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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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In Reply to: Re: Pedagogic exercises of Carl Orff- the "Schulwerk" posted by Amphissa on October 26, 2006 at 12:33:11:
Amphissa,I mentioned prosody by example of Dowland- the early concept of relating music and the meter of spoken language, since he was setting poems not originally intended as words for music. Schubert of course was another master of this, setting Goethe, Schiller, & etc.
The modern application by Orff seems to me to fall within the broader realm you're thinking of. In "Schulwerk", exercises were meant to be a cappella music- speech-like patterns but purposely without specific words. The object was to have children produce rhythms that resemble language but by subtracting meaning, emphasise only the musical context. It's not as pronouced, but I think Bartok in "Mikrokosmos" had similar ideas - teaching musical rhythm as associated with speech patterns.
There is a realm in which instruments seems to intentionally try to replicate speech as closely as possible and that's jazz, in which I often here trumpet, saxophone, or clarinet seemingly "speaking".
Did you ever see the Harpo Marx scene in which he has a phone "conversation" using only the bulb horn on his cane? Including the laughter, and something that must be "Oh yeah?!", it's possible to make out the last phrase as three words. Done entirely on bulb horn: "Same to you !" or possibly "Go to hell !"- definitely imitation of words.
Cheers,Bambi B
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Follow Ups
- Dowland, Schubert, Orff, Bartok, Coltrane, and Harpo ! - Bambi B 13:53:08 10/26/06 (0)
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