Читать книгу Music: An Art and a Language - Walter Raymond Spalding - Страница 9

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AEOLIAN

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IONIAN

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The Dorian mode, at the outset, is identical with our modern minor scale; its peculiarity lies in the semitone between the 6th and 7th degrees and the whole tone between the 7th and 8th. An excellent example of a modern adaptation of this mode may be found in Guilmant's March for organ (see Supplement, Example No. 7). The mysterious opening measures of Debussy's opera Pelléas et Mélisande also owe their atmosphere to this mode, e.g.

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The Phrygian mode is one of the most individual to our modern ears with its first step a semitone and with the whole tone between the 7th and 8th degrees. Under the influence of harmonic development there was worked out a cadence, known as Phrygian, which is often found in modern music, e.g.

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The opening measures of the slow movement of Brahms's Fourth Symphony are an excellent example of a melody in the Phrygian mode, e.g.

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The contrast between these measures, with their archaic flavor, and the sudden change in measure four to the modern tonality of E major, is very striking. Bach's well-known choral, O Sacred Head now wounded also begins in the Phrygian mode, e.g.

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For a beautiful modern example of this Phrygian mode see the introduction to F.S. Converse's Dramatic Poem Job, for voices and orchestra.

The Lydian mode is identical with our major scale except for the semitone between the 4th and 5th degrees. That this change, however, gives a very characteristic effect may be seen in the passage by Beethoven from his String-Quartet op. 132—Song of Thanksgiving in the Lydian mode (see Supplement Ex. No. 8). The Mixolydian mode is also identical with our modern major scale except for the whole tone between the 7th and 8th degrees. This mode has had very slight usage in modern music; because, with the development of harmony,[26] the instinct became so strong for a leading tone (the 7th degree)—only a semitone distant from the upper tonic—that the original whole tone has gradually disappeared. The Aeolian Mode, mainly identical with our customary minor scale, has the characteristic whole tone between the 7th and 8th degrees. Examples of this mode abound in modern literature; two excellent instances being the first theme of the Finale of Dvořák's New World Symphony, e.g.,

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and the following passage from the Legend for à capella voices of Tchaikowsky, e.g.

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The Ionian mode corresponds exactly with our modern major scale, and the common people among all nations early showed a strong predilection for its use. The Church, in fact, because of this popularity with the people, named it the "modus lascivus" and prohibited its use in the ecclesiastical liturgy. One of the very earliest Folk-tunes extant—"Sumer is icumen in" (already referred to)—is in the Ionian mode and, according to Cecil Sharp,[27] the majority of English Folk-tunes are in this same mode.

We now cite a few typical folk-songs (taken from national sources) which, in their structure, show a natural instinct for balance of phrase and oftentimes for that organic unity of effect gained by restatement after contrast.

THE TRUE LOVERS’ FAREWELL

Old English

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The pattern of this song, in the Aeolian mode, is A, A, A, B. Unity is secured by the three-fold appearance of the first phrase; and a certain balance, by having the second phrase B twice as long (four measures) as A.

THE SHIP IN DISTRESS

Old English

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The formula of this characteristic song in the Dorian mode is A, A, B, A; merely an extension, through repetition, of the simple type A, B, A which, in turn, is the basis of the fundamental structure known as the three-part form. This will later be studied in detail. It is evident to the musical sense how complete a feeling of coherence is gained by the return to A after the intervening contrast of the phrase B; evident, also, that this song is a perfect example of the principle of unity combined with variety.

We further cite a few examples from Scottish, Irish, French, Hungarian and Russian sources. They all illustrate quaint melodic intervals and an instinct for balance and symmetry.

WANDERING WILLIE

Here awa', there awa', Wanderin' Willie, Here awa', there awa', haud awa' hame. Come to my bosom, my ain only dearie, O tell me thou bring'st me my Willie the same.

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This song[28] expresses that note of pathos often found in Scottish folk-music and is noteworthy also because the lyric poet, Robert Burns, wrote for it words of which we give the first stanza.

WOULD GOD I WERE THE TENDER APPLE BLOSSOM

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This Irish tune[29] is certainly one of the most perfect that can be imagined, remarkable alike for its organic unity, gained by the frequent use of the first ascending motive, and for the manner in which the successive crises are reached. Note in particular the intensity of the final climax, in measure 13, attained by a repetition of the preceding phrase.

EN PASSANT PAR LA LORRAINE AVEC MES SABOTS

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This charming song[30] from Lorraine exemplifies that rhythmic vivacity and lightness of touch so characteristic of the French.

Observe the piquant effect, in the final phrase, produced by the elision of a measure; there being in the whole song 31 measures instead of the normal 32 (16 + 16).

Old Hungarian Folk-song

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Hungarian folk-music[31] is noted for its syncopated rhythm and its peculiar metric groupings. It is also often highly embroidered with chromatic notes; the Hungarian scale, with two augmented intervals, being an intensification of our minor mode, e.g.

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Russia is fortunate in her musical inheritance; for not only has she a wealth of folk-songs, but her famous composers, Balakireff, Borodin and Rimsky-Korsakoff—who are men of letters as well—have published remarkable editions of these national melodies. The Russian folk-songs express, in general, a mood of sombreness or even depression—typical of the vast, bleak expanses of that country, and of its downtrodden people. These songs are usually in the minor mode—often with sudden changes of rhythm—and based on the old ecclesiastical modes, the Russian liturgy being very ancient and having an historical connection with that of the Greek church. The folk-music of no nation is more endowed with individuality and depth of emotion. Five characteristic examples are herewith cited:

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This last melody is of particular significance, because Tchaikowsky has used it so prominently in the Finale of his Fourth Symphony.

The growing interest in folk-music in America is a tendency concerning which the progressive student should inform himself. For a national basis of creative work, our country has always been at a disadvantage in comparison with nations which, as their birthright, have much music in their blood. Moreover, with the exception of the tunes of the aboriginal Indians and the plantation melodies of the Negroes, it has been asserted that America could boast no folk-songs. Recent investigations have shown, however, that this is not entirely true. Cecil Sharp, Henry Gilbert, Arthur Farwell and other musical scholars have proved that there are several regions of our country, settled by colonists from England, Ireland and Scotland, where folk-songs exist practically in the condition in which they were first brought over. One of the best collections of such material is the set of so-called Lonesome Tunes from the Kentucky Mountains, taken down by Miss Lorraine Wyman and Mr. Howard Brockway directly from the mountaineers and other dwellers in that region. These melodies have great individuality, directness and no little poetic charm. It is certainly encouraging to feel that, in this industrial age, there are still places where people express their emotions and ideals in song; for a nation that has not learned to sing—or has forgotten how—can never create music that endures.