Study Helps for Developing “Discriminating Listening” Part I Ability to Recognize Different Styles in Instrumental Music
Identifieur interne : 001971 ( Istex/Corpus ); précédent : 001970; suivant : 001972Study Helps for Developing “Discriminating Listening” Part I Ability to Recognize Different Styles in Instrumental Music
Auteurs : Lenora CoffinSource :
- Music Educators Journal [ 0027-4321 ] ; 1932-02.
English descriptors
- Teeft :
- Additional songs, Alice rogers, Andante, Aria, Beginh ning, Class note, Club book, Coloratura soprano, Concert songs, Conscious recognition, Contralto, Decisive cadence, Different styles, Double basses, Dramatic situation, Eighteenth century, Evening star, Expressive qualities, Expressive quality, Familiar composition, Familiar compositions, February, First movement, First theme, Folk songs, Fourth movement, Glenn glee club book, Great musicians, Haydn, Historical background, Impressionistic style, Jackson blvd, January, Lenora coffin, Lesson plans, Magic fire, Magic fire music, Minor symphony, Mozart, Much music, Music appreciation, Music form, Music literature, Music supervisors, Nutcracker suite, Overture, Principal theme, Principal themes, Prize song, Quality instruments, Romantic style, Rondo, Rondo form, Santa monica, Schumann, Section patterns, Series concert, Single movement, Sonata form, Song form, Soprano, Students note, Such songs, Sugar plum, Surprise symphony, Symphony orchestra, Test development, Theme coda, Tschaikowsky, Unfamiliar compositions, Unfinished symphony, Vocal display.
Url:
DOI: 10.2307/3384448
Links to Exploration step
ISTEX:F4CFA0D197B3C54BBDAB342811DB7FA89E687D03Le document en format XML
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xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Study Helps for Developing Discriminating Listening PART I Ability to Recognize Different Styles in Instrumental Music (Prepared by Lenora Coffin, Indianapolis, Indiana) “Music contains everything there is t o know about music. Nothing music's secrets.“ [Calvocoressi] but music will teach y o u P THE THE ROCEDURE: THE ABOVE QUOTATION H CONTAINS T E “TEACHING PROCEDURE” DF E E T IFRN STYLES IN MUSIC. Music TE H AND FOR DEVELOPING THE ABILITY T RECOGNIZE O teaches music's “secrets!’ TEACHERS POINT WAY O OPEN R T E DOOR, B T H U STUDENTS THEMSELVES SHOULD “FEEL” DISCOVER T E OUTSTANDING DIFFERENCES IN H STYLES, T R U H HEARING AND RE-HEARING HOG THE MUSIC. DISCRIMINATION SON. FROM BETWEEN DF E E T IFRN HOG S Y E IS REACHED ONLY T R U H COMPARITLS WIDELY DIFFERENT STYLES SHOULD CONT E C A SC L H L SI A SCHOOL, C N R S E O T AT D “THE CLASSITHEREFORE, S I U E T E FIRST LESSONS, A COMPOSITION TT T H WITH ONE OF THE MODERN. DF I U TE I FC L I S IN PRESENTATION. C L PERIOD SEEMS T O F R T E G E T S A O FE H R A ET C R SHOULD BE TAKEN NOT T EMPHASIZE AE O IT T T E POINT OF SACRIFICING INTEREST.“ OH Presentation: YOU ”IF YOU C U D GO BACK OL TWO HUNDRED YEARS, WHAT DIFFERENCES DO THINK YOU WOULD NOTICE BETWEEN (STYLE OF DRESS, T A TIME AND OURS?“ HT VENIENCES, ETC.) F AK F CONMEANS O TRANSPORTATION, L C O HR “DO YOU SUPPOSE T E E HAS BEEN ANY CHANGE IN MUSIC DURING O THESE YEARS?” “I AM GOING T PLAY PARTS OF TWO PIECES, ONE WRITTEN MANY YEARS AGO AND ONE MORE R C N L, AND I WANT EETY YOU T DECIDE WHICH IS THE O D R MUSIC.” O LE [TEACHERS MANUAL, Music Appreciation for the Junior High School–GLENN AND LOWRY.] “SENSED.” DIFFERENCES BELOW MANY WL IL THE DIFFERENCE WL BE QUICKLY IL LATER T E REASONS H C N BE DISCUSSED A AF R FO D FR O AND TE H TE H H E “HELPS” INCLUDED IN T E E HS PAGES HAVE BEEN PREPARED BY MRS. LEONORE COFFIN, MISS SADIE R F E T, MISS LL A B L E PITTS, AND AFRY IL EL MISS ALICE ROGERS, MEMBERS O T E FH APPRECIATION COMMITTEE. THE TIME WHICH T E T A H R I SAVED IN R ’ H ECE S E S A C BY T E E “HELPS” MAY BE USED ERH HS T GOOD ADVANTAGE IN T O G T U O H U HFL HEARINGS O T E MUSICAL EXAMPLES FH LISTED. THESE COMPOSITIONS T E H T A H R S O L H A S V R L TIMES BE ECE H UD ER EEA F R PRESENTING THEM IN T E C A S OE H L SROOM. EVERY MUSICAL EXAMPLE LS E IT D HAS BEEN T I D O T AND HAS PROVED RE U I T R S I G T JUNIOR AND SENIOR HIGH N E E TN O S H O PUPILS. COL LET U KEEP IN MIND T A ADC S HT Q A E PREPARATION F R T I DISCRIMI’ UT O HS NATION C N E T WL BE MADE IN SING’ OTS ILING, PLAYING, O HEARING MUCH BEAU’ R TF L MUSIC WHICH I L S R T S T E IU L UT A E H POINTS T B COVERED. ALL T E IN’ OE H F R A I N IN A L T E BOOKS A AL B E O M TO LH VIAL WL BE O LT L H L IF T E PUPILS DO IL F ITE E P H N T COME IN C N A T WITH MUCH MUSIC. O OTC IF WE W U D DEVELOP DISCRIMINA’ OL TION IN O R PUPILS WE MUST A L W U LO THEM T MAKE T ER OWN DISCOVERIES O HI AND D A R W T ER OWN CONCLUSIONS. HI TOO O T N A T A H R HANDICAPS H S FE ECE I L S O BY O F RN MUCH INFORMATION ES N FE I G A O T T E COMPOSITION O COMPOSER BU H R B F R T E MUSIC I S L IS PRESENTED. EO E H TE F WHEN A L S O E S N OPENS WITH T E H music, A T R T E C R O I Y O FE H U I ST F TE H C A S H S BEEN A O S D BY ONE O LS A R UE R TWO QUESTIONS, T E A S E S T WHICH H NW R O T Mood: FUL. IMPERSONAL, OBJECTIVE, NO DE- SCRIPTIVE TITLES; G N R L Y SERENE, CHEEREEAL Historical Background: THE C A SC L L SI A PERIOD. THE EIGH- T E T CENTURY IS G N R L Y CONSIDERED ENH EEAL COMPOSERS A E R HAYDN, MOZART AND BEETHOVEN, THOUGH IT MUST BE NOTED T A BEETHOVEN IS THE HT LINK BETWEEN CLASSICISM AND ROMANTICISM, AND EXEMPLIFIES TENDENCIES O F BOTH GROUPS. THE MUSIC OF EVERY PERIOD R F E T THE EL C S LIFE AND CUSTOMS OF ITS PEOPLE. CENTRAL EUROPE IN THE EIGHTEENTH CENTURY WAS FL O PTY UL F ET KINGDOMS, AND NEARLY EVERY KING, PRINCE O DUKE RETAINED MUR SICIANS AS PART OF HIS COURT. COMPOSERS OF THE E R I R PART O THIS PERIOD WERE A LE F N A L A L ATTACHED T SOME C U T AND ERY L O OR WROTE T PLEASE THEIR MASTERS WITHOUT O T O G T O EXPRESSING HUH F OR SORROWS. THERE LIC C N E T OCRS TERTAINMENT THE THEIR OWN JOYS WERE F W PUBE S O IN- (AND N RADIOS!), O F R “PRIVATE O STRUMENTAL MUSIC WAS WRITTEN F R ENO O PRINCELY R C U T PARTIES.“ OR PERIOD JUST BEFORE HAYDN HAS INI S S I F AND PRECISE DRESS T TF MELODIES AND ”SQUAREBEEN C L E T E “PIG-TAIL PERIOD.” ALD H FLUENCES OF AND FORMAL MANNERS ARE R F E T D OFTEN ELCE IN “SING-SONG” TOED“ RHYTHMS. EXAMPLES OF C A SC L MUSIC: L SI A Haydn– Surprise Symphony Emperor Quartet Clock Symphony Trio in G Major Mozart– Suite from L e s Petits Riens Symphony in G minor Jupiter Symphony Minuet in D Overture–Marriage of Figaro Bibliography T h e Appreciation of Music, V o l. I, M a s o n; A n A r t and a Language, Spalding; Masters of the Symphony, Goetschius. CAN BE FOUND in the music, T E H T A H R IS C R AN T HAVE A INTERECE ETI O N ET D C AS SE L S. NOTE : Although first published in the M u s i c SUPERVISORS J O U R N A L for use in preparation for the National Music Discrimination Contest at Cleveland, April 6, 1932, in connection with the Silver Anniversary Meeting of the Music Supervisors National Conference, the “Study H e l p s are of practical value for general use, as well as for the specific purpose intended, and are therefore reprinted separately. (S e e note on next page.) MABELLE GLENN, Chairman, Committee on Music Appreciation. DISCOVERY O T E CHARACTERISTICS LISTED FH OPPORTUNITIES F R O AND MUCH C N A T OTC RE-HEARINGS WITH T E MUSIC. H THE T A H R SHOULD REALIZE T A T E E ECE HT HR IS NO DEFINITE POINT A WHICH ONE PERIOD T ENDS AND A NEW ONE BEGINS; THEY OVERL P AND GROW OUT OF EACH OTHER. A ALL THE CHARACTERISTICS GIVEN F R T E O H DF E E T S Y E ARE generalities, O TENDIFRN TLS R (2) RLS UE O “REPETITION F ATR FE CONTRAST”. MUCH USE O THREE-PART FORM, THEME F AND VARIATIONS, RONDO. SONATA AND SYMPHONY. Rhythm: Melody: Harmony: DEFINITE, PERFECTION O F (SEE PART I I I.) PHRASE-WISE O R ROMANTIC STYLE ENCIES, not rigid rules. (1) CHARACTERISTICS O T E CLASSICAL FH STYLE THE keynote IS feeling. “ROMANTICISM IS FANCY FREED FROM THE BOUNDS OF CONVENTION” [ENGEL]. FREEDOM FROM RULES; “A SHIFT FROM FORM T FEELING”; O EXPRESSION OF INDIVIDUAL EMOTIONS; FREE PLAY O T E IMAGINATION; FANCIFUL SUBFH JECTS–ALL E T R INTO ROMANTIC MUSIC. NE A F NOTE O WARNING MUST AGAIN BE AGAINST OTHER. DRAWING LINES T O O SOUNDED LOW THE keynote IS form. PERFECTION OF S R C U E AND BEAUTY O LINE IS TUTR F PHASIZED. EM(MAKE TANGIBLE BY SHOWING A STEADY, REGULAR. PICTURE OF A GREEK TEMPLE WITH ITS PURITY AND SIMPLICITY O LINE.) F “CLASSICAL WORKS ARE OBJECTIVELY BEAUTF L LIKE DECORATIVE PATTERNS IN PURE IU DESIGN.” Form: INITENESS [SPALDING] BALANCE O PROPORTIONS; DEFF O PARTS; F ADHERENCE T O TE H PERIOD-WISE; SINGABLE. SIMPLE (DO-MI-SOL TYPE); CONSONANT, DIATONIC; DEFINITE FEELING F R O HOME-TONE (TONALITY). Instrumentation: COLORED. LIGHT; SOMETIMES THIN; MORE BLACK AND WHITE T A MULTIHN (SEE PART V I.) C E R Y BETWEEN T E PERIODS WHICH FOLLAL H EACH “COMPOSITIONS O F LASTING WORTH ALWAYS MANIFEST SUCH A HAPPY UNION OF QUALITIES, T A THEY MAY HT February, Nineteen Thirty-two Page 33 BE C L E BOTH ROMANTIC AND CLASSIC“ ALD [SPALDING]. IT WOULD BE ABSURD T O TEACH T A HAYDN HAD NO ”FEELING,“ O HT R T A MENDELSSOHN HAD NO CONSIDERATION HT F R ”FORM.