Monday, March 26, 2012

Introduction to Bossa Nova and Aaron Copland

What is Bossa Nova?







Bossa Nova in itself is a music that revolves around the dance of samba that originates in Brazil. Bossa Nova even though it’s derived from Samba, it can be said that it also focuses more on the melodic tones rather than percussion itself. Samba within Bossa Nova attributes to rhythmic patterns and brings out a feeling that is felt in the music of former African slave communities. Samba's primary emphasis is on the second beat in various songs, which carries through to Bossa Nova. Typically there are also two measure patterns that contain syncopation into the second measure in most pieces. It’s with these patterns and structure in the rhythm that creates a "swaying" feel rather than the "swinging" feel of jazz.  An example of the “swaying” feel described earlier is with Bossa Nova composer Carlos Lyra who represents this in his song "Influência do Jazz". In this piece the samba rhythm accompanying the Bossa Nova music creates a feeling in which the audience moves "side to side". Then in contrary to Bossa Nova, Jazz has a feeling that moves instead from "front to back". Bossa Nova also has influences from the blues genre as well, although the most popular Bossa Nova pieces lack the 12-bar structure characteristic of typical blues music. Other factors that differentiate the two genres include the statement, repetition and rhyming resolve of the lyrics that exist in the Blues Genre. In early Bossa Nova pieces the lyrical themes and length of the songs (lasting usually around two to four minutes). Bossa Nova’s song structure is normally different from European and North American popular music's typical format of two verses followed by a bridge then a closing verse (AACA structure). Whereas Bossa Nova pieces almost always have not more than two lyrical verses while also many lack a bridge (typically similar to an ABA structure rather than including a C). Sometimes in the earlier recordings there are less than two minutes in the compositions themselves. Also even some pieces have single lyrical verses that were just repeated. Finally thematically the lyrical themes are in Bossa Nova consist of women, love, desire, and the memories of being young.

Who is Aaron Copland?



       Aaron Copland is an American composer who is primarily known for the unique characteristics in his compositions. Copland usually blends elements of jazz and American folk tunes within his courses. Copland himself is most popularized in the music world from his works. The works that Copland has composed includes the “Fanfare for the Common Man”, and “Billy the Kid”, “Rodeo”, and “Appalachian Spring”. It’s with these pieces previously mentioned that allowed Copland to earn the Pulitzer Prize. It can also be noted that many of Copland’s compositions were used in film scores creating a thematic structure that fits musicals (the feel from his pieces). An piece that would best represent this would be “Salón de Mexico” which has melody lines that could be used in the musical “West Side Story”.
       Copland also took Emily Dickinson’s (A poet) lyrical language in her works with brief leaps in vocal lines within his pieces that compliment aspects in her poems such as pauses and dashes among stanzas. It’s also said by Vivian Perlis (an American music historian that "the songs are unusual in style with irregular meters and stanzas, wide jumps in the vocal lines, and difficult passages for the pianist that present special challenges." In order for Copland to better capture Dickinson’s character, he visited the poet’s home in Amherst, MA which allowed him to take in the atmosphere of the place in which Dickenson spent most of her hours writing her own works.

"Samples of the Music"

El Salon de Mexico - Aaron Copland
(One of Copland's most world renowned pieces that he composed at the peak of his career!)


Chega de Saudade - Joao Gilberto
(A prime example that represents a bulk of what Bossa Nova while staying true to all the elements that allows it to have that "Samba" dance rhythm. Also it's noted that Joao Gilberto is also known as one of the founding fathers of Bossa Nova in itself.)

Tonality




Tonality in the context of music can be described as the relationships between the elements of melody and harmony, tones, intervals, chords, scales, among various other components in conjunction with each other. Although the relationships between each of these aspects are characterized in terms of a hierarchical order in that one element can overtake another in a piece. In this manner the fight between the various relationships cause the creation of a layered build that exists amid a tone and it’s melodic, harmonic, and chromatic framework. When this weave of components are relative to the piece while being stable there is a tonal system, which is coherent. Also the major and minor scale systems that have a role in being members of the chromatic gamut is that system stated in itself.
            Although in a more concise sense, tonality simply refers to the major and minor scale types. The scales themselves have elements that are capable of maintaining an expected set of functional relationships. The most important relationship amidst the many that can exist is the one consisting of tonic notes and the tonic chord with the rest of the scale varying on the piece presented. The tonic is the element, which proceeds to affirm its dominance over all of the others while functioning as the ultimate point of attraction. (Both rest and resolutions in the scale).

Comparison

Bossa Nova and Aaron Copland are a lot similar than what it seems from the naked ear in terms of looking at both musical entities from a very simplistic view. However surprisingly it’s noticeable that Copland and Bossa Nova music implement similar tonalities in that many pieces are in major keys. By using major keys there’s a sense of light-heartedness and joy rather than the somber tones/melancholy like tones of minor key signatures. Because Copland also had personal backgrounds with Latin culture which is noted that there are influences in chord structures creating harmonic sounds in relation to their respective keys. The sample pieces (Salon de Mexico & Chega De Saudade) are surprisingly both in the key of G in that both pieces begin in that notation.
            When actually listening to the pieces in both samples there lies an overlying tone of happiness rather than anything that remotely has a dreadful sound. Although the main difference lies within the elements in the weave mentioned earlier, which include dynamics, placing a role in, how the listener perceives both pieces. Copland throughout “Salon de Mexico” plays with dynamics such as forte, piano, pianissimo, and even fortissimo in various measures of the piece. Meanwhile in the Bossa Nova sample by Joao Gilberto (Famous Bossa Nova Musician) sticks with the piano dynamic. Finally it can be said that Copland uses a varied structure with a play on the ABA format in conjunction with adding extra elements such as a bridge (C to the ABA structure). All while Joao Gilberto sticks with the main verse primarily while making no intention to really create a variation in the piece, as Bossa Nova music is this way. Those two prime aspects in the weave that makes up the entity of tonality causes these differences between the two musical embodiments.  

Conclusion

Although the use of tonality in both musical manifestations, allow for similarities as well as differences between either entity, it can be said that tonality in Bossa Nova is used as medium to express peaceful moods while causing a “swaying” feel to it. Bossa Nova also implements the use of basic song structures in order to continue that same feeling throughout the entire piece regardless of the simple repetition of a main melody line. Whereas with Copland’s work represented by “Salon De Mexico” there is an overlying varied tone of excitement and mystery in the piece dictated by the use of different dynamics in varied places. The most focused characteristic of both Copland and Bossa Nova that bring both entities together, is derived from the key signature within the essence of tonality, in that both pieces from each manifestation start with “G” and keep a rather conjunct and cheerful sound for the most part being in the same major keys.  And even though these two worlds of music don’t actually relate with each other it’s the technicalities within their tonalities that bring both together.

Bibliography

Works Cited
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