Which Part Of The Program Gives Background Information On The Music?
While many do not know what precisely program music is, chances are you've seen it in activity. That's considering possibly the nearly famous example of program music is Walt Disney's Fantasia.
Not all Disney's musical selections were written to be programmatic. Still, many became so ubiquitous that you can't hear, for instance, The Magician'south Amateur without picturing a cartoon mouse harangued by an army of brooms.
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Definition: What Is Program Music?
For almost musicians, the working program music definition is whatsoever music designed to tell a story.
You may well inquire, doesn't all music practice that? But the answer is no. Much of early classical music is what musicians telephone call 'abstract.' All information technology has to practice is create an temper.
Conversely, program music elicits specific feelings and responses from its audition. Frequently, but not always, it comprises several movements that capture the shifts in mood, from, for instance, a tranquil opening to a raucous middle, as the narrative tension builds.
Another famous example of program music that illustrates this point is Stravinsky'southward ballet The Rite of Spring.
Plan Music Characteristics
Since all program music needs to make it program music by definition is tell a story, information technology doesn't have as many recognizable features as, for instance, romantic music.
But ii things are consistent, whatever the piece. Programme music has a source text such as:
- Poem
- Short Story
- Novel
This source text inspires the story the composer sets out to illustrate with music.
Program music is also predominantly instrumental. Information technology's unlike from opera or lieder in that information technology relies on the orchestration, not words, to tell a story.
7 Examples Of Programme Music
Since programme music can take all shapes and forms, information technology's helpful to look at examples of how it changed over fourth dimension. Here are some of the most famous pieces of program music.
Four Sea Interludes by Benjamin Britten
Year: 1944
Britten's Four Sea Interludes are the result of Britten'due south opera Peter Grimes. The interludes condense the opera plot and use just instrumentation to tell the devastating story of how a village turns on one of its occupants.
The slice features iv movements. Just considering the opera comprised more than scenes, Britten omitted some of the emotional moments to assistance this symphonic poem stand alone.
In Dawn, Britten combines the opera's prologue with the opening of Act I of Peter Grimes. He uses three distinct instrumental themes in this section. The violins and flutes play a tranquil, legato theme that remains essentially unchanged. Information technology contrasts with the rippling line of arpeggios played by the clarinets, harp, and violas. These are our beginning hints at the unease that threatens Grimes.
Both sections are sporadically interrupted past the final harmonic section, which features deeper-voiced instruments like cellos and brasses. They play a disquieting, ominous theme that threatens to overwhelm the others.
Sunday Morning is the 2nd movement, and in it, Britten paints the sound of church building bells through the utilize of major thirds. To create the clashing of brass bells, Britten uses unlikely and singular brass combinations. As the movement progresses, these go replaced past actual bells.
Smaller bells and handbells get represented by the lighter strings and woodwinds, except for the flute, which warbles to create orchestral birdsong.
In Moonlight, the bells give way to Grimes' impulsive, misanthropic nature. As he meditates on the murder of his apprentice, Britten sketches his unease through an inverted second, a chord congenital on the dominant or fifth of the calibration.
Storm is the last movement. Information technology is long, solemn, and mournful. With Grimes at present exiled to body of water, the villagers first stand by to picket him drown in the oncoming storm and and so retire to the pub. The music hither is appropriately ponderous and dull but occasionally punctuates this slower line with dissonant chords.
Rodeo by Aaron Copland
Year: 1942
Aaron Copeland is one of the most recognizable American composers of plan music, and Rodeo is one of his most immediately identifiable pieces.
Sometimes called a 'cowboy ballet,' Rodeo continues Copeland'due south move abroad from atonality towards a more than recognizable and accessible kind of classical music.
Its all-time-known move, Hoe-Downwards, features characteristic American fiddle music typical of barn dances and hoe-downs.
But it also showcases traditional American folk songs as Copeland continues the fashion for creating nationally-driven classical music.
The story in Rodeo is a love story. The first motion, Buckaroo Holiday, introduces listeners and ballet attendees to the characters. The young, female person protagonist meets and falls in beloved with i of the ranchers, and the story begins.
Unhelpfully, her called paramour'southward attention is elsewhere, and the second motion, Corral Nocturne, uses minor intervals and keys in improver to slower music to indicate the young adult female'south sadness.
Saturday Night Waltz builds on this theme, every bit in the way of waltzes, anybody couples up, except the lovestruck immature adult female. It's a melancholy only romantic motility. Information technology gradually segues into a faster-moving piece, inspired by the melody I Ride the One-time Paint, which finally gets her noticed.
Unlike in the Sea Interludes, love triumphs hither. In the familiar Hoe-Down, the music strikes upwards and ends with a trip the light fantastic and a kiss. Information technology's a motion guaranteed to send listeners away humming.