“ O Form: PATTERNS O T E CLASSICAL FH PERIOD BECAME MORE ELASTIC THROUGH THE INPOURING O PERSONAL FEELINGS. NEW F FORMS WERE ALSO BROUGHT INTO EXISTENCE; CONCERT OVERTURE (Hebrides–MENDELSSOHN); S O T PIANO PIECES HR (SONGS WITHOUT WORDS, NOCTURNES, ETUDES, PRELUDES, SCHERZOS, ETC.); SYMPHONIC O R TONE POEMS, RHAPSODY, ETC., AND MUCH ”PROGRAM“ MUSIC WITH DESCRIPTIVE TITLES. Rhythm: MOREFLEXIBLEAND VARIABLE, UNEXPECTED ACCENTS, ETC. Melody: FLOWING PHRASES O F GET RA LYRIC BEAUTY, MORE PLASTIC. Harmony: FULL, SONOROUS, GROWING USE OF DISSONANCES AND CHROMATIC SCALE, SURPRISING MODULATIONS. Instrumentation: GREAT WARMTH AND VARIETY O TONE-COLOR. PIANO USED AS F S L INSTRUMENT. OO (SEE PART V I.) Mood: HEIGHTS AND DEPTHS OF A L HUL MAN EMOTIONS WERE SOUNDED. OFTEN HIS MELODIES ARE BRIEF SUGGESTIVE HE MATERIAL INCLUDED IN “STUDY WORDS, R T E THAN SENTENCES. EXAMAHR HELPS FOR DEVELOPING DISCRIMINATING PLES : LISTENING” IS PRINTED AND DISTRIBUTED BY MUSIC SUPERVISORS NATIONAL CONFERENCE Debussy FOR THE COMMITTEE ON MUSIC APPRECIAGirl TION. ADDITIONAL COPIES MAY BE SECUREDwith the Flaxen Hair. Reflection on the Water. FROM THE CONFERENCE HEADQUARTERS, AT Clair de Lune. THE ADDRESS BELOW. r COMMITTEE ON MUSIC APPRECIATION Mabelle Glenn, CHAIRMAN, Kansas City, Mo. Lillian L. Baldwin, Cleveland, Ohio. Lenora Coffin, Indianapolis, Ind. Inez Field Damon, Lowell, Mass. W i l l Earhart, Pittsburgh, Pa. Lilla Belle Pitts, Elizabeth, N. J. Sadie. M. Rafferty, Evanston, 111. Alice Rogers, Santa Monica, Calif. M. Claude Rosenberry, Harrisburg, Pa. Sudie L. Williams, Dallas, T e x. Grace P. Woodman, Chapel Hill, N. C . Afternoon of a Faun. Clouds (N u a g e s) . Bibliography (See above). (4) MODERN STYLE THE keynote IS realism. “HEART-MUSIC” WITH ITS LYRIC MELODIES, IS O D FASHL IONED ! BRUSQUENESS, ACTIVITY, UGLINESS, VIGOR, SENSATIONALISM–ALL ARE FOUND IN MODERN MUSIC. THE MODERNS ARE A S LO T N PAINTERS, B T N T IN DEBUSSY'S OE U O POETIC HALF-TONES. THE MODERNIST PRESENTS HIS SCENES IN ROBUST C L R WITH OOS PHOTOGRAPHIC EXACTNESS, WITH NO CRUDITY O UGLINESS HIDDEN. R ADDRESS CORRESPONDENCE TO 64 E. JACKSON BLVD., SUITE 840 CHICAGO, III. Bibliography T h e Appreciation of Music, V o l. 2, M a s o n; Music, an A r t and a Language, Spalding; Masters of Symphony, Goetschius. Richard Strauss IS ONE OF THE FOREMOST REALISTIC PAINTERS IN MUSIC. HIS FR T AIM SEEMS T BE CHARACTERIZATION. IS O STRAUSS IN HIS E R I R YEARS WROTE SOA LE NATAS, CONCERTOS AND A SYMPHONY, AND HIS L T R SYMPHONIC POEMS S I L SHOW AE TL T A HE HAS NOT DISREGARDED FORM ALHT THOUGH H H S LT L CONSIDERATION F R EA ITE O BEAUTY. HIS MELODIES A E JAGGED IN R OUTLINE WITH L R E SKIPS AND UNUSUAL AG INTERVALS; HIS HARMONIES ARE BOLD AND OFTEN DISSONANT; HIS INSTRUMENTATION IS MASTERLY. EXAMPLES : Strauss Till Eulenspiegel's Merry Pranks. Historical Background: THE NINE- (3) IMPRESSIONISTIC STYLE TEENTH CENTURY IS G N R L Y CONSIDERED EEAL THE ROMANTIC PERIOD IN MUSIC. COMPOSERS BELONGING T THIS PERIOD A E O R SCHUBERT, MENDELSSOHN, SCHUMANN, CHOPIN, LISZT. THE SPIRIT O “LIFE, LIBERTY AND HAPF PINESS” WHICH VOICED ITSELF A THE C O E T LS OF THE EIGHTEENTH CENTURY IN THE AMERICAN AND FRENCH REVOLUTIONS INFLUENCED A L FORMS O ART. THIS CONSCIOUSNESS L F OF NEW PERSONAL FREEDOM UNDOUBTEDLY STIMULATED THE EXPRESSION O PERSONAL F EMOTIONS AND ROMANCE IN MUSIC. Ex- THE keynote IS suggestion. IMPRESSIONISM MORE THAN LINE. FEELINGS THAN T O F R A PHASE OF OE IS CONCERNED WITH C L R OO IT APPEALS MORE T THE O THE MIND AND IS THEREROMANTICISM. THE IMPRESSIONISTS, DEBUSSY AND RAVEL, HAVE A CLOSE A FNT WITH T E FI IY H NINETEENTH CENTURY FRENCH SCHOOL O F PAINTING, KNOWN A T E IMPRESSIONISTS. SH “THE IMPRESSIONISTIC ARTIST TRIES T O PUT ON HIS CANVAS T E T U H OF WHAT HE H RT SEES BEFORE HIM, NOT WHAT HE KNOWS T O BE THERE. FOR EXAMPLE, IN LOOKING INTO AFLOWERGARDEN, HE SIMPLY SEES BRIGHT SPOTS OF COLOR, NOT THE EXACT FORM AND C L R OF EACHFLOWER.HE PAINTS HIS IMOO PRESSION O THESE THINGS. IN PAINTING F OBJECTS H PAINTS WHAT H CAN TAKE IN E E A A GLANCE” [TEACHER'S MANUAL–GLENN T AND LOWRY]. AN IMPRESSIONISTIC PAINTING IS VAGUE IN OUTLINE INSTEAD O F PHOTOGRAPHIC IN DETAIL. (SHOW A REPRODUCTION OF SOME PAINTING BY MONET, O R WHISTLER'S BATTERSEA BRIDGE). DEBUSSY, T E LEADING MUSIC-IMPRESSIONIST H GIVES US, WITH R R POETIC IMAGINATION, AE TONE PICTURES OF HISFLEETINGIMPRESSIONS OF NATURE, PEOPLE, O HIS OWN MOODS. R HIS MUSIC IS VAGUE, ELUSIVE, INDEFINITE; HIS C L R ARE OFTEN HALF-TONES. THIS OOS ATMOSPHERE OF REMOTENESS IS HEIGHTENED BY HIS USE O T E WHOLE-TONE SCALE. FH (PLAY T E WHOLE-TONE SCALE, SO T E CLASS H H MAY F E T E ABSENCE OF THE H L STEPS EL H AF WHICH P L TOWARD T E HOME TONE AND UL H GIVE A FEELING O DEFINITENESS.) F N TE H DEBUSSY'S HARMONIES, BASED O WHOLE-TONE SCALE ARE UNUSUAL, F L AND UL RICH. HE USES MANY BLOCKS O CHORDS F AND PASSAGES OF P R L E FOURTHS, FIFTHS, AALL ETC., AND CONSTANTLY SHIFTING TONALITIES. DEBUSSY'S S Y E IS INDIVIDUAL AND FREE TL WITH NOTHING O ROUTINE DEVELOPMENT. F amples: Schubert Impromptu in A flat. Unfinished Symphony. Rosamunde Ballet. f T h e Erlking. Songs 1 A v e Maria. IHark, Hark the Lark. Trio N o. 1 in flat. Moments Musicals (N o s. 5, 2, 3). Mendelssohn Spinning Song. Fingal's Cave Overture. Nocturne, from Midsummer Night's Overture, from Midsummer Night's W e d d i n g March, from Midsummer Dream. Symphony N o. 3 (S c o t c h). Andante, from Italian Symphony. Violin Concerto in minor. Chopin W a l t z in C# minor. Nocturne in flat. Aeolian H a r p Etude. Butterfly Etude. Fantasie–Impromptu. Military Polonaise. Nocturne in D flat. Prelude, O p. 2 8, N o. 2 0. Prelude N o. 4 in minor. Etude in A flat Major (Aeolian Prelude in D flat (Raindrop) Schumann Soaring. Traumerei. Concerto in A minor. Romanza, from Symphony N o. 4 in D minor. S o n g – T w o Grenadiers. Warum (W h y) Quintette. Stravinsky : THE MUSIC O STRAUSS F O SEEMS “OLD-FASHIONED” IN COMPARISON T STRAVINSKY, “THE MOST DARING COMPOSER OF A MOST DARING PERIOD.” A L REL STRAINT AND R L S ARE CAST ASIDE; INTRIUE CATE, FORCEFUL RHYTHMS; PUNGENT, BITING T DISCORDS; MANY MELODIES “RUNNING” A T E SAME TIME, AND EACH IN A DIFFERENT H KEY. THERE IS NO BLENDING O CONCORD. R THE LISTENER IS BEWILDERED AND ASKS, “WHENCE AND WHITHER !” EXAMPLES : Stravinsky Fireworks. Petrouchka. Bibliography Listener's Scholes. History of Music, Vol. I I I . Dream. Dream. Night's Harp). THE WORLD WAR SEEMS T HAVE CAUSED O AS G E T AN UPHEAVAL IN MUSIC AS IT HAS RA IN WORLD LIVING. AS MANY EXPERIMENTS IN MUSIC ARE BEING ESSAYED BY THE ULTRAMODERNS, AS T E E ARE NEW EXPERIMENTS HR IN GOVERNMENT. THE GENERAL RESTLESSNESS HAS ALSO ENTERED MUSIC, CAUSING A LOSS OF SERENITY, DIGNITY AND POISE. THE INCREASED MECHANIZATION OF MODERN LIVING R S L S IN A TURNING FROM ROMANCE AND EU T T E ENTRANCE OF UGLINESS AND NOISE INTO H MUSIC. WE MUST REMEMBER T A HT “NOTHING T A LIVES STANDS STILL; T E E HT HR MUST BE CONSTANT GROWTH, O DECAY SETS R IN. WE ARE LIVING IN A MOMENT OF NEW IDEAS, WORKS AND FORMS ON WHICH WE CANNOT PASSFINALJUDGMENT. TIME ALONE MUST BE THE JUDGE” [BAUER AND PEYSER]. Page 34 Music Supervisors Journal odies PART II from back and forth, to and, in and out, Often at instrument of these instrument. Music Which Illustrates Styles of Some Composers (PREPARED BY LENORA COFFIN, INDIANAPOLIS, INDIANA) several melodies We find are played full, the s a m e time. volume delicacy; chromatic of sonorous consumate brasses; tone, much and use also of the progressions; dissonances. Jk/TOZART: J.VJL t e n d e n c i e s the spirit of y o u t h, who (See of lists, general school voices to CHOPIN: (S e e c h a r a c t e r i s t i c s o f R o mantic poet of style the Part piano,“ which of I). was