) Chalkboard: Theme notated Experiences Classroom experiences through which the concepts will be developed are : 203 A. Everyone play the theme In unison, reading from the chalkboard. Chaconne in G Minor, Purcell Theme ^ M : : \ ^ - J s - — 1 — — (MEflsWE (Î) B. Compare subsequent occurrences of the theme with the original statement to discover the ways in which they differ from it. 1. Listen to the following,examples to dis cover that in some of the repetitions the design of the theme has been elaborated with rhythmic patterns and octave leaps. a. Compare the original theme, as played by the basses, with measures 4l through 45, as played by the cellos. 204 b. Compare the original theme, as played by the basses, with measures l4l through 145, as played by the cellos. Compare the original theme, as c. played by the basses, with measures 151 through 155, as played by the cellos. d. Compare the original theme, as played by the basses, with measures 211 through 215 as played by the cellos. Compare the original theme, as played by the basses, with the following repetitions of the theme to discover that it is heard at higher pitch levels. Listen to measures 71 through 75 as a. played by the bassoon. 206 •0*- MEASURE @ i b. Listen to measures 76 through 8l as played by the English horn. 4- MEASURE 1% C. Discover, through rehearsal, non-technical analysis and discussion, the musical qualities which characterize the variations. For example: 1. First violins, flutes, and oboes play variation VI, measures 26 through 30, to discover that it is based on a downward, stepwise tonal line _in a distinctive rhythmic pattern. ANDANTE" m measure ^ s a • s — : — — ë—-- 207 Variations VII and VIII, measures 31 through 4l, utilize the same rhythmic pattern but are charac terized by wide leaps in the melodic line. 2. Entire orchestra plays variation XII, measures 56 through 60, to discover that it is an imitative presentation of figure ''a. " o rn_, MEASUREU rsT J & 3* Strings play variation XVIII, measures 86 through 90, to discover that most of this variation is based on scalewise runs. 4. Woodwinds and cellos play variations XXI and XXII, measures 101 through 110, to discover that the theme appears in imitative counterpoint. MEASURE (W SNQ-L . HORN, f 5. High strings and woodwinds play varia tion XXVT, measures 126 through 130, separately and then together, to discover a scalewise, down ward moving, syncopated sequence of quarter notes contrasted with rising lines of sixteenth notes. 6. Listen to the strings play variations XXXV, XXXVI, and XXXVII, measures I7I through 190, to discover that the rhythmic pattern of the materials around the theme is in groups of three (or its multiple) for each beat of a measure, and therefore has a meter signature of 9/8, rather than the previous 3/4. While maintaining the same 209 meter, each of these three variations contains more notes (in the string parts) than the one before it--giving the effect of increased movement toward a climax. «MEASURE 3 r n . ' ^ 1 f 9 i \ — J J . J 1 J ' (y 8 . . . . . y ....... p ^ f * f ■ MEA5VRE / / 7. The variations XXXIX and XL, measures 191 through 200, by contrast with the previous three, move slowly in 3/4 time. Listen to the principal melodic line in the violins to discover that it moves in chromatic steps, upward in variation XXXIX and downward in variation XL. 210 VARIATION XVV/xr y O ---I w — ------- ------- L Sl^ ---r— -----------,r— A - # # ----- #— ---------------- -1- 1 , ::. : :::. ' ■-......- — i — 1 M E A S U R E ( ^ 1 r ^ - W : J . ■■;■ . --------------- p • ... ; . : .... — f __i IH£Asyfte(J^ f m rr & # é 211 Choral Guide III Concepts A composition can be based on a single theme which is repeated over and over throughout the course of the work. Each repetition of the theme is accompanied by musical variations in other instruments or voices which move around the theme. A composition,known as a chaconne or a passacaglia is organized in this way, as are some arrangements of folk songs. The theme, itself, may appear at different pitch levels, be varied slightly, or even be inverted, but its characteristic tonal shape is not changed. Materials Score; The Turtle Dove, arranged by