Page 64 - ESSENTIAL LISTENING TO MUSIC

Of course, composers are not limited to just one of these three musical tex- tures in a given piece—they can move from one to another, as George Frideric Handel does brilliantly in the justly famous “Hallelujah” chorus from his orato- rio Messiah.
Listening Cue
George Frideric Handel, Messiah, “Hallelujah” chorus (1741) Download 4
what to listen for: Handel’s skillful manipulation of the musical texture to achieve variety and generate excite- ment. Notice at the very end, before the last “Hallelujah,” how the composer introduces a brief example of a fourth texture: silence. Indeed, a thundering silence!
reAD . . . a detailed Listening Guide of this selection online. LiSTeN TO . . . this selection streaming online.
WATCH . . . an Active Listening Guide of this selection online. DO . . . Listening Exercise 3.4, Hearing Musical Textures, online.
listen to . . . a podcast about musical form online.
Form
Form in music is the arrangement of musical events. In architecture, sculpture, and painting, objects are situated in physical space to create a pleasing design. Similarly, in music a composer places important sonic events in an order that creates a compelling pattern. We don’t see the form, but rather hear it as the sounds pass by in time.
To create form in music, a composer employs one of four processes: statement, repetition, contrast, and variation. A statement, of course, is the presentation of an important musical idea. Repetition validates the statement by reiterating it. Nothing would be more bewildering for a listener than a steady stream of ever-new music. How would we make sense of it? Recurring musical ideas function as formal markers; each return is an important musical event— and a reassuring return to stability.
Contrast, on the other hand, takes us away from the familiar and into the unknown. Contrasting melodies, rhythms, textures, and moods can be used to provide variety and even to create conflict. In music, as in life, we need novelty and excitement; contrast invigorates us, making the eventual return to familiar ideas all the more satisfying.
Variation stands midway between repetition and contrast. The original melody returns but is altered in some way. For example, the tune may now be more complex, or new instruments may be added against it to create counter- point. The listener has the satisfaction of hearing the familiar melody, yet is chal- lenged to recognize how it has been changed, or disguised.
42 chapter three color, texture, and form
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
56797_ch03_ptg01.indd 42 29/08/14 3:32 PM