Transcript Music and Action - (Kay) Picart Homepage

MUSIC & ACTION
CONSTANT LAMBERT
Prepared by: Kasey Clark & Jackeline Hernandez and
Edited By: Laura Pratt and Dr. Kay Picart
FORMS OF ACTION
 The Direct or Present
Action represented in
Rimsky_____________________
_____________________
_____________________
_____________________
 More prevalent in
Balakireff’s Thamar is
Recollected or
Imaginary Action
which portrays a__________________
__________________
__________________
__________________
___
 Strauss’s symphonic poem the “pathetic death scenes which end
their work are definitely the last act of the play and represent the
final word on the subject in hand” (205)
Music, Sequence & Time
•
“It cannot be emphasized to strongly that although the composer is forced to
adopt time as his medium he does not always approach time the same way.
Sometimes his themes succeed each other in a dramatic sequence like the
acts of a play, sometimes sequence and position in time is dictated by purely
formal reasons” (205).
•
•
Mozart on the other hand, “conceived a
symphony in its full form in one moment of
time. It stands to reason, then, that the return
of a theme in his works can have no narrative
or dramatic significance. The recapitulation
balances the exposition, much as a tree on
one side of a picture might balance one on the
other” (205).
How is Mozart’s symphony read as a whole?
Concert-Hall & the Theatre
Two composers that divided their work equally between concerthall and the theatre are _____ & ________.
•
“While it would not be quite true to say that the essential style of
their music changes when they write for the theater, it is
certainly true that the physique of their music changes” (207)
Example: Tchaikovsky
– _____________________________________________________
_____________________________________________________
•
“We find no such melodic figuration in his symphonies, still less
in any classic symphonies” (207).
Example: Mozart
– _____________________________________________________
_____________________________________________________
Choreographer Choice of Music
• How do contemporary composers
error when writing ballet music?
– “Tchaikovsky’s miming scenes are always admirable because
he is content to establish only he general atmosphere of the
scene, and does not try to emphasise imaginary words in
operatic recitative style” (208).
Test Your Skills:
“How closely should the dance follow the
music”? (208)
Trouble with Choreographic
Interpretation
• “…the dancing is bound to emphasize the least
important aspect of the music- its timesequence” (205)
Example:
______________________________________
__________
• Although the final movement sounds soft in tone
it is not a finale of triumphant resolution but just
a “facet of experience only” (205).
Poetry & Music
• What is the most
suitable kind of lyrics
for music?
Work Cited
Moulin Rouge. Dir. Baz Luhrmann. Perf. Nicole Kidman, and Ewan McGregor.
Twentieth Century Fox, 2001.
Roger Copeland and Marshall Cohen, eds. What Is Dance? Oxford University
Press, 1983.
"Scenes from the Moulin Rouge." No date. Online image. 6 February 2005.
<www.moulin_rouge.weblogger.terra.com>.
The Police. Roxanne. A&M Records, 1995.