R. Vaughan Williams (G. Schirmer--8l05) Experiences Classroom experiences through which the concepts will be developed are: A. Everyone sing the baritone solo part in unison 212 to develop technical facility and understandings of cor rect phrasing, pitch relationships, and the rhythmic structure of the melody. B. Discuss the modal quality of the melody. (See modes. Part I, pages 61-63*) C. Discover through singing, listening, and dis cussion that the composition is organized around four consecutive statements of the melody: 1. As a baritone solo from the beginning through measure 10. The Turtle Dove, arr. R. Vaughan Williams m P— 9 Z--Ê m i WELL, MV DÊARj! m i 8E LEAVE FDR A - WiLEf 8 (CLO SED LIRSI MEASUREO) 2. As sung by the first soprano from the upbeat to measure 12 through the first three beats of measure 21. 213 BkmPLE 3: 60 F A IR T k O W A R f (Ai 0O M -N Sg US^/ ^ o 3EEP fN- L c n /g A M I y O ._4..— ------ — --------- z-r-f ^ #' f'"» : so F air fJou ART g MÊASUR£(Î2 So FAIR THou ART 3. As sung by the tenors and second sopranos from the last beat of measure 21 through the first three beats of measure 31» f - w f 1H£ 5EA V/ILL NEVER Rl/N D R ' v / , . NOR iri£ R o c k s /viel-t v ifn T k£ 3 u n , # m ® 0 0 0 ( ^ # The SEA W il l (VE/ER RUN P R ^, M V :— ^ DEAR, NOR The ROCKS NEVER AIElI ViTh ThE SU N ,. Î t J f $ 1 h£ tO‘ m e j SEA V ill never RON à _ è . - . ( ^ é ... a?RN, m s ; ])EAR,N0R1kE Ro cks n e v e r A jE h v / ithThe $ MEASURE 4. As a repetition of the baritone solo at the beginning. 2:14 D. Discover through rehearsal^ non-technical analysis, and discussion that each repetition of the melody is accompanied by a variation in the arrangement of the voice parts around it, 1. The first statement is a baritone solo with the choir humming a harmonic background. 2. In the first variation (repetition), measures 12 through 21, the melody is sung by the 1st sopranos while the accompaniment alternates between the female and male vocal sections for each succeeding phrase of the melody. (See example B) 3- In the second variation, measures 22 through 31, the melody is doubled at the octave by tenors and 2nd sopranos. It is accompanied by the other sections in a homophonie texture which includes a descant (a contrasting melodic line which lies above the theme) in the first sopranos. D£ scanT te p M ELO D Y 5£A V/ ilL NfeVÊft RUN MEASURE (^ r / O R f a e 'HoCkS V E Y E R MELtVfTHfttÊ 4. Compare the first and last statements of the theme to discover they are the same except for the final two measures which are added to the last variation. E. Listen to the Passacaglia in C Minor of J. S. Bach (see World of Music Guide III) to discover that, like "The Tuttle Dove"; it is based on a single theme repeated over and o v e r ; it has variations in other parts for each repetition. General Music Guide III Concepts A composition can be based on a single theme repeated over and over throughout the course of the work. Each repetition of the theme is accompanied by musical vari ations in other instruments or voices which move around the theme. A composition known as a chaconne or a passa caglia is organized in this way. The theme, itself, may appear at different pitch levels, be varied slightly, or even be inverted, but its characteristic tonal shape is not changed. Materials Score ; Passacaglia and Fugue in C Minor, from the Organ 216 Works by J. S. Bach (Peters Edition, Volume I, No. 2) Recording: Bach* s Royal Instrument, Volume III, ’ ’ Passacaglia and Fugue in C Minor,’ ’ J. S. Bach (Columbia ML 4-500--Biggs ) Chalkboard: Theme notated Experiences Classroom experiences through which the concepts will be developed are : A. Listen to the theme as played on the piano or the recording, while following the notation on the chalk board. Repeat this procedure several times to discover: 1. The theme is in a low register. 2. The movement of the melody is almost entirely an alternation of short and long notes (one- and two-beat duration) with the shortinne moving upward, usually by step, to the longer tone Passacaglia in C Minor, Bach Theme u 3— - _p— Æ_J p . " 7 5 —1 — ----- 1 0-- Û ..:.r -- 1 -- : I MEASURE® B. Listen for the theme - 4 --9 --- as th 0 e recor( l- O --: - ling of ^ i ' the 217 entire composition is played. Discover through listening and discussion that: 1. The theme is repeated over again many times. 