Music appreciation: history, theory, and cultural significance

¶ … rhythm, dynamics, melody, harmony and texture, and timbre into a composition to add interest and character. Remember to discuss what each of these elements does.

There are many elements to music, and composers of music must necessarily familiarize themselves with those elements in order to craft rich works full of interest and character. The driving force behind any composition is, of course, its pulse -- or rhythm. Rhythm is "the earliest and most basic of the building materials or elements of music," according to Jean Ferris (p. 11) and is the arrangement of time in music. Just like poets will use beats, or rhythmic patterns of speech, to write poetry, musicians use musical beats, rests, meter and tempo to infuse their works with life.

Melody, however, is one of the most important elements of music. In more medieval music, like chant, or in baroque music, like Bach's, melody is the prime element. Melody is generally crafted according to scales and is issued in phrases as part of a larger compositional structure. The melody is what pop tunes today use to make a song "catchy." But melody may be further examined by analyzing dynamics, timbre and texture and the way in which harmony establishes relationship between pitches.

Dynamics in music typically refer to expression, like soft or loud or fast: when one sees in Italian fortissimo he is seeing something about the music's dynamics. Dynamics give music its style and function. Timbre, on the other hand, provides the color of the music -- the voice, for example, of the instruments used, whether vocal, brass, or percussion. Texture refers to the piece's overall sound and how its different parts relate, whether it is a work of monophony (one melody) or polyphony (many melodies) for example. Harmony is used in music to establish relationship between varying tones. Chords create structures for multiple pitches to work together and create harmony.

2) Use the instruments illustrated on page 37 to discuss the concept of tone and timbre. Include definitions of each term and how they relate to the instruments sound making capabilities. (Textbook p. 5,33,37)

The tone and timbre of music refer to pitch and voice. Each pitch gives music a specific tone, while each instrument gives music a specific timbre or voice. As Jean Ferris states, "A tone is a specific pitch, produced by sound waves with a constant rate of vibration" (p. 5). Western music names these tones with the letters, a, B, C, D, E, F, and G -- and anyone familiar with a piano will know how to produce each tone by striking a single key. Timbre, on the other hand, "is the quality of sound characteristic of a particular voice, instrument, or ensemble" (Ferris, p. 33). For example, brass instruments have a timbre that is distinct from, say, the timbre of a singer. Both may be in the same key or pitch -- but the sound characteristic is completely different and unique. Observe how a Brahms symphony sounds when played by an entire orchestra as opposed to when it is played on a single piano.

The material of the instrument has a great effect on the timbre: for example, the flute is a long, thin, wind instrument that produces a light, airy sound. The piccolo is similar to the flute, only shorter in length and therefore its range is not as great. Compare these instruments with the saxophone and you find a tremendous difference: the saxophone requires a reed and is capable of providing deeper and heartier sounds and is used in jazz music. The oboe likewise produces sounds that are unique, just as the clarinet does, along with the English horn and the bassoon. The clarinet is larger than a flute and is blown into like a saxophone; therefore, its sounds are fuller and deeper -- like the oboe and English horn. The bassoon is deepest of all -- and has a timbre like a bass instrument.

3) Name and define three rhythmic elements that composers could use in their compositions. Show how each would affect the overall sound of the composition. (Textbook p.11-13,15)

Three rhythmic elements that composers use in their compositions are tempo, which is the "rate of speed at which a musical piece is performed," the accent, which is a "strong sound…achieved by stress, duration or position of a tone," and the rest, which is a "sign that indicates silence, or the cessation of musical sound" (Ferris, p. 15). All three of these elements are important in creating rhythm.

Tempo, first of all, sets the pacing of the music. It is what allows an audience to clap along to a song in rhythm with the musicians on stage; it is the key to knowing which parts of the music should be played fast and which parts slow. Tempo can range from largo (slow or "broad") to allegro (fast) or con brio ("with spirit"). Usually such Italian terms are used to identify the tempo. The faster a tempo, the more lively and exciting a song usually is. Compositions with slow tempos tend to be reflective, contemplative, sad, or thoughtful. The pacing of a song has a great effect on its sound.

The accent, however, can draw the listener's attention at once to an important expression or phrase in a composition. It breaks from the monotony of the regular beat and asserts a note or tone through juxtaposition of sounds, sometimes jarringly and sometimes boldly and heroically.

