1. An Introduction to Music as Social Experience Chapter 13: Music and Concert

2. Cornelius-Natvig, Chapter 13: Music and Concert2 Questions for Thought What is the difference between the experience of live music and recorded music? Does familiarity with recorded versions of music influence expectations of live performance? Why see a live performance? What makes a concert experience special?

3. Cornelius-Natvig, Chapter 13: Music and Concert3 A Symphony Orchestra Concert Standardized programming: Overture or “light” composition Concerto: featured instrumental soloist + orchestra Intermission Symphony or other symphonic composition

4. Cornelius-Natvig, Chapter 13: Music and Concert4 “Hoe-Down” from Rodeo by Aaron Copland (1942) Introduction: Percussion, trumpets: excitement of rodeo Angular melody, galloping rhythms Section A: Cymbals introduces fiddle theme (Appalachian folk tune) Opening music returns as transition Section B: Trumpet solo punctuated by snare drum Oboe, clarinet, violin share melody Syncopated passage expands to hoe-down music Section A: Return of fiddle theme Finale

5. Cornelius-Natvig, Chapter 13: Music and Concert5 “La Primavera” (Spring), opening movement from Concerto No. 1 in E major, opus 8 by Antonio Vivaldi (1725) Ritornello form: orchestral refrain (ritornello) alternates with solo instrument passages Introduction: Orchestra plays violin theme with cello, basses accompanying Ritornello: Violins play slightly different theme Orchestra will repeat this section in alternation with solo violin Solo violin: Trills, descending scales showcase virtuoso violin technique

6. Cornelius-Natvig, Chapter 13: Music and Concert6 Symphony No. 40 in g minor by Wolfgang Amadeus Mozart (1788) Four movements, typical of 18 th -century symphony: First movement: Molto allegro – fast tempo, sonata form Second movement: Andante – slow/moderate tempo, lyrical Third movement: Menuetto – quick tempo, triple-meter dance rhythms Fourth movement: Allegro assai – fast tempo

7. Cornelius-Natvig, Chapter 13: Music and Concert7 Molto allegro, first movement from Symphony No. 40 in g minor by W.A. Mozart (1788) Sonata form: Exposition, Development and Recapitulation sections Exposition: Two key areas, contrasting themes => harmonic unease Development: Thematic ideas fragmented, expanded => instability Recapitulation: Themes return in same key => harmonic stability, completion

8. Cornelius-Natvig, Chapter 13: Music and Concert8 First movement from Symphony No. 40 in g minor, continued Exposition (played twice): First theme: short, short, long motive (tonic key) Second theme: “sighing” melody (related key) Development: First theme material fragmented, in multiple keys Independent countermelodies in polyphony with first theme Pulsing, energetic rhythms Recapitulation: First, second themes re-presented Expansion of thematic material at closing All in tonic key

9. Cornelius-Natvig, Chapter 13: Music and Concert9 Chamber Music Music for small instrumental ensembles 18 th century: written for amateur players, performed in private settings Today: often performed by professionals, small concert halls Most frequently written for: String quartet: violin I, violin II, viola, cello Four movements, similar to symphony Piano trio: violin, cello, piano Solo instrument, or solo instrument + piano

10. Cornelius-Natvig, Chapter 13: Music and Concert10 Presto (last movement) from String Quartet in E-flat Major, opus 33, no. 2, “The Joke” by Franz Joseph Haydn (1781) Rondo form: Thematic material returns (“refrain”), alternating with new material (“episodes”) Usually ABACADA Haydn’s joke: Repetitions of Section A refrain are shorter and shorter Grand pause introduces coda Fragments of Section A refrain, pauses keep listeners wondering

11. Cornelius-Natvig, Chapter 13: Music and Concert11 Caprice in a minor, op. 1, number 24 by Niccolò Paganini (circa 1805) Form: Theme + 11 variations and finale Virtuosic work, originally intended for composer’s own performance Melody changes in successive variations Harmony and phrase structure remain constant

12. Cornelius-Natvig, Chapter 13: Music and Concert12 South Indian Karnatic Music Melodies based on ragas (system of melodic modes) Rules govern pitches, melodic sequences with ragas Rhythms based on talas (system of drum patterns) Specific timbres, clapping associated with talas Ensemble: featured vocalists/instrumentalists + instrumental accompaniment Three part texture: Melody – Solo instrument, may be in heterophony with voice Rhythm Drone Improvisation is essential component of performance

13. Cornelius-Natvig, Chapter 13: Music and Concert13 Manasu Visaya by Tyagaraja (Natakuranji Raga and Adi Tala) Ensemble instruments: Violin Venu: transverse bamboo flute Mrdangam: double-headed drum Ghatam: clay-pot percussion instrument Flute and violin improvise, introduce tones of raga Flute begins pallavi (first verse) Tala cycle played by percussion instruments Heterophony: flute and violin Soloistic improvisations by melodic instruments, then percussion

14. Cornelius-Natvig, Chapter 13: Music and Concert14 Jazz What is jazz? Combination of African and European musical traditions Improvisation: musical ideas created and developed in the moment Rhythms “swing,” not always restricted by meter Performers’ oral tradition: Listen and assimilate Imitate and re-create Generate original ideas Dance music => concert music

15. Cornelius-Natvig, Chapter 13: Music and Concert15 “So What” from Kind of Blue by Miles Davis (1959) Performers: Miles Davis, trumpeter and bandleader Julian “Cannonball” Adderley, alto saxophonist John Coltrane, tenor saxophonist Bill Evans, pianist Paul Chambers, bassist Jimmy Cobb, drummer Form: 32-bar song form AABA Tonality: Dorian mode (re-mi-fa-sol-la-ti-do-re)

16. Cornelius-Natvig, Chapter 13: Music and Concert16 “So What” from Kind of Blue by Miles Davis, continued Introduction: non-metric, bass and piano explore melodic possibilities Melodic conversation: Bass melody, piano answers “So what?” Other instruments join “So what?” response Trumpet solo: Improvisation, 8-bar phrasing Meditative, exploring melodic mode Bass and piano now in supporting role Tenor saxophone solo: Improvisation Animated, melodically and rhythmically more active

17. Cornelius-Natvig, Chapter 13: Music and Concert17 What makes a concert? More than music Social phenomenon: Shared experience and expression of values Reaffirms social history Legitimizes interests and beliefs

18. Cornelius-Natvig, Chapter 13: Music and Concert18 Different kinds of concert performance Folkloric performance, audience imagines unfamiliar world Call to focus on modern, industrial environment Shared journey of initiation and integration Culture is central to assessment of “good” music Musical performance Connects us to the past Enhances our experience of the present Prepares us for the future