Download File - Choral Conducting

MUSI 303-03, Choral Conducting
2 Credits
Dr. Chuck Neufeld
Lander University
Style Characteristics of Choral Music
in the Modern Period (1900-1975)
Rhythm
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Frequent meter changes.
Some use of polyrhythms.
Less symmetrical patterns.
Complex rhythms.
Rubato is frequent.
New proportions (5 and 7 meters in two beats).
Wide use of syncopation.
Melody
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Instrumental in character.
Non-diatonic (wide skips), jagged contours.
Sometimes conceived mathematically.
May be improvised by choice or by chance.
May abandon repetition and symmetry.
Melodic lines may be fragmented and juxtaposed.
May be serial (a tone row).
Ornamentation is written.
Dissonant counterpoint.
Modes of all kinds.
Whole-tone and synthetic scales.
Some use of microtones.
New notation systems.
Influence of jazz.
Harmony
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Polytonality, polyharmony, polychords are sometimes employed.
Quartal harmony often replaces tertiary harmony.
Atonal and 12-tone (often serial) systems are common.
Tone clusters are common.
Dissonance is acceptable, even desirable.
Some use of nonfunctional harmony.
Texture
 Often homophonic.
 Polyphony is used in fugal sections or fugal movements.
MUSI 303-03, Choral Conducting
2 Credits
Dr. Chuck Neufeld
Lander University
MUSI 303-03, Choral Conducting
2 Credits
Dr. Chuck Neufeld
Lander University
Style Characteristics of Choral Music
in the Modern Period (1900-1975) (continued)
Timbre
 Becomes a primary element, often determining form.
 Vibrato use is determined by composer.
 Timbre used to create special effects (mutes, etc.).
Expression
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Metronome markings are standard.
Extreme tempos continue.
Extreme contrasts of expression are common.
Sudden dynamic changes are common.
Text
 Latin liturgical texts are common.
 Texts in vernacular are common in secular works (Italian, German,
English, Spanish).
Form
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Free development.
Breakdown in continuity and repetition.
Some use of traditional forms.
Arch forms and cyclical forms are common.
Common vocal forms include:
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Mass
Requiem
Motet
Cycles
Larger liturgical works (for example, settings of the Te Deum)
Many other forms
 Irregular, asymmetrical phrases.
 Greater independence of individual parts.
Voicing
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Extremes of transparency and density.
Extreme ranges.
Voices are treated instrumentally.
Use of C scores develops.
Contrasts prevail.
MUSI 303-03, Choral Conducting
2 Credits
 Percussion takes on new significance.
Dr. Chuck Neufeld
Lander University