We often focus on differences between cultural music, but striking similarities can be found between seemingly polar opposite cultures in the ways in which they use musical structure. This week, we chose to focus on the similarities between the Indonesian Dalag music that Bonnie Wade discusses and the use of musical themes to tell a story in Western art music .
Rimsky-Korsakov’s Scheherezade is based on the Arabian Nights stories, focusing on Scheherezade, Shayar, the Kalendar prince, a prince and princess, and often Sinbad and his ship. The nuances and details of each story do not necessarily matter in the context of structure, but rather the overarching themes that occur for each well known character and big event. In terms of dalang music, there are already similarities. Bonnie Wade notes that “In any given performance, the plot is usually not the main focus. Rather, the elaborations, digressions, and manner of execution of well-known stories take precedence” (146). Rimsky-Korsakov may not be telling stories exactly as they match up with text, but it is the concepts and big ideas of these stories that take center stage.
Scheherazade's theme is primarily harp and violin it is seductive yet mysterious much like the women herself. Her theme makes its mark in three of the four movements, either near opening or closing of the movement. The Sharyar theme is appropriately contrasting: heavy and brassy. With each entrance of the Sharyar theme, his dark mood makes its mark.
This is the very beginning of the entire work, and Shahryar theme opens. Listen past the one minute mark to hear Scheherazade's theme played by the concertmaster. It makes sense that these two themes would open the work; Scheherazade and the Shayar are the reason the rest of the stories exist. As this movement progresses you would hear these two themes take on different roles, notably the Sharyar taking on the role of Sinbad the sailor.
There is a great deal of material to uncover in the third movement, but focus on this section where Scheherezade’s theme comes back. You would have just heard the story of the prince and the princess, and her theme comes cascading back into the forefront to remind us of the overarching story.
(I have started before the theme returns for context).
Dalang music is also responsible for setting the mood of a story. “Battle music, walking music, [and] meditating music” are used to convey the part of the story taking place (146).
Consider how this music fits the actions of the puppets in terms of lightheartedness and a sense of joy, while this next scene is more dramatic in music and appearence:
Music to accompany or invoke imagery can also be found in music that is not often thought of as programmatic (because programmatic music is a concept developed in the romantic era) but contain motifs or moments of vivid imagery. Consider Vivaldi’s Four Seasons, four concertos for violin and orchestra each meant to accompany snippets of poem about each season.
In Summer, the opening theme which occurs later on is meant to be symbolic of sweltering heat. After this, there is text in the score that suggests a cuckoo is singing as the violin begins a rapid but light sixteenth note passage.
The third movement portrays a summer storm complete with thunder and lightning. This is quickly evident with the opening theme in g minor that crashes in and out of silence.
Hannah Gorham: Writing
Brian: Media
Brian: Media
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