James J. Ramsay

April 5, 2001

Honors 213

Music’s Desired Conclusion

or

Artistic Justification

"A proof is a list of statements, together with a justification for each statement, ending up with the conclusion desired" (Greenberg 41). Although this is a mathematical definition, it can be applied to other disciplines as well. For instance, composers (being defined as "anyone who writes music") can be thought of as using this structure. A composer’s artistic message is the desired conclusion. The statements he or she uses are the music (that is, the actual notes) and text of a musical work. This is not to infer that every song is seeking to prove some grand conclusion- only to say that the music is a medium for the point which a composer is making. Music and lyrics reinforce each other within a song to make the vision of the composer clearer to the audience. Put another way, tones and text complement each other to support the a song’s message.

As in mathematical proofs- there are many techniques which can be used. And although ideas of "truth" are much more subjective in music- this comparison is best understood when we consider a piece of music an attempt to elicit a response from a listener (I am unwilling to concede that any art is pointless). However, it should be noted that musical works can be harder to interpret than a mathematical proof, as the composer can be elusive with the true meaning of a work. It would be unreasonable for a mathematical proof to be obscure in this fashion. This is an important difference in the concept of "proofs" in mathematics and music, but it does not take away the merit in comparing the two.

If the lyrics and music enhance one another to connect with the listener- the proof has been effective. A key example of this is the manner in which people can be emotionally effected by music. It is my argument that this emotional response is the "desired result" of musical compositions. In music, we are presented with "statements" to make us more convinced of what the writer is saying, not to necessarily to prove something is true (as in math). Musical elements are used to make the expression more identifiable to the listener- or to put forth a more compelling argument for what is being expressed.

As previously stated- there are many ways which a composer may go about seeking this connection. There seem to be no set rules or formulas regarding how to heighten a listener’s response to a piece of music (but we will discuss many documented ways throughout this paper). The most obvious way is through a song’s text. However, besides merely examining the words of a song, one should also look for similarities between the musical line and what is being stated. There are other musical elements to be considered. One such way is word painting. "Word painting is the musical illustration of text." Examples would be pairing words such as "fly" or "glitter" to rapid successions of notes (Kerman, 71). Word painting was highly popular in Renaissance compositions- especially in the case of religious works. Songs which discussed the Christian God or Heaven showcased soaring melodies in conjunction with his mention. Such devices were also used to talk about royalty, "As Vesta was from Latmos Hill Descending" (Thomas Weelkes) is a textbook example. This piece was written in praise of Queen Elizabeth. The text tells of attendants leaving Vesta (Roman goddess), preferring the queen. What is interesting is the interplay between the words and music (please view attached lyrics). When the word "hill" appears in the text- it is accompanied by relatively high notes in comparison to the rest of the piece. Also, the words "descending" and "running down" are accompanied by a fast descending scale. Likewise- "ascending" is paired with a fast moving upward scale. Also worthy of mention is music during the lyric, "leaving their goddess all alone," where the music slows and the harmony lacks the vibrance it contained earlier in the song. In addition, as this line is being sung, all voices but a single soprano cut out- emphasizing the solidarity of the Goddess (Kerman, 75).

While text and melody paralleling one another is certainly a persuasive way to enhance a piece’s intensity- it is only one possibility. Dynamics (the relative volume level which instruments are played- including "voice" as an instrument) were used- In "Dido and Aeneas" (by Henry Purcell). Consider the following excerpt from Act 3:

Courtiers: With drooping wings ye cupids come

And scatter roses, scatter, scatter roses on her tomb.

Soft, soft and gentle as her heart.

The music becomes softer and quieter (i.e., began crescendoing) with the word "drooping," settling into new dynamic level with the phrase "soft, soft as her gentle heart." In this way, the description of soft is given to the listener; they do not have to imagine it. A musical representation is given along side the text. The softness of the music makes the softness "of her heart" easily identifiable to the audience (Kerman, 91-92). They are sharing in the emotion by listening to music that parallels it. The power of inclusiveness in music results in an emotional connection.

As we have seen in mathematics- there are many techniques that will accomplish a similar goal. Similarly in music, many devices are used to further the connection of a piece of music to a listener. Changing instrumentation (that is to say- variation of which instruments or voice(s) are playing at any given time) is used for effect or to add meaning to the words of a song. Handel’s "Messiah," demonstrates this nicely. The Hallelujah chorus is sung by an entire group of singers. When one listens to the entire work, it is easy to hear the unification of voices into jubilant song. While elsewhere the piece employs polyphony (multiple melody lines)- the shout of Hallelujah in unison is quite powerful. It conveys a feeling of joy for all. All voices take part in that part of the song- the same as we should all offer praises to God (Kerman 147-149).