2. The theme appears in the higher as well as the lower pitches. C. Discover through repeated listenings, non technical analysis, and discussion, some of the unique characteristics of the variations in this composition. 1. The 1st and 2nd variation (measures 9 through 23) are based on a consistent sequencing of one motive throughout. Variation I M o tiv e g Measure® 2. The 4th variation is based on a rhythmic motive in an essentially smoothly flowing melodic line. The ^ t h variation is based on this same rhythmic motive with which the theme, itself, is also varied. J 218 Variation IV $ m m i i A g MEASORE (0> % T F S ' - j Z K Æ : - \ Tmêmê: Variation V Theme :i ME A su/? ^ T i r — f / - y l * g ) x L / V f--- j \ A — Z - V . X£^— a — 7- J!; ---- 3. The 6th and 7th variations (measures 49 through 64) retaining the theme in the lowest part, are also related to each other through the use of scale-wise patterns in the other voices (or instruments). They move upward in the 6th varia tion and downward in the 7th. 219 Variation VI MB I THÊMÊ Variation VII t'HIMS . . . . . . 4. In the 11th variation (measures 89 through 98) the theme is heard in the top voice with a single line of smoothly undulating accompaniment Variation XI p - Ê ^ 4 220 The 12th variation repeats the theme in the top voice with a fuller accompaniment below it. 5. Listen to the theme (measures 1 through 8) as played on the piano or the record, while reading its notation on the chalkboard. As the teacher points to the notation, each member of the class reproduces the theme mentally (silently) as it was just heard audibly. While listening to the 13th, l4th, and 15th variations on the recording, reproduce the theme mentally each time to discover that it is contained within the fabric of the variation itself. Variation XIII Variation XIV i r i r i Variation XV CHAPTER IV GUIDES FOR THE TEACHING OF MUSIC BASED ON THE FUGUE Band Guide IV Concepts A fugue is a composition based on the technique of imitative counterpoint in which the subject or theme appears successively at different pitch levels. In the opening section of a fugue, called the exposition, the entrances of the subject usually alternate between the original pitch and one a fifth above or a fourth below it. As each new "voice" enters with the subject, the preceding "voice" continues with new material in counterpoint to it. If this material attains importance throughout the fugue it may be referred to as a countersubject. Statements of the subject may be separated by interludes of free counterpoint. These are called episodes. They may con tain melodic or rhythmic patterns derived from the subject 22 2 or countersubject. Materials Band Arrangement: Fugue in G Minor, "The Little," J. S. Bach--Cailliet (Carl Fischer) Recording: Little Fugue in G Minor, J. S. Bach--Cailliet (Victor LE 1009, Adventures in Music, Grade 6, Volume 1) Chalkboard: Subject and countersubject notated. Experiences Classroom experiences through which the concepts will be developed are: A. Listen to a recording of the entire composi tion, while reading from the individual parts, to discover (a) the most obvious characteristics of the music as a whole,* (b) those musical details which are discernible at a first hearing. 1. There is one principal theme, known as the subject, that reappears frequently throughout the composition. The statements of the subject are sometimes interspersed with passages that are 224 contrasting in melody and rhythm. Several dif ferent melodies can be heard at the same time. Near the end of the composition it rises in pitch and in volume to a magnificent climax. 2. At the beginning of the fugue, the subject is heard four times at successively lower pitches played by the following instruments: the first clarinets; the alto saxophones and second clarinets; the third clarinets, alto clarinet, bass clarinet, tenor saxophone, and first horn; the baritone horns. Subject A^ODERATO f j =io8) measure: A te 3. After each voice has stated the subject, it continues with new material called the counter subject, while the next voice enters with the 225 subject. The first statement of the countersub ject is found in measures 6 through 10. Countersubject MEASURE ( V ) I B. Listen again to measures 23 to 26. Discuss the music to discover that: 1. It is different from the subject. 