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Musical Illustrations for Concept Development

One of the challenges in learning any new concept is finding a way to make a direct association between a new term and an experience.. In contrast, standard definitions explain words in terms of other words. Only when the words in the definition are und erstood experientially do they contribute to an understanding of the new word or concept. As we focus on the first six chapters of our text, you may find these examples taken from your listening anthology helpful.

Chapter 1 - Sound

Pitch

CD 1, No. 1; Richard Strauss, Also Sprach Zarathustra
CD 3, No. 3; Henry Cowell, The Banshee - This an example of the use of high and low sounds in a non-traditional way.
CD 3, No. 22; Yoruba Pressure Drums - This is another example of the use of pitch variation in a non-traditional way.

Dynamic level

CD 1, No. 1; Richard Strauss, Also Sprach Zarathustra
CD 1, No. 27; Giovanni Gabrieli, Sonata Pian' e forte - The contrast between the soft and loud sections is easy to comprehend

Chapter 2 - Rhythm

Meter

CD 1, No. 2; Scott Joplin, Maple Leaf Rag - A good example of two-beat meter
CD 1, No. 19; G. F. Handel, "And the Glory of the Lord," from Messiah - A good example of three-beat meter
CD 1, No. 42; J. S. Bach, Brandenburg Concerto No. 1 in F, 1st movement, - A good example of four-beat meter
CD 1, No. 11; Gregorian Chant: Kyrie IV - An example of free and flexible meter

Accent

CD 1, No. 2; Scott Joplin, Maple Leaf Rag - An example of accents off the beat
CD 3, No. 7, Igor Stravinsky; "Omens of Spring," from The Rite of Spring - An example of strong, irregular accents imposed on a recurring pulse
CD 1, No. 16; Giovanni Perluigi da Palestrina, "Agnus Dei," from Pope Marcellus Mass - An example of music without obvious dynamic accent.

Tempo

CD 3, No. 29; Shaw ‘Nuff - Fast tempo
CD 1, No. 36; J. S. Bach, Fugue in G minor - Moderate tempo
CD 3, No. 57; Samuel Barber, Adagio for Strings - Slow tempo
CD 1, No. 30; Claudio Monteverdi, "Tu se morta," from Orfeo - Flexible tempo

Chapter 3 - Melody

Motive

CD 2, No. 3; W. A. Mozart, Symphony No. 40 in G minor, 1st movement - The use and variation of a melodic motive with strong melodic and rhythmic content
CD 2, No. 30; Ludwig van Beethoven, Symphony No. 5 in C minor, 1st movement - One of the most concentrated examples of motivic melody in music history

Sequence

CD 2, No. 30; Ludwig van Beethoven, Symphony No. 5 in C minor, 1st movement - An example of the use of sequential technique applied to a motive
CD 2, No. 59-60; Richard Wagner, "Prelude" to Tristan und Isolde - The sequential treatment of a longer figure than in the Beethoven example

Chromatic Scale

CD 1, No. 7; Camille Saint Saëns, "My Heart Opens to Your Voice," from Samson and Delilah - The chromatic scale does not begin until the line "Ah! réponds à ma tendresse," about 1:20 into the selection.

Whole-tone Scale

CD 1, No. 8; Claude Debussy, Voiles

Pentatonic Scale

CD 1, No. 23; The Choice of a Lover

Conjunct melody

CD 1, No. 11; Gregorian Chant: Kyrie IV
CD 3, No. 57; Samuel Barber, Adagio for Strings

Disjunct melody

CD 1, No. 2; J. S. Bach, Brandenburg Concerto No. 2 in F major, 3rd movement - The opening flourish of the trumpet is a good example of a disjunct melodic figure

Ostinato

CD 1, No. 12; Sumer Is Icumen In

Chapter 4 - Harmony

Chords

CD 2, No. 34; Ludwig van Beethoven, Symphony No. 5 in C minor, 1st movement - about :50 into this cut there is an example of chords making up a musical texture
CD 3, No. 7; Igor Stravinsky, "Omens of Spring," from The Rite of Spring - Repeated chords

