Section+B+Question+4

__**Question 4 (option a):**__ During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis). Identify that work.

Title:

Section of work studied (if applicable)

Composer:

Select **three** elements of music from the list below • instrumentation • tone colour • texture • harmony • melody • rhythm/time

**And describe** their __#|treatment__ in the work you identified.

__** Question 4 (option b) **__

During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis).

Identify that work.

Title: Symphony of Psalms

Section of work studied (if applicable) Movement I

Composer: Igor Stravinsky

‘//Every composition is a product of its time.’// Discuss how the work you have studied reflects the context from which it emerged. In your response you may refer to
 * relevant contextual issues
 * characteristics of the music style of the selected work
 * the elements of music.

Miles Davis recorded ‘So What’ in 1959, between the height of the Bebop era and the start of the ‘modal’ jazz era. Characteristics of Bebop //and// modal jazz can therefore be heard in ‘So What’.

The ‘head’ of ‘So What’ is quite simple and repetitive and therefore very catchy. It has a moderate tempo, quite static harmony (almost all in D dorian, with a short modulation to Eb dorian on the third repeat) and an uncluttered tone colour due to the clearly defined and repeating call and response pattern between double bass and piano/horn section. E.g. Double Bass call : 44 zi ti ti ti ti ti ti ti | ti ti za za za Piano/horns response: 44 za za za za| za za tam-ti

The simple rhythmic and melodic nature of the head is enhanced by the pure trumpet sound employed by Miles Davis. (His first __#|teacher__, Elwood Buchanan didn’t like the sound of vibrato on trumpet, which was very popular at the time, and Davis grew to like the more pure, open sound without vibrato too).

Both Davis’ sound and the simple nature of the head are examples of Modal Jazz, which was just starting to become more popular at the time, as a reaction against the more complex nature of Bebop.

However, as the Bebop style was still extremely popular, many players were still playing in this style. This is shown in the solos of John Coltrane (tenor sax) and Cannonball Adderley (alto sax). Both of these solos use a much wider range of notes than Davis’ solo and feature many relentless, fast virtuosic runs with little or no rest in between, as opposed to Davis’ use of rests and space. John Coltrane also exploits the very high, altissimo __#|register__ of the tenor sax, creating a nasal, strained tone colour, again contrasting to the pure, clean and uncluttered tone colour of Davis’ solo.

This work, although written on the brink of the change between Bebop and Modal jazz clearly shows the influence of both of these styles through each player’s different approach their solos. This is just one example of how almost every composition is influenced by the context in which they are created; whether composers like it or not, it is impossible not to be consciously or at least subconsciously influenced by the culture, knowledge, technology, views and trends of the society that surrounds you, and consequently, every composition is a product of its time.

M2

Throughout the ages, composers have adapted their music both to implement certain conventions and portray the events of the time. This ensured that listeners were engaged and appreciative of the piece. More particularly, a composer's work is reflective of the thoughts, opinions and mind-set at the //time// of writing. This is demonstrated in Stravinsky's symphony of Psalms, where both his return to his Russian Orthodox faith, as well as his strong 20th century ideals help to define and divide the piece from others of previous centuries.

Stravinsky's firm belief in God is demonstrated even from the piece's title, inspired by three Psalms taken from the vulgate bible. Similarly, Stravinsky's knowledge of the 'Horatory virtues' spurred the decision to create three movements; each based on one of the virtues. The first movement, portraying Stravinsky's 'love' for God is demonstrated in the pleading, plaintive nature of the alto melody, with its use of slurs between semitones and lyrics; 'Ex audi orationem meum domine' - hear my prayer, O Lord.

The use of 20th century characteristics permeates throughout the works entirety, displayed in the complex polyrhythms and new concept of tonality, emphasised by repetition of chords and scale-based melodies, as opposed to the conventional chord progressions and cadences used in the classical period.

Every composition that has been written is based on their own era and period of time. When listening to a piece of music, individuals will have the capability to notice how the elements presented in the piece are contrasted from another piece composed in a different era. By noticing mainly the elements especially the melody, rhythm and harmony that is presented in the material, the listener will be able to identify the style in which it was composed in.

