copyright © 2003 by Larry J Solomon
Dido’s Lament: Aria Analysis Assignment
1. Make a copy of the score in your Anthology of Music and do the
analysis directly on this copy, which you will hand in. The Anthology score
is reduced (transcribed) for voice and keyboard, which is called a “rehearsal
score” or “vocal score”. The opera, from which this is an
excerpt, is written for voices and orchestra.
2. Notice that the Lament consists of a Recitative and Aria. You will analyze
only the Aria and explain a couple of aspects of the Recitative.
3. Make a copy of the Music Analysis Program Sheet (below).
Use this to do a Parametric Analysis of Dido’s Aria, referring to the
Parameters for Analysis page (below). Answer briefly only the
questions that are relevant and significant to the music. Fill out the Music
Analysis Program Sheet with your answers.
4 . If you can’t hear the aria in your head, listen to a recording of
it. (In Library)
5 . Perform a harmonic/tonal analysis of the aria with chord symbols above and
below the staff. Do NOT modulate.
6 . Circle and label all nonharmonic notes. The bass-note E in measure 21 should
be marked as a passing tone.
7 . Determine the theme and the form and identify these in the last parameter
on the Music Analysis form:
a. Identify where the theme first occurs using measure numbers, instruments, voice position, etc., and identify its length.
b. Explain if the form follows the normal pattern, and if it differs in some way, explain how. If sections repeat or are variations, explain what remains the same and what changes.
c. Why is this called a “Lament”? Research the term in the library if necessary. (E.g., Groves or Harvard Dictionaries.)
d. Show the sections of the form on the score analysis by drawing vertical lines through the bars which begin/end each part. Label the beginning of each section appropriately. E.g., A B A for ternary, Var1, Var2, etc. for Theme and Variations.
e. Identify the number of parts/sections on the Music Analysis Program Sheet, under form.
8. Explain what a Recitative is and how it differs from an Aria. Explain how
this Recitative conforms or not to the definition?
9 . Explain how three specific musical characteristics contribute to the meaning
of the text.
1. Dynamics: notated? terraced, graduated, constant? Independent of texture? Balance?
2. Tempo: constant or varied? sudden or gradual changes?
3. Meter: ametric, polymetric, multimetric? regular meter? constant or changing? pronounced?
4. Rhythm: patterned? description of pattern. changes in pattern? syncopations? time/note values. accents? multivoiced rhythms? Effect on texture, melody, and tonality?
5. Texture: monophonic, homophonic, polyphonic, contrapuntal, heterophonic? homorhythmic? thin or thick? Changing? paired voicings? polarization (as in melody/accompaniment, solo/tutti, antiphony, etc.)?
6. Media: Voices, instruments intended and realized? Idiomatic writing? Unusual or exploratory use of the medium?
7. Timbre: How are the instruments used in combination? Is there an exploration of timbre in the composition? How important is timbre? sprechstimme? klangfarbenmelodie?
8. Thematic/motivic structure: Diatonic, chromatic, modal, use of sequence? Intervals used? phrase lengths? periods?
9. Thematic/motivic development: repetition or variation? types of variation (e.g., augmentation, fragmentation, interpolation, octave displacement, permutation, isomelos, inversion, etc.)? Imitation? counterpoint?
10. Cadences (melodic/rhythmic): prominent? formulated? Where do they occur in the form?
11. Harmony: Chord structure: tertian, quartal, secundal, clusters, set structure. Intervallic? Number of pitch classes used. Nucleus? voicing?
12. Cadences (harmonic): Tertian authentics? coincidence with melodic/rhythmic cadence? formulated?
13. Harmonic motion: patterned repetitions? periodic change? Harmonic rhythm (rate of change)? Root movements? diatonic vs. chromatic movement? planing?
14. Tonality: atonal, polytonal, modal, polymodal, multimodal, keys, tonics, modulations?
15. Pitch range (gamut & tessitura) and intervals: statistical content, frequency, usage. microtones?
16. Form: standard formal types? sectional divisions and relationships? Process: continuous (as in a canon) or sectional (as in ABA)? Small and large scale relationships? Symmetry? Relation to any of the previous 15 variants (above)? Is there a formal principle used to generate the composition?
B. Special Parameters for Vocal Music
17. Tone painting? How does the music contribute to the meaning of the text? Does the rhythm of the music conform to naturally inflected speech, or is it metric? Doctrine of affections? Are text and music related by formulae? Syllabic or melismatic setting? Symbolism? Special vocal techniques?
Music Analysis Program Sheet
A. Full title of composition __________________________________ Movement?
or part? _______________________
B. Year composed _______________ Era: ____________________ Genre ________________________
C. Composer's full name ______________________________________ Composer's dates __________________
D. Composer's nationality ______________________________________
E. Important characteristics and distinctive techniques (always fill in medium)
1. dynamics:
2. tempi:
3. meter:
4. rhythm:
5. texture:
6. medium:
7. timbre:
8. thematic structure:
9. thematic development:
10. melodic/rhythmic cadences:
11. harmony:
12. harmonic cadences:
13. harmonic motion:
14. tonality:
15. pitch range:
16. form:
17. music and text:
2003 GUEST 