principles of design some in music. principles of design repetition variation contrast balance –...
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PRINCIPLES OF DESIGN
REPETITION VARIATIONCONTRASTBALANCE – symmetry/asymmetryEMPHASIS - accentECONOMY PROPORTION SCALE
Some
Repetition/Variation in Music
Small-scale repetition creates a sense of pulse, rhythm and meter
Motific repetition is used to build phrases
Repetition of group of notes is a pattern called an ostinato
Large-scale repetition creates FORM
REPETITION Immediate Sectional Large-scale
EXTREME
MODERATE
RARE
within the phrase
phrases repeated
immediately
an idea returns after contrasting
sections
Mozart Symphony No. 40 in G minor,1ST movement
The motif is immediately repeated and varied – the music is built with this motif (aka motive)
This section of music will return a minute later and then a couple of minutes later – large-scale, sectional repetition
REPETITION Immediate Sectional Large-scale
EXTREME MOTIFIC
MODERATE (usual)
some; not exact
yes
RARE
Mozart Symphony No. 40 in G minor,1ST movement
Mozart Symphony No. 40 in G minor,3rd movement
• each section is repeated
• the first 2 sections return after a contrasting section
• General form (design) is ABA
• Specifically, it is aabbccddab (does anyone listen that way?)
Based on dance music, but it is not dance music
• triple meter
REPETITION Immediate Sectional Large-scale
EXTREME Yes Yes
MODERATE Some
RARE
Mozart Symphony No. 40 in G minor,3rd movement
Melodic shapes and evolution; rhythmic patterns
Thelonious Monk, Epistrophy
c. 1948, recorded 1957-58. (From the CD Thelonious Monk with John Coltrane. A photograph of Thelonious Monk, with a stupid caption, appears on p. 23 of the textbook.)
This example demonstrates
repetition at three levels
“statement, departure, return” at multiple levels
contour
sequence
FORM
The simplest form is unvaried repetition: AAAA . . .
A complete lack of repetition creates a complex form:ABCDEFGHI . . .
But many forms depend on the sense of STATEMENT, DEPARTURE and RETURN:
ABA
Song FormsVerse-refrain (ABABAB) . . . - Ex. The
Jovial Tradesmen
AABA – very standard. Actually, it is ababCab;verse-refrain-verse-refrain-bridge-verse-refrain
(“refrain” is also known as “chorus”).The statement-departure-return (or statement-contrast) structure
works at two different levels, abab and the larger AABA.
The text varies (usually) only on the verse:text: v1 – r – v2 – r – bridge – v3 – r
music: a – b – a – b – bridge – a – b
Earth, Wind & Fire, Fantasy (1977)Maurice White, Eddie del Barrio & Verdine White
Every man has a place, in his heart there's a space,
and the world can't erase his fantasies
Take a ride in the sky, on our ship fantasii
all your dreams will come true, right away
And we will live together, until the twelfth of never
our voices will ring forever, as one
Every thought is a dream, rushing by in a stream,
bringing life to our kingdom of doing
Take a ride in the sky, on our ship fantasii
all your dreams will come true, miles away
Our voices will ring together until the twelfth of never,
we all, will live forever, as one
Earth, Wind & Fire, Fantasy (1977)
Come to see, victory, in the land called fantasy
loving life, a new decree,
bring your mind to everlasting liberty
Come to see, victory in a land called fantasy,
loving life, for you and me, to behold, to your soul is ecstasy
You will find, other kind, that has been in search for you,
many lives has brought you to
recognize it's your life, now in review
and as you stay for the play, fantasy, has in store for you,
a glowing light will see you through
It's your day, shining day, all your dreams come true
As you glide, in your stride with the wind, as you fly away
give a smile, from your lips, and say
I am free, yes I'm free, now I'm on my way
Come to see, victory in a land called fantasy,
loving life, . . . now in review
MUSICAL FORM: So what?
Expectations confirmed:
SATISFACTION!(clichéd, boring, too predictable)
Expectations denied:
EXPRESSION!(meaningless, wrong,
incompetent)
Other Forms
We will encounter many types of forms such as:
Variation – A A’A’’A’’’ . . .Binary – AABBRondo – ABACA Sonata –
intro-A-B-A-B-dev-A-B’-coda
and an entire zoo of forms perhaps not entirely worth cataloging.
CONTRAST IN MUSIC
Mozart -- first movement from Symphony No. 35 in D Major, K. 385, "Haffner"
LOW/HIGH (contrast in register)
LONG/SHORT
Contrast in timbre (sound color):
Bach, Brandenburg Concerto No. 2
(also contrast in dynamics – loud and soft)
Assymetical balancein music?
A concerto sets a soloist or small group of soloists “against” an orchestra
ECONOMYlimitation of a composition to a few essential elements; usually a voluntary constraint that is part of the creative process
SPECIFIC TO AN INDIVIDUAL WORK, NOT THE GENRE , TYPE OR MEDIUM
Examples in music: deriving everything from a single theme (musical idea), limiting the number of pitches, type of instrument, etc.
Steve Reich, Music for Pieces of Wood, Clapping Music, or other pieces
DC Meckler, Bliss (1999)
Morton Feldman, Three Voices (1982)
Proportion in musicA matter of time, usually lots of time.
Example: 3 Beethoven string quartets (Op 59, 1, 2 & 3). Each in 4 movements.
No. 1 – BIG 1st mvt
No. 2 – nervous 1st mvt, BIG 2nd mvt
No. 3 – BIG finale (4th mvt)
SCALE
SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)
Claes Oldenburg, Knife Ship I, 1985
Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.
Miniature
Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.
Some examples of time scales in music
Less than a minute - Miniatures – Chopin, Webern, Schoenberg
Pop songs – 3-6 minutes
Early symphonies – 25-35 minutes
Later symphonies – 45 min - 1 hr
Longest – Mahler – 1 ½ hrs
Short opera – 2 hours
Average opera – 3-4 hours (including intermissions)
Long opera – 5 hours
Longest traditional opera – Wagner’s RING – 18 hours
PRINCIPLES OF DESIGN
REPETITION VARIATIONCONTRASTBALANCE – symmetry/asymmetryEMPHASIS - accentECONOMY PROPORTION SCALE
Some
Monk, Epistrophy repetition at three levels
a a b b a'a'b'b' a'a'b'b' a a b b c c' c'' d d' a'a'b'b'
(The little mark indicates some degree of variation.)
Three levels of repetition:
small-scale (motific) – aa
phrase level – a a b b compared to a'a'b'b'
sectional – the return of the a'a'b'b' after the bridge (c c' c'' d d')
Monk, Epistrophy“statement, departure, return”
– STATEMENT: a a b b
DEPARTURE: a'a'b'b' a'a'b'b'
RETURN: a a b b
– STATEMENT: a a b b a'a'b'b' a'a'b'b' a a b b
DEPARTURE: c c' c'' d d'
RETURN: a'a'b'b'
(complete structure: AA’A’ABA’)
– STATEMENT: AA’A’ABA’
DEPARTURE: solos –
RETURN: AA’A’ABA’ A [ending]
Monk, Epistrophycontour and sequence
contour – melodic analog of shape in art
– a rises
– b rises and falls
sequence – repeating a pattern up or down a scale step or series of steps
– d d’
Louis Andriessen, De Staat, (The State, 1973-1976)
Contrast in timbre (sound color):
DOUBLE REEDS/BRASS/VOICES+PIANO
(double reeds = woodwind instruments: oboe, English horn, bassoon)
VARIATION:the alliance between repetition and surprise
The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption.
Octavio Paz, “Telling and Singing” in The Other Voice