2. The two upper voices imitate each other. The two lower melodies are also imitative. 3* This passage: (a) leads to a re-statement of the subject; (b) functions as an interlude between statements of the subject; and (c) may be called an episode. 226 UPPER W. V/ R LOWER W . W . •V M EASURE C. Rehearse measures 1 through 10. 1. Listen to the first clarinets to discover that; the first measure of the subject, being essentially chordal, serves to establish the key of g minor. OUTLINE Of 9 minor CHORD I I MeASL>RE(T) Measure 4 is a varied repetition of measure 3. (Replay and compare these two measures.) 227 -------------- ■ W ,, --- a — é -------------------- # --- — ! V ■# .. ' é — — 1 /VieASUR£@ Measure 6, the first measure of the countersubject, is an altered repetition of measure 5 on a higher pitch level. (Replay and compare these two measures.) M easure (5) measure The pitches at the end of the subject are the same as those of notes 3 through 10. The time values are shorter. For this reason, the end of the subject sounds like a diminution of 2 2 8 its beginning, though this is not strictly so (Replay and compare these two examples.) MEA^LlR£/(y 1 M easure ( D 2. Listen while the first clarinets play measures 1 through 5 (subject). Listen while the alto saxophones and second clarinets play measures 6 through 10 (answer). Discuss the similarities and differences between these two passages to bring I out the following facts: the melodies are the same; the rhythm is the same; the pitch level is differ ent; measures 6 through 10 being a fourth lower. 3. Listen to measures 6 through 10 as played by the woodwinds. Discover that two melodic lines are moving "against^' each other, creating a tex ture known as counterpoint. Discover that the alto saxophone and second clarinets are playing 2 2 ^ the melody of the subject while the first clarinets play the countersubject. Note that the first measure of the countersubject (measure 6) is an altered repetition of measure 5 on a higher pitch level. (See brackets A in the sub ject and in the countersubject on pages 223 and 224. ) D. Rehearse the rest of the composition to develop understandings related to the structure of a fugue through listening, discussion, and nontechnical analysis. 1. Listen to the French horns, 2nd and 3rd clarinets, alto clarinet, alto saxophones, and English horn play the subject (in Bb Major) from measure 34 through 38, and the high woodwinds play the subject (in c minor) from measure 52 through measure 56 to discover that later state ments of the subject are in different keys. 2. Listen to the first clarinets play measure 7. Then listen to the low woodwinds play measures 23 and 24. Discover that the sequences in this passage are derived from the countersubject (measure 7)• CL.I. 3. Listen to the following passages in order Measure 11 with the upbeat--first clarinets. Measures 38, 39--French horns, alto saxophones, clarinets. Measures 40, 4l--high woodwinds. Discuss these passages to bring out the fact that measures 38 through 4l are derived from measure 11. CL.I. D I L J , MEASURE HORNS. CLARS. AL-fO 3A% M easureO ÜPP£R W. W. EASURE f^û £ 2 4. Compare the episode (measures 23 through 25) played by the woodwinds, with that in measures 47 through 51, also played by the woodwinds. Dis cover through listening and discussion that these two episodes are based on the same thematic material but are performed at different pitch levels. 232 Orchestra Guide IV Concepts A fugue is a composition based on the technique of imitative counterpoint in which the subject or theme appears successively at different pitch levels. In the opening section of a fugue, called the exposition, the entrances of the subject usually alternate between the original pitch and one a fifth above or a fourth below it. As each new "voice” enters with the subject, the preceding "voice" continues with new material in counterpoint to it. If this material attains importance throughout the fugue it may be referred to as a counter subject. Statements of the subject may be separated by interludes of free counterpoint. These are called episodes. They may contain melodic or rhythmic patterns derived from the subject or countersubject. 