Music can also be used to reinforce a theme within a work. In "Carmen" by George Bizet. The title character in this work is symbolic of "exoticism and seductive femininity" (McClary, 57). This music is given added forcefulness because it is accompanied by risque dancing. When the work was penned (late nineteenth century), conceptions of the human body were very much under scrutiny, as were interactions between classes. In Carmen, we see a gypsy woman (lower class) seduce Don Jose (a military man of reputable standing). After becoming smitten with the exotic allure of Carmen, Don Jose’s principles begin to falter. This is a symbolic warning against pleasures of the flesh.

In a specific musical example, the "Gypsy Song" (which opens Act 2) is a notable example of the cultural and sexual issues addressed in the opera. Lyrically, Carmen boasts of her prowess as an entertainer, citing her ability to "arouse sensual passion, frenzy, inebriation" (McClary, 90). All the reactions she has found in Don Jose. The music’s exoticism furthers this idea. The piece stands out in its "flashy orchestration" (meaning instruments are used in a grandiose fashion- loud bursts of sound and sustained notes from various instruments or groups of instruments, as well as ornamented musical lines) and "erratic shifts in harmonic orientation" - meaning there are unconventional instrumental and chordal sections that provide musical support for the melody (McClary, 90). These characteristic (coupled with the Carmen’s dancing and lyrics) present the viewer with a forceful representation of the exotic (musically, sexually, and culturally). As the piece progresses, we hear it accelerate and ultimately open up into an "orgiastic orchestral postlude" (McClary, 91). Bizet’s concept of exoticism has been fully realized.

It is significant and interesting that despite artistic changes over the centuries, composers (meaning all who write music) still employ some of the same aforementioned musical devices. This can be likened to the fact that mathematicians still very much rely on techniques and discoveries of the past. Like mathematicians, musicians often build on pre-existing structures (for example, consider how many songs have been remade- or "modernized" in the last 50 years alone).

The song "Busted" by Matchbox Twenty displays the use of changing instrumentation (previously discussed in Handel’s Messiah). It is largely bass driven (that is, the song is mainly harmonized by the bass)- complementing the dark (or "low" if you will) aspects of the lyrics (please see attached). Also- a dissonant, sporadic electric guitar chimes in to feed the song’s chaotic aura. As far as contrast is concerned, the music accompanying "I dreamed that the buildings all fell down," we have all the instruments cut out except a held chord by the guitar and a vocal line. Instruments leaving symbolically represent the falling buildings. To add to this effect we hear a soft piano creep with stepwise intervals (first slow than faster) to add to the musical representation of a buildings collapse. In this way, the music is bringing the listener closer to the text. The artist is justifying the expression (and realism) of his/her feelings by attempting to show you what they are feeling. They are trying to draw you in.

A composer can also use word/music combinations that are not present in the same place in a song. (Again, this is unlike a proof because it is not in a straight forward manner of chronology). Words and music can follow each other, drawing on the previous emphasis of one another in a song. For example, in the song "Hang" (also by Matchbox Twenty). The melody is left alone at the end of the chorus. The word "hang" is sung by itself- adding to the overall sadness of the piece. Also a lingering acoustic guitar echoes this idea as single chords are left ringing. In doing this, the composition becomes more expressive. The chord is held (implying the hanging motion that the song suggests. Sustained chords are left unresolved ("unresolved" here is a musical metaphor- in that the chord does not resolve to the tonic of the key in the same manner that the song’s main character does not come to any sort of resolution).

The idea of music and text supporting one another through out is perhaps further understood when this occurs in completely different musical sections. "Cessna" (by Unified Theory) prominently emphasizes the lyrics "I’m going down" during this song about the fear of flying. Once again, it is significant that musicians do not always present their statements in an easy to follow step-by-step process. The words "going down" are given musical form by a soaring vocal line which descends. However, this melody appears as the song’s chorus and "going down" is in the verse. Once again we see music contributing to persuasiveness - (adding to a feeling of helplessness or falling in this case)- although we have to consider the song as a whole rather than just examining certain phrases and the music that occurs at the same time.

It could be argued that this could just be reading too much into a piece of music- or that it is only a matter of conjecture. Because of this perfectly legitimate stance- I have included excerpts from the following article about Unified Theory and the song "Cessna":

This reviewer picked up on the same cues. Rising and falling- the fear of flying represented in a melody without words. It is unreasonable to dismiss the interplay between words and music in support of a theme. As the article suggests- a feeling is conveyed- a feeling which is supported by statements. (that is "statements" in the mathematical rather than the grammatical sense), that are used to bring about a desired result.

