Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix

 2.03

 Experimental

 listening
 Bartok

6

6th listening: Question: What do you hear in the accompaniment? foc

It is cool suddenly to concentrate on something else!

First section: Delicate strings, two chords. Subsequently contrary motion and a skip down

Second section: Major. Different rhythm, rocking, ”dung dung”

Third section: New variant of the first section. Counter-melody against the solo voice. Four chords

in each A section.

Fourth section: Happy section, fluttering

Last section: Full orchestra. Preparing the last chord sequence

EC: We agree that the form of the piece is A B A B A

7th listening: Question: What is the difference between the three A sections? foc

Instruction: Ignore the B sections

A1: The most lovable. The deepest secret. The oboe continues the whole way into the next

section, remains as a thread.

A2: Another instrument, the strong narrator’s voice. The accompaniment enters at a different time,

displaced.

A3: New orchestration. Begins with a full orchestra. Chords push in. Is there also a crescendo?

Melody doubled in octaves at the beginning, many winds together. They do not play completely in

tune, there is a slight interference, a more unattractive sound quality.

In the first A section the very first tone made a strong impression, here it is completely different.

8th-9th-10th listening: Question: What is the difference between the two B sections? foc

Instruction: Ignore the A sections

B1: New voice between melody and bass. Something happens to the syncopation.

A tightrope walker appears in the midst of everything.

Measured bass, first a second interval, then a pedal point and third interval.

B2: More shrill piccolo flutes. Measured basses all in a row, now in double tempo.

EC: I now hear the pronounced trills in winds on offbeats interconnected with the measured

basses. Until now, I heard them fluttering independently.

Appendix 2.02 Experimental listening Bartok