CHAPTER 8
Music and Words
OVERVIEW
In this chapter, we explore the relationship between music and words, focusing on the way in
which the sounds, rhythms, and meanings of words contribute to the overall impact of a piece of
music. We give attention to the various types of text settings, formal designs, and languages that
will be featured in later chapters.
LEARNING OBJECTIVES
1. To understand the various ways in which texts can consist of words or sounds independent
of words (e.g., nonlexical syllables, scat singing, and vocalise)
2. To gain a familiarity with the different kinds of languages and their contexts (secular vs.
sacred) to be explored in the examples from later chapters
3. To understand the compositional aspects of text setting and word-painting
LECTURE SUGGESTIONS
1. Sample for the class a number of short excerpts that feature various types of text setting and
have students tally the excerpts according to the three categories (melismatic, neumatic, and
syllabic). Prompt the students for their findings and replay any examples on which they
disagree. Here are some examples:
▶ Melismatic: Gaude Maria virgo (opening); J. S. Bach, Cantata no. 140, Wachet auf,
Chorale fantasia, “Alleluja!” in the first B section
▶ Neumatic: Purcell, Dido and Aeneas, “When I am laid in earth”; Verdi, Rigoletto, “Bella
figlia” (the Duke’s opening)
▶ Syllabic: Schubert, Elfking; Mozart, Requiem, “Dies irae”
2. The textbook gives the example of Brahms’s Lullaby as a piece whose English translation
does not quite “fit the melodic line.” Explore this issue further with your class by playing
back-to-back excerpts from an opera, first in the original language and then translated into
English. To use an example from the Listening Guides, compare the original Italian version
of Leporello’s “Catalog Aria” from Don Giovanni with a recorded performance in English:
https://open.spotify.com/track/4UsjBjZWG2E5pgJb1URvM3.
ASSIGNMENT SUGGESTIONS
Practice identifying the text-setting styles and song form by exploring a selection of songs from a
variety of popular music genres (classic rock, rhythm and blues, pop rock, etc.) Note in your
responses the predominant structure of the song (stanza, verse-refrain) and the text setting
(melismatic, neumatic, or syllabic). Also make note of any nonlexical syllables, scat singing, or
vocalise you hear in these examples.
TEACHING CHALLENGES
Providing musical examples with unclear diction and enunciation may confuse students as they
try to detect the techniques and text-setting styles introduced in this chapter. Search for clearly
intelligible recordings and provide access to the text when playing listening examples.
CHAPTER OUTLINE
Music and Words (Chapter 8)
I. Song: Union of Music and Words
A. Singing without words, nonlexical (nonsensical)
1. scat-singing: made-up syllables
a. jazz vocal improvisation
2. vocalise: neutral sound (e.g., “ah”)
a. wordless vocal melody
b. exercise or concert piece
B. Sacred music
1. music for worship, religious
2. sung in Hebrew, Greek, and Latin
3. Latin: language of Roman Catholic Church
a. medieval and Renaissance language of learning
C. Secular music
1. nonreligious music
2. sung in the vernacular (language of the people)
D. Texts
1. often don’t translate perfectly
2. composers set variety of texts
a. pre-existing text, words precede the tune
b. lyricists/composers work together
II. Text Organizes the Tune
A. Common musical settings
1. strophic form: same music for each stanza, or strophe (popular and art music)
2. refrain or chorus: words and music recur after each stanza
B. Text-setting styles
1. syllabic: one note per syllable
2. melismatic: many notes per syllable
3. neumatic: few notes to each syllable
4. word-painting: music pictorializes a word, emphasizes text