Listen to Music pdf ebook

Licensed to: iChapters User Compositor: Thompson Type Text and Cover Printer: Courier Corporation/Kendallville © 2008. or in any other manner—without the written permission of the publisher. Oil on canvas. Fifth Edition Craig Wright Publisher: Clark Baxter Senior Development Editor: Sue Gleason Assistant Editor: Emily A. taping. Ryan Editorial Assistant: Nell Pepper Technology Project Manager: Rachel Bairstow Executive Marketing Manager: Diane Wenckebach Marketing Assistant: Marla Nasser Project Manager. Franz Liszt at the Piano. the Star logo. Bildarchiv Preussischer Kulturbesitz / Art Resource. electronic. NY. . scanned. information storage and retrieval systems. ISBN-13: 978-0-495-18973-2 ISBN-10: 0-495-18973-1 Copyright 2008 Thomson Learning. Printed in the United States of America 1 2 3 4 5 6 7 11 10 09 08 07 Library of Congress Control Number: 2006906782 For more information about our products. Any additional questions about permissions can be submitted by e-mail to thomsonrights@thomson. or mechanical. Thomson. Berlin. Nationalgalerie. Web distribution.Licensed to: iChapters User Listening to Music. Photo: Juergen Liepe. contact us at: Thomson Learning Academic Resource Center 1-800-423-0563 For permission to use material from this text or product. All Rights Reserved. submit a request online at http://www. May not be copied. Germany. CA 94002-3098 USA ALL RIGHTS RESERVED. or duplicated. 1840. a part of The Thomson Corporation. Editorial Production: Trudy Brown Creative Director: Rob Hugel Art Director: Maria Epes Print Buyer: Judy Inouye Permissions Editor: Roberta Broyer Production Service: Melanie Field Text and Cover Designer: Diane Beasley Photo Researcher: Stephen Forsling Copy Editor: Tom Briggs Cover Image: Josef Danhauser (1805–1845). No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means— graphic. in whole or in part. Inc. 2004 Thomson Schirmer.thomsonrights. recording. Thomson Higher Education 10 Davis Drive Belmont.com. 119
167 cm.com. and Schirmer are trademarks used herein under license. including photocopying. Staatliche Museen zu Berlin. St. arts. only religious music was written down. HOW MUSICAL SOUND AND SOUND MACHINES WORK When we listen to music.” Edward Kennedy “Duke” Ellington (1899–1974) W e listen to music because it gives us pleasure.. higher pitches vibrate more rapidly and move as shorter waves. to calm our jangled nerves. and even. eventually producing the complex musical score familiar to classical musicians today. . While these principles of acoustics are invariable. Most early musical traditions were passed down by oral means alone. composers began to insert such directions as “dynamics” (indicating louds and softs) and “tempo” markings (showing how fast the piece should go). All Rights Reserved. reaching our ears to be processed by our brain as electrochemical impulses (see boxed essay). to inspire us to dance. for example— first appeared in notation around 1250. Inc. at first. for it elevates and ennobles everything that it expresses. Not until around 900 C. Low-pitched sounds vibrate slowly and move through the air in long sound waves. with Thomas Edison’s phonoStiftsbibliothek. But why does it give us pleasure? Because it affects our minds and bodies. was a significant amount of music preserved in written notation. try watching a movie without listening to the musical score. A voice or an instrument creates a vibration that travels through the air as sound waves. May not be copied. when Benedictine monks began to set notes down on parchment to preserve their chants (Fig. perhaps. Machines for capturing and replaying sound began to appear in the nineteenth century. in whole or in part. Since time immemorial. scanned.Licensed to: iChapters User Chapter 1 Listening to Music “It is perhaps in music that the dignity of art is most eminently apparent. albeit in ways that we do not yet fully understand. to incite us to march proudly off to war. or duplicated. Gallen F I G U R E 1–1 A medieval representation of how music was transmitted. or imagine how empty a parade.” Johann Wolfgang von Goethe (1749–1832) “It don’t mean a thing if it ain’t got that swing. people around the world have made music an indispensable part of their lives. If you doubt this. Pope Gregory the Great (590–604) receives what is now called “Gregorian chant” from the Holy Spirit (a dove on his shoulder) and communicates it orally to a scribe who writes down the music on either parchment or a wax tablet. Thus. to make us sad or cheerful. As the centuries progressed. 1–1). Music adds to the solemnity of ceremonies.E. we are reacting physically to an organized disturbance in our environment. with an ever-accelerating rate of change. 