Chopin, also a in and ”the fiery, part his and Examples: Wagner Magic Fire M u s i c, from T h e Valkyrie. Ride of the Valkyries, from T h e Valkyrie. Closing Scene, from T h e D u s k of the Gods. March, from Tannhuser. Evening Star, from Tannhuser. Prelude to Lohengrin. A c t I I I, Introduction, from Lohengrin. Overture to T h e Flying Dutchman. Prize Song, from T h e Meistersinger. Prelude to T h e Meistersinger. Dance of the Apprentices, from T h e Meistersinger. classical Mozart a n d p r o c e d u r e in P a r t I.) when compared the joy, Polish for the patriot, accounts his style Beethoven, of speaks We find in accents gaiety, haunting power and extremes moods. manhood. varying poetic ful Great presented delicacy, in a charm, pathos, given animation, moments elegance and longing, of of thoughts are beautibold, dramatic manner, contrasted and with with expression, of style. lyric dramatic broke power from force. Chopin of perfection is an clarity of There melody short operaMozart away strict many on formality of the his two- abundance is often trills pure, structure, pieces are though molded forms, short and (See which embellished as (see in the Part with Tschaikozvsky heart o n his a reckless the display is said “to wear his sleeve,“ of so w e may expect runs and tic Italian V). three-part Part We flexible III.) find and the rondo. feeling character- melodies istic o f singing, flowing melodies; and many superac- Russian is a temperament. of clear and “ m a r k s the p e r f e c t i o n strumental the climax classic of of t h e f o r m a l inand realized beauty.“ “Mozart radiant kowsky master By his style abstract changing of rhythms beauty. side TschaiHe was [Hamilton]. Examples (See Part I). Bibliography F o r “human” lives of composers see : H o w Music Grew, Bauer and Peyser; Music and Music Makers, Morse; T h e Complete B o o k of the Great Musicians, Scholes; Face to Face with Great Musicians, Isaacson. embellishments added notes; “spray-like,” is a c o a r s e b a r b a r i a n . extended harp-like of not a classicist. strength spoke and his at in and will H e had not the of heroic He companiments, making waves colored melodies Examples sound seem (See on to which float. the richly a Beethoven. of all the beautiful music as one was out, insulted In fist injured. scores he He cries feeling. his Part I). This reformer of opera, not shakes the skies“ [Symphonic Broadcasts, Wagner: the only creator Olin We in Downes]. will find super-color – riots Beethoven: between the the romantic Beethoven formal was the style link and of the Music-Drama, opera, but classical so revolutionized affected of gorgeous color–for Tschaikowsky instrumentahis of will the eloquent orchesmany of movement, of both embodies (see man- all i n s t r u m e n t a l the music. is “ T h e heart the a an w a s one of the m a s t e r s of tion. use tra of Notice the especially characteristics Part hood voices, force; serene genuine emotions human is also I). schools W a g n e r i a n opera which the the orchestra“ living vital T h e spirit of full g r o w n [Pratt], part ment of to becomes not lower, ranges VI). We an (see is the and Mosart) felt in expression profound, tragic, which Beethoven and more more of of whole, voices. accompanifind the or- (see Part folk find more of dignity joy is is We of Russian beautiful, extremes songs; abundance and to chestra which tense expressing abound in of all the the emotions and in- singable from fiery melodies; great morby sorrow and complex exaltation and outbursts situations was opera. tradition sonata diviand bid m e l a n c h o l y. his music of a “ W e are reminded fire which either a “reveal a wider experience [Goetschius]. this and Wagner impatient with glows un- conflict“ gaiety of in in There ex- and old rules. form sions made sound. ject w a s ody, (see Part or H e discarded the III) with its set fitfully or bursts forth into blaze, is but too fierce a “manhood” rollicking human in controlled white heat where often steady pression humor; finds music. its music, fact good joined a “sewed” web together of missing.“ every emotion woven Each continuous emotion, short leading obmelmoWith wove a [Spalding]. Tschaikowsky Examples: counterpart is the soul form Beethoven's of universal character, “He bearer to is the characterized a by a or messages from soul.“ clear and of easy his disand called leit motif tags“ or motives by Beethoven's to follow tive these (“name leading labels). Wagner Symphony N o. 4. Marche Slave. Andante, from S y m p h o n y N o. 6. Andante Cantabile. through His by contrast are Debussy: Style. See Part I, Impressionistic themes. tinguished melodies their easily seamless whole, tossing these mel- conciseness simplicity, being f o u n d e d on the chord ploys or scale progressions. more than simple emother vibut O T H E R M U S I C A P P R E C I A T I O N H E L P S He any repetition composer. tality not found express and the T h e r e is g r e a t r h y t h m i c many steady in unusual accents, clock-like Haydn. and precision often the Dissonances stress of life; T The the HE Conference Yearbook for of 1931 includes in its 500 pages considerable [Special material of value to teachers music appreciation. Price $2.50. price to Conference members $1.75 postpaid.] of the Yearbook also contains valuable for material, [Part including of this is the storm there are PILED u p c l i m a x e s; suspenses His followed by loud pianissimo outbursts. sonorous, 1930 volume report of the report, Course of Study in Music Appreciation for the First Six Grades, in b u l l e t i n form. Price above 15 c e n t s per copy.] Price of 1931 v o l u m e Music Appreciation Committee 1930. orchestration is full a n d published separately but never blatant. Beethoven Sonata Pathtique. E g m o n t Overture. Symphony N o. 3. Symphony N o. 5. Sonata Appassionata. Examples: complete v o l u m e s a m e as COMPLETE LIST OF CONFERENCE PUBLICATIONS WILL B E SUPPLIED U P O N REQUEST. Music SUPERVISORS NATIONAL CONFERENCE, 64 E. Jackson Blvd., Chicago, III. Page 35 February, Nineteen Thirty-two PART I I I Identifying Form in Music (Prepared by Sadie M. Rafferty, Evanston, III.) INTRODUCTION O R M IS THE PATTERN, T E SHAPE, THE H DESIGN IN MUSIC WHICH HELPS T E LISH TENER O PERFORMER T F L O THE IDEA R O OL W OF THE COMPOSER. JUST AS AN ARTICLE IS KNOWN BY ITS SHAPE O FORM SO IS A R COMPOSITION KNOWN TO US CONSCIOUSLY O UNCONSCIOUSLY BY ITS PATTERN O R R FORM. COMPOSITIONS WHICH ARE MOST EASILY LISTENED TO, PERFORMED AND REMEMBERED ARE THOSE HAVING THE SIMPLEST PATTERN; F R INSTANCE, F L TUNES O OK AND SO-CALLED POPULAR TUNES. THE MUSIC OF THE PRIMITIVE RACES IS ALMOST UNINTELLIGIBLE T US BECAUSE O ITS LACK O O F F DESIGN. AS CIVILIZATION PROGRESSED, MUSIC, ART, LITERATURE, GOVERNMENT, LANGUAGES, LIFE ITSELF, TOOK ON MORE DEFINITE FORM, AND IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES WHEN FORMALITY WAS THE KEYNOTE O LIFE, A L THE VARIF L OUS AVENUES O O R EXISTENCE TOOK FU DEFINITE SHAPE. BEFORE BEGINNING T E STUDY O H F “FORMS IN MUSIC” AS SUCH, A WIDE EXPERIENCE IN PERFORMANCE AND LISTENING TO MUSIC IS NECESSARY. FROM FIRST EXPERIENCE O SINGING, F “ROCK-A-BYE BABY” O T E SIMPLEST RH MOTHER GOOSE RHYME, FORM IS PRESENT. WHEN THE CHILD BECOMES CONSCIOUS O F THE ACCENT, THE BEAT, THE PHRASE, THE REPETITION AND CONTRAST O PHRASE, HE F IS STUDYING FORM IN MUSIC. STEPS IN DEVELOPING FORM 1. EXPERIENCE IN P E R F O R M A N C E – THROUGH VOICE AND INSTRUMENT–OF MUCH MUSIC, AND EXPERIENCE IN LISTENING T O MUCH MUSIC. 2. THE CONSCIOUS RECOGNITION (A) OF PHRASE ENDINGS, (B) O SECTION ENDINGS F AND CONTRAST O SECTIONS, (C) THE APF PLICATION OF DEFINITE NAMES T DEFINITE O FORMS IN MUSIC. BRIEF DISCUSSION OF MUSICAL TERMS I.–THE THREE-PART SONG FORM (FOR TEACHERS) Part I.–THE STATEMENT OF THE PRINCIPAL IDEA, THE PRESENTATION OF THE MELODIC AND RHYTHMIC CONTENTS O F TE H LEADING THOUGHT, O T O WHICH T E U F H WHOLE COMPOSITION IS TO BE DEVELOPED. IT GENERALLY CLOSES WITH AFIRMCADENCE (ENDING). Part II.–THE DEPARTURE (MORE O R LESS EMPHATIC) FROM THE LEADING STATEMENT. Part HI.