Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern.
"Melody type" as used by the ethnomusicologist MarkSlobin (1982, 186)[3] is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns".[4]
Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more information than a sequence of permissible pitches, since they include how those pitches should function in the music, and indicate basic formulas which serve as a basis for improvisation. In non-improvised music, such as codified liturgical music, it is still usually clear how the melody developed from set patterns.
On one end of the continuum, the right, the melody type is a schema that is quite definite—a specific melody or a tune. When a musician improvises on this schema, he [or she] plays the melody with only slight variations. The basic outline is preserved and is clearly recognized by the listener. The best example ... on this end of the continuum is a folk song. A genuine folk song performance is a kind of improvisation. No one person sings it exactly as it came to him [or her]. One of the challenges of folk song research, of course, is to find all the variants of the tune and to try to trace the family relationships. On the left side of the continuum is the melody type as a mode. Here the melody type is similar to a church mode: a scalar configuration with a preferential order of tones. ...The closer we get to the pole where a melody type is a tune, the more definite and literal is the schema.
A melodic formula, ranging length from a short motif of a few notes to an entire melody, which is used as the basis for musical compositions. It differs from a mode, which simply sets forth a sequence of intervals (in Western music, half tones and whole tones), and from a scale (the notes of a mode in rising order of pitch), in that it is more specific: a melody type spells out actual sequences of tones, just as they are to appear in a piece, as well as particular beginnings and endings, ornaments, and other details. Melody types are found mostly in the music of ancient peoples—the Greeks, Hebrews, and others—and of Eastern peoples—the Arabs, Persians (Iranians), Indians, and others. For...example... raga.
Ancient type-melodies for 8 church ('Gregorian') tones. Transcribed from the South-French tonary of the 10th century (Ms.: F-Pn lat. 1121, fol. 201v-205v). Pseudo-liturgical verses with initial numerals (primum..., secundum..., tertia... etc.) helped singers to associate a current model with a 'real' chant (such as antiphon) of the same tone. These type-melodies were probably conceived as didactic, to adjust ear for typical melodic formulae, reciting tones, finals etc. They should not be confused with psalm tones, which represent an exact scheme for modulating psalms and canticles.[7]
In most cases, these melody types are associated with extra-musical implications, particularly emotions (see Indian rasa, for instance). They are also often associated with certain times. For example, most ragas are associated with a certain time of day, or a wayang performance in Java implies a certain succession of pathets.
Many of these traditions have a corresponding rhythmic framework. These include:
^Apel, Willi (1997). The History of Keyboard Music to 1700, p. 263. Trans. Tischler, Hans. ISBN0-253-21141-7.
^David Hiley. Western Plainchant. A Handbook. Oxford: Clarendon Press, 1993, pp. 331–33.
^Slobin, Mark (1982). Tenement Songs: The Popular Music of the Jewish Immigrants. Music in American Life. Urbana: University of Illinois Press. ISBN0-252-00893-6.
^Koskoff, Ellen (2000). Music in Lubavitcher Life (Urbana: University of Illinois Press), p. 86. ISBN978-0-252-02591-4.
^May, Elizabeth (1983). Musics of Many Cultures: An Introduction, Part 1, p. 274. ISBN978-0-520-04778-5.
^Ammer, Christine (2004). "Melody type", The Facts on File Dictionary of Music, p. 238. ISBN978-0-8160-5266-0.
^David Hiley, Western Plainchant: A Handbook (Oxford and New York: Oxford University Press, 1993): pp. 58-69 and pp. 331-335; this handbook is itself a summary of specialized studies of intonation formulas by Michel Huglo, Terence Bailey, Bruno Stäblein, and many others referred to at pp. 58 and 325 et passim. See also: Fiona McAlpine, Tonal Consciousness and the Medieval West (Bern: Peter Lang, 2008): p. 112.
^Bailey T. The Intonation Formulas of Western Chant. Toronto, 1974.
Sourcesedit
Powers, Harold S. (1980). "Mode". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. London: Macmillan Publishers.