The rest, on the other hand, allows the beat or rhythm of the composition to continue, but the listener only hears silence. The rest can be used to great effect in the composition: like the accent, it draws the listener to attention but by way of silence rather than by way of sound. It allows pauses in sound without causing the tempo to halt, thus keeping the pace.

4) Using the listening examples #43, Kebjar: Hudjan Mas (Golden Rain), on page 283, and Listening Example #64, Maple Leaf Rag by Scott Joplin, on page 373, compare the following (in your own words, please): A. Rhythm; B. Timbre; C. Melody; D. Mood (how it makes you feel). You must name the piece. (Textbook p. 283,373)

The Hudjan Mas (Golden Rain) is very different from Joplin's Maple Leaf Rag, which is a piano swing tune and would have been popular in theaters during the time of silent films. It has an upbeat rhythm, a positive and enjoyable timbre from the piano, a delightful and happy melody and a mood that makes one feel like dancing. The Golden Rain on the other hand is none of these things.

The Golden Rain is almost tribal sounding in its composition, combining the sounds of a hammering and relentless percussion with the relentless hammering of the metallophones and gongs. It rushes onward, then halts. It moves up and down the scales, running through the notes alternately with the drumbeats, sometimes giving way to the timbre of the drums and sometimes emphasizing the melodious bell-like sounds. Its mood makes me feel like I am around a campfire in the jungle surrounding by dancing natives in grass skirts celebrating some victory at night. Their instruments are not very advanced, but they have a lot of energy and this energy is translated into the composition, which has a rapid tempo (one might say it is con brio) and an unflinching rhythm that is sometimes broken only to be picked back up again the next instant.

Joplin's Maple Leaf Rag is something else altogether. It emphasizes melody and harmony even though it also utilizes rhythm. But while Golden Rain seems to emphasize rhythm mostly, the Maple Leaf Rag utilizes specific chords and tones to make the composition catchy. The Rag is something that will stick in your mind for days, while Golden Rain will only leave the memory of thunderous music full of sound and fury

5) How do you think the process of learning the basic musical elements and performance practices will help you advance your appreciation of the art of music? Be sure to include specific examples.

Realizing that there is a technique to music that can be learned and utilized helps me appreciate the craftsmanship that goes into a composition. It is like looking at a painting by Van Gogh. It looks simple enough, what with its bright colors and fast, short strokes -- but there is a degree of inspiration coupled with practiced technique that makes something like "Starry Night" completely original. The same is true with music. Music relies on several different elements to create a listening experience that can affect the emotions in all sorts of different ways. While simply enjoying the music for this reason alone is sufficient, understanding how the composer uses the elements to create an effect provides the listener with a deeper and richer experience, which he can then use to widen his understanding of himself and nature.

For example, the effect of timbre in a composition is very important. Beethoven uses choral voices in his 9th Symphony to produce a sound that no man-made instrument could produce. Beethoven is attempting to achieve the highest and most joyful sound in the final movement of the symphony and so therefore uses human voices to compel the listener to the rapturous heights that he wants them to witness.

or what might look at the importance of tone and key. In the 20th century, composers like Schoenberg wrote atonal music that made music sound fractured and splintered and, in a word, off. This effect allowed Schoenberg to artistically represent a world around him that seemed to be going off its head -- with war, loss of conviction, and devaluation. There seemed to be no real key to happiness, and so the earlier keys that were used by Bach are rejected here by Schoenberg.

6) Using the illustrations found throughout chapter five, name the 4 families of instruments commonly found in an orchestra and discuss how tones are produced by each.

In an orchestra, the four families of instruments consist of woodwinds, brass, percussion and strings. Woodwinds can range from flutes to bassoons, brass usually consist of horns, trumpets, tubas and/or trombones. Percussion can consist of timpani, snare and bass drums, cymbals, tambourines and more. And the strings usually consist of violins, violas, cellos and basses.

The tones of each family of instruments vary, and they are classified according to how their tones are produced: for example, in the string family tones are produced by bowing or plucking. In the woodwind and brass family, tones are produced by blowing, and in the percussion family, tones are produced by striking. Now, of course, it gets even more complicated than that when one realizes that there are techniques and fingerings required for producing specific tones whether with woodwinds or with strings -- but that is essentially how each family produces sounds.

A bow accompanies the strings (which can also be plucked to produce pizzicato tones), while a hammer accompanies the percussion instruments. A player simply provides his own wind for woodwinds and brass instruments (but horns often require a reed as well).

