Картинки на тему «How Music Works, Part IV: Texture and Form» |
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 Chapter 6 How Music Works, Part IV: Texture and Form |
 Musical “characters” – notes, rhythms, melodies, patterns, and vocal |
 Texture |
 Insights and Perspectives |
 Form: The Designs of Musical Works |
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How Music Works, Part IV: Texture and Form
содержание презентации «How Music Works, Part IV: Texture and Form.ppt»| Сл | Текст | Сл | Текст |
| 1 | Chapter 6 How Music Works, Part IV: | 10 | polyrhythms), it it is possible instead to |
| Texture and Form. | perceive it as music defined by a single, | ||
| 2 | Musical “characters” – notes, rhythms, | unified rhythmic expression with multiple | |
| melodies, patterns, and vocal and | manifestations. The technicalities of both | ||
| instrumental parts – are similar to how | sides of the argument are complex, but the | ||
| the characters in a novel relate and | controversy itself is a good example of | ||
| interact. Texture describes the kinds of | how music as sound is difficult to | ||
| relationships that emerge and evolve | separate from the study of music as | ||
| between these characters. Form is the | culture. | ||
| element of music that pertains to | 11 | Form: The Designs of Musical Works. | |
| large-scale dimensions of musical | 12 | Understanding the form of a piece | |
| organization. Study of form is concerned | involves understanding how it is laid out | ||
| with the development and shape of entire | from beginning to end, with how the music | ||
| pieces, phrases, and sections. | unfolds and develops as it progresses. If | ||
| 3 | Texture. | there is no repetition and the music has a | |
| 4 | There are many kinds of musical | lack of distinct sections, it is said to | |
| textures. Single-line textures are the | be through-composed. More often, however, | ||
| simplest, and are also known as monophonic | repetition, patterns, and sectional | ||
| textures. One, two, five, or a thousand | organization are present in music and | ||
| individuals can create a monophonic | define its forms. | ||
| texture, so long as all are playing the | 13 | Forms Based on Repetition and | |
| same sequence of pitches with the same | Patterns. Repetition and patterning are | ||
| rhythm. Polyphonic textures include two or | key features of most music. Elements | ||
| more distinct parts. This may result from | including melodies, rhythms, chord | ||
| the playing/singing of different parts on | progressions, metric cycles, and large | ||
| different instruments, or from a single | sections of material may be presented and | ||
| instrument that can play more than one | repeated in a performance – either once or | ||
| note at the same time. CD ex. #1-6 is an | many times. Repetitions may be exact, or | ||
| example of Mongolian khoomii, in which a | may change through subsequent repetitions. | ||
| single human voice creates polyphony. | This is known as varied repetition. | ||
| 5 | A drone accompanying a melody is a | Repetitions and patterns are often | |
| common and simple type of polyphonic | intuitive, even when one is not familiar | ||
| texture. CD ex. #1-16 is an example of a | with the musical style. For example, you | ||
| Scottish bagpipe ensemble performing a | can often tell when the catchy ‘hook’ of a | ||
| melody over a sustained, long drone. | song is about to arrive. Unexpected twists | ||
| Harmonized textures emerge when notes of | and turns are also key tools in keeping | ||
| different pitches occur together to form | listeners engaged and interested. | ||
| chords, or “harmonies.” CD ex. #1-11 | 14 | Some musical works are based upon the | |
| (harmonized voices); CD ex. #1-27 (chords | repetition or varied repetition of a | ||
| on guitar accompany melody on saxophone). | single musical pattern or phrase. A short | ||
| 6 | Multiple-melody texture occurs in | figure that is repeated multiple times is | |
| polyphonic music that features two or more | called an ostinato, and is normally the | ||
| essentially separate melodic lines being | smallest unit of organization upon which | ||
| performed simultaneously. CD ex. #2-3—two | musical forms are built. CD ex. #2-8 | ||
| groups of male vocalists generate | features “Xai” (Elephants). It is from the | ||
| multiple-melody texture. Javanese gamelan | Qwii people of the Kalahari desert and | ||
| music, as in CD x. #1-7, provides rich | repeats an ostinato roughly every two | ||
| multiple-melody textures. CD ex. #2-4 | seconds. Layered ostinatos are achieved by | ||
| features a traditional BaMbuti elephant | stacking two or more ostinatos, creating a | ||
| hunting song. The relative equality in the | rich and complex texture. CD ex. #2-9, | ||
| vocal parts reflects the egalitarian | Tito Puente’s “Oye Como Va” features | ||
| nature of the society. | saxophone, trombone (0:15), and trumpet | ||
| 7 | Polyrhythm describes music in which | (0:31) ostinatos, creating a layered | |
| there are several different parts or | ostinato texture. | ||
| layers, with each defined by its | 15 | Cyclic forms are similar to | |
| distinctive rhythmic character rather than | ostinato-based forms, but the repeated | ||
| by melodies or chords (CD ex. #2-5). When | cycle is longer than an ostinato. An | ||
| musical melodies and rhythmic lines are | example is the 12-bar blues, a common | ||
| stacked upon each other, a single melody | cyclic form used for blues songs. Each | ||
| may be divided among two or more | cycle is 12 measures and has the same | ||
| instruments. This is called interlocking | basic chord progression as the others. CD | ||
| parts. CD ex. #2-6 features folkloric | ex. #1-19, Charles Atkins’ “A Funny Way of | ||
| music of the Andes mountains of Bolivia, | Asking,” features the 12-bar blues form. | ||
| South America. The melody is divided | 16 | Forms with Contrasting Sections. | |
| between two sets of instruments | Formal Sections are identifiably distinct | ||
| (panpipes), which rely upon one another to | sections found within a piece. The | ||
| complete the musical scale. | different sections often contrast with | ||
| 8 | Call-and-response is also linked to | each other – for example, through a change | |
| musical texture. It involves | of key, instrumentation, rhythm, or a | ||
| back-and-forth alternation between | combination of many changes. Verse-chorus | ||
| different instrument or voice parts. This | form is a common formal design featuring | ||
| conversational approach to texture takes | contrasting sections. It alternates verses | ||
| many forms, including: Between a lead | (A sections) and choruses (B sections), | ||
| singer and background singers, as in CD | sometimes including other sections like an | ||
| ex. #2-7 (a West African piece.) Between a | introduction, interludes, transitional | ||
| singer and instrumentalist Between two | passages, or instrumental solos. | ||
| groups of instrumentalists or two groups | 17 | CD ex #2-10 features “Ingculaza | |
| of singers. | (AIDS),” by Dumisani “Ramadu” Moyo. It is | ||
| 9 | Insights and Perspectives. The Debate | a social commentary about the AIDS | |
| over Polyrhythms in West African Music. | pandemic in Africa, the text of which may | ||
| 10 | Much West African music is described | be found on page 81 of the textbook. The | |
| as polyrhythmic by Westerners, but some | form includes two sung verses (the A | ||
| scholars and musicians believe that this | sections) and three sung choruses (the B | ||
| does not reflect how West Africans | sections.) See page 82 for a full chart of | ||
| conceptualize their music. Rather than | the form. | ||
| perceiving it as “many rhythms” (i.e., | |||
| How Music Works, Part IV: Texture and Form.ppt | |||
How Music Works, Part IV: Texture and Form
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