–THE RECURRENCE AND CORROBORATION O THE ORIGINAL STATEMENT; F THE REPRODUCTION OF PART I. THE REPRO- F DUCTION IS SOMETIMES EXACT AND COMPLETE; SOMETIMES SLIGHT CHANGES O R EVEN STRIKING VARIATIONS, POSSIBLY CERTAIN RADICAL ALTERATIONS, OCCUR; SOMETIMES I IS ONLY A PARTIAL RECURRENCE, T THEFIRSTFEW MEASURES BEING SUFFICIENT TO PROVE THE “RETURN”; SOMETIMES, ON THE OTHER HAND, CONSIDERABLE MATERIAL (MORE O LESS RELATED) IS ADDED, SO THAT R PART I I I IS LONGER THAN PART I. (FOR FURTHER STUDY SEE Lessons in NECESSARY. THE EXPOSITION CLOSES, AS A RULE, WITH A VERY DECISIVE CADENCE. THE EXPOSITION IS OFTEN REPEATED. 2. Development IS A MORE O LESS EXR TENSIVE AND ELABORATE MANIPULATION AND COMBINATION OF T E THEMES GIVEN OUT IN H THE EXPOSITION O STATEMENT. THE INTERR MINGLING O NEW MATERIAL IS ALSO INF VOLVED IN T E PROCESS OF DEVELOPMENT. H 3. THE Recapitulation OR Restatement IS A REVIEW OF T E ORIGINAL PRESENTATION H OF T E THEMATIC MATERIAL, THE RECURRENCE H OF T E EXPOSITION. IT IS SOMETIMES A H NEARLY EXACT REPRODUCTION, EXCEPTING THE NECESSARY CHANGES O KEY. SOMETIMES, F HOWEVER, SUCH CONSIDERABLE ALTERATION IS MADE T A T E RECAPITULATION ASSUMES HT H T E APPEARANCE OF A NEW VERSION OF THE H EXPOSITION AND BECOMES A MORE INDEPENDENT PART O THE DESIGN. F Music Form BY PERCY GOETSCHIUS– 4. A Coda IS ALMOST ALWAYS ADDED; SOMETIMES BRIEF, B T OCCASIONALLY SO U ELABORATE AND EXTENSIVE AS T MERIT THE O NAME OF A NEW PART. II.–RONDO FORM AGAIN IN THE VERNACULAR O T E LAYFH THE S R C U A BASIS OF THE RONDO IS TUTRL MAN–SONATA FORM AS APPLIED T A SINO THE subject OR theme. IN T E RONDO H G E MOVEMENT, “YOU SAY SOMETHING (EXL FORMS, TWO O R THREE SUCH THEMES A E R POSITION), T L ABOUT I (DEVELOPMENT), AK T ASSOCIATED IN SUCH ALTERNATING SUCCESAND SAY IT AGAIN (RECAPITULATION).” THIS H SION THAT, AFTER EACH NEW THEME, T E FORM IS W L COMPARED T THE DEVELOPEL O FIRST, OR principal theme, RECURS. THE MENT OF A WRITTEN THEME O COMPOSITION R PERSISTENT RECURRENCE O T E PRINCIPAL FH IN ENGLISH LITERATURE, RHETORIC O GRAMR THEME IS THE DISTINCTIVE FEATURE OF THE MAR. RONDO. FROM WHICH THE ABOVE IS TAKEN–OR ANY O H R TEXT ON MUSIC FORM.) PATTERN BY TE SECTIONS A B A . Patterns: A B A C A–CODA. (THIS HAS BEEN C L E T E SMALLEST real RONDO FORM ALD H “IN CAPTIVITY.”) A B A C A D A (RARELY DOES THE RONDO FORM DEVELOP BEYOND THIS FORM.) III.–THEME WITH VARIATIONS THE THEME ITSELF IS IN A DEFINITE SIMP E SONG FORM–TWO-PART, THREE-PART O L R EVEN RONDO. THE VARIATIONS ARE SIMPLY DEVELOPMENT (“TALKING ABOUT” O “ELABR ORATION”) OF THE PRINCIPAL THEME. EACH VARIATION FOLLOWS A MORE O LESS DEFIR NITE HARMONIC AND RHYTHMIC SCHEME AND THE ORIGINAL MELODY IS USUALLY C E R Y LAL DISCERNIBLE THOUGH OFTEN GREATLY CHANGED. EACH VARIATION HAS A DEFINITELY MARKED CADENCE (ENDING) T SEPO ARATE I FROM THE VARIATION WHICH IS T T O FOLLOW. Pattern: PRINCIPAL THEME: A B A, ETC. NUMBER OF VARIATIONS. IV.–SONATA FORM SONATA FORM AS APPLIED T A SINGLE O MOVEMENT F L O S THIS PATTERN: OL W AO R SUGGESTED LESSON PLANS IN DEVELOPMENT OF VARIOUS FORMS I.–THREE-PART SONG FORM 1. SING familiar SONG IN THREE-PART SONG FORM. 2. LEAD STUDENTS T NOTE T A THE PATO HT T R BY SECTIONS IS A A. EN 3. PLAY familiar INSTRUMENTAL COMPOSITION IN THREE-PART SONG FORM. 4. STUDENTS RECOGNIZE PATTERN, A B A. 5. HAVE STUDENTS FORMULATE A DEFINITION FOR THREE-PART SONG FORM, AS: “A COMPOSITION WHICH HAS THREE sections O R PARTS, THEFIRSTAND L S ALIKE, THE MIDDLE AT SECTION A CONTRASTING ONE.” THUS T E H PATTERN BY SECTIONS WILL BE A A. 6. APPLY THIS PATTERN T O H R FAO TE MILIAR SONGS AND INSTRUMENTAL NUMBERS, AND L T R T UNFAMILIAR COMPOSITIONS. AE O (NOTE: FORM MAY BE NOTED IN ANY COMPOSITION, WHATEVER THE SUBJECT OF THE LESSON.) II.–RONDO FORM 1. STUDENTS SING, PLAY O LISTEN T A R O FAMILIAR COMPOSITION IN RONDO FORM. 2. STUDENTS NOTE RECURRENCE O PRINF CIPAL THEME. 3. STUDENTS NOTE CONTRASTING THEMES OR EPISODES. 4. STUDENTS FORMULATE DEFINITION FOR RONDO FORM, AS : “ A COMPOSITION BUILT AROUND O E MOST IMPORTANT THEME N WHICH RETURNS MANY TIMES.” STUDENTS DISCOVER T A THE PATTERN F R RONDO FORM HT O MAY CHANGE, DEPENDING ON THE NUMBER (CONTINUED ON PAGE FIFTY-THREE) 1. Exposition OR Statement, IN WHICH A L A T TWO MAIN THEMES ARE STATED, T ES CONNECTED BY A TRANSITION THEME WHOSE DUTY IT IS T LEAD INTO THE NEW KEY. THE O SECOND THEME IS USUALLY IN A DIFFERENT, THOUGH C O E Y R L T D KEY FROM T E L SL EAE H FIRST THEME; THEREFORE THE TRANSITION IS Page 36 Music Supervisors Journal (CONTINUED FROM PAGE THIRTY-SIX) OF TIMES THE PRINCIPAL THEME RETURNS AND T E NUMBER OF CONTRASTING THEMES, AS : H A B A C A, O R A B A C A D A, ETC. 5. APPLY THESE PATTERNS T OTHER FAO MILIAR COMPOSITIONS IN RONDO FORM, THEN T UNFAMILIAR COMPOSITIONS. O Ill–THEME WITH VARIATIONS 1. PLAY theme OF A COMPOSITION WRITT N IN T E FORM OF THEME WITH VARIAE H TIONS, UNTIL STUDENTS A E THOROUGHLY FAR MILIAR WITH IT. HAVE STUDENTS SING THEME (THIS STEP MAY W L BE TAKEN A A EL T LESSON PREVIOUS T T E PRESENTATION OF OH THEME WITH VARIATIONS AS A MUSICAL FORM). THE FORM OF T E THEME ITSELF H MAY BE NOTED. 4 (NOTE: AVOID T O MUCH ANALYSIS OF O THIS FORM. THE AIM IS APPRECIATIVE LISTENING. NOTICE T A A L MENTION OF KEY HT L CHANGES AND TECHNICAL DEVELOPMENT IS OMITTED.) 8. 9. 10. 11. 7. Rondo (Allegro–3rd movement) Sonata Pathtique–Beethoven. Rondo–Mozart–Kreisler. Hungarian Dance N o. 7 – B r a h m s. Rondino–Vieuxtemps. Rondo from Suite–Dohnanyi. from III.–THEME WITH VARIATIONS MUSICAL COMPOSITIONS Which M a y be Used in Presenting “ F o r m in Music” 1. 2. 3. 4. 5. Harmonious Blacksmith–Handel. Theme with Variations–Tartini. Andante from Surprise S y m p h o n y – H a y d n. Theme with Variations from Emperor Quartet–Haydn. Andante from G Minor Symphony– Mozart. Seven Variations on a T h e m e from T h e Magic Flute–Mozart–Beethoven. Proch's Air and Variations–Proch. Variations on a Theme by Haydn– Brahms. Andante con variazioni, from Suite – D o h - 2. PLAY ENTIRE COMPOSITION. HAVE STUDENT INDICATE T E END OF T E STATEH H MENT OF T E THEME AND THE END OF EACH H VARIATION. (A DECISIVE CADENCE USUALLY MARKS THE END OF EACH.) 3. STUDENTS DISCOVER T A THE NAME OF HT THIS FORM ALSO DEFINES IT. VARIATIONS MAY BE EXPLAINED AS ELABORATIONS, DECORATIONS, O SIMPLY AS CHANGES OF T E R H PRINCIPAL THEME. 4. STUDY IN LIKE MANNER OTHER COMPOSITIONS WRITTEN IN THIS FORM. IV–SONATA FORM (NOTE: THE FOLLOWING EXAMPLES A E R PRESENTED MERELY AS SUGGESTIONS. ALL COMPOSITIONS LISTED ARE RECORDED B T THE U CLASS SHOULD SING, T E INDIVIDUAL PUPILS H PLAY, THE ORCHESTRA PLAY, THE CHORUS SING, THE TEACHER PLAY O SING THESE, O SIMR R ILAR, COMPOSITIONS WHENEVER POSSIBLE. STUDENT PARTICIPATION IS DESIRABLE AS F R A AS POSSIBLE. A WEALTH OF MATERIAL IS AVAILABLE AND NO SOURCE SHOULD BE NEGLECTED. IT IS SUGGESTED T A TOPICS F R HT O STUDY BE APPLIED T MATERIAL USED IN O CHORUS, ORCHESTRA AND BAND, AND ESPECIALLY T T A MATERIAL WHICH IS T O HT O BE PRESENTED A T E NATIONAL CONFERENCE TH IN CLEVELAND. THIS MAKES NOT ONLY F R O MORE APPRECIATIVE LISTENING, B T F R BETUO T R PERFORMANCE OF THE MATERIAL. E I.–THREE-PART SONG FORM 1. Songs in three-part song form may be found in any singing book or other music used in choral classes. 2. Minuets by Bach, Handel, H a y d n, Mozart, Beethoven. 3. Gavottes. 4. Mazurka–Chopin. 5. Dance movements from symphonies, sonatas, etc. 6. Songs without words–Mendelssohn. 7. Short compositions by Schubert, Schumann, Chopin, Grieg. 8. March of the Dwarfs, from Lyric Suite– Grieg. 9. Funeral March–Chopin. 10. I n a Three-Horse Sleigh–Tschaikowsky. 11. Prelude in C Sharp Minor–Rachmaninoff. 12. Narcissus–Nevin. 13. Heavenly Aida from A i d a – V e r d i. 14. March from Nutcracker Suite–Tschaikowsky. 6. 7. 8. 9. IV.–SONATA FORM As applied to one movement 1. H a y d n – Surprise Symphony (first movement and fourth movement) 2. M o z a r t – G Minor Symphony (first movement and fourth movement) 3. Beethoven–Fifth S y m p h o n y in C M i n o r (first movement) 4. Schubert–Symphony N o. 8 in Minor, Unfinished Symphony (first m o v e m e n t) 5. Tschaikowsky–Fifth Symphony in M i n o r (first movement) 6. Brahms–First Symphony in C Minor (first movement) 7. A n y other composition written in sonata form. SUGGESTED PLANS TO TEST DEVELOPMENT In Discrimination and Achievement at V a r i o u s Intervals. As applied to a single movement. 1. PLAY THE exposition OF A FAMILIAR MOVEMENT WRITTEN IN SONATA FORM. 2. STUDENTS NOTE THE PRINCIPAL THEMES. TEACHER PLAY T O PRINCIPAL THEMES ON W T E PIANO. HAVE T E CLASS SING EITHER H H BY E R O F L O NOTATION FROM BOOKS, A R OL W BOARD, SCREEN O CARDS. R 3. PLAY EXPOSITION AGAIN. CLASS NOTE T E TRANSITION WHICH CONNECTS T E T O H H W PRINCIPAL THEMES. 