Consonance - defined as harmony having relatively little tension or complexity

CD 1, No. 16; Giovanni Perluigi da Palestrina, "Agnus Dei," from Pope Marcellus Mass

Dissonance - defined as harmony of considerable complexity

CD 3, No. 7; Igor Stravinsky, "Introduction," from The Rite of Spring

Dissonance/consonance contrast (tension and release)

CD 2, No. 59; Richard Wagner, "Prelude" to Tristan und Isolde

Monophonic Texture

CD 1, No. 13; Islamic Call to Prayer
CD 1, No. 11; Gregorian Chant: Kyrie IV
CD 2, No. 52; Native American Flute Call

Homophonic Texture - See examples under "Chords"

Melody and Accompaniment

CD 1, No. 30; Claudio Monteverdi, "Tu se morta," from Orfeo
CD 2, No. 41; Franz Schubert, Gretchen am Spinnrade

Counterpoint - not imitative

CD 1, No. 16; Giovanni Perluigi da Palestrina, "Agnus Dei," from Pope Marcellus Mass,
CD 3, No. 7; Igor Stravinsky, "Introduction," from The Rite of Spring

Counterpoint - imitative

CD 1, No. 12; Sumer Is Icumen In
CD 1, No. 36; J. S. Bach, Fugue in G minor
CD 1, No. 50; J. S. Bach, Brandenburg Concerto No.2 in F major, 2nd movement
CD 2, No. 12; W. A. Mozart, Symphony No. 40 in G minor, 3rd movement - The second part of the minuet is an particularly good example

Chapter 5 - Timbre

Different vocal timbres

CD 1, No. 7; Camille Saint-Saëns, "My Heart Opens to Your Voice," from Samson and Delila
CD 1, No. 13; Islamic Call to Prayer
CD 1, No. 23; The Choice of a Lover
CD 3, No. 23; Bessie Smith, Lost Your Head Blues

Strings

CD 1, No. 58; F. J. Haydn, String Quartet in C major, Op. 76, No. 3, 2nd movement
CD 3, No.57; Samuel Barber, Adagio for Strings

Brass

CD 1, No. 27; Giovanni Gabrieli, Sonata Pian' e forte

Flute

CD 3, No. 2; Claude Debussy, Prelude to the Afternoon of a Faun

Recorder

CD 1, No. 50; J. S. Bach, Brandenburg Concerto No. 2 in F major, 2nd movement

Oboe

CD 1, No. 50; J. S. Bach, Brandenburg Concerto No. 2 in F major, 2nd movement

Clarinet

CD 3, No. 6; Igor Stravinsky, "Introduction," from The Rite of Spring - At about 1:19, there is a prominent clarinet part, also about 2:29 there is a prominent passage (briefly)

Bassoon

CD 3, No. 6; Igor Stravinsky, "Introduction," from The Rite of Spring - Lengthy solo at the beginning, answered by clarinet and especially English horn

Saxophone

CD 3, No. 29; Dizzy Gillespie/Charlie Parker, Shaw ‘Nuff

Harpsichord

CD 1, No. 50; J. S. Bach, Brandenburg Concerto No. 2 in F Major

Piano

CD 2, No. 1; F. J. Haydn, Piano Sonata No. 35 in C Major
CD 2, No. 53; Frédéric Chopin, Polonaise in Ab Major

Organ

CD 1, No. 36; J. S. Bach, Fugue in G minor

Chapter 6 - Form

Theme and Variation

CD 2, No. 58; F. J. Haydn, String Quartet in C Major, Op. 76, No. 3, 2nd movement
CD 3, No. 42; Aaron Copland, "Simple Gifts," from Appalachian Spring
CD 3, No. 23; Bessie Smith, Lost Your Head Blues - Blues is a form based on variations over a repeated bass motive

Two-part form

CD 2, No. 12, W. A. Mozart, Symphony No. 40 in G Minor, 3rd movement

Strophic Form

CD 3, No. 23; Bessie Smith, Lost Your Head Blues
CD 2, No. 41; Franz Schubert, Gretchen am Spinnrade - Not strictly strophic, modified strophic

Through-composed

CD 1, No. 30; Claudio Monteverdi, "Tu se morta," from Orfeo

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