Re: Bowing Stick - practice session clip shared OT

["Mark Showalter" <folkstone57@operamail.com>]

> 
> >
> >     at this point of the discussion, it would be cool if somebody here
> >     could give us "the definitive" melody definition ... at least, one
> >     that anybody can understand in 2010. come on!
> >
> 
> "A single musical line which conveys some kind of an idea by virtue 
> of it's progression through time."

Not too crazy about this definition.
Try:
1. a succession of notes forming a distinctive sequence
2. the perception of pleasant arrangements of musical notes
A rhythmically organized sequence of single tones so related to one 
another as to make up a particular phrase or idea.
Structure with respect to the arrangement of single notes in succession.
The leading part or the air in a composition with accompaniment.
Rhythmic succession of single tones organized as an aesthetic whole. The 
melody is often the highest line in a musical composition. Melodies may 
suggest their own harmony or counterpoint. As fundamental as rhythm and 
metre (and more so than harmony), melody is common to all musical cultures.

Here is a rather academic treatment of melody:

A series of musical notes arranged in succession, in a particular rhythmic 
pattern, to form a recognizable unit. Melody is a universal human 
phenomenon, traceable to pre-historic times. The origins of melodic 
thinking have been sought in language, in birdsong and other animal 
sounds, and in the crying and playing of young children. The early 
development of melody may have proceeded from one-step voice inflections 
through combinations of such small intervals as minor 3rds and major 2nds 
to pentatonic patterns (i.e.based on a five-note scale) such as are found 
in many parts of the world (including some quite highly developed forms of 
Western art music where they often serve as a basis).


The concept of melody differs widely across cultures. One might compare 
the intensity of detail in an Indian raga with the austere lines of 
Western ecclesiastical chant, or the static, repetitive melodies of 
Japanese noh plays with the expansively lyrical lines of a Schubert song 
or the motivically generated melodies of Beethoven. In some cultures, 
specific melodies are associated with particular texts, as in Japanese noh 
plays and Western plainchant. Most melodies display patterns of rise or 
fall, of motivic patterning and of final cadencing that are specific to 
their cultures. Often such matters are related to the key or mode in which 
they are cast, which is likely to dictate their final note.

Melody is traditionally considered, along with rhythm and harmony, as one 
of the three fundamental elements in music. It is an oversimplification to 
regard them as independent, however. Rhythm is an important element within 
melody itself, not only because each note of the melody has a duration but 
also because larger-scale rhythmic articulation gives shape and vitality 
to a melody; while, at least in Western music, harmony often plays a 
fundamental role in determining the contour and direction of a melodic 
line, and the harmonic implications of a line of melody may accordingly 
give it life. Ideas of what constitutes a melody, and in particular a 
beautiful melody, are constantly changing in Western music; almost every 
generation has criticized the next for producing music lacking in melody 
when it is simply that ideas of good melody are changing - a point 
strongly made by Wagner in Die Meistersinger (1868) where, incorporating 
melodic ideas from the mastersingers of the 16th century, Wagner opposed 
the conservative Beckmesser, who believes in a set of rules for the 
composition of melody, with the young knight Walther from Stolzing, who 
has a new, imaginative idea (as Wagner felt he did himself) of what melody 
can be. In vocal music, from the time of the medieval troubadours through 
the song composers of the late Renaissance and the composers of bel canto 
opera, melody has always been of primary importance, and it remained so 
particularly in the Classical and Romantic eras, in instrumental music as 
well as vocal. The breakdown of the tonal system in the 20th century, and 
the freer use of chromaticism and large leaps, has made melody less easy 
to apprehend.

> 
> I think Mark's definition would be better thought of as an
> attempt to describe "a good melody".  ( what about the bass line to 
> 'Penny Lane' Mark?)

Yes, I was trying to describe "melody" & of course I was using good 
melodies as examples. The bassline to "Penny Lane" is great & I was 
waiting for that one to be mentioned. I would certainly add "Day Tripper" 
to the list & of course, Pink Floyd's "Money", which is probably one of 
the most recognizable basslines ever penned or aired. Even "COme Together" 
has a very interesting bassline. However, please keep in mind that one of 
my points I presented was "function", that is, A MUSICAL STATEMENT THAT IS 
INTENDED TO BE A MELOODY. I have never heard anyone try to say that 
McCartney intended the bassline in "Penny Lane" to be a melody, & I'm 
fairly certain McCartney never said any such thing. All three have 
elements of melody, & you could certainly sing or hum all, although I 
think "Penny Lane " would be the harder of the three to do so. 

> Anyone wanna explain why it's different in 2010?
Why what is different? 
> 
> andy

>



Mark Showalter
Minden Jot!

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