Mathematics can ultimately be thought of as a more concrete and more efficient use of the proof system. There is no desire to be cryptic in math. This is not entirely the case in music, but very often a piece of music has a direct and understandable purpose. This is where the mathematical comparison is most powerful. Math is exploring how we relate to the world. Music is exploring how we relate (or connect) with one another. The aim of both disciplines (and indeed, the manner in which they employ "proofs") is understanding.

Busted (by Matchbox Twenty)

I forget when words were only words
she knows the party makes me nervous
in this stage we can’t get hurt
don’t try to understand me

we’re too cool to be alone
but, not too crazy to get busted

I found out one life ain’t enough
I need another soul to feed on
I’m the flame I can’t get burnt
I’m wholly understated

I found silence in this space
an on and off again attraction
I need such amazing grace
heaven sweep me away

(chorus) love don’t change, don’t come around here
don’t wear my heart on your sleeve
like a high school letter
don’t strain, cuz nothing ever comes from it
and the people we’ve become, well
they’ve never been the people who we are

I strap on one horse and prayed for luck
I dug another hole to bleed I
know exactly how this works
I need a new feel dirty

I don’t need you crowding up my space
I just want to get inside you (inside you)
you can’t blame the heart you save
giving something away

(chorus)

I dreamed that the world was crumbling down
we sat on my back porch and watched it

(Jesus is knocking on the door of your hearts, ok?)

I dreamed that the buildings all fell down
we sat on my back porch and watched it
in my head I heard the sound
like fifteen strangers dancing

but oh how I want you to know me
oh how I want you to know me
oh how I wish I was somebody else,
baby oh how I wish you could own me

(chorus)

Hang (by Matchbox Twenty)

she grabs her magazines
she packs her things and she goes
she leaves the pictures hanging on the wall, she burns all
her notes and she knows, she’s been here too few years
to feel this old

he smokes his cigarette, he stays outside ‘till it’s gone
if anybody ever had a heart, he wouldn’t be alone
he knows, she’s been here too few years, to be gone

and we always say, it would be good to go away, someday
but if there’s nothing there to make things change
if it’s the same for you I’ll just hang

the trouble understand, is she got reasons he don’t
funny how he couldn’t see at all, ‘til she grabbed up her coat
and she goes, she’s been here too few years to take it all in stride
but still it’s much too long, to let hurt go (you let her go)
and we always say, it would be good to go away, someday
but if there’s nothing there to make things change
if it’s the same for you I’ll just hang
the same for you
I’ll always hang
well I always say, it would be good to go away
but if things don’t work out like we think
and there’s nothing there to ease this ache
but if there’s nothing there to make things change
if it’s the same for you, I’ll just hang

Cessna (by Unified Theory)

Flight, oh captain please remember my name for the clouds

Safe, with wings of wax, I trust in the sun over meFast, I’m so elated, days I have saved on these wings,

Choice, the chair I’m strapped to, falling my way into god

God knows that I cannot fly

Streaming through conscience and I

God knows that I cannot fly

Fuel, and simple thoughts, I’ve tried to forget in the sky

Choice, the chair I’m strapped to falling my way into god

I’m going down

I’m going down

I’m going down

As Vesta was from Latmos Hill Descending

By Thomas Weelkes

________________

As Vesta was from Latmos hill descending

She spied a maiden queen the same ascending

Attended on by all the shepherds’ swain;

To whom Diana’s darlings came running down amain

First two by two, then three by three together

Leaving their Goddess all alone, hastened thither;

And mingling with the shephers of her train

With mirthful tunes her presense did entertain

(taped excerpt ends here)

They sang the shepherds and nymphs of Diana:

Long live fair Oriana!

ACT 2- CARMEN (by George Bizet)

Translation obtained from www.aria-database.com

Translation by Lea Fry

The rods of the sistrums jingled

With a metallic brightness

And to this strange music

The gypsy girls get up.

Tambourines keep the beat

And the frenzied guitars

Grinding under persistent hands,

The same song,

The same refrain,

Tra la la la. (with Frasquita and Mercédes)

Rings of copper and silver,

Gleamed on brownish skin,

Of orange and of red stripes

The fabrics (of their garments)

Fluttered in the wind.

The dance to the song was wed,

At first indecisive and timid,

More lively then and more rapid,

It climbed, climbed, climbed, climbed! Tra la la la, (etc)!

The gypsy men, with all their might, Caused their instruments to rage,

And this dazzling uproar bewitched the gypsy women,

Beneath the rhythm of the song,

Ardent, crazy, feverish

They let themselves, intoxicated,

Be carried away by the whirlwind

bibliography: