The Enjoyment of Music 11th, Complete Edition

The Enjoyment of Music 11th
Complete Edition
The Enjoyment of Music 11th, Complete Edition

PART I
Materials of Music

Prelude 1: Listening to Music Today
Typical places Suggested picture of

guy with mp3 player
and ways of
and laptop (in Shorter
listening to edition, p. 4, Full p. 5
music
Understanding
music requires
active listening

Some Practical Suggestions
Practice listening to music
Knowledge of musical
notation is not necessary
Use Listening Guides,

Resource CD, and Glossary
Attend live music

performances!

Attending Concerts
Recordings vs. live

concerts
Art music vs. popular
music
Pianist Lang Lang

To Find a Concert, Check Listings
For on-campus concerts (Music Department)

In the “weekend section” of local newspapers
College newspaper
On websites of local concert venues and musical groups
Be sure to ask for student discounts!

The Concert Program

http://www.wwnorton.com/college/music/enjoyment-of-music11/complete/

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1. Melody: Musical Line
“It is the melody which is the

charm of music, and it is that
which is most difficult to
produce. The invention of a
fine melody is a work of
genius.”
―Haydn
Joseph Haydn

Defining Melody
Melody: A succession of single pitches or tones

perceived as a meaningful unity.
Newton: “Amazing Grace”

Characteristics of Melody: Contour
Strauss: Don Juan
Mozart: Piano Concerto
Grieg: Peer Gynt Suite
Tchaikovsky: The Nutcracker

Characteristics of Melody: Range
“America”
“Greensleeves”
Strauss: Don Juan

Characteristics of
Melody
Conjunct Movement: A smooth, connected melody

that moves principally by small intervals.
Beethoven: String Quartet No. 1

Characteristics of
Melody
Disjunct movement: A disjointed or

disconnected melody with many leaps.
Brahms: Violin Concerto in D, Op. 77, III

The Structure of
Melody
Phrase: A unit of meaning within a larger structure,
like a musical sentence.
Cadence: A resting place in a musical phrase.
Mozart: Symphony No. 40, I

The Structure of Melody
Rhyme scheme: Poetic phrases and musical phrases
generally align.
Billings: “Chester”

The Structure of
Melody
Prokofiev: Violin Concerto
Countermelody: An added melody sounding

against another melody.


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2. Rhythm and Meter: Musical Time
Rhythm: Length, or duration of individual notes.
Beat: Regular pulsation.
Accent: Beats that are stronger.
Beethoven: “Turkish March” (duple)

Musical Time
Metrical Patterns: Simple recurring patterns,

typically 2, 3, or 4 beats grouped in a measure.
Downbeats

Simple Meter
Duple Meter
Bar Line Measure
Triple Meter
Quadruple Meter
(Common Time)
Sousa: “Stars and Stripes Forever”
Duple Meter
Mahler: Symphony No. 1, III
Triple Meter Purcell: Rondeau from Abdelazar

Vivaldi: The Four Seasons, Autumn
Quadruple Meter Brahms: Symphony No. 1, IV

(Common Time) Grieg: Peer Gynt Suite

Musical Time: Compound Meter
6/8
9/8

Musical Time: Compound Meter
6/8 Corelli: Violin Sonata, Gigue
9/8 Bach: Jesu, Joy of Man’s Desiring
12/8 Fauré: Pelléas et Mélisande, “Sicilienne”

Musical Time
Syncopation: Deliberate disruption of pattern;

accent shifted to a weak beat or offbeat.
Borodin: Prince Igor, “Polovetsian Dances”
Stravinsky: The Rite of Spring, “Dance of the Youths…”
Tchaikovsky: Piano Concerto No. 1

Musical Time
Polyrhythm: Simultaneous use of different

rhythmic patterns.
Stravinsky: The Rite of Spring, “Sacrificial Dance…”

Musical Time
Additive Meter: Irregular grouping of beats in
a larger pattern.
Ravi Shankar: Bhimpalasi
Anoushka Shankar

Musical Time
Nonmetric: Music without a strong sense of
beat or meter.
Gregorian chant: “Alleluia, emitte spiritum”
Gregorian chant: “Venite, exsultemus domino”


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3. Harmony: Musical Space
Vertical aspect of music
Chord

3. Harmony: Musical Space
Scale: A collection of pitches arranged in ascending or descending
order.
Octave
(descending)
Do ti la sol fa mi re do
8 7 6 5 4 3 2 1
The Function of Harmony
Triad: Three-note chord, do-mi-sol or 1-3-5

The Organization of Harmony
Tonic or keynote:
First note of scale (do) is “home base”
Tonality
Major tonality
Minor tonality
Diatonic harmony
Chromatic harmony

The Organization of Harmony:
Tonality
Major Tonality
Haydn: Symphony No. 94, III
Minor Tonality
Chopin: Mazurka
Quiz
Chopin: Prelude
Mendelssohn: Symphony No. 4, I
Vivaldi: Concerto for Piccolo
Haydn: Symphony No. 45, I
The Organization of Harmony
Diatonic Harmony
Bach: The Well-Tempered Clavier, I
Chromatic Harmony
Bach: Chromatic Fantasia and Fugue

Quiz
“Joy to the World”
Wagner: Tristan und Isolde
Haydn: Trumpet Concerto, III

Consonance and Dissonance
Dissonance
Stravinsky: The Rite of Spring, “Dance of the Youths…”

