1. An Introduction to Music as Social Experience Chapter 3: Three Listening Examples

2. Cornelius-Natvig, Chapter 3: Three Listening Examples2 Johann Sebastian Bach (1685-1750) During his life: a highly skilled keyboard player and improviser Today: one of the great composers of Western art music Extraordinary number of compositions: Bach Werke Verzeichnis (BWV, catalogue of Bach’s works) lists more than 1000 pieces Wrote music for many instrument and vocal combinations: Solo instruments => orchestra + chorus

3. Cornelius-Natvig, Chapter 3: Three Listening Examples3 “Bourrée” from Suite in e minor BWV 996 by Johann Sebastian Bach Bourrée: form of dance music Lively tempo Duple meter Rhythmic pattern is repetitive: short-short-long, short-short-long Polyphonic texture: two independent melodic lines heard at the same time Binary form: Section A + Section B

4. Cornelius-Natvig, Chapter 3: Three Listening Examples4 Section A Paired phrases: a and b Phrase a ends on the tonic, do Phrase b sounds unfinished, ends on me Both phrases are repeated: a b a b

5. Cornelius-Natvig, Chapter 3: Three Listening Examples5 Section B Four independent phrases: c d e f Phrase c sounds finished, but immediately moves away from harmonic stability Phrase d ends on a new (higher) point of temporary stability Phrase e is more dissonant Phrase f (finally) ends on the tonic, do All four phrases are repeated: c d e f c d e f

6. Cornelius-Natvig, Chapter 3: Three Listening Examples6 Shakuhachi Flute Japanese flute, originally played by Zen Buddhist monks Very difficult to play Music as meditative exercise Focus breathing Discipline the mind Characteristic subtle changes of pitch Secular repertory today, but sacred meditative roots remain

7. Cornelius-Natvig, Chapter 3: Three Listening Examples7 Nesaza Shirabe performed by Tadashi Tajima Based on pentatonic (five-tone) scale Music has no beat, no meter Rhythms governed by player’s breath Features komibuki (pulsating breath) Technique designed to focus the mind Opening melodic and rhythmic gestures are repeated at end of composition

8. Cornelius-Natvig, Chapter 3: Three Listening Examples8 “Somewhere Over the Rainbow” Harold Arlen and E.Y. Harburg, performed by Judy Garland (1938) Homophonic texture Accompaniment: orchestral strings + winds Vocal melody, one note per syllable of lyrics Four stanzas in lyrics = four sections in musical form: AABA + coda 32-bar song form Each stanza = eight measures long (count beats: 1 2 3 4 for each measure)

9. Cornelius-Natvig, Chapter 3: Three Listening Examples9 Art Tatum (1909-1956) Iconic, controversial jazz pianist Eclectic musical imagination and formidable keyboard technique Tatum’s style: Fast melodic runs Metric interruptions Complex harmonies Many recordings as solo pianist

10. Cornelius-Natvig, Chapter 3: Three Listening Examples10 “Over the Rainbow” performed by Art Tatum (early 1950s) Homophonic texture Melody in higher register Chordal accompaniment Four stanzas, following structure of original lyrics Rounded binary form ABA ’ : aaba + aaba (variation) + coda

11. Cornelius-Natvig, Chapter 3: Three Listening Examples11 Section A: a a b a Non-metrical feel Stop-and-go rhythms Original melody embellished with improvised ornamentation Section B: a a b a (variation) “Stride” rhythms give metrical feel Melody more obscured Thick chords Striking harmonies

12. Cornelius-Natvig, Chapter 3: Three Listening Examples12 Coda: Section A ’ : b ’ a ’ b stanza developed further Shortened a stanza