2 Copyright 2008 Thomson Learning. a wedding. Popular music—dances and troubadour songs. Music has the power to intensify and deepen our feelings. and entertainments. or a funeral would be without music. heightening the emotional experience of onlookers and participants. our means for capturing and preserving sound have evolved over the centuries. The twentieth century saw the advent of the magnetic tape recorder (first used to record music in 1936).Licensed to: iChapters User Listening to Music ■ C H A P T E R 1 3 Music and the Brain © Nir Elias/Reuters/Corbis M ozart had an extraordinary musical ear—or. color. just as when we enjoy such experiences as eating chocolate. the pitch. graph. do we hear and remember music? When a musician. these numerical data are reconverted into electrical impulses that are amplified and pushed through audio speakers or headphones as sound waves (Fig. located in the center of the brain. she creates mechanical energy that moves through the air as sound waves.000 individuals. it seems. where the neurons are “mapped” in a way that identifies the pitch. musical brain. in whole or in part. Thus. in simple terms. sings or plays an instrument. a medicine. Obviously. Mozart had a very keen sense of absolute pitch (the ability to instantly recognize specific pitches). 1–2). music alters the way we feel in much the same manner as a chemical substance. These first reach the inner ear where the cochleae (one for each ear) Sarah Chang playing the violin. Image not available due to copyright restrictions convert sound energy into electrical signals. a two-minute religious work. hard drive. May not be copied. a gift given to only one in about 10. How we feel about the music we hear—happy or sad. . these earlier devices were superseded by the digital technologies of the compact disc (CD) and the MP3 file. In the 1990s. patented in 1877. more correctly. scanned. performed in Rome. We can acquire the mechanism for a “mood-enhancing” experience. happy or sad. and duration of any sound are converted into numerical data that can be stored on disc. But how. Inc. he could process and retain far more musical information than can the rest of us. intensity. or duplicated. such as virtuoso Sarah Chang. technology of recorded music Copyright 2008 Thomson Learning. such as a candy bar. at the age of fourteen. or any number of other digital media. In these formats. sound patterns enter our brain and incite specific neurological reactions that can make us feel relaxed or agitated. representing the most significant development. after just this one hearing. and later that day wrote it down in all parts by memory. he heard Gregorio Allegri’s Miserere. Oddly then. either over the counter or over the airwaves. note for note. These are then passed by means of neurons to the primary auditory cortex. In April 1771. energetic or melancholy— is determined by different areas in this and other parts of the brain. and intensity of sound. or a drug. When a digital recording is played. Neurobiologists have observed increased levels of the chemical dopamine in our gray matter when pleasing music is heard. All Rights Reserved. We might on occasion choose a certain kind of music—classical. Beethoven. Pop and rock CDs outsell classical music recordings by more than ten to one. proportion. 1–3). and elsewhere. and computers. furniture. however. or popular—according to its association with our own heritage. violin. But how do classical and popular music differ? • Classical music relies on acoustic instruments (the sounds of which are not electronically altered). such as the trumpet. Dance music serves a central function for youth culture in nightclubs and discotheques across the globe. Afro-Cuban genres draw upon musical traditions ranging from Caribbean styles. So. because a particular set of skills is needed to perform and appreciate it. to the music of old Spain.” We refer to clothes. much of what we hear by way of classical music—the music of Bach. too.” popular Copyright 2008 Thomson Learning. thrive in China. and automobiles as “classics” because they have timeless qualities of expression. to jazz. Some musicians are equally at home in both idioms (Fig. In truth. and therefore the work (a symphony. for example—is old. for example) is to some extent a “fixed entity. In the West. written by “dead white men. Classical music is often regarded as “old” music. while British pop singer Sting has collaborated with musicians ranging from jazz virtuoso Branford Marsalis to Algerian singer Cheb Mami. All Rights Reserved. Jazz. • Classical music relies greatly on preset musical notation. Classical cellist Yo-Yo Ma performs with traditional Chinese musicians on the Silk Road Project. shares traits with both Western classical and popular music. and balance. classical music still holds sway in concert halls and opera houses. electronic synthesizers. Popular music. are very much alive and well today. for example—dominate the commercial landscape. Numerous forms of art music. and country. CLASSICAL