It is even predictable that it is Neoclassical due to the modal harmonies that were mainly distributed from the Medieval period, as this piece is composed in E phrygian mode, and the exclusion of the sustain pedal of the pianos, as evident in figure 3, where the first piano lacked the usage of the sustain pedal while playing sustained octaves on the left hand with the semi-quavers on the right hand, distinguished from the classical period.

It is also highly recognizable that this piece is composed in the 20th Century due to its treatment of rhythm, with ostinati, evidently at figure 4, with ostinati from the oboes, clarinets and bassoons with a descending and ascending contour, changing meters, at the beginning of the piece where a 2/4 meter with a E minor chord is used to start the piece and to interfere the flowing movement of the oboe and bassoon in 3.4 time playing semi-quavers and the use of polyrhythms, as evident in figure 12, where the first piano plays quavers, along with the piccolo, flutes, horns and trumpets, while the second piano plays semi-quavers along with the bassoons, while the chorus has long values such as crotchets, a minim and a dotted minim.

Evidently in Igor Stravinsky's 'Symphony Of Psalms', listeners are able to recognize the style of the work, in which it was composed in the 20th Century, with its Neoclassical style in the piece, with the usage of double reeds and two pianos and exclusion of violins, violas and clarinets to distinguish the warm mellow sound these instruments usually make, with a cold, harsh, intellectual tone colour. This is displayed at the conclusion of the first movement, with the use of bassoons held in the low register, and the pianos without the use of the sustain pedal, which creates an organ-related sound.

By featuring a chorus in this piece, it is evident that Stravinsky's influences from his Christianity inspired him to compose the work for not only an orchestra, but also for a chorus. He included verses from the Old Testament of the Bible in Psalms, to demonstrate the 'love' of God Stravinsky feels. This is evident in figure 4, where the alto melody lyrics including, 'Ex audi orationem menum domine' - hear my prayer, O lord, which contributes to the ritualistic atmosphere similar to that of a church.This displays how a piece's style is recognised of the ways in which a composer is influenced of their work.

Chris W

Stravinsky's 'Symphony of Psalms' was written in the 20th century but more particularly, in the Neo-Classical style. Neoclassicism uses ideas pre-Classical period and deliberately avoid the subjective emotionalism in the Romantic era, which influences Stravinsky's choice of instrumentation, use of rhythms and tone color. During this period of time, Stravinsky also experienced internal conflict with his own religion but found a resolution through composing this piece.

In 'Symphony of Psalms', Stravinsky uses unusual combination of instruments such as heavy use of double reeds and 2 pianos. As a result of omitting upper strings and clarinet, the overall tone color of the piece is dry, metallic and percussive. For example, in figure 4, the repetitive ostinato in oboes and bassoons creates a forward motion/drive as the quavers interlocks with the combination of both legato and staccato articulation. Furthermore, in fig 1, the semiquavers are often interrupted by Em chord and the meter often changes, from 1/4 -> 3/4 ->2/4, interfering the flow of the semiquavers and representing the irregularity of the piece. This symbolizes the internal struggle Stravinsky experienced it also shows a very 20th century approach to rhythm, which is typical of the style.

Besides that, Stravinsky composed this work when he rejoined the Russian Orthodox Church after 16 years. He was inspired to write the choral parts in Latin and texts based on Vulgate - bible. Also, the composer specified children's voices for the vocal parts, possibly because he wanted the open, pure sounds that children's voices create, and this would help to create the ritual church-like atmosphere. The fact that Stravinsky wrote for a choir represents that he was using the texts to communicate philosophies, religious and spiritual connections. The piece ends with a Baroque 'Tierce de Picarde' effect, from rich dissonance and ends on a G major chord creates a sense of peace and resolution.

Every composer has their own personal intention when it comes to composing a piece, this is largely affected by the time when the composition is produced.

Melinda S

__** Question 4 (option c) **__

During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis).

Identify that work.

Title:

Section of work studied (if applicable)

Composer:

Discuss how repetition and variation contribute to the development of musical ideas within the selected work(s).