Glossary and Bibliography: Post 9

Glossary of terms: 

Chordal sequence/progression: any combination of chords in a certain key that repeats itself. or that can be played in that key.

Quaver: musical note played for one eighth the duration of whole note

Detached semiquaver/sixteenth: is a note played for one sixteenth the duration of a whole note hence the name.

Cadence: a melodic or harmonic configuration that creates a sense of repose or resolution

Amen/plagal cadence: A chord progression where the subdominant chord is followed by the tonic chord

Homorhythmic: a texture where there is a "sameness of rhythm in all parts" or "very similar rhythm" as would be used in simple hymn or chorale settings

Ternary form: a three-part musical form, usually schematized as A–B–A.

contrapuntal writing/counterpoint: relationship between voices that are harmonically interdependent (polyphony), but independent in rhythm and contour.

Melismatic: the singing of a single syllable of text while moving between several different notes in succession.

Homophonic block: the pitches of the accompanying harmony move in exactly the same rhythm as the main melody.

Bibliography

Master of Persian Music: Hossein Alizadeh, tar and setar. (2002, May 30). Retrieved from Free Sackler: http://www.asia.si.edu/podcasts/related/alizadeh/progNotes.asp

Coronations. (2012, Dcember 03). Retrieved from Classical Archives: http://www.classicalarchives.com/work/11746.html#tvf=tracks&tv=about

Zadok the Priest. (2012, December 03). Retrieved from Youtube: http://www.youtube.com/watch?v=tIMIRKG9Urs

Anthem. (2013). Retrieved from Encyclopædia Britannica: http://www.britannica.com/EBchecked/topic/27272/anthem

George Handel biography. (2013). Retrieved from Bio: True Story: http://www.biography.com/people/george-handel-9327378

In Music Theory, What Is The Definition Of Anthem? (2013, March 3). Retrieved from Music Theory 101: beabetterproducer.com/music-theory/in-music-theory-what-is-the-definition-of-anthem/+&cd=3&hl=en&ct=clnk&gl=us

Balicathy. (2010, April 23). Be khod residan. Retrieved from Lyrics translate: http://lyricstranslate.com/en/Dariush-be-khod-residan-lyrics.html

Dismale, J. (2012, December 03). Zadok the Priest full score. Retrieved from Abers: http://www.aber.ac.uk/en/media/scores.pdf

Khaleghi, R., Farhat, H., & Khosh, S. (2007). An overview of contemporary Persian music. Retrieved from Myriad Online: http://www.myriad-online.com/images/workshop/Persian_music.pdf

Rish111. (2008, May). Ap Music Theory Vocabulary. Retrieved from Flashcard Exchange: http://www.flashcardexchange.com/cards/ap-music-theory-vocabulary-616411

Videos

1. Saz va Avaz (Nahoft):

      https://www.youtube.com/watch?v=df6x9AgAW-Y

2. Saz va Avaz (Nahoft) No Voices:

1        https://www.youtube.com/watch?v=o_etP3_jMyM

3. Zadok the Priest:

    https://www.youtube.com/watch?v=tIMIRKG9Urs

What is Homophony and Repetition: Post 5

Example 2: Texture/repetition

Based on anthems, the idea, especially when first formed in the Baroque-era, was to clearly hear the choir chant their religious lyrics, though it is vital the piece remain homophonic as much as possible. Fortunately, the link to both pieces proves how homophonic they are.

First of all, homophony (homophonic) is a texture in which two or more parts move together in harmony, the relationship between them creating chords, or three or more notes heard simultaneously.

As stated in the last post, repetition, or the repeat of text, musical phrases, melodies, harmonies, etc. was common in anthems and will clearly be recognized.

Zadok the Priest is full of homophonic texture in each section.

Summarizing the Whole: Post 8

     After researching the topic and examining the aspects of each culture, it is apparent there is a link between Baroque and Modern Iranian Music, from the view of anthem form and texture. Both pieces follow under the structure and maintain a religious theme, despite the length and topic of religion. The anthem form, however, is more apparent in Zadok the Priest, than Saz va Avaz, unless one would speak Iranian. The homophonic texture was viewed plainly in both pieces, though Zadok is more organized into the texture, though one could tell the texture from Saz va Avaz.

