Baroque composers were obsessed with the ‘affections’ (moods) that provided the basis of meaning to their music.
“It was believed, for example, that a lamento bass [a series of descending bass notes] was the palpable expression of sadness, while a rapidly rising sequence of notes was the opposite - euphoria.” http://jan.ucc.nau.edu/~tas3/baroqueideal.html
This was often linked to word painting - where the music was composed to portray the mood of the text: ”Mountain" forms a peak in the melody, and "hill" a smaller one, while "low" is another low note. "Crooked" is sung to a rapid figure of four different notes, while "straight" is sung on a single note, and in "the rough places plain," "the rough places" is sung over short, separate notes whereas the final word "plain" is extended over several measures in a series of long notes.
Wikipedia - “Word Painting”
Handel 1685 - 1759
from the Oratorio Messiah
Musically Baroque composers were also obsessed with placing equal emphasis on both the melody and the bass.
The Baroque period saw a focus on the two musical modes we know as Major and minor.
Major modes tend to be stable and stereotypically provide music that is ‘happy’ in meaning.
Minor modes are more unstable and stereotypically sad in meaning.
But this is not always the case, as illustrated in an example from the contemporary Estonian composer, Arvo Part, which is set in the Major mode using a violin and a piano only.
Musical Meaning in the Classical Period:
Rejection of Baroque affections
Duality in musical themes
Balance and symmetry
Melody becomes superior Neoclassical architecture
A Leitmotif is a recurring musical theme.
The Father of film music?
Max Steiner (1888 – 1971) is sometimes called the 'father of film music'.
King Kong, 1933 - “Steiner successfully captures the varied moods of the story. Using a heavy orchestration dominated by brass and percussion Steiner creates a terrifying sound. But the music goes beyond this one-dimensional view of Kong; it also gives him a human personality. By the end, Steiner’s music projects a tremendous sense of sadness at the death of the magnificent animal.”
Hickman, R. (2006) Reel Music, W.W. Norton, New York.
The Father of Film Music?
“It was believed, for example, that a lamento bass [a series of descending bass notes] was the palpable expression of sadness, while a rapidly rising sequence of notes was the opposite - euphoria.” http://jan.ucc.nau.edu/~tas3/baroqueideal.html
This was often linked to word painting - where the music was composed to portray the mood of the text: ”Mountain" forms a peak in the melody, and "hill" a smaller one, while "low" is another low note. "Crooked" is sung to a rapid figure of four different notes, while "straight" is sung on a single note, and in "the rough places plain," "the rough places" is sung over short, separate notes whereas the final word "plain" is extended over several measures in a series of long notes.
Wikipedia - “Word Painting”
Handel 1685 - 1759
from the Oratorio Messiah
Musically Baroque composers were also obsessed with placing equal emphasis on both the melody and the bass.
The Baroque period saw a focus on the two musical modes we know as Major and minor.
Major modes tend to be stable and stereotypically provide music that is ‘happy’ in meaning.
Minor modes are more unstable and stereotypically sad in meaning.
But this is not always the case, as illustrated in an example from the contemporary Estonian composer, Arvo Part, which is set in the Major mode using a violin and a piano only.
Musical Meaning in the Classical Period:
Rejection of Baroque affections
Duality in musical themes
Balance and symmetry
Melody becomes superior Neoclassical architecture
A Leitmotif is a recurring musical theme.
The Father of film music?
Max Steiner (1888 – 1971) is sometimes called the 'father of film music'.
King Kong, 1933 - “Steiner successfully captures the varied moods of the story. Using a heavy orchestration dominated by brass and percussion Steiner creates a terrifying sound. But the music goes beyond this one-dimensional view of Kong; it also gives him a human personality. By the end, Steiner’s music projects a tremendous sense of sadness at the death of the magnificent animal.”
Hickman, R. (2006) Reel Music, W.W. Norton, New York.
The Father of Film Music?
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