Symphony No. 9 From the New Earth past Antonin Dvorak
Year: 1893
Dvorak's New World Symphony owes its nickname to the fact Dvorak composed information technology while employed by the National Conservatory of Music in America.
Appropriately, the symphony builds on his impressions of America and incorporates themes inspired by American folk music, especially Native American and Spiritual songs, which fascinated him.
Just it also features a largo in the second movement that, in a moment of nostalgia, looks back with aching sweet on the 'Old World' or the British Empire America long-since had severed ties with.
This comes through in a much-debated theme oftentimes attributed to the spiritual Goin' Home. Nonetheless, it wasn't until the 1920s that a student of Dvorak'south put words to this haunting melody.
It segues into a funeral march, and as the old world dies, the new ane emerges. In it, we get what is perhaps the almost programmatic movement of the piece, as the music illustrates Henry Wadsworth Longfellow'south Song of Hiawatha.
Except for the third motility, with its Longfellow homage, Dvorak's symphony is primarily plan music in that information technology distills a sense of place rather than a specific narrative.
L'Après Midi D'un Faune past Claude Debussy
Year: 1894
Claude Debussy nigh always wrote program music, and the effect is that he significantly shaped our understanding of it. In L'Apres Midi D'un Faune, was inspired past Stephane Mallarme'due south poem of the aforementioned name.
In it, the flute plays the part of the Faun equally it chases nymphs through a grove.
In direct contrast to composers like Wagner, Debussy focuses on long sustained chords and solo orchestration. He wanted to avert what he perceived every bit overly-cluttered music with its vogue for the leitmotif. Instead, he instills an atmosphere of intimacy and Romanticism by taking a much more intimate arroyo.
It perfectly suits Mallarme's poem, which is imagistic and heavily symbolic.
Debussy's piece is a tone poem. In addition to eschewing leitmotif, it also sidesteps the classic argumentative or conversational structure of symphonies. But that'due south not to say it'due south without shape. The languid Faun's melody gives mode to a passionate centre section before meandering dorsum to the opening melody again.
An American in Paris by George Gershwin
Year: 1928
Subtitled A Tone Poem for Orchestra, Gershwin'southward An American in Paris is a piece of program music that, similar Dvorak's New World Symphony, evokes the senses and impressions of a place in time.
Jaunty and jubilant, Gershwin described his limerick as a 'rhapsodic ballet.' And like many Gershwin tunes, this is music to dance to. Indeed, when incorporated into the musical past the same proper noun, people did dance to it.
Gershwin wrote the piece while in Paris later on receiving a commission for a concerto. In Paris, Stravinsky and Ravel were reluctant to reinvent the musical bicycle, given Gershwin'due south considerable skill, so they didn't attempt to retrain him.
Instead, the asked-for concerto incorporates complex jazz harmonies and eclectic orchestral sounds to paint a moving-picture show of time and place. Amidst other things, listeners can keep their ears tuned for:
- Taxi horns
- Orchestral haling of a prostitute
- Blue notes and dejection-influenced sounds
In improver to these atypical orchestral sounds, Gershwin grounds the piece with a poignant, homesick melody that lightens and lifts equally the eponymous American encounters a boyfriend citizen in Paris' busy, humming city.
Carnival of the Animals by Camille Saint-Saens
Year: 1886
Camille Saint-Saens Carnival of the Animals is another famous example of program music. Information technology's popular as an introduction for young children because they can take fun listening out for the unlike animals.
Throughout Saint-Saens' suite, he showcases:
- Lions
- Hens and roosters
- Wild Donkeys
- Tortoises
- Elephant
- Kangaroo
- Aquarium
Carnival of the Animals likewise experiments with some unlikely animal combinations, including the playful motility Pianists. Here musicians become animals, and the audition witnesses all the finger exercises and practicing not featured at concerts.
All the animals come up together for the conclusion, where they parade in majesty. There are too various allusions to older classical music pieces scattered throughout.
In the Hens department, we hear baroque composer Rameau's harpsichord slice La Poule. Tortouse, the motility for the tedious but steady tortoise, takes Offenbach's famous can-can and, instead of playing it at a gallop, holds each annotation for an overexaggerated lugubrious feel.
Fossils quotes a whole range of pieces, not to the lowest degree of them Saint-Saens own Danse Macabre. In improver to laughing at himself, he pokes fun at:
J'ai du Bon Tabac
Twinkle Twinkle Piddling Star
Au Clair de la Lune
Moving from the ridiculous to the sublime, Rossini's Una Voce Poco Fa.
Years afterward, Ogden Nash, a humorist, and poet equanimous verses for each of the 14 movements. They're as natural language-in-cheek as the music.
The Lark Ascending by Ralph Vaughn Williams
Year: 1914/1920
When Ralph Vaughn Williams wrote The Lark Ascending, the composition was for violin and pianoforte. The soaring violin line, depicting a lark in flight, went on to go one of the most quintessentially English language compositions there was.