4. PLAY EXPOSITION FROM T E BEGINH NING. CLASS INDICATE THE ENTRANCE OF T E H FIRST AND SECOND THEMES. 5. PLAY COMPOSITION FROM BEGINNING. CLASS NOTE THE END OF T E EXPOSITION H AND BEGINNING OF T E DEVELOPMENT. H H 6. NOTE T A THE REAPPEARANCE OF T E HT FIRST THEME COMPLETE MARKS T E BEGINH NING OF T E RECAPITULATION. H 7. CLASS FORMULATE PLAN OF SONATA FORM AS APPLIED T SINGLE MOVEMENT. O FIRST THEME TRANSITION SECOND THEME CODA /ELABORATION OF (PRINCIPAL THEMES II.–RONDO FORM 1. A m a r y l l i s – G h y s. 2. Rondeau from Suite N o. 2 in M i n o r Bach. 3. Rondo (G y p s y Rondo) from Trio N o. 3 in C M a j o r – H a y d n. 4. Ecossaises–Beethoven. 5. Finale from Symphony N o. 8 in F M a j o r Beethoven. 6. Rondino–Beethoven–Kreisler. 1. PLAY FAMILIAR COMPOSITIONS. HAVE STUDENT MAKE PHRASE, SENTENCE AND SECTION PATTERNS. 2. PLAY UNFAMILIAR COMPOSITIONS. CLASS MAKE PHRASE, SENTENCE AND SECTION PATTERNS. 3. PLAY FAMILIAR COMPOSITIONS IN THREE-PART SONG FORM. CLASS INDICATE FORM AND PATTERN BY SECTIONS. 4. PLAY UNFAMILIAR COMPOSITIONS IN THREE-PART SONG. CLASS INDICATE FORM AND PATTERN BY SECTIONS. 5. PLAY COMPOSITION IN RONDO FORM. CLASS INDICATE PRINCIPAL THEME BY “A”, CONTRASTING THEMES BY “ X AS: A A A X A, ETC. 6. PLAY COMPOSITION IN RONDO FORM. CLASS INDICATE PRINCIPAL THEME BY “ A CONTRASTING THEMES BY “B”, “C”, ETC. 7. PLAY COMPOSITIONS IN THREE-PART AND RONDO FORM. CLASS INDICATE FORM OF EACH. 8. PLAY COMPOSITION IN THEME WITH VARIATIONS. CLASS T L PATTERN OF THEME EL AND NUMBER OF VARIATIONS. 9. PLAY COMPOSITION IN THREE-PART FORM, RONDO FORM, AND THEME WITH VARIATIONS. CLASS INDICATE FORM OF EACH. 10. PLAY COMPOSITIONS WRITTEN IN THREE-PART, RONDO, THEME WITH VARIATIONS, AND SONATA FORM. CLASS INDICATE THE FORM OF EACH. (NOTE: IN USING AN UNFAMILIAR COMPOSITION FOR TESTING, BE SURE THE STUDENT HEARS IT OFTEN ENOUGH T BE ABLE T DISO O COVER T E FORM. ONE HEARING IS NOT H SUFFICIENT USUALLY.) EXPOSITION DEVELOPMENT FIRST THEME RECAPITULATION J TRANSITION SECOND THEME CODA 8. PLAY ENTIRE MOVEMENT WITHOUT INTERRUPTION. 9. STUDY OTHER COMPOSITIONS IN SONATA FORM IN SIMILAR MANNER. N O T E. – I n a number of instances, the reader will observe apparent editorial inconsistency in the spelling of composer's names, in the use of Anglicized titles and perhaps in other matters of more or less academic or technical concern. Due to lack of recognized standards or authorare ity in these matters, such discrepancies bound to occur when material is assembled from several sources. Therefore, since the student, under prevailing conditions, is constantly confronted by the problem of recognizing names and titles in whatever form or spelling best suits the opinion or fancy of the user, it is thought that no harm, but perhaps some good, might result from printing the names without the customary editing for conformity to style. THE EDITORS. February, Nineteen Thirty-two Page 53 (B) PARTS I V AND V Types of Songs and Types of Voices (Prepared by Alice Rogers, Santa Monica, California) Listening to artists in many records of folk and art songs (See [3] Suggested Material). 1. For purpose of discrimination. 2.*For purpose of identifying voices heard, classification depending upon quality and range. II. I V. – T o develop ability to identify types of songs. V. – T o develop ability to distinguish different types of voices: coloratura, lyric soprano, contralto, tenor, baritone, and bass. (A) ARIA AND ART SONG T (1) BACKGROUND O APPRECIATE T E DISTINCTIVE TRAITS H OF T E WIDELY DIFFERENT STYLES O H F SONGS, F L SONGS, A T SONGS, AND ARIAS, OK R IT WL BE W L T L O F R A TIME A T E IL EL O O K O TH HEREDITY AND ENVIRONMENT OF EACH. FOLK SONGS, AS T E NAME IMPLIES, A E H R BORN O T E FOLK, VERY OFTEN AN ILLITERFH ATE, U L T E E FOLK, ALWAYS A F L WHO NETRD OK ARE CLOSE T T E SOIL, WHOSE WANTS A E OH R FEW, WHOSE PLEASURES A E SIMPLE. SUCH R H F OR U PEOPLE, LACKING T E DISTRACTIONS O COMPLEX CIVILIZATION, DEPEND UPON THEMO O SELVES F R AMUSEMENT, F R RECREATION AUA AND R LE FROM TOIL. MUSIC IS A N T R L EIF O T E F R THEIR EMOTIONAL LIFE, AND IN ULT O SONG AND DANCE THEY MIRROR A L T ER L HI JOYS AND SORROWS. H PO CENTURY, T E ARIA IS A T T BE ELABORATE, O OA ARTIFICIAL, AND WRITTEN F R V C L DISPLAY, WITH LT L PRETENSE F R ADHERENCE T ITE O O DRAMATIC TRUTHFULNESS. SUCH SONGS A E R OFTEN VERY MELODIOUS AND BEAUTIFUL MUSICALLY B T A E MORE THEATRIC THAN U R DRAMATIC, AND T E WORDS HAVE B T LT L H U ITE INTEREST. H H RA SINCE T E TIME OF WAGNER, T E G E T O REFORMER WHO BROUGHT DRAMA BACK T THE OPERA, ARIAS HAVE BECOME L S ARTIES FICIAL, MORE FREE, AND DRAMATICALLY MORE H TRUTHFUL. HOWEVER, T E ENVIRONMENT OF AN ARIA IS T E ARTIFICIAL SITUATION C E T D H RAE BY SINGING A DRAMA O A STAGE. THE N DRAMATIC SITUATION O T E OPERA NEEDS FH T BE KNOWN T UNDERSTAND T E MEANING O O H OF T E WORDS OF AN ARIA WHICH IN THEMH R H SELVES A E OFTEN MEANINGLESS. ON T E O H R HAND, T E WORDS O A A T SONG TE H FNR RA O OT MUST BE A G E T POEM T BRING F R H A G E T MUSICAL SETTING. BECAUSE O RA F TE H DIFFERENCE IN T ER VERY ORIGIN AND IN HI THE ENVIRONMENT IN WHICH THEY A E PROR AK H DUCED, ARIAS L C T E SINCERE AND HIGHLY R EXPRESSIVE QUALITIES OF A T SONGS. (2) SUGGESTED STUDY PLAN Aim: TO DEVELOP POWER T DISCRIMO R INATE BETWEEN FOLK SONG, A T SONG, AND ARIA AND T IDENTIFY VARIOUS TYPES O O F VOICES HEARD. I. (A) Source of material: Records (See [3] Suggested Material). of similarities and differ(B) Class discussion ences between aria and art song resulting in origin and purpose. from difference 1. A r t song: Musical setting sincere, highly expressive, and often dramatic. 2. Aria (often preceded by recitative) : M u sical setting dependent upon text of opera; sometimes artificial and planned for vocal display; often elaborate, and frequently rising to dramatic heights. (O*Identification of voices heard. (Note that the coloratura soprano appears in arias which through their very artificiality lend themselves to vocal display, demanding a highly developed vocal technic.) We Hear In Music *See Faulkner: What (Latest Edition), with regard to types of voices. (3) SUGGESTED MATERIAL: FOLK SONGS– LISTEN TO John Peel, Scots W h a H a e, and Jock o'Hazeldean. Sally in O u r Alley, Flow Gently Sweet Afton, and Y e Banks and Braes. A w a y to Rio, and Blow the M a n Down, Sourwood Mountain, Begone Dull Care. Old Black Joe, and Uncle N e d. Nobody Knows, and Swing L o w Sweet Chariot. Deep River (Burleigh), and I'm Going to Tell God A l l M y Troubles (B r o w n). Joshua F i t de Battle ob Jericho, and B y e and Bye. Home on the Range. Sunrise Call, and Zuni Blanket Song. W a t e r Boy. Believe M e, etc., and Drink to M e Only, etc. Aloh'a O e (Farewell to T h e e). Funiculi Funicula (can be used for accompaniment to singing). Santa Lucia (Neapolitan Folk S o n g). Sole M i o (M y Sunshine). Down the Petersky (Moscow Street S o n g), and Dubinushka (Russian Laborer's S o n g). Song of the Volga Boatmen, and Czecho-Slovakian Dance Song. D u du liegst mir im Herzen (P a x) and Treue Liebe (K c k e n). La Paloma, and L a Golondrina. Carmela, and Cielito Lindo (Beautiful S k y) . ART SONGS A E BORN O T E TRAINED R FH MUSICIAN-COMPOSER. THAT COMPOSER MAY BE STEEPED IN THE F L SONGS OF HIS COUNOK T Y; HE MAY BE A CLASSICIST; HE MAY BE R VERSED IN IMPRESSIONISM O IN T E MODR H E N IDIOM. WHATEVER HIS MUSICAL IDIOM, R WHEN A POEM STRIKES FR WITH SUCH A IE COMPOSER, I IMMEDIATELY T A S A E ITT R NL T S S L INTO MUSIC. EVERY CHANGE OF MOOD EF H H IN T E POEM IS MIRRORED IN T E MUSIC. H AL SUCH A SONG T E GERMANS C L durchkomponirt, F R WHICH THERE IS NO O ENGLISH EQUIVALENT – SAVE “COMPOSED THROUGHOUT.” THE Erlking IS A STRIKING EXAMPLE OF SCHUBERT'S MUSIC, ENHANCING H FE T F AND HEIGHTENING T E E F C O EVERY TE PHASE OF THE GREAT POEM. ON THE O H R HAND, SOME POEMS NOT DRAMATIC IN CHARACTER, B T LYRIC, MAY LEND THEMSELVES T U O A STROPHIC S Y E OF COMPOSITION IN WHICH TL EACH VERSE REPEATS T E SAME MUSIC. H TL SUCH SONGS MAY BE FOLK-LIKE IN S Y E H OK IF T E POEM BE OF F L CHARACTER. BUT MORE OFTEN T E MUSIC, L RC L IN CHARH YIA ACTER, WL BE MORE SUAVE AND FINISHED IL RE H THAN A T U SONG OF T E FOLK. SUCH A SONG IS Who Is Sylvia BY SCHUBERT. ART SONGS, THEN, AS CONTRASTED WITH F L OK R SONGS A E MUSICALLY MORE EXPRESSIVE AND OFTEN RISE T GREAT DRAMATIC HEIGHTS. O OPERATIC ARIAS WERE BORN OF THE UNION OF THE TWO G E T ARTS, DRAMA