MUSIC–POPULAR MUSIC What is a “classic”? Most of the music that will be discussed in this book is what we generally refer to as “classical” music.Licensed to: iChapters User 4 P A R T I ■ The Elements of Music © PictureNet/Corbis LISTENING TO WHOSE MUSIC? F I G U R E 1–2 A student listening to an MP3 file on an iPod. popular music often uses technological innovations such as electrically amplified guitars and basses. India. and often the musicians who perform it are just as skilled as classical musicians. of both sexes. coming-of-age rituals. rooted in centuries of tradition. That is why. . scanned. and many “high art” composers. we give the name “classical” to music with these same qualities. and Brahms. or duplicated. while numerous idioms of Western popular music—rock. while at other times we might base our decision on our mood or activity at a particular moment. To be sure. the increasing frequency of “fusions” among musical styles illustrates the trend of musical “globalization” in recent years. and other social occasions flourish across Africa and Latin America. May not be copied. in part. as its name suggests. there are plenty of styles. Music is heard everywhere in the world. We might also call it “high art” music or “learned” music. from which to choose. a particularly American form of vernacular music. traditional. in whole or in part. and piano. appeals to a much larger segment of the population. hip-hop. Indonesia. Popular music can be just as artful and just as serious as classical music. Inc.” But this is not entirely accurate: no small amount of it has been written by women. and fusions of styles. music that has endured the test of time. Musical practices associated with religious ceremonies. it is called “classical. What is more. Inc. and possess a single mood from beginning to end. popular music has a more immediate impact. Classical Music All Around You You may not listen to classical music on the radio (found on the dial in most regions between 90.” 3. to deeper understanding of human culture and history. and its lyrics often embrace issues of contemporary life. Classical music relieves stress and helps the listener to relax. Classical music is primarily. 2. it would seem that classical music has something to offer virtually everyone. are the most common reasons expressed by classical listeners: 1. 3. National Public Radio in 2004 commissioned a survey of regular listeners of classical music. instrumental. “My work is pretty stressful. Classical music helps “center the mind. but by no means exclusively. recurrent beat. All Rights Reserved. He has won nine Grammy awards. It calms me down.” allowing the listener to concentrate. ■ C H A P T E R 1 5 © Lynn Goldsmith/Corbis Listening to Music F I G U R E 1–3 Trumpeter Wynton Marsalis can record a Baroque trumpet concerto one week and an album of New Orleans–style jazz the next. Classical music offers the opportunity to learn: about music. popular music relies greatly on an immediately audible. or duplicated. Rarely do we see performers reading from written music at a pop concert.0 FM). you listen to a great deal of classical music.” 2. averaging from three to four minutes in length. and the work can change greatly from one performance to the next.Licensed to: iChapters User • • • • music relies mostly on oral and aural transmission. In classical music the rhythmic “beat” often rests beneath the surface of the music. Why Listen to Classical Music? Given the immediate appeal of popular music. “I’m not educated in music. but this is one way [listening on the radio] that I can educate myself. and the listener must concentrate over a long period of time. Classical music provides a vision of a better world. Classical music suggests to the listener a chance to escape from the everyday world into a realm of abstract sound patterning. “Enjoying a symphony takes me back to great childhood memories.” classical music good for the brain From mental and emotional well-being. most popular music makes use of a text or “lyric” to convey its meaning. with meaning communicated through a language of musical sounds and gestures. most popular pieces are relatively short. “It’s very good for the brain. Classical listeners were given the chance to elaborate on why they prefer this kind of music. 