233 Materials Orchestration: Fugue in G Minor, "The Little," J. S. Bach-~Cailliet (Carl Fischer) Recording: Little Fugue in G Minor, J. S. Bach-- Cailliet (Victor LE 1009, Adventures in Music, Grade 6, Volume I, Side 1) Chalkboard: Subject and countersubject notated Experiences Classroom experiences through which the concepts will be developed: A. Listen to a recording of the entire composition, while reading from the individual parts, to discover (a) the most obvious characteristics of the music as a whole; (b ) those musical details which are discernible at a first hearing. 234 1. There is one principal theme, known as the subject, that reappears frequently throughout the composition. The statements of the subject are sometimes interspersed with passages that are contrasting in melody and rhythm. Several differ ent melodies can be heard at the same time. Near the end of the composition it rises in pitch and in volume to a magnificent climax. 2. At the beginning of the fugue, the subject is heard four times at successively lower pitches played by the following instruments: the first clarinet,* the English horn and second clarinet; the bass clarinet, bassoons, and violas; the lower woodwinds and strings. Subject M o d e r a t o f J » lo 8 ) A fc 4 ^ * 235 3. After each voice has stated the subject, it continues with new material called the counter- subject, while the next voice enters with the subject. The first statement of the countersub ject is found in measures 6 through 10. Countersubject MEASURE @ B. Listen again to measures 23 to 26. Discuss the music to discover that: 1. It is different from the subject. 2. The two upper voices imitate each other. The two lower melodies are also imitative. 3. This passage: (a) leads to a re-statement of the subject; (b) functions as an interlude between statements of the subject; (c) may be called an episode. 236 H UPPER W . \/. LOWER W.W m s m MEASURE C. Rehearse measures 1 through 10. 1. Listen to the first clarinet to discover that: the first measure of the subject, being essentially chordal, serves to establish the key of g minor. OUTLINE Of 9 Tninor' CHORD ; Mêasurc(D Measure 4 is a varied repetition of measure 3» (Replay and compare these two measures.) 237 MEA6URE@ b / measure^ Measure 6, the first measure of the countersubject, is an altered repetition of measure 5 on a higher pitch level. (Replay and compare these two measures.) 0 — )r— = 5 = f 3 = ^ -0 J Measure (5) measure The pitches at the end of the subject are the same as those of notes 3 through 10. The time values are shorter. For this reason, the end of the subject sounds like a diminution of 238 its beginning, though this is not strictly so. (Replay and compare these two examples. ) MEA&URe/(T) MEASURE ( ^ __I 2. Listen while the first clarinet plays measures 1 through 5 (subject). Listen while the English horn and second clarinet play measures 6 through 10 (answer). Discuss the similarities and differences between these two passages to bring out the following facts : The melodies are the same. The rhythm is the same. The pitch level is different, measures 6 through 10 being a fourth lower. 3* Listen to measures 6 through 10 as played by the woodwinds. Discover that two melodic lines are moving counter each other, creating a texture 239 known as counterpoint. Discover that the English horn and second clarinet are playing the melody of the subject while the flute and first clarinet play the countersubject. Note that the first measure of the countersubject (measure 6) is an altered repetition of measure 5 on a higher pitch level. (See brackets A and A^ in the example notated on pages 234 and 235* ) D. Rehearse the rest of the composition to develop understandings related to the structure of a fugue through listening, discussion, and non-technical analysis. 