AND MUSIC, RA BUT DRAMA SOON DIED, AND THE ARIAS TOOK ON A STEPMOTHER–VOCAL DISPLAY. THE ARIAS O T E MOST PROLIFIC PERIOD O FH F OPERA WERE WRITTEN L R E Y T DISPLAY AGL O T E V C L T L N S O T E SINGERS R T E H OA AET FH AHR O UTE H THAN T F R H R T E DRAMATIC SITUATION H H H IN T E OPERA. IN FACT, T E ACTION OF T E DRAMA IS STOPPED WHILE T E ACTING SINGH E STANDS QUITE S I L UPON T E STAGE AND R TL H POURS F R H HIS EMOTIONS IN AN ARIA. IF OT THE OPERA BELONGS T THE E R Y NINETEENTH O AL ART SONGS– LISTEN Erlknig (T h e Erlking) (Schubert). Contralto. Two Grenadiers (S c h u m a n n), and Midnight Review, The (G l i n k a), Bass. Elegie (M a s s e n e t), Tenor. Die Lorelie (L i s z t), Contralto. A v e Maria (Schubert) and Serenade (Schubert), Tenor. Wasserflut (T h e T o r r e n t), (Schubert–from D i e Winterreise), Tenor. Ruckblick (T h e Days That W e r e) (Schubert– from D i e W i n t e r r e i s e), Tenor. W i d m u n g (Dedication) (Schumann), Soprano. Morning (S t r a u s s), Soprano. Y e W h o H a v e Yearned Alone (Tschaikowsky), Soprano. Cradle Song (GretchaninofF), Soprano. Lotosblume, die (T h e Lotus Flower) (Schumann), Contralto. Thou'rt Lovely as a Flower (Schumann), Soprano. Serenade (Stndchen) (Strauss-Von Schack). Soprano. Songs M y Mother Taught M e (D v o r a k), Soprano. Songs M y Mother Taught M e (D v o r a k), and Lullaby (Wiegenlied) (B r a h m s), Quartet. Example of a folk melody which in the hands of a great composer, has become an art song. FOLK AND ART SONGS Singing and discussion of folk and art songs– 1. Suggested Sources of Material: (a) Community song books, such as T w i c e 55 Community Songs (B r o w n, Green, Blue, R o s e), The Gray Book of Favorite Songs. The H o m e and Community Song Book, Concord Series N o. 19, etc. (b) Song collections–unison singing. A r t Songs–Glenn and Spouse. Botsford Collections of Folk Songs, etc. (c) Song collections–part singing. T h e G l e n n G l e e Club Book for Young Men. T h e G l e n n G l e e Club Book for Girls. A r m i t a g e : Concert Songs for Girls. T h e Laurel Song Book. (d) See (3) Suggested Material Folk Songs–to sing. A r t Songs–to sing. 2. Contrasting e x a m p l e s for discussion. N o t e similarities and differences between folk and art songs resulting from different- origins. (a) Folk S o n g s : Simple harmonically, few melodic ideas, hence much repetition; rhythm characteristic of the country, poem an expression of the homely life of the people. Comin T h r o u g h the Rye–Scotch. O h N o John–English. Santa Lucia–Italian Swing L o w Sweet Chariot–American N e g r o. (b) A r t s o n g s : Musical setting including the accompaniment, in complete harmony with the emotional quality of the poem, and highly expressive of the composer's art. H a r k ! H a r k the Lark–Schubert. O u t of M y Soul's Great Sadness– Franz. ARIAS FROM OPERAS Carmen: Habanera (B i z e t), Contralto. Carmen: A i r de la Fleur (Flower Song) (Bizet), Tenor. Trovatcre: Miserere (V e r d i), Tenor and Soprano. Forza del Destino: L a vergine degli angeli (M a y Angels Guard T h e e) (V e r d i), Tenof and Soprano. Carmen Chanson du Toreador (B i z e t), Baritone. Pagliacci: Prologo, S i Puol (Leoncavallo), Baritone. Meistersinger: Preislied (Prize Song) (Wagner), Tenor. Rigoletto: La Donne e mobile (O Sole M i o) (Verdi), Tenor. Rigoletto: Quartet (Bella figlia dellamore) (V e r d i), Soprano. Contralto, Tenor, Baritone. Mignon: j e suis Titania (T h o m a s), Coloratura Soprano. Page 54 Music Supervisors Journal Tannhauser: Dich, teure Halle (Hall of Song) (Wagner), Soprano. Lohengrin: Elsa's Traume (Elsa's Dre,.,) (Wagner), Soprano. Tannhauser: Elisabeth's Gebet (Elizabeth's Prayer) (W a g n e r), Soprano. Forza del Destino: Pace, pace mio Dio (Peace, Oh M y Lord) (V e r d i), Soprano. Trovatore: Stride la vampa! (Fierce Flames A r e Soaring) (V e r d i), Contralto. Madame Butterfly: U n bel vi vedremo (Some Day He'll Come) (Puccini), Soprano. Boheme: Valse di Musetta (Musetta's La W a l t z) (Puccini), Soprano. Tannhauser: Evening Star (W a g n e r), Bass. Barber of Seville: La calunnia (Slander's W h i s per) (Rossini), Bass. Rigoletto: Questa quella (M i d the Fair Throng) (V e r d i), Tenor. Samson and Delilah: M o n coeur s'ouvre a ta voix (M y Heart at Thy Sweet Voice (SaintSaens), Contralto. FOLK SONGS– SING (1) (2) Sing any of the above which are available (solo, part-songs). Suggested additional songs (solo, partsongs) : Old E n g l i s h – W h e n L o v e is Kind Scotch–Caller HerrinW e l s h – A l l Through the Night Irish–Irish Tune from County Derr.y American–Cape Cod Chantey (Botsford Collection) Irish–The L o w Backed Car (T w i c e 55 Rose Bk.; three-part, women) [T w i c e 55 (Blue B k.; Twce TRose *Bk. t three-part, women) tNetherlands–The Vision t American– Susanna (three-part, women) t English–Cherry Ripe (H o r n - P a g e; threepart, women) t O l d English–Strawberry Fair (three-part, women) tScotch–Faith fu Johnny (BeethovenSaar; three-part, women) [E i g h t Bells (arr. Bartholomew; four-part, men) I A w a y to Rio (arr. Bartholomew; four-part, men) t O l d Chanteys O l d M a n Noah (arr. Bartholomew; f o u r - p a r t, men) S h e n a n d o a h (arr. Bartholomew; f o u r - p a r t, men) Swedish – V e r m e l a n d : Swedish Folk Songs (arr. Saar; three-part, women) Italian-Marianina Russian–The Three-Horse Sleign (threepart, women) Russian–The Sleigh Ride (three-part, women) Italian–The Three Doves (three-part, women) Swiss–From These Dear Mountains (three-part, women) English–My Man John (three-part, women) Spanish–Senorita (three-part, women) *01d Highland M e l o d y – T u r n Y e to M e (four-part, men) Russian–By the Kasanka (four-part, men) *Czecho-Slovakian Dance S o n g – C o m e One Come All (four-part, men) Hungarian Treasure (four-part, men) *Old English–Down A m o n g the Dead Men (four-part, men) * Scotch–The Hundred Pipers (four-part, men) *Irish–The Galaway Piper (four-part, men) 4. CONSCIOUS FEELING F R T E EXPRESO H SIVE QUALITIES OF ANY INSTRUMENT THROUGH HEARING MUCH MUSIC ESPECIALLY WRITTEN F R THAT INSTRUMENT BY A RECOGNIZED O COMPOSER. SUGGESTED LESSON PLANS For Presenting Instruments of the Orchestra I.–THE SYMPHONY ORCHESTRA ART SONGS– SING (1) A n y of those listed above (solo, part-songs) (2) Suggested additional songs (solo, part-songs) The Rose Complained–Franz Cradle S o n g – H a u s e r Cradle Song–Schubert W h o I s Sylvia–Schubert By the Sea–Schubert A v e Maria–Schubert The Post–Schubert tSerenade–Schubert (two-part, women) JThe Sandman–Brahms (three-part, women) t Cradle Song–Grieg I Love Thee–Grieg l n a Boat–Grieg (three-part, women) Serenade – Strauss-Saar (three-part women) The First Primrose–Grieg (three-part, women) Lullaby–Mozart (three-part, women) Songs M y Mother Taught Me–Dvorak (three-part, women) Slumber Song–Gretchaninoff (three-part. women) Barcarolle–Brahms (three-part, women) * Cradle Song–Brahms (four-part, men) *The Lotus Flower–Schumann (four-part, men) *Dedication–Franz (four-part, men) tArmltage: Concert Songs for Girls tOctavo Glenn Glee Club Book for Girls Glenn Glee Club Book for Young Men 1. PLAY FAMILIAR COMPOSITION WHICH IS ORCHESTRATED F R BOTH BAND AND ORO CHESTRA, AS Stars and Stripes Forever BY SOUSA. CLASS NOTE T E PRESENCE O H F STRINGS IN T E ORCHESTRA. H 2. PLAY COMPOSITION WRITTEN F R O STRINGS, AS Minuet BY BOLZONI. CLASS NOTE T E E F C OF T E USE OF STRINGS H FE T H ALONE. NOTE T A THEY PRODUCE F L HARHT UL MONY. 3. PLAY COMPOSITION, AS ANDANTE FROM Surprise Symphony BY HAYDN. CLASS NOTE LIGHT INSTRUMENTATION. DISCUSS ORCHESTRA O HAYDN AND MOZART IN RELAF TION T T E TIME IN WHICH THEY LIVED. OH 4. PLAY COMPOSITION, AS FOURTH MOVEMENT OF First Symphony in C Minor BY BRAHMS. CONTRAST E F C OF INSTRUFE T MENTATION WITH T A USED BY HAYDN IN HT THE ANDANTE. DISCUSS DEVELOPMENT O F SYMPHONY ORCHESTRA T ANSWER DEMAND O OF T E TIMES. H II.–SECTIONS OF THE ORCHESTRA 1. PLAY ONE O T E COMPOSITIONS F R FH O ORCHESTRA USED PREVIOUSLY. CLASS NOTE THE USE OF SECTIONS. FOR INSTANCE, IN Finlandia BY SIBELIUS, T E MIDDLE SECH TION MAKES USE OF STRINGS AS CONTRASTED WITH PERCUSSION, BRASSES, WOOD-WIND AND F L ORCHESTRA A T E BEGINNING. UL TH 2. CLASS REVIEW SECTIONS O T E ORFH CHESTRA. 