4. why would anyone choose to listen to classical music? To find out.” 4. Summarized briefly below. bumbling musical way. . It soothes the savage beast. You may not attend concerts of classical music. Classical compositions can be lengthy and involve a variety of moods. Vivaldi con- Copyright 2008 Thomson Learning. in whole or in part. I turn to classical. about history. in my own stumbling. May not be copied. Here is just one typical response for each category: 1. Nevertheless. seven for various jazz categories and two for classical discs. and about people. and when it gets really stressful. scanned.0 and 93. in order of importance. I’m like really stupid about it. a refuge of beauty and majesty in which we pass beyond the limits of our material existence. to increased concentration and enriched imagination. and especially Mozart.Licensed to: iChapters User 6 P A R T I ■ The Elements of Music everyday use of classical music certos and Mozart symphonies are played regularly in Starbucks. Throughout the performance. or metal attire). Here it usually acts as a “high end” marketing tool designed to encourage rich living: to sell a Lexis automobile or a De Beers diamond. Traditional operatic melodies provide runway music as models strut in telethons for Victoria’s Secret clothing. they must allow Mozart. not Kurt Cobain or Eminem. Go to a music library and listen to a recording of the piece that will be performed. Hearing a recording by professional performers will prepare you to judge the merits of a live (perhaps student) performance. There is no better way to experience the splendor of classical music than to attend a concert. Inc. the audience didn’t like what it heard. saying nothing to friends or performers. Choosing the right seat is also important. and a famous Puccini aria sounds prominently in the best-selling video game Grand Theft Auto. Attending a Classical Concert aspects of a classical concert © Corbis F I G U R E 1–4 Symphony Hall in Boston. The best seats for hearing the music are not up front. listeners would demand that the piece be repeated immediately (an encore). advertisers realize. to set the mood. Most important. when the musical composition came to be considered a work of high art worthy of reverential silence. or evening wear) of a very different sort than they do at. What famous composer has not had one or more of his best-known works incorporated into a film score. or sings along to the music. What is best for seeing may not be Copyright 2008 Thomson Learning. Verdi. or perhaps download it from iTunes. among others—has also been appropriated to provide sonic backdrops for radio and television advertisements. the audience talked during performances and yelled words of encouragement to the players. All Rights Reserved. the classical audience sits rigidly. Only at the end of each composition does the audience express itself. performances of classical music may seem strange indeed. in whole or in part. Compared to pop or rock concerts. on the other hand. If. Snippets of Beethoven’s Ninth Symphony introduce segments of the news on MSNBC. People clapped at the end of each movement of a symphony and often in the middle of the movement as well. dances. No one sways. or duplicated. rock concerts (punk. but at the back in the middle of the balcony. But classical concerts weren’t always so formal. . May not be copied. First of all. In the eighteenth century. After an exceptionally pleasing performance. perhaps for ironic effect. Copland. you must become familiar in advance with the musical repertoire. grunge. people dress “up. Attending a classical concert requires preparation and forethought. say. Our modern. clapping respectfully. scanned. more dignified classical concert was a creation of the nineteenth century (see page 254). to heighten our emotional response to what we see? Classical music—composed by Bach. suit. it would express its displeasure by throwing fruit and other debris toward the stage.” not “down”: at classical events. Beethoven. attendees wear “costumes” or “uniforms” (coat and tie. as well as its triumphs and moments of inner peace. ■ C H A P T E R 1 7 where to sit LEARNING TO BE A GOOD LISTENER Most people would scoff at the idea that they need to learn how to listen to music. All Rights Reserved. you will come to see that classical music—indeed all music—sometimes works its magic in mysterious and inexplicable ways. to make sense of what we hear now. a symphony. Finally. Often the optimal seat in terms of acoustics is at the back of the hall. we must work to improve our musical memory. learn how music works focus solely on the music GETTING STARTED: THREE MUSICAL BEGINNINGS In a work of art that unfolds over time—a poem. we will need to gain an understanding of the secret signs or codes by which composers have traditionally expressed meaning in music: the tensions. Music is an art that unfolds while passing through time. Sitting closer. or not to be” soliloquy in Shakespeare’s Hamlet. or a film. melody. anxieties. the sound sails immediately over the front seats and settles at the back (Fig. At the same time. in the first balcony. 