Introduction to Music

1. Introduction to Music Ch. 8: Texture Ch 9: Form Ch. 10: Style

2. Texture • The musical “weave” or layers of what we hear together • a melody • several melodies • a melody + accompaniment • several melodies + accompaniment

3. Texture • monophony = a melody vocal instrumental Men’s chest voices are naturally an_______ lower than the women’s head voices. octave Everyone in the room sings the same melody together. Is that monophony? ____ yes What term describes that phenomenon? _______ unison

4. Texture vocal instrumental • monophony = a melody • polyphony (2 types) • 2 or more melodies of equal importance sounding together • imitation 2 melodies A - ve Ma - ri ---- a A - ve Ma - ri ---- a A - ve Ma - ri ---- a A - ve Ma - ri ---- a

5. accompaniment accompanimentaccom paniment accompaniment accompanime nt accompaniment accompanimentacco mpaniment accompaniment accompani ment accompaniment accompaniment a ccompaniment accompaniment accomp Melody Texture vocal instrumental • monophony = a melody • polyphony = 2 or more melodies of equal importance sounding together • Imitation • homophony= melody in the foreground w/ subordinate accompaniment 2 melodies unequal

6. Texture MonophonyPolyphony several dissimilar melodies imitationHomophonySoooo, what do you hear? Identify thetexture and performing media: 147 258 369 10

7. Form “…the organization of musical ideas in time.” (Kamien) Form builders: unityrepetition of musical ideas “musical glue” contrast new musical ideas creates forward motion, suspense variation restated musical idea with some change(s)

8. Form Some example forms found in music: Time: 00:00 xx:yy piece 1:A B A piece 2: A A B B piece 3: A B A C A B A piece 4: A A1 A2 A3 A4 A5 A6 (A A’ A” A”’ etc.) How many sections in each piece? How many musical ideas in each piece? Does a piece’s form give any information about its length? Does each form balance new ideas and repeated ideas? What label from the previous slide would you apply to form #4? How does form #4 create and balance unity and contrast?

9. Listening for formTchaikovsky, Dance of the Reed Flutes A--B BIG CONTRAST ABA’ Describe A: Describe B: Compare with A melody melody similarities tone color tone color differences range range contour contour motion motion accompaniment accompaniment 3 sections 2 highly contrasting ideas KamienPg. 50

10. Listening for formTchaikovsky, Dance of the Reed Flutes A B A’

11. Listening for formTchaikovsky, Dance of the Reed Flutes A--B BIG CONTRAST a--b some contrast ABA’ aba’ c a’ Flutetrio melody English horn melody Flute melody repeated Trumpet melody

12. Listening for formTchaikovsky, Dance of the Reed Flutes A B A’ a b a c a Flutetrio melody English horn melody Flute melody repeated Trumpet melody

13. Listening for formTchaikovsky, Dance of the Reed Flutes A B A’ a b a’ c a’ a a b a’ a’ c c’ a’ a’ Flutetrio English horn Trumpet melody Track theentire piece

14. Style …is what’s fashionable in terms of: melody rhythm tone color dynamics harmony texture form Listeners’ tastes determine the nature of each of these elements, and those tastes change throughout the course of history. For example, the 16th century was the “golden age of polyphony,” but homophony was favored in the early 17th century. 17th century music was based on long, complex melodies; 18th century listeners preferred simple, short, folk-like melodies.

15. Stylistic periods 450-1450 5-15C Middle Ages 1450-1600 16C Renaissance 1600-1750 17C Baroque 1750-1820 18C Classical 1820-1900 19C Romantic 1900-2000 20C Twentieth Century

16. Stylistic periods 5-15C Middle Ages 16C Renaissance 17C Baroque 18C Classical 19C Romantic 20C Twentieth Century Know this!