Slobin, Mark (1982). Tenement Songs: The Popular Music of the Jewish Immigrants. Music in American Life. Urbana: University of Illinois Press. ISBN0-252-00893-6
April 18, 2024
melody, type, melodic, figure, redirects, here, other, uses, melodic, pattern, type, melody, melodic, formulas, figures, patterns, passamezzo, romanesca, melodic, formula, play, contents, term, typical, meanings, melodic, formulae, melody, types, monodic, trad. Melodic figure redirects here For other uses see Melodic pattern Melody type or type melody 2 is a set of melodic formulas figures and patterns Passamezzo and Romanesca melodic formula 1 on D Play Contents 1 Term and typical meanings 2 Melodic formulae and melody types in monodic traditions around the world 3 Extra musical implications 4 See also 5 References 6 SourcesTerm and typical meanings edit Melody type is a fundamental notion for understanding a nature of Western and non Western musical modes according to Harold Powers seminal article Mode in the first edition of the New Grove Dictionary of Music and Musicians Powers 1980 12 376 77 379 et passim Melody types are used in the composition of an enormous variety of music especially non Western and early Western music Such music is generally composed by a process of centonization either freely i e improvised or in a fixed pattern Melody type as used by the ethnomusicologist Mark Slobin 1982 186 3 is defined as a group of melodies that are related in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns 4 Most cultures which compose music in this way organize the patterns into distinct melody types These are often compared to modern Western scales but they in fact represent much more information than a sequence of permissible pitches since they include how those pitches should function in the music and indicate basic formulas which serve as a basis for improvisation In non improvised music such as codified liturgical music it is still usually clear how the melody developed from set patterns On one end of the continuum the right the melody type is a schema that is quite definite a specific melody or a tune When a musician improvises on this schema he or she plays the melody with only slight variations The basic outline is preserved and is clearly recognized by the listener The best example on this end of the continuum is a folk song A genuine folk song performance is a kind of improvisation No one person sings it exactly as it came to him or her One of the challenges of folk song research of course is to find all the variants of the tune and to try to trace the family relationships On the left side of the continuum is the melody type as a mode Here the melody type is similar to a church mode a scalar configuration with a preferential order of tones The closer we get to the pole where a melody type is a tune the more definite and literal is the schema May 1983 5 A melodic formula ranging length from a short motif of a few notes to an entire melody which is used as the basis for musical compositions It differs from a mode which simply sets forth a sequence of intervals in Western music half tones and whole tones and from a scale the notes of a mode in rising order of pitch in that it is more specific a melody type spells out actual sequences of tones just as they are to appear in a piece as well as particular beginnings and endings ornaments and other details Melody types are found mostly in the music of ancient peoples the Greeks Hebrews and others and of Eastern peoples the Arabs Persians Iranians Indians and others For example raga Ammer 2004 6 Melodic formulae and melody types in monodic traditions around the world editNomos in Ancient Greek music nbsp Ancient type melodies for 8 church Gregorian tones Transcribed from the South French tonary of the 10th century Ms F Pn lat 1121 fol 201v 205v Pseudo liturgical verses with initial numerals primum secundum tertia etc helped singers to associate a current model with a real chant such as antiphon of the same tone These type melodies were probably conceived as didactic to adjust ear for typical melodic formulae reciting tones finals etc They should not be confused with psalm tones which represent an exact scheme for modulating psalms and canticles 7 Intonation formula Latin intonatio euouae Noeane etc in Gregorian chant as used in psalm tones and certain genres such as the Tract 8 Enechema Ancient Greek ἐnhxhma in Byzantine chant Popevka Russian popevka in Znamenny chant Khaz in Armenian chant All Near and Middle East maqam traditions Arabic Maqam Turkish Makam Kurdish Meqam Uyghur Muqam Azeri Mugam Uzbek and Tadzhik Shashmakom Persian Dastgah etc Raga in Indian music Pathet in Indonesian music Chōshi in Japanese musicExtra musical implications editIn most cases these melody types are associated with extra musical implications particularly emotions see Indian rasa for instance They are also often associated with certain times For example most ragas are associated with a certain time of day or a wayang performance in Java implies a certain succession of pathets Many of these traditions have a corresponding rhythmic framework These include Usul in Arabian and Turkish music Tala in Indian music Bentuk in Javanese musicSee also editFormula composition Matrix Modal frameReferences edit Apel Willi 1997 The History of Keyboard Music to 1700 p 263 Trans Tischler Hans ISBN 0 253 21141 7 David Hiley Western Plainchant A Handbook Oxford Clarendon Press 1993 pp 331 33 Slobin Mark 1982 Tenement Songs The Popular Music of the Jewish Immigrants Music in American Life Urbana University of Illinois Press ISBN 0 252 00893 6 Koskoff Ellen 2000 Music in Lubavitcher Life Urbana University of Illinois Press p 86 ISBN 978 0 252 02591 4 May Elizabeth 1983 Musics of Many Cultures An Introduction Part 1 p 274 ISBN 978 0 520 04778 5 Ammer Christine 2004 Melody type The Facts on File Dictionary of Music p 238 ISBN 978 0 8160 5266 0 David Hiley Western Plainchant A Handbook Oxford and New York Oxford University Press 1993 pp 58 69 and pp 331 335 this handbook is itself a summary of specialized studies of intonation formulas by Michel Huglo Terence Bailey Bruno Stablein and many others referred to at pp 58 and 325 et passim See also Fiona McAlpine Tonal Consciousness and the Medieval West Bern Peter Lang 2008 p 112 Bailey T The Intonation Formulas of Western Chant Toronto 1974 Sources editPowers Harold S 1980 Mode The New Grove Dictionary of Music and Musicians edited by Stanley Sadie London Macmillan Publishers Slobin Mark 1982 Tenement Songs The Popular Music of the Jewish Immigrants Music in American Life Urbana University of Illinois Press ISBN 0 252 00893 6 Retrieved from https en wikipedia org w index php title Melody type amp oldid 1191699531, wikipedia, wiki, book, books, library,
