IB Musical Links Investigation
Friday, April 17, 2015
Music Links
These
two songs, Mambo, from West Side Story, and Goa Shan Liu Shui, are very
different when looked at on the surface. Mambo was created about 2,000 years
later than Goa Shan Liu Shui and they both were created for different purposes.
However there are some similarities between the two. The first is that both of
the songs include stringed instruments. Even though they are not used in a
similar fashion, they both have strings and are classified as stringed
instruments. Another similarity between the two is that the two songs share
similar dynamics. One of the dynamics used by both pieces is crescendo and
accelerando. Crescendo is used in alternating parts between different voices in
the Mambo and is used by the single Guqin player in the song Goa Shan Liu Shui.
Accelerando in the Mambo is much more apparent than in Goa Shan Liu Shui, but
they both do include it. One of the most obvious similarities the pieces share
is that both songs begin in crescendo. When the song begins, both of the pieces
begin with a slow and low opening and increase speed as well as volume as the
piece progresses. In the end, however, both composers of the Mambo and Goa Shan
Liu Shui end the songs in a ritardando and decrescendo contrasting with the
musical technique used to introduce the song.
Another
similarity between the two songs is that they were created to portray a story.
Both of the stories seem to revolve around finding oneself as well as
expressing internal thoughts. For example, Bo Ya's piece is about the High
Mountains and Flowing Waters he sees. As he is playing the piece he is
analyzing his feeling for the mountains and the flowing river. In the piece he
also struggles to search for someone who finally understands his music and
eventually finds Zhong. Likewise Bernstein uses his Romeo
and Juliet inspired, Mambo, to convey the understanding of personal emotions
toward a specific group of people. In the play the song is used to express the
on going feud between two individuals who were told by there parents that they
can not be together because of their parents' past experiences with each other.
An
additional link between the two pieces is the use of improvisation. Upon
listening to various music videos of Goa Shan Shui Liu, I have noted that they
are not exactly the same, but the notes played are generally similar. Each
piece plays the song with different speeds, volumes, and uses different
dynamics at different measures. Due to this observation, a conclusion that I
have drawn is that the composition acts as a template allowing the players to
decide which dynamics and musical techniques would be appropriate for each
measure. In Bernstein's song ,Mambo, improvisation occurs in the song with the
solo brass player playing the piece to whatever tune or tempo the musician
deemed appropriate.
The
songs are also both very secular. They both seem to emphasis worldly
circumstances and the surrounding environment. This is quite interesting
considering that both composers lived in a time were religion was highly valued
and widely practiced. In addition to the fact that they were wrote music that
was more secular than sacred, they managed to gain large support and admiration
for their music after the pieces were composed. When combining the song and
it's story, it seems that the song that Bo Ya wrote was not intended for a
specific audience, but rather someone who heard and interpreted music the way
he did. For the song Mambo, a West Side Story, it seems that the target
audience was the younger generation because it has Jazz elements and lyrics
that are closely associated with teenagers and rebellious young adults.
Leonard Bernstein's Mambo
On
August 25, 1918, Leonard Bernstein was born to two Russian-Jewish immigrants in
America. In his childhood he was exposed to a wide variety of music
because of his dad's musical experience and eventually began teaching
a piano class. He began his musical career by conducting pieces
and composing some as well. In the year 1957, Leonard Bernstein composed Mambo,
West Side Story. “West Side Story tells the tale of a love
affair between Tony, who is Polish American, and Maria, a Puerto Rican, set
against an urban background of interracial warfare.” The piece was
inspired by "Shakespeare's Romeo
and Juliet. The story is about two young people who fall in love but
are prevented from being together because their families are feuding." [1]
One
of the cultures included in Leonard Bernstein’s song was Afro-Cuban. Afro-Cuban
is described as a blend of Cuban, Latin American, and African musical
elements. He creates this rhythm in the beginning of the piece by opening
it with bongos and cowbells. The reason these instruments create the Afro-Cuban
rhythm is because the bongos where initially introduced in Africa, but further
developed in Cuba. Due to this the bongos are associated with Afro-Cuban
culture and music. The cowbells create a polyphonic sound which further creates
an Afro-Cuban sound which typically is polyphonic. The Genre of the piece is
Musical Theater because it was composed and later used in a play call West Side
Story. The Rhythm of this piece is Afro-Cuban rhythms. The meter of the
song is fast paced and syncopated. The piece is syncopated because the weak
beats are given more stress than the stronger beats. The texture of the
piece Mambo, West side story is dense and polyphonic.
Bernstein creates this texture by use very contrasting instruments such as
brass instruments and percussion instruments. There are also times throughout
the song where Bernstein uses different volumes to create the texture.
For example as one voice is in crescendo the other voice is in decrescendo.
This helps to establish a dense texture. The medium of the piece is Orchestra
with Latin Rhythm section which includes bongo drums and cowbells as mentioned
above. The song also includes trumpet riffs and complex counterpoints. The
brass instruments play accented chords, which add to the texture of the song,
and the wood wind instruments alternate rhythmic patterns with the brass
instruments. A solo brass instrument adds to the texture as it plays the melody
while the song because more polyphonic. Within the piece there are many voices
which include: brass instruments, woodwind instruments, string instruments, and
percussion instruments. The song is very sprightly and festive. Due to this it
is understood that the target audience is probably a young crowd or individuals
looking for a time to relax and have fun. The song ends by fading or crescendo
leaving the audience in suspense due to the beginning of the loud and
syncopated song. This makes the ending more dramatic because throughout the
piece there where rarely any pauses or piano sounding dynamics. Mambo
also has various occurrences of fortissimo which is when the song is played
loudly. The interesting thing about how the fortissimo is played is that the
composer, Bernstein, creates a fortissimo by alternating melodies among
instruments and with crescendos.
[1] "Bernstein’s West Side Story Opens." History.com. A&E Television
Networks, n.d. Web. 17 Apr. 2015.
<http://www.history.com/this-day-in-history/bernsteins-west-side-story-opens>.
Conclusion
In
conclusion, both of the pieces share some musical elements and techniques
although they originated or were composed in two distinctly different cultures.
The two songs served as dynamic pieces for their day and age because both
musicians composed pieces that were unique and added diversity to the musical
culture of their country. Their pieces also evolved music in that region and
time period. Although the songs are understood to be different and foils of one
another, there are some links, which include the portrayal of a story or
message and improvisation, between the two pieces which includes musical
techniques used.
Monday, April 13, 2015
Bo Ya's Gao Shan Shui Liu Videos
Gao Shan Shui Liu on the Guzheng
Gao Shan Shui Liu on the Guqin
Flowing Water played by Pui-Yuen Lui on Guqin
Flowing Water played by Guan PingHu on Guqin
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