Homophony and repetition: Saz va Avaz: Part 7

Alizadeh’s work can be heard using the homophonic texture as well.*

* (Note: Due to no sheet music, time passages are used in replacement of measures)

Section 1:

• For Alizadeh’s piece, in section 1, from the time of 0:00 to 1:10, begins with

the tenor singing proudly and with such fortissimo, though the homophonic texture is

unfolded with the chord played by the tar, with no specific rhythm, though

the harmony is obvious, since the tar does not play monophonically. though

it may sound possibly polyphonic once the tenor stops singing the melody

for a moment before continuing to sing.

• From 0:53-1:04, like Handel’s piece, the tenor sings out a melismatic phrase with accompaniment of detached quavers.

• Repetition is heard of the beginning phrases, where 0:13-0:25 and 0:38-0:44, where even the accompaniment of the tar is the same, though the Kamancheh plays louder and chordally with the tar and tenor.

• From 1:11-1:44, the orchestral accompaniment plays among each other, though they play the same melody, repetitively, such as 0:16-26 and 0:33-44 (though the second time has a few different harmonic phrases removed, the melody is still the same and recognized).

Section 2:

• In section 2, from 1:45 to 4:15,

the piece begins, like Handel’s piece, in adagio, slowly playing, though

the harmony of the tar starts to slow down along with the piece, staying

piano as the voice remains in its adagio tempo. However, the tempo, for

a brief moment, increases allegro, as the melody increases in pitch with

sixteenth notes. But for the allegro tempo, the tar builds its tempo around

the melody, keeping the texture shaped homophonically.

At 2:49-3:05, another melismatic phrase is added, but with an immediate crescendo  from piano to forte, or it could be considered a terraced dynamic by its quick change. But the accompaniment still dwells among detached quavers, in order to fulfill the homophonic texture of the voice and chordal instruments.

Then at 3:45, the tempo returns to adagio, with the lyrics ending with the repeated phrase “Without You, Life can’t go on.”

Section 3:

• In section 3, from 4:54-7:00,  the tenor returns again with the main theme of the first

(Oh Beloved), but then forms out into the new lyrics with the tar, tying the

harmony to the melody, giving its familiar homophonic texture. The piece

ends with instrumentation.

• At the end, around 6:45, the tenor, adagio and piano, for the final time, restates the theme of the entire religious piece of “Without You, Life Can’t Go On.”
  
  

Homophony and Repetition: Zadok the Priest: Post 6

Section 1:

• For Handel’s piece, in section 1, once “Zadok the Priest” is chanted, a

short homophonic statement is developed from the opening harmonies

based on the orchestral introduction. An example can be seen in measure 23, where the chorus begins to sing with half notes at the same time, creating a chord, in addition to the quarter, eighth, and sixteenth notes played by instrumentation.

• There is a general homophonic texture for the first section, spanning around measures 1-23, where by the orchestral introduction, there are semiquaver broken chords un upper parts for measures 1-29. There are also repeated quaver chords based on chords, one per measure until measure 16.

• For the choral entry, the use of the homophonic texture and its use of block harmony supports the enunciation of the sacred text, which makes use of simple rhythms, which could be homorhythmic, a condition in homophony. An example is at measures 23-29.

• Repetition is somewhat introduced, though one who would hear the piece might not recognize it at first. The opening chordal sequence in the instrumental introduction (meas. 1-8) is repeated in measures 23-30, along with the voices.

Section 2:

• In section two, the listener gets a true understanding of the homophonic texture, built along with legato chorus lines which use a dotted rhythm in accompaniment. Aside the

choir giving wider dimension of the homophonic texture, the brass and timpani at cadence points thicken the texture.

• Concerning repetition, section two brings up its introduction. An example would be at measures 34-38. However, this is the accompaniment that makes the repetition. More repetition is clearly heard in measures 43-52 from the word “Rejoiced.”

Section 3:

• The final section incorporates ternary form of ABA, interweaving four linked ideas, which proves of the contrapuntal writing, giving a dense homophonic texture.
• Section A, measures 63-74
• Orchestral bridge, measures 73-78
• Section B, measures 79-102
• Section A, measures 103-121

• The homophonic texture is represented in the choir, though acts as homorhythmic and chordal from measures 63-65. From 66-69, detached quavers influence homophonic texture. From measures 84-86, the sopranos run a melismatic phrase in a semiquaver with accompaniment of detached quavers.