3. PLAY COMPOSITIONS WHICH SHOW C E R Y T E USE OF DIFFERENT SECTIONS. LAL H CLASS INDICATE SECTION AND T E E F C O H FE T F ITS USE. FOR INSTANCE, Minuet BY BOLZONI F R O STRINGS; Arabian Dance FROM Nutcracker Suite BY TSCHAIKOWSKY, IN WHICH STRINGS PREDOMINATE BUT WOODWINDS SING MYSTERIOUS CHORDS AND TAMBOURINES ARE HEARD. THE OPENINGCHORDS O T E Largo FROM New World FH Symphony, BY DVORAK, ARE SUNG BY BRASS INSTRUMENTS. THE FANFARE A T E TH OPENING OF T E FINALE T William H O Tell Overture GIVES ANOTHER USE OF BRASSES. At Dawn AND The Calm, FROM T E SAME H OVERTURE, EMPLOY T E WOOD-WIND SECTION. H III.–INSTRUMENTS BY SOUND AND SIGHT 1. PLAY COMPOSITIONS ON S L INSTRUOO MENTS O COMPOSITIONS IN WHICH S L R OO INSTRUMENTS ARE EASILY DISTINGUISHED. CLASS NAME INSTRUMENTS. EXCERPTS FROM Instruments of the Orchestra MAY BE USED T T S T E KNOWLEDGE OF T E C A S O ET H H LS AS T RECOGNITION OF INSTRUMENTS BY O SOUND. Page 55 PART VI Instruments of the Symphony Orchestra (Prepared by Sadie M. Rafferty, Evanston, IU.) T INTRODUCTION H E ESSENTIAL REASON F R STUDYING O THE INSTRUMENTS OF THE SYMPHONY ORCHESTRA IS T AID IN THE ENJOYMENT, O APPRECIATION AND LOVE OF MUSIC LITERATURE. THAT A KNOWLEDGE OF THE INSTRUMENTS DOES AID, IS BEST MADE EVIDENT BY T E “TRIAL METHOD.” LEARN T KNOW H O EACH O THEM WHEN YOU SEE THEM SO F T A YOU CAN RECOGNIZE THEM ALONE O HT R IN GROUPS. BECOME SO FAMILIAR WITH T E INSTRUMENTS THAT EACH MAY SPEAK H T YOU IN A DEFINITE VOICE. WHEN YOU O ARE SEPARATED FROM THEM, AS BY THE RADIO, YOU CAN PICTURE THE INSTRUMENTS IN YOUR MIND AND RECOGNIZE THEIR VOICES AND EXPRESSIVE QUALITIES. INSTRUMENTS SHOULD BE PRESENTED THROUGH COMPOSITIONS WRITTEN F R THE O INSTRUMENT O INSTRUMENTS UPON WHICH R THEY ARE PERFORMED. AN INSTRUMENT IS A ITS BEST IN THE SOLO O ORCHESTRAL SET T R TING WRITTEN F R I BY A COMPETENT OT COMPOSER. THE SOURCE O MATERIAL IS ALMOST UNF LIMITED AND THE STUDY IS ALWAYS NEW, BECAUSE EACH COMPOSER MAKES DIFFERENT USES O THE INSTRUMENTS IN EACH COMPOF SITION HE WRITES. THE INCREASING DESIRE F R GOOD MUO SIC IS THE ONLY R S L WHICH JUSTIFIES O R EU T U TEACHING. THE CLASSES OF TODAY CONTAIN BOTH THE PERFORMERS AND T E AUDIH ENCES O THE FUTURE, THE ONE AS NECESF SARY AS THE OTHER. STEPS IN PRESENTING INSTRUMENTS OF THE SYMPHONY ORCHESTRA 1. EXPERIENCE IN HEARING SUITABLE COMPOSITIONS F R ENTIRE ORCHESTRA. O 2. CONSCIOUS RECOGNITION OF T E F U H OR SECTIONS O CHOIRS. R 3. RECOGNITION OF T E INDIVIDUAL INH STRUMENTS AS BELONGING T THE DIFFERO ENT SECTIONS. February, Nineteen Thirty-two (NOTE: THE R S L OF THIS T S SHOULD EU T ET DECIDE T E AMOUNT OF TEACHING NECESH SARY A THIS POINT.) T TEST THE KNOWLEDGE OF THE CLASS AS TO INSTRUMENTS BY SIGHT, BY USING PICTURES, CHARTS O T E R A INSTRUMENTS IF R H EL POSSIBLE. 2. I V. – T H E EXPRESSIVE QUALITIES OF INSTRUMENTS LAL 1. PLAY COMPOSITION WHICH C E R Y PRESENTS A DEFINITE MOOD, AS, THE PRELUDE TO ACT I, Lohengrin, BY WAGNER. CLASS NOTE FEELING OF MAGIC, WONDER, SUSPENSE, ETC. CLASS NOTE T A T E E F C IS OBH T H FE T TAINED THROUGH DIVIDED STRINGS, TREMOLO, ETC. 2. CONTRAST WITH THIS COMPOSITION T E H TRIUMPH OF T E THEME GIVEN O T BY T E H U H TROMBONES IN THE PRELUDE T ACT III. O STORY, THEY WILL F L S O T OF T E A T A AL H R H CUL FACTS AS PRESENTED BY T E COMPOSER, BUT H WILL PROBABLY ARRIVE A T E SAME GENTH E A IDEAS. THE STORY MAY BE PRESENTED RL BEFORE THE MUSIC IS STUDIED. 18. Trombone. to Prelude Wagner. Act III, from Lohengrin– 19. T u b a. Dragon Motive, from Siegfried–Wagner. 20. Kettledrums. Marche Slave–Tschaikowsky. 21. Celesta. Dance of the Sugar Plum Fairy, from N u t cracker Suite–Tschaikowsky. 22. Bells. Magic Fire Music, from Valkyries–Wagner. 23. Xylophone. Danse Macabre–Saint-Saens. 24. H a r p. Introduction to W a l t z of the Flowers, Nutcracker Suite–Tschaikowsky. from ADDITIONAL COMPOSITIONS W h i c h M a y be Used in the Study of Instruments of the Symphony Orchestra. (NOTE: THIS LIST IS VERY INCOMPLETE. TEACHERS ARE ADVISED T STUDY CAREFULLY O SYMPHONIC MUSIC F R ADDITIONAL EXAMO PLES, ESPECIALLY SYMPHONIES. A SCORE IN THE HANDS OF T E TEACHER WL HELP G E T Y H IL RAL IN T E PREPARATION OF THESE LESSONS.) H 1. Full Orchestra. E g m o n t Overture–Beethoven. L e s Preludes–Liszt. N e w W o r l d Symphony–Dvorak. Fire Bird–Stravinsky. 2. Strings. Anitra's Dance, Grieg. String Quartets. from Peer Gynt Suite– SUGGESTED PLANS TO TEST DEVELOPMENT In Discrimination and Achievement at Various Intervals. 1.–Instruments by Sound and Sight– THIS T S HAS BEEN SUGGESTED UNDER LESET SON PLANS. (A) USE OF S L COMPOSITIONS. OO (B) PRESENTING T E INSTRUMENT IN I S H T O C E T A SETTING. RHSRL 3. PLAY Ride of the Valkyries FROM THE Valkyries BY WAGNER. CLASS NOTE THE E F C OF EXCITEMENT, AWE, STRENGTH FE T PRODUCED BY T E VIOLINS; ALSO, T E USE H H OF T E TROMBONES. H CONTRAST WITH PRELUDES TO Lohengrin. 4. PLAY Pizzicati FROM Sylvia Ballet BY DELIBES. NOTE T E LIGHT, CAREFREE H QUALITY OF T E PIZZICATO (PICKING) O H F THE STRINGS. 5. PLAY T E INTRODUCTION T Valse H O Triste BY SIBELIUS. CONTRAST WITH Pizzi- 3. Wood-winds. Y o u n g Prince and Y o u n g Princess, from Scheherazade Suite–Rimsky-Korsakov. Morning, from Peer Gynt Suite–Grieg. 4. Brasses. Der Freischutz Overture–Weber. Grand March, from Aida–Verdi. Percussion. Marche Slave–Tschaikowsky. Scheherazade 2.–Feeling for Expressive Qualities of Instruments.–THIS HAS ALSO BEEN SUGGESTED UNDER LESSON PLANS. HERE ARE A FEW ADDITIONAL SUGGESTIONS. (A) Carnival of Animals – SAINT- 5. 6. Violin. Scheherazade Theme, from Suite–Rimsky-Korsakov. 7. Viola. I n the Village, from I ppolito -1 vanov. 8. Cello. Allegro Moderato, phony–Schubert. 9. Double Bass. Scherzo, from Fifth 10. Piccolo. Soldiers Changing –Bizet. Caucasian SAENS. CLASS INDICATE INSTRUMENTS USED TO GIVE CONCRETE PICTURES, AS, T E LION, H BY C L O AND DOUBLE BASSES; T E ELEEL S H PHANT, BY T E DOUBLE BASSES, ETC. H cati. 6. REVIEW FAMILIAR COMPOSITION. (NOTE: EVERY O C E T A COMPOSITION RHSRL BY A RECOGNIZED COMPOSER IS A POSSIBLE SOURCE OF STUDY UNDER THIS TOPIC.) V.–USE OF INSTRUMENTS IN MUSIC LITERATURE 1. PLAY A COMPOSITION IN WHICH T E H INSTRUMENTS A E USED T GIVE A DEFINITE R O EFFECT; F R INSTANCE, IN Finlandia, BY O SIBELIUS, T E KETTLEDRUMS AND BRASSES IN H THE INTRODUCTION, ANSWERED BY THE WOODWINDS, ARE USED BY THE COMPOSER T GIVE O THE FEELING O TURMOIL, STRIFE, STRENGTH. F THIS PASSAGE IS CONTRASTED WITH T E H PRAYERFUL PASSAGE F R STRINGS. O 2. TSCHAIKOWSKY CHOSE T E C L S A T H E ET O REPRESENT T E SUGAR PLUM FAIRY IN T E H H Sketches– (B) Magic Fire Spell, FROM Valkyries –WAGNER. CLASS NOTE MOST PROMINENT MOTIVES, AS BRUNHILDE'S SLUMBER, W O TAN'S FAREWELL, MAGIC FIRE MUSIC, SIEGFRIED MOTIVE. CLASS INDICATE INSTRUMENTS USED T EXPRESS IDEAS. O from Unfinished Sym- Symphony–Beethoven. the Guard, from Carmen 3.–Use of Instruments in Music Literature.–TEACHER MAY PREPARE A T S ET SIMILAR T T E FOLLOWING F R ANY GIVEN OH O COMPOSITION : 11. Flute. Scherzo, from Midsummer Night's Mendelssohn. Dream– THE Overture to Mignon, BY THOMAS, OPENS WITH A S O T DUET BY HR AND ANOTHER BRIEF DUET PLAYED BY AND FOLLOWS. DURING T E INTRODUCTION, A BRILH LIANT CADENZA IS PLAYED BY T E H FOLLOWED BY A S O T CADENZA PLAYED BY HR THE THE SINGS T E H FIRST THEME EC T. (STUDENTS FILL IN T E BLANKS A THEY H S LISTEN T T E COMPOSITION. IT IS SUGOH GESTED T A T E COMPOSITION BE HEARD HT H THROUGH AND REPEATED F R T E STUDENTS O H TO WRITE IN THEIR IDEAS.) 12. Oboe. Second Movement, from Fourth S y m p h o n y – Tschaikowsky. 13. English H o r n. Largo, from New Dvorak. World Symphony– 14. Clarinet. Overture to M i g n o n – T h o m a s. 15. Bassoon. Scherzo, from Third Symphony–Beethoven. Cau- Dance of the Sugar Plum Fairy, IN THE Nutcracker Suite. HE CONTRASTED WITH THIS THEME A SINISTER SUB-THEME WHICH HE GAVE T DIFFERENT WOOD-WINDS. O 3. THREEFLUTESA EFITTINGLYUSED IN R 16. Trumpet. March of the Caucasian Chief, from casian Sketches–Ippolitov-Ivanov. 17. French H o r n. Nocturne, from Midsummer Night's –Mendelssohn. Dream THE Dance of the Toy Pipes, AND T E H BASSOON AND DOUBLE BASS MARK TIME F R O THE CHINESE D L WHILE T E PICCOLO AND OL H FLUTE ARE HEARD IN T E ORIENTAL MELODY H Band and Orchestra Contest Bulletin for 1932 OF THE Chinese Dance FROM THE SAME SUITE. 