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.
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
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.
...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 idea of world music developed in the 1960s among academics who were attempting to classify and trace the origins and inspirations of
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.
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...
During the course of this semester, the several musical styles that have been discussed and analyzed have displayed various similarities and differences. These differences in certain musical elements have accounted for the distinctiveness and uniqueness of each style of music. The culture behind these countries’ music adds even more to their individualism. Cultural aspects such as religion play a huge role in the music of each country as well. Styles of music in Africa might be more upbeat than certain styles in India, for example. Some cultures use music in religion, while others may not. Aspects such as dance are important factors in all three types of music. Despite the differences and similarities, however, without music, these cultures would perhaps not be as fascinating and unique as they are now.
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.
... 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.
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
The. Burkholder, J. P., Donald J. Grout, and Claude V. Palisca. A History of Western Music. Eight ed. of the book. New York: W.W. Norton, 2010.
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
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
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.... ...