The strings tend to dominate the symphony orchestra perhaps because this family produces some of the most alluring and elegant and eloquent tones imaginable. A string instrument can make the heart weep and make the heart leap for joy. Woodwinds and brass instruments can also do the same, of course (Mozart produces lovely flute sounds in the Magic Flute). As for percussion, Beethoven has created perhaps the most famous percussive tones in history with the Fifth Symphony.

7) List the six vocal timbres and describe each of their characteristics (timbres). (Textbook p.34)

The six vocal timbres of the singing voice are (ranging from highest to lowest): 1) soprano, 2) mezzo-soprano, 3) contralto (alto), 4) tenor, 5) baritone, and 6) bass. These classifications divide the singing voice according to pitch.

The soprano is the highest female voice and is "often lighter and thinner than a contralto's" (Ferris, p. 34). The timbre of the contralto, on the other hand, will be fuller and richer and deeper. The mezzo-soprano has a sound that is in between, but of course no two sopranos or contraltos or mezzo-sopranos will sound exactly the same.

Men's voices are naturally deeper and they comprise the lower range classifications. The highest of the men's voices is the tenor. This is followed by the baritone, which is medium in range, and finally by the bass, which is the lowest in pitch. Again, a baritone is slightly fuller and richer than a tenor and may even sing as high as a tenor (but with more fullness in the timbre). The bass, of course, provides the lowest notes and the most depth -- but, again, no two tenors nor baritones nor basses will sound the exact same. One famous example of this point is the group known as the Three Tenors, which consisted of three men named Luciano Pavarotti, Placido Domingo and Jose Carreras. These three each had tenor voices, but all three of them sounded completely unique. Tenor may have been their classification, but each brought his own unique timbre to the arrangement, thus showing that every ensemble is going to have its own original sound.

8) Describe the differences between a band and an orchestra. (Textbook p.53,54)

As Jean Ferris states, "a band sounds quite different from an orchestra, since it has few, if any, string instruments" (p. 53). The sounds that go into making up a band are usually coming from instruments in the brass family, the woodwind family, and the percussion family. That is perhaps one reason why bands are popularly used in marches and in saloons: they are lively, can produce sounds more associated with inspiring activity (like marching or dancing), and evoke hearty sensations. The orchestra is typically composed of similar instruments with the addition of one more family -- the string family.

Orchestras, therefore, tend to be associated with spiritual elements: medieval churches utilized the scale patterns and melodies and harmonies or orchestras to inspire prayer and religious devotion (Handel's Messiah is one such example).

The string family, as has been stated already, makes up a significant proportion of the orchestra. The timbre of the string family also produces sounds that are more associated with contemplation and reflection. This is one reason that in the old days, churches allowed strings in the choir but not brass instruments or percussion. String instruments produce sounds that help the listener reflect on what is in his mind and heart, and the stir the emotions to meditation rather than activity -- at least such is usually the case.

But bands, on the other hand, may be found in dance halls and on the streets. Bands produce sounds that are associated not with prayer and contemplation but with energy and action: bands tend to play with lively tempos and catchy and simple melodies that can quickly become popular.

9) Discuss the differences between monophonic, polyphonic, and homophonic texture. List one musical style that you listened to which displays each particular texture. You need a different example for each texture. (Textbook p.27-29)

Monophony is "a single unaccompanied melodic line, whether sung or played on one or more musical instruments" (Ferris, p. 27). Such a line is said to have a monophonic texture. Musical texture is simply a way of describe a composition's conception -- whether it is predominantly melodic or harmonic. One example of monophonic texture would be Gregorian chant, often sung in the old world churches.

Compositions that contain more than one melody to be played in unison is music that is said to have a polyphonic texture. (Mono, of course, means one -- and poly means several). One example of polyphony would be Walt Disney's "It's a Small World," a composition that contains two distinct melodies which are sung together. Polyphony adds complexity to the composition and it also allows for harmony to transpire, giving the music a sound of overall agreement.

Still, there is another texture that is different from both monophony and polyphony -- and that is homophony. Homophonic texture is best described as "a melody accompanied by other voices that are producing harmony, but are not primarily of melodic significance themselves. An example of this might be a church hymn that is sung but is also accompanied by the chords played on an organ: the singers provide the melody, and the organ simply supports it harmonically. Another example would be band which provides harmony for a crowd of singers gathered together to sing a patriotic tune like "The Star Spangled Banner." In any case, homophonic texture is created when one group provides melody and another group provides support for the melody by creating harmonic chords.

10) Discuss the differences between consonant sounds and dissonant sounds, including the effect each might have on the listener. Which do you prefer and why? (Textbook p.27)

Dissonant and consonant sounds pertain to harmony and are terms that express differing harmonic characteristics. Dissonance and/or consonance can happen when two tones (or more than two) are played at the same time. Harmonic sounds that are "active, or unstable, evoking a sense of tension or drive" are called dissonant, while sounds that are stable or passive are called consonant (Ferris, p. 27). In music dissonance and consonance interplay to produce alternate effects of tension and release -- much like a drama, which contains conflict and climax.

Dissonance can be used in music simply to "suggest an impending resolution to a consonant conclusion" (Ferris, p. 27. This implies that dissonance can very often be merely functional. The function is to create sensations or emotions in the listener, than can then be resolved in a satisfactory and/or cathartic manner. In films, one often hears consonant sounds during peaceful or romantic scenes, and dissonant sounds during scenes of stress or action.

I prefer both rather than one over the other. Dissonance and consonance can be used to compliment one another and provide the listener with a fuller range of emotions. However, if a composition is purely made up of dissonant sounds, I find that I rarely enjoy this kind of music. It is too noisy and full of clash. Charles Ives produced music that was very dissonant -- but sometimes it could break into the loveliest consonant sounds imaginable. One example is "The Unanswered Question," which contains both consonant and dissonant textures. I do enjoy this piece very much because it combines the two elements in an intriguing way.

11) in a short essay, discuss lasting influences of the Greek's aesthetic, scientific, philosophical, and religious concepts on the development of music. (Textbook p.65-71)

The Greeks are responsible for laying the foundation of much of Western thought with regard to art, music, science, religion, philosophy and more. With regard to music, the Greeks left aesthetic, scientific, philosophical, and religious impacts on musical development in the West.

The early Christians in Rome preserved the rites of the ancient Greeks when it came to religious music. They chanted their prayers, sang the psalms that David had written, and developed a liturgy. Religious dramas later grew out of this liturgy, just like Greek theater grew out of the religious rites of the Greeks.

The Greek aesthetic survived in the elevation of melody in medieval music. Gregorian chant cherished harmony above all else and was monophonic in character. This kind of simplicity may be seen as very Grecian, considering that Greek drama first began with only one speaker at a time, and gradually grew to accompany many speakers on stage at once.

As for science and philosophy, the Greeks influenced music by writing about the science of music according to time and measure. The philosophical treatises that came out of Athens greatly contemplated the effects of music and these were preserved as cultural artifacts that contained great insight into art and the human interaction with it. The Greeks laid the foundations of music and all of the great philosophers, from Socrates to Aristotle commented upon music. Even Greek physicians understand that music could affect the humors of the body in a positive way, often suggesting it as a cure for maladies of the mind. Today, the term "classical," as in classical music is a reminder of the Greeks and their influence on the artistic medium of music. Indeed, classical music is a title that signifies artistic music as opposed to pop or folk music (Ferris, p. 182).

12) in terms of the musical elements, why does Medieval music sound much different than that of today? (Textbook p.76-81)

Medieval music sounds different from today because it was polyphonic (unless it was chant, in which case it was monophonic), while most of today's music is homophonic -- a single melody supported by chords or harmony. Medieval music had a degree of complexity and subtle tonality: it was softer, fuller, deeper, richer, and not meant to be played at deafening volumes. Much of today's music -- or what is played on the Top 40 -- is produced in a studio and lasts an average of 3 1/2 minutes. Today's music is meant to entertain an audience with a short attention span; it is meant to be listened to in the car, while one drives to work; it is meant to be listened to while exercising or studying or doing something else: it oftentimes serves as background noise at restaurants. Medieval music was not so: it was composed to receive a listener's full attention.

Medieval music was also more liturgical and church music back then "was based on modal scales, or modes, different from the major and minor scale patterns familiar today" (Ferris, p. 76). The modes of medieval church music each had its distinctive quality and were unique in and of themselves. While today's music often sounds pre-fabricated and conveniently manufactured, there are some musicians who find "modes a particularly rich source of inspiration" (Ferris, p. 77). This shows that despite the fact that medieval music is different from today's music, it is not so foreign to today's artists that they cannot look to it for new ideas. Medieval music, therefore, is both a repository of musical delights, full of rich melodies that play together and create polyphony, as well as a breeding ground for today's artists. The music of the old world is still inspiring.

13) Listen to examples 24, Symphony no. 40 in G minor, K. 550, first movement by Mozart, on (page 188) and example 32, Symphonie fantastique, fifth movement, "Dream of a Witches' Sabbath" by Berlioz, on (page 234). Compare and contrast the pieces using your knowledge of the musical elements and time period styles in which they were written. Remember to name the piece and the composer (Textbook p.187-189,234-235)

The first movement of Mozart's Symphony no. 40 begins with the gentle introduction of violins and the main theme of the composition. The theme carries a rhythmic motif that will continue on through the first movement and is carried on and repeated by the orchestra in full with all the instruments participating in what the violins began. Then the strings come in again to some minor accompaniment. Polyphonic sounds draw the listener's attention to separate lines of melodies, but the melodies produce a harmonic whole. The tempo is initially vibrant and upbeat, but it becomes slightly calm midway through, as horns and strings talk to one another. The sounds are mostly consonant and there is little dissonance.

In Berlioz's fifth movement of the Symphonie Fantastique, there is much more dissonance. Indeed, the sounds that begin the movement are somewhat disconnected and strange. The composition is concerned more with creating mood than melody. Mozart's symphony is very melodious, but Berlioz's symphony is coming nearly a century later in the Romantic Age, and it is emphasizing mood and emotion. Thus, the fantastic mood (fantastic as in fantasy) that Berlioz is trying to effect is that the tones and timbres represent characters and a story. There is a main idea or theme that keeps returning in the movement, but there are many interruptions -- as though the idea were troubled. Berlioz's symphony is very different from Mozart's because its tempo and rhythm are scattered and its textures are very dissonant. While Mozart's music is lively and upbeat it still maintains a kind of passivity. But Berlioz's is, on the other hand, full of strife.

14) Look at Figure 10.2 on page 103. How do you see this sample of Renaissance art and the music of the Renaissance in contrast to Figure 20.1 on page 211 (Eugene Delacroix's Bark of Dante) and the Romantic style of music? Your answer must be at least one paragraph in length (3 -- 4 complete sentences). (Textbook p.103, 210-211)

The portrait of Martin Luther and his family is much more passive and calm than the portrait by Delacroix of the Bark of Dante. The former represents a scene of serenity in a home, with the family gathered around, quietly enjoying one another's company and the peacefulness of the music they are playing. The latter picture by Delacroix, however, is troubled: a storm is raging over the occupants of the Bark; they are deeply troubled by both the atmosphere and the waves; there is tension and discord and conflict.

The Renaissance art reflects the prevailing mood of the time and the music of the time, which was gentle but full of life -- polyphonic but not disordered or chaotic. It maintained consonance.

But the Romantic Age ushered in an era of feeling to replace the sentiment and rational spirit of the old world. Serenity was displaced by emotion, and the passions were given voice: dissonance was introduced, and Beethoven's late string quartets are a perfect example of this kind of dissonance that the Romantic Age would come to typify. The music would be moodier, darker, more passionate and more chaotic. It would divorce itself from the traditional patterns of life -- and thus saying goodbye to the safety of the home and hearth and family, it would venture forth into the unknown -- into the wild, where the storms of human passion would rage.

15) Discuss the differences between a symphony, a concerto, and a sonata. (Textbook p.52)

The symphony, the concerto, and the sonata are all three genres of orchestral music that may easily be distinguished one from another. A symphony is the largest of the three: it is a genre of the orchestra "that has several sections, or movements, separated from each other by a brief pause but related to each other in much the same way as the acts of a play" (Ferris, 52). A symphony is composed by a composer as a whole unit, although its movements are individual and differ in their elements: for example, a symphony typically has four movements, with one of the middle movements having a slower tempo than the others, allowing the listener a moments' worth of reflection and calm.

A concerto is different from a symphony even though it is also made of movements and enlists the orchestra. But it also elevates the performance of "an instrumental soloist, who stands or sits at the front of the stage near the conductor" (Ferris, p. 52). The "concerted" effort by orchestra and soloist is how this genre gets its name, and the concerto is named after the instrument the soloist uses. The soloist is also typically a guest: the concerto allows him to dazzle the audience with his skills, but it also shows the skills of the orchestra as well, and even has the two playing passages together.

The term sonata is one that simply designated an orchestral work that was played and not sung. The sonata was typically a piece of chamber music written for a solo instrument. Examples might include Beethoven's piano sonatas.