4. PLAY COMPOSITION IN WHICH THE CLASS MAY DISCOVER VARIOUS EMOTIONS AND EPISODES FROM EXPERIENCE IN MUSIC AND WITH INSTRUMENTS. FOR INSTANCE, Flying A Dutchman Overture, BY WAGNER, WHICH CONTAINS CURSE MOTIVE, FURY O F TE H STORM, SENTA'S MOTIVE, SONG OF T E SAILH ORS, ETC. UNLESS THE STUDENTS KNOW T E H P A M P H L E T, ISSUED BY T E COMMITTEE ON INSTRUMENTAL AFFAIRS, CONH TAINING L T S INFORMATION REGARDING STATE AND NATIONAL SCHOOL BAND AND A ET ORCHESTRA CONTESTS, COMPLETE LISTS OF MUSIC, REVISED RULES, ETC., MAY BE OBTAINED FROM T E CONFERENCE OFFICE. INFORMATION REGARDING S L AND ENSEMBLE CONH OO H TESTS CONDUCTED BY T E SCHOOL BAND AND ORCHESTRA ASSOCIATION IS INCLUDED IN THIS BULLETIN. MUSIC SUPERVISORS NATIONAL CONFERENCE, 64 E. Jackson Blvd., Chicago, III. Music Supervisors Journal Page 56 T h e Friday M o r n i n g Music Appreciation H o u r and the National M u s i c Discrimination Contest. (Prepared by Lilla Belle Pitts, Elisabeth, N. J.) Conference Publications Research Council Bulletins N O. 1 – S T A N D A R D C O U R S E OF S T U D Y I N M U S I C A N D T R A I N I N G COURSES FOR SUPERVISORS 15 NO. 2–PLAN FOR G R A N T I N G SCHOOL CREDITS FOR A P P L I E D HIGH MUSIC 15 WIDE THE I N ORDER LISTENER AND MUSIC TO B E C O M E IT IS A DISCRIMINATING TO H A V E A JANUARY 2 9, SERIES C. – 7 T H CONCERT, 1 1 : 0 0 A. M. L'ARLESIENNE–BIZET. NECESSARY MUSICAL SUITE N O. 1 FROM VARIED EXPERIENCE. OFFERS A Romantic Expressive Style. quality of instruments. CONCERT, 1 1 : 3 0 A. M . APPRECIATION HOUR R I C H A N D VITAL S U P P L E M E N T ACTIVITIES PROGRAMS OF OF T H E SCHOOL. TO T H E M U S I C A L IT FURNISHES JANUARY 2 9, SERIES SCHUMANN 1ST D.–7TH PROGRAM. MINOR FOR WHICH STIMULATE THE EXERCISE THE APRIL M O V E M E N T FROM CONCERTO I N A AND ORCHESTRA–SCHUMANN. PIANO T H E CRITICAL ABILITY I N LISTENING. 8, 1 9 3 2, TO PROGRAMS 1, OF JANUARY Sonata Romantic Form. Style. CONCERT, 1 1 : 0 0 A. M . NO. 3 – R E P O R T O N S T U D Y OF M U S I C INSTRUCTION I N THE PUBLIC SCHOOLS OF THE U N I T E D STATES 15 NO. 4 – R E R T O N JUNIOR HIGH 15 1 9 3 2, INCLUSIVE, CONTAIN EXCELLENT E X TO B E COVERED FEBRUARY 5, SERIES A. – 8 T H FAIRY TALES IN M U S I C . AMPLES BY O F ALL T H E P O I N T S MUSIC SCHOOLS THE NATIONAL WITH DISCRIMINATION O F POINT I V, V, TYPES OF CONTEST TYPES VOICES. THE HELPFUL PILS THEEXCEPTION A N D POINT OF SONG, This program furnishes excellent examples of the expressive quality of instruments as well as interesting descriptive writing. FEBRUARY 5, SERIES B. – 8 T H CONCERT, 1 1 : 3 0 A. M . N O. 5 – S T A N D A R D C O U R S E FOR THE M U SIC T R A I N I N G OF G R A D E T E A C H E R S (O U T OF P R I N T) N O. 6 – R E P O R T O N M U S I C I N THE O N E T E A C H E R RURAL SCHOOL 15 N O. 7 – S U R V E Y OF T E S T S & M E A S U R E MENTS IN M U S I C E D U C A T I O N …. 1 5 N O. 8 – C O L L E G E E N T R A N C E CREDITS A N D COLLEGE C O U R S E S I N M U S I C 15 N O. 9 – S T A N D A R D S OF A T T A I N M E N T FOR S I G H T S I N G I N G AT THE E N D OF THE SIXTH GRADE 15* FOLLOWING TO T H O S E SUGGESTIONS M A Y BE PU- TEMPO IN MUSIC. W H OARE PREPARING FOR THE CONTEST: GENERAL SUGGESTIONS HEAR T H E CONCERTS MUSIC OF This program of excerpts from well compositions illustrates the following Classical Style. Romantic Style. Sonata Form. FEBRUARY 19, SERIES C.–8TH CONCERT, known points: 1. THE TION THAT FRIDAY HOUR PUPILS 11 :00 MORNING UNDER APPRECIAOFM R . A. M. DUTCHMAN–WAGNER. NO. 10–HIGH COURSE NO. 11–THE TEACHERS SCHOOL MUSIC CREDIT 15 T H E DIRECTION OVERTURE TO T H E F L Y I N G ACCREDITING OF M U S I C 15 DAMROSCH. 2. SELVES 3. THAT WITH TEACHERS THESE PUPILS FAMILIARIZE IN THEM- Wagner's Romantic FEBRUARY A. M. Style. Style. 19, (Leading motives.) N O. 12–CONTESTS, FESTIVAL MEETS D.–8TH CONCERT, 1 1 : 3 0 COMPETITION A N D 15 PROGRAMS KNOW TO B E ADVANCE. SERIES THAT BEFOREHAND ARE EXIN N O. 1 3 – N E W E R PRACTICES A N D T E N DENCIES I N M U S I C E D U C A T I O N … 1 5 WHICH AMPLES THE 4. SELECTIONS PLAYED LISZT PROGRAM. O F THE POINTS TO B E C O V E R E D Romantic FEBRUARY 26, Style. SERIES A.–9TH CONCERT, 1 1 : 0 0 CONTEST. THAT TEACHERS THE USE FOR CONSTANT OF A. M. SHOW IS DANCING, FROM T H E CHILDREN'S NO. Official Committee Reports 1–1930 REPORT OF THE C O M M I T AFFAIRS 15 OF S T U D Y I N M U S I C FOR THE FIRST S I X 15 TEE O N VOCAL NO. 2–COURSE APPRECIATION GRADES REFERENCE THE 5. LISTEN PERIOR MUSIC THAT TO INSTRUCTOR'S MANUAL THE CORNER–DEBUSSY. APPRECIATION TEACHERS ALL M U S I C HOUR. P U P I L S TO OF SU- ENCOURAGE PROGRAMS Impressionistic Style. Debussy's style. Expressive quality of M A R C H 4, SERIES SYMPHONY C.–9TH IN A instruments. CONCERT, MINOR 11:00A. M. (“SCOTCH”)– QUALITY WHENEVER A N D WHEREVER POSSIBLE. SPECIFIC FOLLOWING THE FRIDAY IS A SUGGESTIONS LIST O F SELECTIONS MUSIC FROM NO. 3 BULLETINS BULLETIN ARE PRICED NO. 9 AT 1 0 C EACH I N AT $ 5. 0 0 QUANTITIES OF 1 0 OR M O R E. I S PRICED PER HUNDRED COPIES. MENDELSSOHN. Romantic Style. Mendelssohn's Style. Sonata Form. M A R C H 4, SERIES WAGNER D.–9TH CONCERT, 1 1 : 3 0A. M . MORNING APPRECIATION EXAMPLES NAPROGRAM. Book of Proceedings (PUBLISHED 1914 ANNUALLY) EACH.$1.50 TO 1 9 1 9 V O L U M E S, (1915 A N D 1 9 1 6 OUT OF P R I N T) EACH. 2. 0 0 HOUR OF WHICH A R E OUTSTANDING T O B E COVERED (TIME GIVEN THE POINTS CONTEST. : I N THE IS Romantic Wagner's Expressive MARCH Style. Style. quality of instruments. TIONAL EASTERN STANDARD) 1920 TO 1 9 2 8, INCLUSIVE, (1921, JANUARY 8, SERIES A. – 6 T H DANCE OF THE S U G A R CONCERT, 1 1 : 0 0 FAIRY, FROM A .M. NUT1 1, SERIES A. – 1 0 T H CONCERT, 1 1 : 0 0 A. M. 1929, EACH PLUM 1 9 2 2 A N D 1 9 2 3 OUT OF PRINT) 1930 AND 1931 VOLUMES, 2.50 ANIMALS IN MUSIC. CRACKER SUITES–TSCHAIKOWSKY. Tschaikowsky style. Romantic style. Expressive quality of JANUARY 1 5, SERIES LES PETITS C.–6TH Romantic Expressive Wagner's Style. quality Style. of instruments. instruments. CONCERT, 1 1 : 0 0 A. M . (R I D E OF THE V A L K Y R I E S.) CONCERT, 1 1 : 3 0 A. M . M A R C H 1 1, SERIES B. – 1 0 T H MELODY, Wagner's HARMONY Style. Music Supervisors Journal SUBSCRIPTION PRICE, $ 1. 0 0 P E R Y E A R; SUBSCRIPTION ALSO INCLUDED I N ACTIVE M E M B E R S H I P I N THE CONFERENCE. I S SUED I N O C T O B E R, D E C E M B E R, F E B R U ARY, M A R C H A N D M A Y . RIENS–MOZART. A N D COUNTERPOINT. Classical Mozart Style. Style. D. – 6 T H CONCERT, 1 1 : 3 0 A. M . (OVERTURE TO “ T A N N H A U S E R. ”) Expressive SWAN quality of instruments. (THE B Y SAINT-SAENS.) CONCERT, 1 1 : 0 0 A. M. MINOR (“SCOTCH”)– JANUARY 1 5, SERIES BERLIOZ P R O G R A M, MARCH 1 8, SERIES C – 1 0 T H NO. 3 IN A Admirable Berlioz, examples the founder of the Romantic of the modem Style. orchestra symphony.“ SYMPHONY MENDELSSOHN. (CONTINUED FROM SERIES C, 9TH CONCERT.) Any of the above publications may be secured by sending stamps or check to and originator of the “program JANUARY 2 2, SERIES A. – 7 T H CONCERT, 1 1 : 0 0 A. M . Romantic Style. Mendelssohn's Style. APRIL 1, SERIES A.–11TH CONCERT, 1 1 : 0 0A. M . OVERTURE TO D E R F R E I S C H U T Z – W E B E R . M u s i c Supervisors N a t i o n a l Conference SUITE 840 6 4 E. Jackson Chicago BLVD. DANCE. (NUT- Romantic Style. Sonata Form. Expressive quality Romantic Wagner's Expressive Style. Style. quality AMARYLLIS–GHYS. of instruments. Rondino ARABIAN Form. DANCE. RUSSIAN PRELUDE TO A C T I I I, L O H E N G R I N – W A G N E R . CRACKER.)–TSCHAIKOWSKY. of instruments. Romantic Expressive Style–Tschaikowsky. quality of instruments. February, Nineteen Thirty-two Page 57 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Study Helps for Developing “Discriminating Listening” Part I Ability to Recognize Different Styles in Instrumental Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Study Helps for Developing “Discriminating Listening” Part I Ability to Recognize Different Styles in Instrumental Music</title></titleInfo><name type="personal"><namePart type="given">Lenora</namePart><namePart type="family">Coffin</namePart><affiliation>Indianopolis, Indiana</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1932-02</dateIssued><copyrightDate encoding="w3cdtf">1932</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1932</date><detail type="volume"><caption>vol.</caption><number>18</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>33</start><end>57</end></extent></part></relatedItem><identifier type="istex">F4CFA0D197B3C54BBDAB342811DB7FA89E687D03</identifier><identifier type="DOI">10.2307/3384448</identifier><identifier type="ArticleID">10.2307_3384448</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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