I. Introduction and summary of Armed Man tradition
a. Secular tune that has no clear origins that turned into a phenomenon b. Set to masses, song cycles, and changed/added onto by composers II. Overview/Roadmap to essay and thesis a. On Extempore II, the armed man tune is used and transformed to fit the message of the newly composed song through the development of rhythm, form, tonality, and texture. III. Explanation of Bloom’s theory of poetic influence a. Intertextuality: Changing and developing a part of the syntax or form of the original piece while still keeping the old. Comparing the old to the new and juxtaposing them to show them “locked in conflict” b. Anxiety: The fear that their own work will never be as good as the original. How do they “make room” for themselves? Makes composers push their competitors aside c. Misreading: When an artist tries to reinterpret a predecessors works and misread the purpose for which they created the work. This creates room for musical freedom and new ideas to revise and recreate the work at hand. IV. Summary of Extempore II and description of three select works a. Motet: “The Man, the Man”: Mixed meter; duple and triple feel, battle of meters, perfect intervals in voices, Use of tritones, jazz sonorities and chords, solos, improvisation b. Gloria – “Glory Be” (Track 5): Overlapping voice texture, soloist at the beginning, a jazz-like ostinato that includes a triplet against duple feel. Giant Golria form. c. Epistle – “Prayer” (Track 7): Solo sax with combo in background, Rondo form with armed man tune as theme. V. Transition: Why and how can Bloom’s theory be applied to music? a. Music and Poetry are both art forms in which one build on another’s work b. how explained in III VI. Application of Bloom’s conceptual framework to Extempore II a. Motet: “The Man, the Man” i. Intertextuality: use of triple rhythms in the old version but in the new version, the use of duple rhythms is introduced in the form of 5/8 time. Juxaposing the old and new – mixed meter, Influence of jazz – battling against each other? Matches aggressive armed man text. ii. Anxiety: rewritten in a completely different tonality (G major) in stylistic texture written four voices and Jazz Quartet which is in extremely rare ensemble especially in the competing manner in which they perform. More likely to be “disseminated by performance” iii. Misreading: changed tonalities to make a major key with a festive like feeling. When re-composing this melody, I think the arranger miss read the context of the armed man song. The aggressive nature of the text suggests that the melody to accompany it shouldn’t be a joyous jig like one such as in track 1. Perfect houseplants sought to “say what they want or need to hear.” b. Gloria – “Glory Be” (Track 5) i. Intertextuality: was able to preserve the form of the Gloria prayer as it is performed in the mass ordinary. Big effort to make a difference between quarter note triplet and half note. Changes subdivision in beginning to duple even though in the original the entire piece was in triple. Later in the new version, the subdivision changes to triple incorporating both duple and triple rhythms and feel. ii. Anxiety: honest to the style of a responsory – melismas are swapped out for improvisation – the jazz version of a Gloria successfully re- create something and “Clears space” by putting a modern twist on it. Voices alternate the same passages in succession while transposing up perfect fourth and fifths – could be extrapolating on Hocket during the Ars nova and Renaissance time periods. In which the armed man song was very famous iii. Misreading: use of syncopation at bucks a, the shift between Duple Quarter note triplets at measure 50, and the “house plant groove” all create a sense of uneasiness because of the constant switch between duple and triple subdivisions. This works in the jazz sections because of the way swing style works but during the vocal lines especially at the solo before measure 50, we feel an uneasiness as the solo ends by changing to duple after have been in triple. c. Epistle – “Prayer” (Track 7) i. Intertextuality: extended the form of the armed man and added to it create a similar form to the Rondo form. Using the first five bars of the arms man tune as the “theme.” This extended the pieces length which made the newer piece much more grand than the older piece. Kaizen ideas of citation and authority and vying with the original work. ii. Anxiety: short theme catchy tune that we’ll gain popularity. Extended word of arms man tune. Rondo and variations on a theme are very popular in popular music within the Canon. Has everything the original has it even more containing impressive solos and improvisations that will draw audiences and encourage dissemation through performance. iii. Misreading: uses the melody at beginning of the tune but doesn’t use the whole tune. Texted part that said “the man, the man, the armed man, the armed man.” Takes the “fear” out of the peace and sets the text that does that the Jazz context to a jazz Texture. Appropriate and sensitive use of the armed man tune. VII. Other evidence / observations in support of thesis VIII. Conclusion/s a. On Extempore II, the armed man tune is used and transformed to fit the message of the newly composed song through the development of rhythm, form, tonality, and texture. b. Prayer was the strongest because it was sensitive in it’s use of the armed man tune and didn’t feel the need to use the whole piece. I think the composer with the most talented are the ones that don’t need to borrow a lot of material. The ones that can create a large amount of new material out of a small amount of old.