Ernst Toch wrote a choral piece I "sang" as a teenager that had no
pitches. Some of the words were (please excuse my ignorance of
German spelling, Johannes and others): Popocatepetl ist nicht in
Canada, zunder in Mexico, Mexico, Mexico.
Whatever else it was, I remain under the impression that it was music
we were "singing".
It was interesting rhythm, texture, and timbral nuance, that's for
sure. Maybe not enough for some, but at the level of variety and
form I remember, it was music to me.
Chuck
On Apr 2, 2006, at 5:23 PM, dhbailey wrote:
[EMAIL PROTECTED] wrote:
In a message dated 4/2/06 1:02:26 PM, [EMAIL PROTECTED] writes:
<< From: Stephen Peters <[EMAIL PROTECTED]>
[EMAIL PROTECTED] writes:
The Music Man had "rap-like" passages (i.e. parts of "You've Got
Trouble") which led to fully pitched-tone cadences as the climax...
Not all. "Rock Island", the opening number, is entirely spoken in
rhythm (although I think the orchestra does play a chord after the
last word).
Thanks, I should have remembered that one! Yes, the orchestra
plays a chord after the last word (a kind of musical "Ta-da!").
All that happens during the number is rhythm (simulating the train
sound) in the background. So while it's part of the show, with
just those elements (speech and rhythm) to me it is more like
performance-art (without the covering-oneself-with-mud someone
else cited). Nothing wrong with it, it has it's attraction, value,
worth, etc, but I just don't think of it as "music". (I'd say the
same for percussion pieces that did not include any modulated tones.)
Interesting -- I'm not sure Meredith Willson would agree with you,
though.
But of course, he wouldn't be any sort of expert on what music is,
I'm sure. Not like the mavens on this list are, anyway. :-)
--
David H. Bailey
[EMAIL PROTECTED]
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