Class Notes (1,100,000)
CA (620,000)
UTSG (50,000)
MUS (200)


Course Code
Joshua Pilzer

This preview shows page 1. to view the full 5 pages of the document.
MUS110H1 Lecture 10 Language 10-12-07 2:11 AM
Thursday, December 2, 2010
Music & Transmission; Music & Language
Describe everything you hear
Essay question:
o 3 choices
o touch mostly on things weve discussed since the midterm
Aural Transmission
o Living traditions and techniques are passed on from
generation to generation. This is the manner in which most
non-western music has been passed down.
o Should those traditions die, and techniques change or evolve
without attention to tradition, those traditions are:
! A. simply lost
! B. unconsciously changed or mutated to something
different (examples of this will be seen shortly)
Written Transmission
o Helps to solve some of the negative characteristics of aural
o Notation is always challenged by and falls short of actual
musical performance practice
! i.e. Arcangelo Corelli, Sonata in C Major, Op. 5. No. 3,
Movements 1 & 2 (1700)
o notation gives us an idea of pitch, meter, rhythm, etc.
the detailed score as an accurate transmitter?
o i.e. Claude Debussy, “Gollywog’s Cakewalk”, Childrens
Corner (1908)
! another version of above
You're Reading a Preview

Unlock to view full version

Only page 1 are available for preview. Some parts have been intentionally blurred.

electronic recording media as the perfect transmitter?
o i.e. Daniel Arfib, Souffle du doux (1979)
! cant change the composition because its recorded
digitally, no interpretation involved
Music & Language
Music & Rhetoric
Rhetoric the art of persuasion, how we use language to persuade
or communicate
Word painting: matching music gestures and expressions to portray
visually the textual content
o i.e. Johann Hermann Schein, “Die mit Tranen saen,
Israelsbrunnlein/ Fontana d’Israel (1623)
o i.e. Heinrich Schutz, “Die mit Tranen saen,Geistliche
Chormusik (1648)
o i.e. Heinrich Schutz, “Die mit Tranen saen,Psalmen Davids
Morleys Dedication of the Triumphs of Oriana (1601)
madrigals 5 voices
i.e. Thomas Weelkes, “As Vesta was from Latmos hill Descending”
o as vesta was from Latmos hill descending
o she spied a maiden Queens the same ascending
o attended on by all the shepherd’s swain
o to whom Dianas darlings came running down amain
o first two by two, then three by three together
o leaving their Goddess all alone, hasted thither
o and mingling with the shepherds of her train,
o with mirthful tunes her presence did entertain
o then sang the shepherds and nymphs of Diana:
o long live fair Oriana
Music and Text in the Twentieth Century
You're Reading a Preview

Unlock to view full version