1. Listen to the French horns play the sub ject (in Bb Major) from measure 34 through 38, and the high woodwinds and violins play the subject (in c minor) from measure 52 through measure 56 to discover that later statements of the subject are in different keys. 2. Listen to the flutes play measure 7* Then listen to the violas and cellos play measures 23 and 24. Discover that the sequences in this passage are derived from the countersubject (measure 7). 240 F t r- cmf C L .I. A/1 ÊAôUR£ (7) '-.Bftlop violAs ^ ortm ÛLAR* ALTOi B .C L. SEauENCE ORCH ( cellù^ brtSSOOAlS fEN. <6AA. S A ü MEASURE 3. Listen to the following passages in order Measure 11 with the upbeat--clarinet. Measures 38, 39--French horn. Measures 40, 4l--violins, clarinet I, oboes, and flutes. Discuss these passages to bring out the fact that measures 38 through 41 are derived from measure 11. 24l f à - r - # — 1 — I - - - • # r - - - - - - - - - - -5- - - - - - # — i . . .r— / - « a - = J — ! — y— t = MEASURE CLAai: 1b/\wd AUfO SAÜ J FH. orchestra " O (UPPER^SWJ f MEASURE (3^ ' ^ band . mViEJTRA w] te ; z ^ ^ '7 ^ 1 5 B3E 5 MEASURE® 4. Compare the episode (measures 23 through 25) played by the strings, with that (measure 47 through 51) played by the woodwinds. Discover through listening and discussion that they are based on the same thematic material but are per formed at different pitch levels. 242 Choral Guide IV Concepts A fugue is a composition based on the technique of imitative counterpoint in which the subject or theme appears successively at different pitch levels. In the opening section of a fugue, called the exposition, the entrances of the subject usually alternate between the original pitch and one a fifth above or a fourth below it As each new ’ ’voice" enters with the subject, the preced ing "voice" continues with new material in counterpoint to it. If this material attains importance throughout the fugue it may be referred to as a countersubject. Statements of the subject may be separated by interludes of free counterpoint. These are called episodes. They may contain melodic or rhythmic patterns derived from the subject or countersubject. Materials Score: Elijah, "And Then Shall Your Light Break Forth," Mendelssohn (G. Schirmer--7594) Recording: Elijah, Mendelssohn (Angel 3558— C. Sargent) 243 Experiences Classroom experiences through which the concepts will be developed are : A. Listen to a recording of this composition, while reading from the vocal score, to discover: 1. The number of principal sections in this chorus as a whole. 2. The relationships that exist among the four voice parts in the main body of the composition. B. Discuss points A.--1 and A.— 2, after hearing the recording, to bring out the following facts: 1. There are three main sections in this composition. The first one is an introduction to the second. The third section is distinguished from the second by its essentially homophonie character. The second section is the main body of the composition. 2. In the second section the voice parts enter individually, each one singing the same phrase. The altos introduce the subject (or themel) in measures l8 through 23. It is then sung in 244 turn by: the sopranos a fifth higher than the altos; the basses an octave lower than the altos; the tenors a fifth higher than the basses. 3. From this it may be noted that the rela tionship of the soprano part to the alto is dupli cated in that of the tenor part to the bass. It may be noted that the alto and bass parts are identical as are also the soprano and tenor. C. Sing the passage beginning with measure I8 and continuing through the conclusion of the tenor state ment of the subject (measure 39)- Altos and basses may sing it together in unisoh, and sopranos and tenors may sing their parts together in unison after which the entire section should be sung as written to provide aural recognition of the structure of these measures. D. Listen again to the recording or sing from the beginning through measure 39 for the purpose of dis covering : 1. The contrast in structure between the first 17 measures and the ensuing measures. 2. The relationship of tempo and meter between the introduction and the fugal section. 