Tunes That Go Bump in the Night
Identifieur interne : 000190 ( Main/Corpus ); précédent : 000189; suivant : 000191Tunes That Go Bump in the Night
Auteurs : David E. DickinsonSource :
- Music educators journal [ 0027-4321 ] ; 1984-10.
English descriptors
- Teeft :
- Airborne daughtersof, Alexander scherzo, Anotherplace none, Artist arnold piece, Avery devil, Bach work, Bald mountain, Banshee wails, Baroque work, Bela eyes, Blind luck, Cabs drive, Cansupernatural beings, Carl tausig, Celebratethe impartiality inevitabiland, Certain xyour, Chase anybody, Cheerful note, Cheerful piece, Classical music, Closest thing, Common denominator, Composers paint, Composersof yesterday, Contetnmplate phenomena frankenstein, Creature feature, Critical guide, Dante sonata, Dead lover, Death dance, Different vein, Dutchman work, Early frankensteinmonster movies, Edvard gynt suite, Eeriest music, Enjoyable piece, Evil spirit, Exact time, Famous work, Fantastic skills, Favorite pupils, Fine holiday, Frederic funeral march, Germanauthormoritzgrafvon strachwitz, Ghost ship, Gioacchino william, Giuseppe tartini claimedhe, Good hope, Good lorddeliver, Good test, Good time, Great composers, Greater works, Gypsy heroine, Halloween, Halloween night, Halloween pernatural, Harles ives, Hector symphonie fantastique, Henri cazalis, Henry piano work banshee, Igor stravinsky, Ilyitch swan lake suite, Imminent disaster, Important composers, Interesting points, Interestingto visit, Interplalnetary fullguls, Johann sebastian toccataand fugue, Knowledgeable haps, Liallaoween andl, Little spunk anidcertainfriends, Macabre tality, Margueritein htector, Mischievous celebrationof, Modest mussorgsky, Mountain king, Musical contrasts, Natural world, Need something perlibrary, Neuw grove dictio, Niccolo paganiniis, Nicolas slonimsky, Normal people, Opium dream, Paul messes, Performthe dance, Phantom friends, Physical trouble, Piece froma tale, Piece inspiredby, Popular legend, Powerful monster, Readings dictionary, Repreity sented, Ritual fire dance, River styx, Romantic piece, Round dance, Runaway broom, Same name, Schtoo boar, Scottish prayer, Sergei rachmaninoffs isle, Several selections, Shanghaiedby hollywood, Sinister aspect moves, Soldier swaps, Sound scanr, Specter ship, Strongerthan ethics, Superlative abilities, Supernatural beings, Supernatural thrillers, Terrible cries, Teutonic diety wotan ridingacross, Theme song, Tinnv alloween, Tiny creatures, Tlhemiddle ages, Tnie wizardri, Transportedby charon, Trill sonata, Troll maiden, Ultimate fate, University program, Various representatives, Violin piano, Vxiolin virtuosos, Weird places, Whole crew, Young chap eventuallygets.
Url:
DOI: 10.2307/3396355
Links to Exploration step
ISTEX:C7422342282E72951AAE4B1F4CFC0D46F64C2992Le document en format XML
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Dickinson</surname><given-names>David E.</given-names></name><aff>Specialist in media processing for the school board of Palm Beach County, Florida.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>1984</year></pub-date><volume>71</volume><issue>2</issue><fpage>38</fpage><lpage>41</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> TUNES THAT GO BUMP IN THE NIGHT Halloween can be celebrated quite well with classical music. I decided a while back to pull together some music for a Halloween program. The only criteron was that the music had to relate, directly or indirectly, to fantasy, the supernatural, or the macabre. Perhaps in a manner akin to the interplanetary fungus in Stephen King's Creepshow my list continues to grow and grow. What I've currently accumulated is in no way exhaustive. Checking a university library, talking with knowledgeable friends and, by blind luck, stumbling across appropriate works here and there, I've found a good marriage between Halloween and the I didn't get the Bride of Frankenstein, but I've arrived at something pretty interesting. The holiday highlighting the ni pernatural can be a means of engendering interest in several of the master eompooers. Also, many of the pieces I located can be used to explore the potentials of certain musical instruments, espei laiiv the David E. Dickinson is a specialist m media processing for the school board of Palm Beach County, Florida. 38 MEJ October 84 violin and piano. Several selections could be used to introduce the greater works of which they are a part. To put us in the mood for the program, we need something perhaps with a little spunk and certainly with a tinge of eeriness about it. Aptly enough, we'll begin with a piece by Charles Ives entitled Halloween As we contemplate phenomena beyond the natural world, one of our questions might well center on where supernatural creatures would be found on Halloween night. Based on centuries of com-l s' thoughts, you might want to check the backseat of your car, or your closets, or even your briefcase. For famous musicians are going to tell us that spooks come in all shape and dispositions, and are found everywhei In the air A scary and thunderous piece by