Reflections on Musical Time - Yonatan Malin Associate Professor, College of Music CU on the Weekend November 2020
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Reflections on Musical Time
Yonatan Malin
Associate Professor, College of Music
CU on the Weekend
November 2020
Three parts 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton”
Part 1: Musical Periods Bob Dylan, “Mr. Tambourine Man” (1965)
Bob Dylan, “Mr. Tambourine Man” (1965)
Hey, Mr. Tambourine Man play a song for me phrase a (no resolution)
I’m not sleepy and there is no place I’m goin’ to
Hey, Mr. Tambourine Man play a song for me
phrase a’ (resolution)
In the jingle jangle mornin’ I’ll come followin’ you.Musical Period phrase a (no resolution) phrase a’ (resolution)
Measuring musical time • Beat = pulse that we feel • Measure = grouping of beats
Bob Dylan, “Mr. Tambourine Man” (1965)
Hey, Mr. Tambourine Man play a song for me phrase a: four measures
I’m not sleepy and there is no place I’m goin’ to
Hey, Mr. Tambourine Man play a song for me
phrase a’: four measures
In the jingle jangle mornin’ I’ll come followin’ you.Beethoven “Ode to Joy,” eight-measure period
“Mr. Tambourine Man,” verse 1 Though I know that evenin's empire has returned into sand, Vanished from my hand, phrase a: 5 measures Left me blindly here to stand but still not sleeping. My weariness amazes me, I'm branded on my feet, I have no one to meet phrase a: 5 measures And the ancient empty street's too dead for dreaming.
“Mr. Tambourine Man,” verse 4
Listen and count without the printed lyrics …
phrase a: 8 measuresReflections on Musical Time 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton”
Part 2: Endings and Postscripts
Beethoven “Ode to Joy,” full theme
Franz Schubert (1797-1828)
Franz Schubert (1797-1828)
The Winter’s Journey—Winterreise
Cycle of 24 songs
Last song:
“The Hurdy-gurdy Man” (Der Leiermann)Schubert, “The Hurdy-gurdy Man,” verses 1 and 2 Drüben hinter’m Dorfe There beyond the village Steht ein Leiermann, Stands a hurdy-gurdy man, Und mit starren Fingern And with numb fingers Dreht er was er kann. He cranks as best he can. Barfuss auf dem Eise Barefoot on the ice Wankt er hin und her; He totters to and fro; Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty. Und sein kleiner Teller And his little plate Bleibt ihm immer leer. Remains always empty.
Schubert, “The Hurdy-gurdy Man,” form
Poem Music
Verse 1 A
Verse 2 B
Verse 3 A
Verse 4 B apparent ending
Verse 5 C postscriptSchubert, “The Hurdy-gurdy Man,” form
Poem Music
Verse 1 A
Verse 2 B
Verse 3 A
Verse 4 B apparent ending
Verse 5 C postscriptDrüben hinter’m Dorfe There beyond the village
Steht ein Leiermann, Stands a hurdy-gurdy man,
1
Und mit starren Fingern And with numb fingers
Dreht er was er kann. He cranks as best he can.
Barfuss auf dem Eise Barefoot on the ice
Wankt er hin und her; He totters to and fro;
2
Und sein kleiner Teller And his little plate
Bleibt ihm immer leer. Remains always empty.
Keiner mag ihn hören, No one wants to listen,
Keiner sieht ihn an; No one looks at him;
3
Und die Hunde knurren And the dogs snarl
Um den alten Mann. Around the old man.
Und er er lässt es gehen And he lets everything go on
Alles, wie es will, as it will,
4
Dreht, und seine Leier Turns, and his hurdy-gurdy
Steht ihm nimmer still. never stops.Drüben hinter’m Dorfe There beyond the village
Steht ein Leiermann, Stands a hurdy-gurdy man,
1
Und mit starren Fingern And with numb fingers
Dreht er was er kann. He cranks as best he can.
Barfuss auf dem Eise Barefoot on the ice
Wankt er hin und her; He totters to and fro;
2
Und sein kleiner Teller And his little plate
Bleibt ihm immer leer. Remains always empty.
Keiner mag ihn hören, No one wants to listen,
Keiner sieht ihn an; No one looks at him;
3
Und die Hunde knurren And the dogs snarl
Um den alten Mann. Around the old man.
Und er er lässt es gehen And he lets everything go on
Alles, wie es will, as it will,
4
Dreht, und seine Leier Turns, and his hurdy-gurdy
Steht ihm nimmer still. never stops.Wunderlicher Alter, Strange old man,
Soll ich mit dir gehen? Shall I go with you?
5
Willst zu meinen Liedern Will you grind your hurdy-gurdy
Deine Leier drehn? to my songs?… Dreht, und seine Leier … Turns, and his hurdy-gurdy
4
Steht ihm nimmer still. never stops.
Willst zu meinen
Wunderlicher Liedern
Alter, Will you old
Strange grind your hurdy-gurdy
man,
Soll ich mit dir gehen? Shall I go with you?
5
Willst zu meinen Liedern Will you grind your hurdy-gurdy
Deine Leier drehn? to my songs?Reflections on Musical Time 1. Musical Periods: Dylan, “Mr. Tambourine Man” 2. Endings and Postscripts: Schubert, “The Hurdy- gurdy Man” 3. Continuity: Miranda, “Alexander Hamilton”
Part 3: Continuity
Free rhythm: Dave Tarras, Klezmer Clarinet
Doina recorded in 1939
Available on
“Dave Tarras Master of Klezmer Music Volume 1: 1929-49”
Global Village CD105measure: ● ● ● ● beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● Musical Meter: interlocking pulse layers that guide our attention
Meter with six pulse layers
●
● ●
● ● ● ●
measure: ● ● ● ● ● ● ● ●
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●HAMILTON by Lin-Manuel Miranda
Opening number—verses 1 and 2
Leslie Odom Jr. as Aaron Burr
Anthony Ramos Martinez as John LaurensHamilton opening number: piano line in red
cycle: ●
● ●
bass line: ● ● ● ●
measure: ● ● ● ● ● ● ● ●
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Hamilton opening number: piano line + tapping pulse
●
● ●
bass line: ● ● ● ●
measure: ● ● ● ● ● ● ● ●
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Hamilton opening number: piano line + snapping
●
● ●
bass line: ● ● ● ●
measure: ● ● ● ● ● ● ● ●
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Hamilton opening number: piano line + rap
●
● ●
bass line: ● ● ● ●
measure: ● ● ● ● ● ● ● ●
verbal
accents:
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Hamilton opening number: piano line + rap, verse 1
●
● ●
bass line: ● ● ● ●
measure: ● ● ● ● ● ● ● ●
verbal
accents:
● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
beat: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
orphan / whore providence / impoverished squalor / scholar
Scottsman / dropped / for-gotten spotHamilton, Opening Number. Original Cast Album.
Hamilton’s
entranceHamilton, Opening Number. Original Cast Album.
Interview of Lin-Manuel Miranda by Terry Gross
On “Fresh Air” (NPR), June 29 2020Reflections on musical analysis
Thanks to Daphne Leong, Keith Waters, and David
Meens for their perceptive feedback on an earlier
version of this talk.
Thanks to Nikolas Hunnicutt for filming.You can also read