• Handel’s use of homophonic block harmony is once again present at measures 63-66.

• Repetition is once again used in the new section for choir. An example is heard from measures 63-65 for all parts.
  
  

What is the Anthem: Post 4

Beginning in the mid-16th century, the anthem is a form dedicated to choir and orchestra. However, the form may provide soloists for both choir and instruments, though anthems later in the 17th and 18th century used voices and solo voices with instrumental/orchestral accompaniment. More importantly, anthems delve into religious text and for sacred ceremonies, usually from the Bible or Qur’an. Concerning both pieces of the investigation, there are specific aspects of the anthem that both pieces utilize.

As far as the structure of anthems, they are broken down into sections, in this case, three for Zadok the Priest. The structure is sectioned by discussing religious themes, as expected from an anthem:

• The first section is broken from measures 1-30 with a tempo of andante in key of “D,”  where the commencement of the piece is instrumental, leading to the introduction of the chorus, chanting “Zadok the Priest.” The choral entry uses soprano, alto, tenor, and bass, now heard forte throughout.

• The second section brings up the same chorus from measures 31-62 with a tempo of adagio, with the choir repetitively chanting “And All the People Rejoiced.” Like the previous section, the same key is used for same voices/instruments with an opening chordal sequence in accompaniment from the the instrumental intro.

• The final section. broken from 63-121 in allegro, dedicates the choir to sing with repetition, “God Save the King,” heard chordally, interspersed with “Amens” incorporating long semiquaver runs by the chorus. The chorus ends with a largo plagal cadence on “Allelujah.”

When translating the lyrics for Saz Va Avaz, the piece has also been broken into three sections, still maintaining religious themes, despite being from the Qur’an.

• Section 1 breaks down to an introduction of a tenor playing the tar,

maintaining a tempo of allegro, bringing a chordal chant of “Oh Beloved” with a

repetition of “Without You, Life can’t go on.”

• Section 2 introduces the same tenor to chant, still allegro, a discussion of

the love of God, along with the repetition of “Without You, Life can’t go

on.” However, where the first section played in a dynamic of forte, this section play with a dynamic of piano for its entirety, with one terraced dynamic to forte, but decrescendos to piano again.

• In the final section, the tenor still sings, adagio, though remains with the dynamic

of piano. The tenor now sings about how sacred the Garden of Eden is, but is saddened if everything should disappear, once again, ending the chordal section and the piece with the repetitive theme/phrase “Without You, Life can’t go on.”

In both pieces, there is definitely evidence of a structure, despite the themes are different, though both pieces still speak of religious aspects, which follows the form of the anthem. Among the pieces, repetition was heavily used of phrases in order to reinforce the main theme of the piece or section of the piece, which is known to be present in anthems. Of course, tempos are present in many pieces, especially when they are different in the piece. However, the change in tempo builds the climactic moments to initiate finales or make powerful introductions. More so, the chordal harmony is present throughout each piece for a homophonic texture of harmony, though this will be discussed in further detail in the next post. For both pieces, the anthem form is clearly expressed throughout both pieces.

What are the Stylistic Genres?: Post 2

Each style of music is unique to its own culture, but brings great similarities

to multiple cultures, even if they have nothing to do with each other or if they are

from different eras. Baroque music comes from the 1600s, deriving from Western

culture. Baroque music is considered to have brought tonality, new music

notation, and a wider use of instruments, such as pianos. Even new musical forms

were being introduced, such as operas, concertos, and oratorios.

Iranian music is more sacred and less secular than what Baroque offered.

Iranian could be considered music fit for the Middle Ages, even in modern times.

Iranian music deviates from Persian music, forming its use in voice where the

singing is more precious than the use of instruments. Only until the modern age

did Iranian music use instruments, but nothing the Western culture would use.

Where the Western culture would use violins, the Iranian culture uses a similar

instrument known as the sitar.

Musical Links: Post 1

For the musical links project, there has been a discovery between two very different works. The Baroque era work, “Zadok the Priest” for chorus and orchestra by Georg Frederick Handel and the modern day Iranian musical work, “Saz Va Avaz (Nahoft) by Hossein Alizadeh both use the form of the anthem and the homophonic texture. Both pieces may vary in structure, repetition, and dynamics.