The difference in European Music

The two excerpts of European music I have chosen are “An Chlöe” by Wolfgang Amadeus Mozart and  "A Chantar" by Comtessa Beatritz de Dia. These two pieces are completely different, but both considered European. “A Chlöe” is a classic example of stereotypical European music according to Cooley, and “A Chantar” is a perfect example of an atypical European song.

            Some of the things Cooley lists as being stereotypical to European music are: Major keys, repeating rhythmic structure, harmonics, and melody. “An Chlöe” contains all of these elements. The score shows the piece having a time signature. This along with the simple (repeated) rhythm makes it easy to sing. There is also a definite melody (in a major key) and there are harmonies one can hear in the piano part. 

            “A Chantar" is a completely different –yet still beautiful- example of European Music. Unlike “An Chlöe” there does not seem to be any type of meter to the song. It is more speech-like and free, the tempo and rhythm is really up to the vocalist and how they choose to sing. There also seems to be no real melody or harmony to the piece. This is a very early type of European music- before common notation as we know it today was properly developed. So when looking at the piece, it can seem foreign in the way it's notated.

            With Europe not being the biggest of continents, one would think that the music would be roughly the same country to country. This however, is not the case and this is the point Cooley is trying to get across.

                                                                   "An Chlöe"

                                                                  "A Chantar"

Guide Me O Thou Great Jehovah

This excerpt I have chosen immediately reminded me of the “Amazing Grace” example sung by the New Bethel Baptist Church in our text. Pastor Calvin Johnson is lining out the singing part very similarly to the way the Deacon line is sung. It is obvious that there is a social organization for the singing of the group because you can hear the call and response between the Pastor and the congregation.  The timbre of Pastor Johnson’s voice is rhaspy and smooth through his ornamentation just like in the recording Titon provides us.

In our book it states that these hyms are often improvisatory, I believe that is very true for this recording as well. There is many melismas and glides that Pastor John adds to his singing. Titon tells us that the congregation typically does not all sing the same thing or what the Pastor previously sang. In this recording there is so many different variations that it all sort of blends together in perfect harmony.

 One of the things Titon tells us that is important is movement. Immediately Pastor Johnson tells the congregation to stand if anyone feels so called to. Throughout the video the congregation can be seen lifting hands, fanning, clapping, and swaying with Pastor Johnson. One small thing that I think is an important part of movement during worship ((for some people) but it is kinda hard to see in this video because it’s grainy) is the closing of the eyes. To feel so moved that you just close your eyes and let the music move you. Pastor Johnson, as well as other members of the congregation can be seen closing their eyes and letting the music envelop them.

I could go on about the amazing community of this congregation and the diversity of the music and Pastor Johnson’s magnificent leading…But alas I have been restricted to 300 words for this entry…

                                                  https://www.youtube.com/watch?v=0z7c7dSbLrg

Forest People

I feel like the most unexpect song from our anthology was the BaAka Mabo song Makala. I say this because to the untrained ear, or to someone who isn’t paying close attention, the first thing that comes to mind is Native American music. That’s one of the first things that came to my mind as I was listening anyway.  The song is polyphonic with different layers of yodeling, chanting, singing, and yelling at all different intervals. Even though the song seems to be chaotic, improvisatory, and like none of the themes or melodies blend together, there is a sort of harmony between all the parts. The first image that came to my mind was the cultural Native American dance video we watched the other day in class (sorry I forgot the specific name!!).  In that video everyone seemed to be singing and dancing in their own little world - so to speak. But there was one sole purpose during the song and dance. One idea that was universal for all of them that made the piece come together. I think that is the same for Makala as well.  I found it very interesting how similar these songs actually are in terms of them both being cultural songs and dances where everyone in the whole tribe participates. Not everyone may be dancing or singing in the Native American piece as they are in the Makala, but everyone is there and engaged.  These cultures have probably never crossed paths so it is fascinating to see and listen to how similar the pieces may or may not seem to be.  It makes me wonder if then, there was a third party that crossed their paths and had some sort of influence or has an answer as to why these groups are reminiscent of  one another.