Symphony+of+Psalms

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** Question 2 response: **
** Completed by Sariah Xu and Leighton H. Triplow, 2010 ** ** Title: ** Symphony of Psalms, Movement I by Stravinsky and So What by Miles Davis // a. //// Describe the structure/form of these two works/movements/sections. // ** Symphony of Psalms structure ** Introduction with the psalm chord. The sections are liked by the E minor chord motive. Changes in the structure are defined by ostinati changes and the layering of instrumentation, harmonic devices ie) clear bass line, church-like singing. The structure of movement I is in the context of the ‘3 movement’ work, hence a ‘tierce de picardie’ finishes the first movement. In addition, Straivnksy mapped out and planned his structure in great detail under the neoclassical style. His composition had a clear blueprint as though the notes have been ‘carved in stone’. The structure of the first movement was determined by the way Stravinsky chose to set the text. ** So What structure **  // Introduction - Head – Variation of Head – Solos – Return of Head (Coda) //  This is defined by the change in solos, finishing of a musical established cycle (chord progression), the chart given to the players on the day of performance defined the number of bars in each section. Given music on the day and had a freer, spontaneous apporoach to writing the music. This ended in a rough, sketched, skeleton structure. The head is 32 bars and consists of an AA'BA' structure. ** Similarities in structure between the two works ** · Both use ostinati patterns in the strcutre. Ostinati in Sos are polyrhythmic but combine in the same time signature. The rhythmic ostinato patterns in SW are more simplistic · Both use original structured ideas. Sos is based on several original structured ideas ie) Emin block chord, composer intentions etc. developed compared to SW that is based on one simplistic melodic / rhythmic motive that is expanded throughout the work   · Clear song form. Sos does not have as much a predictable structure as SW. It tends to be more through-composed and leads to the second movement cleverly with the ‘tierce de picadie’. SW on the other hand returns to an ordered structure ie) the return of the ‘A’ section · Use repetition to create familiarity and unity to the work. The E minor block chord ‘psalm chord’, small interval usage and repeated rhythmic patterns in Sos create unity in the work. In SW, the clearly defined structure, tag motive, snare drum quaver and walking bass bind the work together · Both create variation create variation in innovative ways; Figure 7 in Sos is varied by the horns doubling the plainchant-styled melody initially heard only in the alto section. SW sees the ‘tag’ motive repeated with a subtle difference each time to show that the performers ie) Coldtraine were playing around with the simple

// b. Compare the use of repetition and/or variation as it relates to the structure/form //

General repetition in structure · Clear melodic motives that repeat in both ie) the figure 4 alto plainchant-like melody and the ‘tag’ motive in SW is heard 16 times in the head   · Use different instruments to create variation in tone colour    · Rhythm is used to create variety ie) Sos uses polyrhythms, sextuplets and sustained rhythms, ostinato and SW has different rhythmic qualities between the head and in the varying solo passages · Use of rhythmic repeating pattern to provide direction to the work (unification) ie) the walking bass in SW   · Tone colour is manipulated to signify a change of direction in the structure ie) the choir and orchestra on ‘equal footing’ used at various times, the sound quality of the solo performers in their ‘time to shine’

General variation in structure · One work is in song form as a sigle, individualistic piece and the other is from a greater work that adds to the overall spiritual nature · Structure is crafted either for entertainment (SW) and general admission whilst Sos was more intimate with a specific purpose in mind · The structure has interwoven thick and thin textures with instruments joining and being omitted. Ie) figure 6 has less instruments but is soon joined unknowingly by the static bass line. In comparison, SW has clearly defined instrumentation changes with the start and finish of the head and solos

**Completed by Sariah Xu and Leighton H. Triplow 2010 **

 * Riv and Jo**

During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis). Identify that work.

Title: Symphony of Psalms

Section of work studied (if applicable) Movt. 1

Composer: Stravinsky

a. Describe the structure/form of the work you named above. You may use a diagram in your response.

Structure/form

· There are often sudden changes to the sections without a gradual transition. Eg movt 1, 3 bars after Fig.12 · The first movt, is a form of a prelude · Ideas are often repeated and treated differently, to create unity

b. How is repetition used in the work?

· The use of the E minor chord in the opening, emphasises the tonality, through repetitive punctuation of the E minor chord. Rather then establishing tonal structure · Use of repetitive E minor appegios in piano ostinao, creates a clear indication of the tonality · Opening Oboe plays a repeated semi-quaver passages, creating a forward motion, emphasising the dominant · Movt. 1 contains two climaxes, both use the same ostinato patterns, played in quavers in some instruments and semi quavers in other instruments. · Use of chorus church singng, is repeatedly used to establish the context of the symphony. Ie Movt 1. Love, Movt.2 Hope, Movt.3 Faith              CLAIRE DI LALLO: **//Repetition //** -E minor tonality established by repetition and assertion, creating a sense of implied harmony in the opening bars -the use of ostinati to unify sections by their repetition of the same melodic and rhythmic ideas, eg. the ostinato pattern at figure 4 returns at figure 7, serving as a recognisable feature of the movement -repeated notes at figure 2 in the LH piano, cello and double bass creates a drone, quite bare and empty, which in turn reinforces the E tonality -repetition of notes and evolving around one particular note in the plainchant melody used to accentuate the pleading nature of the text, also quite typical of the Gregorian chant style -repetition of diminished harmonies throughout