Consonance
Mendelssohn: Midsummer Night’s Dream, Nocturne
Drone
Shankar: Bhimpalasi


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4. The Organization of Musical
Sounds
“If only the world could feel the power of
harmony.”
—W. A. Mozart

Musical Systems
Melody and harmony function together to make a

musical system.
An octave is an important interval.
Western octave: 12 equal semitones
(half steps)
Major/minor scales: Seven pitches drawn from the
12

The Formation of Major and Minor
Scales
12 semitones make up the chromatic scale
White keys on a keyboard
Black keys on a keyboard
Two half steps = whole step
Octave
& # # #
# #
half steps
whole step The Enjoyment of Music 11th, Complete Edition

White Keys: C D E F G A B C
Black keys are in between the white keys
Up a scale sharp ( # )
Down a scale flat ( b )
Black key above C is C#, D is D#, etc.
Black key below D is Db, E is Eb, etc.

The Major Scale
Do-re-mi-fa-sol-la-ti-do
No black keys between E and F (mi–fa) or B and
C (ti–do)
E–F and B–C are half steps
Other white keys are a whole step apart
&
Do re mi fa sol la ti do

Major Scales Pattern
Major mode: w w h w w w h
Tonic (do)
Dominant (sol)

The Minor Scale
Minor mode: w h w w h w w

Chromaticism
Tones foreign to a key
weaken the tonic relationship
Diatonic tones
Chromatic tones

Other Scale Types
Non-Western
Pentatonic (five-note)
Tritonic (three-note)
Microtonal scale
Pentatonic Scale
&

Aspects of the Major-Minor System
Active and rest chords
Tonic triad
Dominant triad
Subdominant triad
&
1 2 3 4 5 6 7 8(1)
tonic subdominant dominant

The Key as a Form-Building Element
Using a new key or temporarily shifting the
tonal center
Original melody
&
Transposed melody (up a 4th)
& b
Modulation (relative minor)
&
The Key as a Form-Building Element
Key provides musical unity
Movement from key to key creates tension
Home key provides unity
Foreign key provides variety and contrast


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5. Musical Texture: Types of Texture
Monophony: Single-line texture, or melody

without accompaniment.
Gregorian chant: Psalm 94, “Venite, exsultemus domino”
Gregorian chant: Whitsunday Mass, “Alleluia, emitte…”

Heterophony: Texture in which two or more
voices (or parts) elaborate the same melody
simultaneously, often the result of
improvisation.
African traditional, Gabon: “Porter’s Song”
African traditional: “Herding Song”

Polyphony: Two or more melodic lines combined
into a multivoiced texture.
• Non-imitative polyphony (simultaneous melodies)

Rimsky-Korsakov: “Capriccio espagnol, Fandano asturiano”
Bach: Jesu, Joy of Man’s Desiring
• Imitative polyphony
Marenzio: “La bella ninfa mia”
Handel: Concerto Grosso in G
Bach: Concerto for Violin and Oboe, II
Homophony: Texture with principal melody and

accompanying harmony.
Dvořák: Symphony No. 9, II
Grieg: Peer Gynt Suite

QUIZ
Monophony―Homophony ―Polyphony
American traditional: “America”
Mozart: Piano Concerto No. 21

Bach: Brandenburg Concerto No. 4, III
Billings: “Chester”

5. Musical Texture: Contrapuntal
Devices
Imitation
Canon
Round
Ex.: “Row, Row, Row Your Boat”


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6. Musical Form:
Structure and Design in Music
Purcell: Rondeau from Abdelazar
Chopin: Prelude in E
Mozart: Piano Concerto, II
Beethoven: String Quartet in F

6. Musical Form:
Structure and Design in Music
British traditional: “Greensleeves”
Handel: Keyboard Suite No. 5

Shankar: Bhimpalasi

6. Musical Form:
Two-Part and Three-Part Form
Brahms: Symphony No. 1, IV

British traditional: “Greensleeves”
Dvořák: Symphony No. 9, II

6. Musical Form:
The Building Blocks of Form
Theme: A melodic idea used as a
building block in music.
Thematic development
Thematic transformation
Berlioz: Symphony fantastique
Mvt. I Mvt. III Mvt. V

Mvt. II Mvt. IV
6. Musical Form:
The Building Blocks of Form: Theme
Sequence
Handel: Concerto Grosso, II
Motive
Mozart: Symphony No. 40, I

6. Musical Form:
The Building Blocks of Form
Call-and-response, or responsorial
African traditional: “Porter’s Song”
Gregorian chant: Whitsunday Mass
Ostinato
Couperin: “Les barricades misterieuses”


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7. Musical Expression: Tempo and
Dynamics, The Pace of Music
Mozart: Abduction from the Seraglio, Overture
Handel: Sampson, “Let the Bright Seraphim”
Bach, C. P. E., Trio Sonata, I

7. Musical Expression: Tempo and
Dynamics, The Pace of Music
Glière: “Russian Sailor’s Dance”
Smetana: The Moldau

7. Musical Expression: Loudness and
Softness, Dynamics
Strauss: Don Juan
Prokofiev: Classical Symphony, III
Fauré: Pelléas et Mélisande, “Sicilienne”

7. Musical Expression: Moving from
One Dynamic to Another
Liszt: Hungarian Rhapsody No. 2
Smetana: The Moldau

7. Musical Expression:
Shaping the Expressive Content of
Music
Metronome
Interpretation
Chopin: Fantasie Impromptu (rubato)


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