245 E. Bring out the following points through rehearsal and discussion; 1. The first part of the introduction is homophonie with all of the parts singing the same words in the same rhythm at the same time. In the second part of the introduction the voices imitate each other but only briefly. 2. The tempo of the quarter notes in the introduction equals the tempo of the half notes when the altos enter with the subject of the main section. 3. Note each entrance of the subject, the relative prominence of it in the total tonal texture, and also the similarities and contrasts between section 2 and section 3« The discussion pertaining to section 3 should take note of the following points: a. Much of it but not all of it is homo- phonic with the voices singing the same words and rhythm at the same time. b. Most of the third section is derived from the tonal and rhythmic nature of the principal subject. 246 P. Examine the notation of the principal subject to discover that it is six measures long and that it con sists of three distinct patterns of two measures each. Elijah, ’ ’And Then Shall Your Light Break Forth,” Mendelssohn A lle g r o . d o ??\q mowmeaitd J = % ______ FtauRE B A Lib Figure a F ig u r e C ' measure Figure 2) L ord Our Cr£ - a - tor,R ow Ex - c e l l e n t t o Na m e Is I/m Al l The N a - Tio/ms 1. Note the rhythmic character of Figure A. 2. Note the repeated intervals of the fourth in measures 3, 4, and 5. G. Sing the passage beginning with measure 64 and continuing through measure 75 to discover where and in what ways Figures A, B, and D overlap each other. 247 MEASURE (64 LORD, OUR CRE HOW Ey-OEL- URê— —r--1 EX-CEL- LE<MTfft( FlAURE __ NAME LORD, OUR CRE- A - foR,ROW EX -CEL-UENffH^ NAME FIGURE A To r, LORD, OUR CRE- iil# MOW EX-CEL- iGURE ^ ______ _ EX-CEL-LENT Tmy HOW FIGURE LORD, OUR CRE-A - 'foR, How EX-CEL-LENT IHV NAME IS, H. Sing the alto part from measures 25 through 28. Rehearse and discuss this theme, known as the counter subject, to discover that: Its movement is characterized by a 248 descending line, an octave leap upward, and a pattern using the interval of a fourth. Countersubject ^^^CENDiAin- measure ( 5 ) IN All iHE AlA iom. IN all IHE /VA _ _ 1IDNS 2. It appears in each voice Just after the succeeding voice has entered with the subject. The tenors, being last to enter, do not sing the countersubject. a. The alto sings the countersubject in measures 25 through 28, Just after the soprano entrance. b. The sopranos sing the countersubject in measures 31 through 34, Just after the bass entrance. c. The basses sing the countersubject in measures 36 through 39^ Just after the tenor entrance. I. While rehearsing the remainder of the composi tion (from measure 4l to the end), discover through . 24g— discussion and non-technical analysis, the ways in which the parts are organized.and related to the subject and the countersubJect. 1. The complete subject appears: in the bass voice from measure 43 through 48 in f# minor; in the alto voice from measure 51 through 56 in A Major; in the alto voice from measure 76 through measure 8l in D Major. 2. In measures 84 through 87, Figure A is sung by each voice beginning in consecutive measures. Thus, the voices crowd in upon one another. A pas sage in which this happens is called "stretto.^^ MEASURE (84 3X All The P\auR£ A - ToR Lord Ou r cre LORD Our Cre- f\GUR L o r d O U R ER E-A - fOR lOR LORD 250 3. The final ’ ’Ainen^' section (measures 114 to the end) is based on the "Amens” sung by the altos in measures 60 through 64. Motive_____ seqlUENcE_____ % I i ' i l » I i 30E MEASURE A MEN, A MEM __’J General Music Guide IV Concepts A fugue is a composition based on the technique of imitative counterpoint in which the subject or theme appears successively at different pitch levels. In the opening section of a fugue, called the exposition, the entrances of the subject usually alternate between the original pitch and one a fifth above or a fourth below it. As each new "voice" enters with the subject, the preced ing 'Voice” continues with new material in counterpoint to it. If this material attains importance throughout the fugue it may be referred to as a countersubject. 