5 (1808)—Opening The beginning of Beethoven’s Symphony No. The conductor conveys to the players the essential lines and themes of the music. for example—the beginning is critical to the success of the work. May not be copied. or viewer by means of some kind of new approach as well as convey the essence of the experience that is to follow. We think that because we can hear well. Music can be difficult stuff. we must learn how it works. Symphony No. scanned. First of all. Beethoven wrote this symphony in 1808 when he was thirty- Copyright 2008 Thomson Learning. . But the ability to listen to music—classical music in particular—is an acquired skill that demands good instruction and much practice. Ludwig van Beethoven. for example). emotional meaning. we are good listeners. we must devote our complete attention to the music—using it as a mere backdrop to other activities simply won’t do. and harmony. a novel. and hostilities expressed in musical language. how do melodies unfold? What constitutes a rhythm and what makes a beat? And how and why do harmonies change? Similarly. we have to remember what we heard before. allows you to watch the performers on stage. In some concert halls.Licensed to: iChapters User Listening to Music best for hearing. For example. We can learn much about how classical music works by engaging just the beginnings of three strikingly original compositions. The following discussions and their accompanying Listening Exercises will begin to transform you into disciplined and discerning listeners. Inc. follow the gestures that the conductor makes to the various soloists and sections of the orchestra. 5 is perhaps the best-known moment in all of classical music. listener. or duplicated. The artist must capture the attention of the reader. in whole or in part. If you attend a concert of a symphony orchestra. like a circus ringmaster. he or she turns directly to the soloist of a given moment. Its “short-short-short-long” gesture is as much an icon of Western culture as is the “To be. We must concentrate fully in order to hear the mechanics of music at the surface level (the workings of rhythm. 1–4). To accomplish this. of course. and they in turn communicate these to the audience. as well as to understand the deeper. and. and the heroic. or a dance suite. This notation may seem alien to you. Suddenly the music stops: we have arrived. among them the fearful. and percussion instruments. Beethoven then begins to bring clarity and direction to his music. each possessing its own tempo and mood. see Chapter 21 for a biography of Beethoven). and conversely. Having shaken. and with this. The motive sounds in rapid succession. The brevity of the opening rhythm is typical of what we call a musical motive. when it decreases. When asked what the opening motive of the symphony meant.” meaning that their brains can create and rework melodies without recourse to externally audible sound. How could a deaf person write a symphony? Simply said. in whole or in part. May not be copied. “There fate knocks at the door. Art Resource. A French horn (a brass instrument. “And now for something new. the nearly-deaf Beethoven fashioned an entire thirty-minute symphony. perhaps even fear. All Rights Reserved. divided into several pieces called movements. scanned. A typical classical symphony will have four movements with the respective tempos of fast. the listener with this opening blow. and for that reason is called a symphony orchestra. a diminuendo. even staggered. . trumpets. The orchestra for which Beethoven composed his fifth symphony was made up of about sixty players. Inc. It is all the more unsettling because the music has no clear-cut beat or grounding harmony to support it. Beethoven ends his opening section. In the course of this symphony. 1–5. Beethoven will repeat and reshape this opening motive. The four-pitch rhythm “short-short-short-long” is quick and abrupt. but don’t panic—the essentials of musical notation will be explained fully in Chapters 2–3. new material follows: a beautiful flowing melody played first by the strings and then by the winds. in the opening of Symphony No. despair. triumph. the lyrical. moderate. ultimately. Beethoven is reported to have said. and the volume progressively increases. an overture. NY 8 F I G U R E 1–5 A portrait of Ludwig van Beethoven painted in 1818–1819 by Ferdinand Schimon (1797–1852).Licensed to: iChapters User P A R T I ■ The Elements of Music Snark. rising stepwise in pitch. Copyright 2008 Thomson Learning. a fateful musical journey seven and almost totally deaf (Fig. Here you will see musical notation representing the principal musical events. Although an orchestra might play a concerto. a large ensemble of acoustic instruments such as violins. Beethoven uses the crescendo here to suggest a continuous progression—he is taking us from point A to point B. and fast. A symphony is a genre. Beethoven takes us on a fateful journey that includes moments of fear. Our reaction is one of surprise. Beethoven shows us that his musical world includes many different feelings and states of mind. or duplicated. but is gradually transformed into a melodic pattern that sounds more heroic than threatening. In