Richard Wagner finds the airborne daughters of the Teutonic diety Wo-tan riding across the skies with the bodies of slain warriors draped across their horses. The Ride of Valkyries from the final act of / to'alkure echoes the screams of defiance of these warrior women who dictate tides of battle. On the land The specters represented in the classics like to have a good time! They don't chase anybody. They don't bite anyone. They like to. dance! Sometimes shrouded bones make their way out of graves at night and do some ground-stomping reels while Death plays the fiddle:). as in the case of Camille Saint-Saens's Don* Macabre, based on a poem by Henri Cazalis. As expressed in medieval thought, the Dance of Death emphasized the grave as the common denominator of all persons. Both the living and the dead can come together in the death dance to celebrate the impartiality and inevitability of the ultimate fate, as represented in Alexander Glazuno rzo in his suite, From the M dh A(j*s. The Dance of Deaths sin hroughout Franz U tons, in which the Dies irae, the day of wrath, is a recurring theme. The pictures classical composers paint of the supernatural afford a lesson in musical contrasts. Supernatural emphases in classical music do not have to sound scary to be entertaining. For instance, the //• entanz (Witches* Dance) by Edward MacDowell is a fast moving, highly ergoyable piece that is a good test for a pianists dexterity Moreover another Witches' Dance by Niccolo Paganini is, to me, rather a cheerful piece The true wizardry of that work is seen in the versatility of the violinist. Paganini. perhaps the most famous of violin virtuosos, was himself probably scarier than most of his music. His cadaverous appearance and his fantastic skills with the violin had folks saying hj was the Devil's Boa They crossed themselves when he walked pi Not only can supernatural beings be something quite less than horrible, they can be soothing enough to let you ei\joy a good nap. Thus, the Dance of the Sylphs adds to the serene picture I t a sedated Faust as he dreams of Marguerite in HectOff Berlioz's opera, /// Dm n of Fair Supernatural beings in the clas may present adiminuitive, imp- MEJ October 84 39 ish feature as well. The delicacy and grace of the nymph-like sylphs in Berlioz's Faust can be contrasted with the mischievous celebration of the macabre by a whole crew of tiny creatures, as in the Round Dance of the Gnomes, by Liszt. Now, dancing can wear you out—even if you're the Devil himself, as in the instance of The Devils Dance, a piece from A Soldier's Tale, by Igor Stravinsky. As the story goes, a soldier swaps his fiddle with the Devil in exchange for certain favors. The young chap eventually gets his instrument back, and when the Devil tries to reclaim it, the man comes up with a fast-moving ditty that forces Old Nick to dance to the point of collapse. As it turns out, you yourself may have to resort to dancing if you want to get rid of one of your phantom friends. You may have to perform the dance at an exact time in a prescribed manner. And you might indeed have to follow the example of the gypsy heroine in Manuel de Falla's ballet, El amor brujo (Love, the Magician), as she performs the Ritual Fire Dance at midnight to exorcise the evil spirit of her dead lover. On the sea Ghosts seem to move around ev- erywhere, even on the water. Sometimes they do so quite peacefully, as in the Ghost Ship (Ballade) by one of Liszt's favorite pupils, Carl Tau-sig, who was inspired by a poem of the German author Moritz Graf von Strachwitz. Tausig's superlative abilities on the piano earned him the reputation of being “a very devil of a fellow.” Coming upon a ghost ship may be quite foreboding, however, as in the situation of Wagner's Flying Dutchman Overture, This work is based on the story of the specter ship that haunts the Cape of Good Hope, according to popular legend. Its captain has gambled his salvation away impetuously, and is damned to sail the cape forever. When the ghost ship is sighted, imminent disaster lies ahead. Now that we have some idea of where various representatives of the demonic might be found on Halloween night, a more important question is where you might find yourself that evening. At the movies There are a couple of works that never intentionally dealt with the macabre, but that nonetheless got shanghaied by Hollywood for some supernatural thrillers. (If you remember the music in context with the movies, you're either admitting your age or your predisposition to watch Creature Feature on TV's late shows.) Purists may decry my inclusion of these pieces, but sometimes nostalgia is stronger than ethics. One piece is “Scene, moderato” from Peter Ilyitch Tchaikovsky's Swan Lake Suite. Normal people will remember this as a sensitive, romantic piece. The rest of us will recall it in a different vein, with recollections of bats flapping around in Bela Lugosi's eyes in the 1931 movie, Dracula. A Baroque work served as both walking music for a powerful monster and the theme song of a hideous human