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Listening Gallery: Musical Emphasis

Module by: Anthony Brandt

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Problem 1:

How is the phrase “Remember me” rhetorically reinforced in Dido’s aria from Henry Purcell’s Dido and Aeneas?
Musical Example: Henry Purcell, Dido’s aria from Dido and Aeneas
Duration: The words are repeated.
Change: New instruments enter.
Extremes: The singer reaches her highest note.
Extremes: There are the longest pauses in the vocal line.
Problem 2:

How is the following line of text rhetorically reinforced in Charles Ives’ Charlie Rutledge? Check all that apply.
Musical Example: Charles Ives, Charlie Rutledge
“While Charlie Rutledge makes the third to be sent to his grave caused…”
Duration: The singer’s words are drawn out more gradually.
Duration: The singer’s words are repeated.
Change: The singer changes from speech-like to full-voiced singing.
Change: The singer is briefly left alone for the first time.
Extremes: The voice reaches a high register, while the piano sinks to its lowest register.
Problem 3:

How is the following line of text rhetorically reinforced in Charles Ives’ Charlie Rutledge? Check all that apply.
Musical Example: Charles Ives, Charlie Rutledge
“Beneath poor Charlie died”
Duration: The singer’s words are drawn out more gradually.
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.
Problem 4:

In John Harbison’s Simple Daylight, which phrase is treated as the climax of the song?
Musical Example: John Harbison, Simple Daylight
”All but inarticulate cry”
”Spoken over and over”
”Wakes me”
Problem 5:

In 4, how is the climax created?
Musical Example: John Harbison, Simple Daylight
Duration:.The words are sung as longer values.
Change: The rhythmic flow is interrupted.
Change: Leading into this passage, the piano’s accompaniment becomes gradually more thicker, eventually reaching an extreme..
Extremes: The voice reaches her highest note.
Extremes: The piano plays in its highest register.
Extremes: It is the loudest passage in the song.
Problem 6:

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.
Musical Example: Gustav Mahler, Symphony No. 4, I
Later in the movement, both sections return. Which return is more strongly rhetorically reinforced—that of the opening section or the contrasting one?
Musical Example: Gustav Mahler, Symphony No. 4, I, return
The opening section
The contrasting section
Problem 7:

In 6, how is this return is more strongly rhetorically reinforced?
The weaker return overlaps with the preceding section; the stronger return has a clear beginning, preceded by silence.
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.
Problem 8:

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.
Musical Example: Bela Bartok, Concerto for Orchestra, I, first excerpt
In the second excerpt, the contrasting theme will return. How is its return rhetorically reinforced?
Musical Example: Bela Bartok, Concerto for Orchestra, I, second excerpt
Duration: In preparation for the return of the contrasting theme, the music becomes very repetitive.
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.
Problem 9:

Listen to “Orpheus Weeps” from Igor Stravinsky’s ballet Orpheus.
Musical Example: Igor Stravinsky, “Orpheus Weeps” from Orpheus, full movement
Which of the following sound clips do you consider to be most strongly emphasized throughout the movement?
Musical Example: Igor Stravinsky, “Orpheus Weeps” from Orpheus, Sound Clip A
Musical Example: Igor Stravinsky, “Orpheus Weeps” from Orpheus, Sound Clip B
Musical Example: Igor Stravinsky, “Orpheus Weeps” from Orpheus, Sound Clip C
Sound Clip A
Sound Clip B
Sound Clip C
Problem 10:

In the most emphasized sound clip from 9, what is the principle means of emphasis?
Duration
Change
Extremes
Strong Rhetorical Reinforcement

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