sum. Beethoven begins his symphony with the musical equivalent of a punch in the nose.” In the course of the four movements of this symphony (all of which are included in the six-CD set). A symphony is played by an orchestra. wind. distinctive musical figure that can stand by itself. a short. as if to say. perhaps bewilderment.” Indeed. For the moment. and flutes. In this way. When the volume of sound increases in music—gets louder— we have a crescendo. slow. including string. Soon the motive reasserts itself. Turn now to this opening section (Intro /1) and to the Listening Guide. simply play the music and follow along according to the minute and second counter on your player. see page 51) then blasts forth. historically it has played more symphonies than anything else. of music for orchestra. 5. or type. making it serve as the unifying thread of the entire symphony. he could do so because musicians hear with “an inner ear. Its lyrical motion serves as a welcome contrast to the almost rude opening motive. Inc. Tchaikovsky’s Piano Concerto No. French horn solo New lyrical melody sounds forth in strings and is then answered by winds Rhythm of opening motive returns Opening motive reshaped into more heroic-sounding melody 9 Intro 1 U b & b b 24 ‰ œ œ œ ˙ ƒ b &b b ‰ œ œ œ ˙ ß ƒ œ œ œ & bbb ˙ ß œ œ œ œ J ˙ ß œ J œ œ œ ˙ œ J Use a downloadable.com/music/wright. usually with tempos of fast. Since that time. a melody surely found near the top of every music lover’s list of “fifty great a Russian concerto premiered in Boston Copyright 2008 Thomson Learning.thomsonedu. but here the pitches move downward in equal durations and are played by brass instruments.Licensed to: iChapters User Listening to Music Listening Guide 0:00 0:22 0:42 0:45 1:04 1:14 1 ■ 1 C H A P T E R Ludwig van Beethoven Symphony No. May not be copied. not strings.” The popularity of this work stems in large measure from the opening section of the first movement. and fast. Tchaikovsky was a Russian composer who earned his living first as a teacher of music at the Moscow Conservatory and then. 1 was composed in 1875 and premiered that year.” Most concertos consist of three movements. Peter Tchaikovsky. scanned. The opening motive quickly yields to a succession of block-like sounds called chords. A chord in music is simply the simultaneous sounding of two or more pitches. one between soloist and orchestra in the spirit of “anything you can do. a perennial holiday favorite. All types of classical music flowed from his pen. symphonies. in whole or in part. 1 (1875)—Opening All of us have heard the charming and often exciting music of Peter Tchaikovsky (1840–1893). later in life. Tchaikovsky’s first concerto has gone on to become what The New York Times called his “all-time most popular score. a full orchestra. Allegro con brio (fast with gusto) Opening “short-short-short long” motive Music gathers momentum and moves forward in purposeful fashion Pause. especially his ballet The Nutcracker. and concertos. 5 in C minor (1808) First movement. Here the chords are played first by the orchestra and then by the piano. including ballets. operas. Piano Concerto No. I can do better. A concerto is a genre of music in which an instrumental soloist plays with. cross-platform animated Active Listening Guide. where it was performed by the Boston Symphony. or duplicated. as an independent composer who traveled widely around Europe and even to the United States (see Chapter 30 for his biography). and sometimes against. Thus the concerto suggests both cooperation and competition. Suddenly the violins enter with a sweeping melody that builds progressively in length and grandeur. overtures. . like Beethoven above. All Rights Reserved. begins with a four-note motive. slow. not in Russia but in Boston. Tchaikovsky. available at www. play.Licensed to: iChapters User 10 P A R T I ■ The Elements of Music the essence of musical romanticism classical melodies. or duplicated. solo piano provides increasingly flashy technical display Orchestra reenters with pizzicato playing Strings play melody “with much majesty”. was Austrian and is known as “the Waltz King” because he wrote mainly popular waltzes. In his tone poem Thus Spoke Zarathustra. while the strings of the orchestra provide the accompanying chords. Richard Strauss (1864–1949). . Allegro non troppo e molto maestoso (not too fast and with much majesty) Intro 2 Four-note motive played by brass instruments Chords played first by orchestra and then piano Melody enters in violins and piano plays accompanying chords Piano embellishes melody. or personal experience. (This strain in German Romantic philosophy was later perverted by Adolf Hitler into the cult of a “master race. embellishing it along the way. Then. in whole or in part. A tone poem (also called a symphonic poem) is a one-movement work for orchestra that tries to capture in music