Sound Reasoning
Table of Contents
Part I: Sound Reasoning
1. Sound Reasoning: A New Way of Listening
2. How Music Makes Sense
3. Listening Gallery: How Music Makes Sense
4. Musical Emphasis
5. Listening Gallery: Musical Emphasis
6. Musical Form
7. Listening Gallery: Musical Form
8. Expository and Developmental
9. Listening Gallery: Expository and Developmental
10. Overall Destiny
11. Listening Gallery: Overall Destiny
12. Time’s Effect on the Material
13. Listening Gallery: Time’s Effect
14. Summary: A Quick Guide for Listening
15. Making Music Modern
16. Listening Gallery: Making Music Modern
17. Conclusion: What is Music Trying to Express?
5. Listening Gallery: Musical Emphasis
How is the phrase “Remember me” rhetorically reinforced in Dido’s aria from Henry Purcell’s Dido and Aeneas?
CHOICES
Change: New instruments enter.
Extremes: The singer reaches her highest note.
Extremes: There are the longest pauses in the vocal line.
ANSWERS
Change: New instruments enter.
Extremes: The singer reaches her highest note.
Extremes: There are the longest pauses in the vocal line.
The first answer and the last two answers are accurate; the second is not. One other feature intensifies the second line. In the first line of text, some words occur only once and others—“am laid” and “no trouble” are repeated as the text gradually unfolds. Then the entire line of text repeats. In the second line (“Remember me, but forget my fate”), the repetition is compressed: Two full statement of the entire line occur in the same time it took to sing the first line once, making the singer’s plea even more poignant.
How is the following line of text rhetorically reinforced in Charles Ives’ Charlie Rutledge? Check all that apply.
“While Charlie Rutledge makes the third to be sent to his grave caused…”
How is the following line of text rhetorically reinforced in Charles Ives’ Charlie Rutledge? Check all that apply.
“Beneath poor Charlie died”
CHOICES
Change: There is an extreme change of density.
Change: There are changes of speed both before and after the text.
Change: There is a change of texture. Instead of every syllable of the singer being synchronized with the piano, she singer is left alone to sing a portion of the text.
Extremes: “died” is the longest sustained word in the song.
ANSWERS
Change: There is an extreme change of density.
Change: There are changes of speed both before and after the text.
Change: There is a change of texture. Instead of every syllable of the singer being synchronized with the piano, she singer is left alone to sing a portion of the text.
Extremes: “died” is the longest sustained word in the song.
All of the above are true.
In John Harbison’s Simple Daylight, which phrase is treated as the climax of the song?
CHOICES
”Spoken over and over”
”Wakes me”
ANSWERS
In John Harbison’s Simple Daylight, how is the climax created?
In John Harbison’s Simple Daylight, how is the climax created?
In John Harbison’s Simple Daylight, how is the climax created?
In the following excerpt from Gustav Mahler’s Symphony No. 4, the intricate, boisterous opening section gives away, after a brief pause, to a contrasting section initiated by a lyrical cello melody.
Later in the movement, both sections return. Which return is more strongly rhetorically reinforced—that of the opening section or the contrasting one?
CHOICES
The contrasting section
ANSWERS
In the above example, how is this return more strongly rhetorically reinforced?
CHOICES
The stronger return is emphasized by being played higher and louder.
The weaker return is played in a much lower register.
The weaker return presents only fragments of the original theme; the stronger return is more literal and complete.
The weaker return is played at a much slower speed.
ANSWERS
The stronger return is emphasized by being played higher and louder.
The weaker return is played in a much lower register.
The weaker return presents only fragments of the original theme; the stronger return is more literal and complete.
The weaker return is played at a much slower speed.
Stronger rhetorical reinforcement places a greater emphasis on the return of the contrasting section, due to the first, the second and the fourth answer. This is an example of how different degrees of rhetorical reinforcement can make a return more obvious or more indirect.
After a slow introduction, Bela Bartok’s Concerto for Orchestra introduces an agitated string melody. This leads to a contrasting theme, played by the oboe with a delicate string and harp accompaniment.
In the second excerpt, the contrasting theme will return. How is its return rhetorically reinforced?
CHOICES
Duration: The rhythm holds dramatically just before the contrasting theme enters.
Change: There is a huge build-up in volume, followed by a dramatic drop-off.
Change: There is a huge build-up in density, then a huge drop-off.
Change: There is a change of primary instruments, from brass to solo wind and strings.
Change: There is a change from multiple ideas simultaneously to a single idea.
Change: The pulse is relaxed when the contrasting theme returns.
ANSWERS
Duration: The rhythm holds dramatically just before the contrasting theme enters.
Change: There is a huge build-up in volume, followed by a dramatic drop-off.
Change: There is a huge build-up in density, then a huge drop-off.
Change: There is a change of primary instruments, from brass to solo wind and strings.
Change: There is a change from multiple ideas simultaneously to a single idea.
Change: The pulse is relaxed when the contrasting theme returns.
All of the above are true, making the contrasting theme’s return very emphatic.
Listen to “Orpheus Weeps” from Igor Stravinsky’s ballet Orpheus.
Which of the following sound clips do you consider to be most strongly emphasized throughout the movement?
CHOICES
B
C
ANSWERS
In this clip from above, what is the principle means of emphasis?
CHOICES
Change
Extremes
Strong Rhetorical Reinforcement