being. Johann Sebastian Bach's Toccata and Fugue in D Minor could be associated with the early Frankenstein monster movies the same way Gioacchino Rossini's William Tell Overture was linked with the Lone Ranger. Or, the Bach work may be remembered as the favorite tune of the Phantom of the Opera, At weird places There are a lot of places you wouldn't want to be on Halloween night, even though you might end up there! For instance, you would not want to be In the Hall of the Mountain King, as per Edvard Grieg's Peer Gynt Suite, because a bunch of trolls might be screaming for your blood. That's what you get for chasing a troll maiden! Nor would you want to be in the wizard's home—the one in which Paul Dukas's Sorcerer's Apprentice messes up everything by trying to have a runaway broom do all his chores. You might not even want to be home alone in bed, particularly if you end up selling your soul to the Devil in a dream. Giuseppe Tartini claimed he did so to obtain his most famous work, the renowned DeviVs Trill Sonata. Most of us would shy away from keeping company with Henry Cowell's piano work Banshee. You see, when a banshee wails, somebody is going to die. Nonetheless, Banshee does have its interesting points. For instance, the wail is represented not by playing the keys, but by playing the strings. None of us would want to be in a boat, transported by Charon down the River Styx to Sergei Rachmaninoff's Isle of the Dead. Inspired by the painting of the same name by the Swiss romantic artist Arnold Bocklin, this piece reflects the dreariness and permanence of death. There is another place none of us would wish to be on Halloween night: in Hell—or Dante's Inferno, if you will. But Liszt will take us there via his Dante Sonata, a piece inspired by the strange tongues, terrible cries, screams of pain, and general moods of anger depicted by Dante in his Inferno. At a Witches' Sabbath Since witches are a good bit of what Halloween is all about, it might be interesting to visit one of their shindigs. You'd better put on your hiking boots (or saddle your broom), because cabs won't drive you where you want to go. But your Night on Bald Mountain by Modest Mussorgsky will provide you with some of the eeriest music an orgy of witches, demons, and sorcerers can afford. If you don't want to go through the physical trouble of traveling to a Witches' Sabbath, you might just want to sack out and dream up one instead. I should warn you, the Dream of a Witches' Sabbath from Hector Berlioz's Symphonie Fan-tastique is a nightmare just looking for a dreamer. Actually, this work represents part of an opium dream wherein a man who has been executed for murdering his beloved finds himself at a turbulent meeting of witches. Goodnight, ghoulies! Naturally, we can't end our program on a cheerful note, since we don't want to spoil the mood of our fine holiday. It is fitting that we conclude with something gloomy. Something like Frederic Chopin's Funeral March. After all, it's the closest thing in the macabre mentality to the “Goodnight, Ladies!” of the non-Halloween world. I have nothing more to add except an old Scottish prayer: From ghoulies and ghosties and long-leggety beasties and things that go bump in the night, Good Lord deliver us! Selected readings Baker, Theodore. Baker's Biographical Dictionary of Musicians, 6th ed. Revised by Nicolas Slonimsky. New York: Schirmer Books, 1978. Ewen, David, ed. Composers of Yesterday: A Biographical and Critical Guide to the Most Important Composers of the Past. New York: H. W. Wilson Co., 1937. Ewen, David, ed. Great Composers 1300-1900: A Biographical and Critical Guide. New York: H. W. Wilson Co., 1966. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers, 1980. Thompson, Oscar. The International Cyclopedia of Music and Musicians. New York: Dodd, Mead & Co., 1975. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Tunes That Go Bump in the Night</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Tunes That Go Bump in the Night</title></titleInfo><name type="personal"><namePart type="given">David E.</namePart><namePart type="family">Dickinson</namePart><affiliation>Specialist in media processing for the school board of Palm Beach County, Florida.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1984-10</dateIssued><copyrightDate encoding="w3cdtf">1984</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">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>1984</date><detail type="volume"><caption>vol.</caption><number>71</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>38</start><end>41</end></extent></part></relatedItem><identifier type="istex">C7422342282E72951AAE4B1F4CFC0D46F64C2992</identifier><identifier type="ark">ark:/67375/M70-LCK410FF-X</identifier><identifier type="DOI">10.2307/3396355</identifier><identifier type="ArticleID">10.2307_3396355</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/C7422342282E72951AAE4B1F4CFC0D46F64C2992/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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