the emotions and events associated with a story. was German and composed primarily operas and large-scale compositions for orchestra called tone poems. cross-platform animated Active Listening Guide. May not be copied. Inc. 1 (1875) First movement.” Tchaikovsky’s beginning makes clear the difference between a motive and a melody: the former is a short unit. piano accompanies with more frequent chords Reminiscences of melody used to create fade-out Use a downloadable. after some technical razzle-dazzle provided by the pianist. Also Sprach Zarathustra (Thus Spoke Zarathustra. As the violins introduce the melody. All Rights Reserved. Richard Strauss. strings play accompanying chords pizzicato Orchestra withdraws. lush final statement of the melody by the strings. One. like a musical cell or building block.com/music/wright. (1825–1899). 1896)—Opening music inspired by a novel There were two important composers named Strauss in the history of music. Jr. the piano plays chords against it. we experience the essence of musical romanticism. a technique in which the performers pluck the strings of their instruments with their fingers rather than bowing them. Tchaikovsky instructs the strings to play the chords pizzicato. To make the music lighter. Soon. who foretells the coming of a more advanced human. the roles are reversed: the piano plays the melody.thomsonedu. In this glorious. The other. Johann Strauss. scanned. however. the melody sweeps back one last time. Listening Guide 0:00 0:07 0:15 0:56 1:21 2:10 2:26 3:05 2 Peter Tchaikovsky Piano Concerto No. The hero of Nietzsche’s story is the ancient Persian prophet Zarathustra (Zoroaster). Richard Strauss tries to depict in music the events described in a novel of that title by the German philosopher Friedrich Nietzsche (1844–1900). available at www. while the latter is longer and more tuneful and song-like. a Superman.”) Copyright 2008 Thomson Learning. (continued) Copyright 2008 Thomson Learning. Nowhere in the musical repertoire is there a more vivid depiction of the power of nature or the potential of humankind. moving bright to dark (major to minor) A drum (timpani) pounds forcefully Four trumpets ascend again. Simple as they may be. and the mention of German philosophy intimidating. cross-platform animated Active Listening Guide. in whole or in part. moving dark to light (minor to major) A drum (timpani) pounds forcefully again Four trumpets ascend third time Full orchestra joins in to add substance to impressive succession of chords Grand climax by full orchestra at high pitches Use a downloadable. It gained fame in the late 1960s when used as film music in Stanley Kubrick’s 2001: A Space Odyssey.com/music/wright. available at www. grow in warmth (more instruments).” The light suddenly falls dark and then rises again. and bass drum Four trumpets ascend. From this darkness emerges a ray of light as four trumpets play a rising motive that Strauss called the “Nature Theme. The music should ascend in pitch. 1–6). Richard Strauss Thus Spoke Zarathustra (1896) Intro 3 Rumbling of low string instruments. or duplicated. the advent of an all-powerful superman. All Rights Reserved. or simply the rising of the sun (Fig. Since then it has sounded forth in countless radio and TV commercials to convey a sense of high drama. organ. get louder. The listener may sense in the music the dawn of a new age. Strauss’s music is well known to you. . scanned. The following questions encourage To take this Listening Exercise online and receive feedback or email answers to your instructor. go to ThomsonNOW for this chapter. ultimately to culminate in a stunning climax.thomsonedu. Listening Guide 0:00 0:16 0:30 0:35 0:49 0:55 1:13 1:23 3 ■ C H A P T E R 1 11 Cindy Davis Listening to Music F I G U R E 1–6 A fanciful depiction of the opening of Friedrich Nietzsche’s Thus Spoke Zarathustra with the rise of the all-powerful sun. May not be copied. While the imposing title Thus Spoke Zarathustra may seen foreign.Licensed to: iChapters User Strauss’s tone poem begins at the moment at which Zarathustra addresses the rising sun. Inc. Listening Exercise 1 Intro 1–3 Musical Beginnings This first Listening Exercise asks you to review three of the most famous “beginnings” in the entire repertoire of classical music. How do you describe a sunrise through music? Strauss tells us. these are the technical means Strauss employs to convey musical meaning. and reach an impressive climax. The music begins with a low rumble as if coming from the depths of the earth. c. b. 10. Thus Spoke Zarathustra (1896)—Opening 14. b. What is that sound? Copyright 2008 Thomson Learning. 