Then, in 1920, Vaughn Williams revised the slice, this fourth dimension scoring it for an orchestra.
The outbreak of World War One delayed the premiere of the slice. The violinist who wrote the music, Vaughn Williams, didn't publicly perform information technology until 1921.
As the violin's lark soars, the orchestra or piano works to paint a flick of rural English language repose.
Accounts vary nearly the inspiration for The Lark Ascending. Some aspect it to George Meredith's poem, The Distraction. But others say inspiration struck while the composer was on holiday at Margate. War had been declared, and Vaughn Williams was watching ships come in and out of Margate Harbour.
His response was a powerful slice of program music that sings of hope and patriotic loyalty.
Mind for the mode Vaughn Williams continually dodges a final, closed cadency to instill that sense of optimism. And as yous mind, pay attention to the violin. It doesn't only soar. Information technology uses pentatonic roulades – trivial five-note embellishments to the phrasing that create the sense of trilling and flight we associate with the lark.
v Top Programme Musicians
There are many splendid examples of plan music. Only there is an equal number of musicians who influenced it. Here are some of the most famous.
Charles Ives
Perhaps the best example of Charles Ives' program music is his piece The Unanswered Question. But his career was wide-ranging and ran the gamut from church building to popular music.
Ives took elements from these wildly different genres and integrated them with European techniques like:
- Polyrhythms
- Polytonality
- Tone clusters
Unconvinced music could support him, Ives graduated university and went not into professional composition but insurance policies. But he connected to compose, and other examples include:
- Central Park in the Dark
- The Celestial Railroad
- Three Places in New England
Edward Elgar
Despite Edward Elgar'south long struggle for notoriety in his lifetime, today he is one of the composers nearly associated with English music.
Amongst his compositions are a variety of programmatic pieces. Elgar'due south programme music typically is inspired by specific places, poems, or equally in the case of Bounding main Pictures, both.
Some of his about recognizable program music includes:
- Variations on a Theme (Enigma)
- Severne Suite
- Nursery Suite
Edvard Greig
Another significant correspondent to the development of program music was Edvard Grieg. His program music is highly evocative of Nordic landscapes and fjords.
Grieg is all-time-known for his Peter Gynt Suite, originally equanimous to accompany Ibsen's play of the same name. But today, y'all're as likely to hear it on the radio every bit in theatres.
Arnold Schoenberg
When people call up of Schoenberg, 3 things immediately spring to mind:
- The 12-tone scale
- Serialism
- Atonality
Schoenberg didn't just write program music. He broke all the boundaries of conventional music, and his originality incensed the public. Just Schoenberg was undeterred. He channeled that unconventionality into a piece of program music that remains 1 of his all-time-loved pieces, Verklärte Nacht.
Lavish and romantic, the piece was inspired past a poem past Richard Dehmel.
In improver to teaching Alban Berg, Schoenberg supported Liszt and Richard Strauss in their careers.
Richard Strauss
Strauss famously said that his program music was so specific, the listener could tell what color hair Don Juan's many loves had by listening.
True or not, Strauss was musically brilliant. He was also crucial to the emergence of the tone poem, the medium well-nigh popular with composers writing program music. Strauss polished the fashion and structure of this emerging piece.
Some of his all-time-known program music includes:
- Don Juan
- Death and Transfiguration
- Don Quixote
The History Of Programme Music
Music has always been emotive, merely during the Romantic Era, information technology was specially so. This preoccupation with the cult of sensibility led composers to start experimenting non only with how music could capture feelings and sensations, but how it could capitalize on those feelings to tell a story.
The result was program music.
To test the theory, composers began to integrate other mediums into their music. These ranged from poems to paintings and brusk stories.
Not everyone endorsed the movement. For instance, although Bruckner initially ready programs for his music, he later scrubbed most of them, wanting his music to stand up on its own.
Composers used various techniques to shape their musical stories, including:
- Leitmotif
- Themes
- Orchestral instruments as characters
Today, we've lost the preoccupation with heightened emotion and sensibility. But program music continues. You're most likely to hear it as the backdrop for films. Heed to the sweeping Wagnerian influences of Lord of the Rings' soundtrack and see if you agree.
What Is Program Music? Determination
Program music is music with a story to tell. What story and where it comes from doesn't thing. All the music needs to evoke a specific place, feeling, or narrative.
Today, nosotros may not recognize program music equally annihilation more than than compelling music, but chances are you would however recognize Rimsky-Korsakov's Scheherazade or Duke Ellington'due south jazzier Harlem Air Shaft.
And if not, have a listen to your favorite movie soundtrack. As time moves on, these are every bit programmatic equally Romantic Era composers ever were.
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Which Part Of The Program Gives Background Information On The Music?,
Source: https://www.musicindustryhowto.com/what-is-program-music/
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