Exploring the Dumka—Tchaikovsky’s Dumka Op. 59 and Beyond A Brief History of the Dumka Form The dumka may have reached its height of popularity in 19th century Romantic music, but the origins of the form lie not in the beloved chamber of music of Dvořák —a composer enamored with the dumka—but in the countryside and villages of Eastern Slavic countries. The dumka is a form common in the folk music of Ukraine, Poland, and Bohemia. In Ukrainian, the verb “dumati” means to think, and “to ponder” in Polish and Czech, is translated as “dumać” and “dumat,” respectively. This is definitely indicative of the pensive nature of the dumka, but the form has other dimensions to be explored. If we probe further back into its history, the 19th century dumka can be seen as a hybrid of two related musical forms— the Polish dumka (a song or lament usually sung by women), and the Ukrainian duma. The linguistic origins of the word are thought to possibly stem from the Indo-European root “-mudh,” which is related to the Greek “mythos.” The duma, an epic, or ballad-like narration originating in Ukraine around the 16th century, has undeniable connections to the epic poetry of the ancient Greeks, but there are key differences in its structure and performance style. Instead of having a set strophic form, the duma depended on the contents of its narrative to determine the lengths of its discrete sections. The lyrics were recited in a lamenting, recitative, and almost chant-like style, over the accompaniment of a plucked string instrument, such the bandura, kobza, or lira. At this time, the lyrics of the epic dumas often depicted Cossack conflicts—first the warring Tatars and Turks, and later the battles of the Cossacks and the Poles. Another common duma... ... middle of paper ... ...aikovsky foregoes the usual cadential formulas and establishes the tonic by insistence on it. At the height of its elation, the dance is pulled back into G minor, a Poco meno mosso section, which nevertheless retains some of the previous urgency, heard in its pulsing sixteenth note chords and anticipating dotted rhythms. A progression of Italian augmented sixth chords leads into softly rumbling E-flat major arpeggios, reminiscent of thunder after a summer storm. A short cadenza of arpeggios and flourishes, serves as a transition back to the dance, this time marked con fuoco. Chromatically rising and falling passages, marked fortissimo and finally fortississimo, escalate tensions to the Dumka’s highest point yet, settling on A-flat major for its triumphant culmination. Finally, the opening ballad returns softly marking its departure with three loud, abrupt chords.
Ethnomusicology: a short introduction is about describing the growing discipline of how ethnomusicology researchers are going about studying different music from around the world, looking for perceptions in both humanity and music. Ethnomusicologists believe that all people are musical, not just people that label themselves as “musicians” and that there is music in all beings. This thinking causes a lot of debate in which ethnomusicologists argue that we must first study all forms of music such as its Geographic’s and history in order to answer any questions. Not only are traditional forms of music acknowledged but also more contemporary musical forms.
Over the course of history, music has developed from a personal, academic pursuit to an extension of a global marketplace and an attribute of this global community. In order to better address this conversation and the surrounding idea, Feld utilizes the platform he has developed to pose the argument that music has long been cultivated as a means of communication and interaction. This relationship is developed and analyzed as a case study in this article, which happens to be in discussing a traditional lullaby first developed in the Solomon Islands, which was in turn recorded by a European pop group that sold millions of copies of a rendition of the song. Furthermore, the article goes to show the trend of music to be redistributed and developed in the sense that it is later reused by a popular jazz musician in Europe. Feld then begs the question about the nature of the redistribution of music and whether this facilitates a hybridization of music or an alienation and artistic degradation of the original work for the indigenous artists.
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
Western Music has developed in many ways since the middle ages through its form, sound, and message. Throughout these different periods in western music one thing has remained constant, the true essence of music, a way to communicate with someone on a much more divine level than be by rudimentary conversation. Though Ludwig Van Beethoven and Paul McCartney may seem completely opposite they have one in common through their music they changed the world’s perception of its self
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Music in Language: Creates balance, interest and endorses the flow of the story. The book is rich in rhyme and rhythm, to read as a Bush Ballard which can be link to other poetry such as the Man from Snowy River by Banjo Patterson. Each page ends with repetition giving it the strong lyrical tones. “A gallant horse, a midnight horse,”…”A daring horse, a midnight horse,”….”A mountain horse, a midnight horse,”… “A horse called Lightning
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
The music accompaniment to this piece comes from one or two pianos which work in almost perfect collaboration with the dance so that neither one overshadows the other. While no other instruments are used, the melody of the piano changes from scene to scene in order to depict Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this vaudeville-like tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror of it.
Burkholder, J. P., Donald J. Grout, and Claude V. Palisca. A History of Western Music. Eight
For the English-speaking peoples there exists a vast body of ballads, collected in England as well as America. Of German folklore we know best the songs that have come into repertory rather recently. Swedish folk music happens to have available a large collection of fiddle tunes, because some Swedish collectors have concentrated on this aspect of music.” (Folk & Traditional Music of the Western Continents Bruno Nettl) Here Bruno Nettl states some of the obvious dissimilarities between cultures and how their own folk music differed from other cultures.... ...
This film, traces back to the multiple stages of development of this captivating and exciting musical genre, that spans a time frame of 500 years across three continents. the beginning
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
In particular, contemporary dance history dwells on the element if codes of seduction denunciation. The dance’s choreography explores various internal struggles experienced by humanity. These are the relationship between two forms that is almost always marked with violence, power and fear. In addition, the relations existing between two forms where a third creatures present is viewed in the dance, where the third form is portrayed as human. This is a rationality that presents the manner in which Bausch denounce the common codes of seduction by coming up with inter-relationally where fear is also a factor. However, the dancers overcomes their fear as the enormous rock in the stage suggests a shoreline, yet they climb over the rock in a dangerous manner of dancing. The melancholic choreography addresses the relationship between the male and female genders. The use of female dancers brings out the pain