15. (0:42–0:44) Which combination of short (S) and long (L) sounds accurately represents what the solo French horn plays at the end of this transition? a. the piano is again playing chords as accompaniment. The music seems to get faster and makes use of a crescendo. (1:15–1:21) In this passage. No. Now there are many more of them. three 18. a new sound is added for emphasis—to signal that this is indeed the last chord of the climax. This first exercise is designed to be user-friendly—the questions are not too difficult. May not be copied. (1:30–2:22) In the section of piano solo razzle-dazzle. yes b. the trombones enter and play a loud counterpoint to the rising trumpets. two c. moving high to low b. one b. Beethoven. A French horn plays a solo and then a pounding drum (timpani) is added to the orchestra. the beginning of the sweeping melody Strauss. (1:13–1:21) Which is true about the end of this opening section? a. moving low to high 13. (0:45–1:02) Now a more lyrical new theme enters in the violins and is echoed by the winds. low. less anxious and more self-confident b. (0:16–0:20) When the trumpets enter and ascend. lyrical theme. Which is true about this transition? a. compared to the beginning? a. The instruments are playing several different sounds in succession. once b. no 16. middle. SSSSL b. rumbling sound disappear? a. the piano accompanies them with groups of three chords. middle. 5 1 with the famous “short-short-short-long” motive and then immediately repeats. 3. Symphony No. but the general direction of these chords is still what? a. b. No. (0:07–0:14) Which instrumental force plays the chords first? a. higher pitches b. (0:16–0:22 and again at 0:35–0:43) When the trumpets rise. the four-note descending motive b. Beethoven brings back the material from the transition. it can be heard above the new melody. does the low. Inc. (0:00–0:06) How many times does the French horn play the descending motive? a. Beethoven constructs a musical transition that moves us from the opening motive to a more lyrical second theme. 6. (1:27) At the very last chord. In which direction is the music of the trombone going? a. All Rights Reserved. five times 9. The orchestra plays them first (then the piano). A pounding drum (timpani) is added to the orchestra and then a French horn plays a solo. in whole or in part. one b. (0:30–0:35 and again at 0:49–0:54) When the timpani enters. sweeping melody 12. scanned. The instruments are holding one and the same tone. three 17. What is the position of the pitches of the three chords in each group? a. (0:22–0:44) In this passage. b. b. low b. which sounds more prominently? a. middle. how many different pitches does it play? a. c. Beethoven brings back the opening motive. down 19.Licensed to: iChapters User 12 P A R T I ■ The Elements of Music you to listen actively. high. 7. (0:00–0:15) Which is true about the opening sounds? 3 a. the long. less self-confident and even more anxious Tchaikovsky. up b. 1 (1875)—Opening 8. (3:05–3:21) Tchaikovsky revisits which musical material to create this fade-out? a. 5 (1808)—Opening 1. Student choice (no “correct” answer): How do you feel about the end of the opening section. high. SSSSSL c. it lurks below the new melody. Piano Concerto No. Beethoven brings back the second. b. or duplicated. 4. it is no longer present. Does the repetition present the motive at a higher or at a lower level of pitch? a. sometimes to just small details in the music. . low c. high 2 11. the four-note descending motive b. two c. But has the opening motive (SSSL) really disappeared? a. three times c. Yes. (0:38–0:44) How does Beethoven add intensity to the conclusion of the transition? a. (2:26–2:54) During this final statement of the melody. (0:15–0:43) As the violins play the melody. (0:00–0:05) Beethoven opens his Symphony No. The music seems to get slower and makes use of a diminuendo. lower pitches 2. how many notes (different pitches) do they play? a. The piano plays them first (then the orchestra). SSSLLL 5. May not be copied. a. Beethoven b. Copyright 2008 Thomson Learning. or duplicated. 5th Edition. a crashing cymbal b. Student choice: You have now heard three very different musical openings. All Rights Reserved.Rhythm a. In addition. scanned. in whole or in part. Tchaikovsky c. Which do you prefer? Which grabbed your attention the most? Think about why. and orchestra (8) symphony orchestra (8) motive (8) crescendo (8) diminuendo (8) concerto (9) C H A P T E R 2 13 Strauss. by Beethoven. a piano c. you may complete this chapter’s Listening Exercise in ThomsonNOW’s interactive environment. Strauss Key Words classical music (4) popular music (4) acoustic instrument (4) encore (6) symphony (8) movement (8) ■ chord (9) melody (10) pizzicato (10) tone poem (symphonic poem) (10) ThomsonNOW for Listening to Music. an electric bass guitar 20. Tchaikovsky. . and Listening to Western Music will assist you in understanding the content of this chapter with lesson plans generated for your specific needs. as well as download Active Listening Guides and other materials that will help you succeed in this course. Inc.