251 Statements of the subject may be separated by interludes of free counterpoint. These are called episodes. They may contain melodic or rhythmic patterns derived from the subject or countersubject. Materials Scores: Fugue in G Minor, "The Little,” J. S. Bach— Cailliet (Carl Fischer) Lea Pocket Scores Number 38 (Vol. 8, Complete Organ Works of J. S. Bach--Gesellschaft Edition) Recordings: Little Fugue in G Minor, J. S. Bach--Orches- tral Transcription (Victor LE 1009, Adventures in Music, Grade 6, Vol. 1) Bach Organ Favorites— E. Power Biggs (Columbia ML 5661) Bach'8 Royal Instrument--E. Power Biggs (Columbia ML 4500) Encores--Virgil Fox (Victor LM 2268) Chalkboard: Subject and countersubject notated. 252 Experiences Classroom experiences through which the concepts will be developed are: A. Listen to the theme or subject as played on the piano, an orchestral instrument, or recording, while following the notation on the chalkboard. Subject Moderato (J'lo8) ^ J r r ;'I r.r j rj Measure: (T ) A g i SI B. Sing the subject on a neutral syllable with the piano, orchestral instrument, or recording. Rehearse briefly for intonation and accuracy of rhythmic patterns. C. Listen to the first three tones of the sub ject played slowly on the piano with the damper pedal down to discover that they outline the g minor chord. Sing these three tones in sequence two or three times to 253 establish the melodic and harmonic concept in the mind. D. Listen to the recording of the entire composi tion to : 1. Identify each entrance of the subject. 2. Distinguish between the statements of the subject and the interludes that separate them. E. Bring out the following points through dis cussion and non-technical analysis : 1. There is one principal theme that reappears frequently throughout the composition. 2. These statements of the theme are some times interspersed with passages that are con trasting in melody and rhythm. (These are called episodes.) 3. Several different melodies can be heard at the same time. 4. Near the end of the composition it rises in pitch and in volume to a magnificent climax. F. While following the notation on the chalk board, listen to the countersubject as played on the piano (or an orchestral instrument). Listen to the first 22 measures of the composition as played on the recording 254 to discover that after each instrument plays the subject, it continues with new material (the countersubject) while a subsequent voice enters with the subject. Countersubject t r measure ( £ ) G. Compare the pitches of the first four entrances of the subject, as played on the piano, to discover that each entrance is lower in pitch than the preceding one, and that the third entrance is an octave below the first. H. Discover additional characteristics of the subject and countersubject through singing, listening, and discussion. 1. Measure 4 is a slightly varied repetition of measure three. 255 2. Measure 6 , the first measure of the countersubject, is an altered repetition of measure 5 on a higher pitch level. (See A and A^ in examples of subject, page 252, and counter subject, page 254.) 3. The pitches at the end of the subject (A) are the same as those of its notes 3-IO, but the time values are shorter. For this reason, A sounds like a diminution of 0, though it is not strictly so. 4. Listen to measures 3 and 4 of the subject to discover the importance of the notes G, A, Bb, A which are heard on the beats, and the relative unimportance of the other notes which come on the off beats. 5. Listen to measures 23 and 24 while look ing at the notation of the last half of measure 7 on the chalkboard to discover that measures 23 and 24 consist of sequences derived from measure 7. Viola Listen to the entire composition. Try to hear the subject with its countersubJect as two inde pendent, yet mutually supporting lines sounding simultaneously. Listen for the changes in the tonal quality of the subject which are brought about by repeating it at different levels and with different groups of instruments. UNfVERSfTY OF SOUTHERN CALIFORNIA LIBRARY
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Saltzer, Rudolph Ben
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Musical content: The basis of high school music teaching
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