Section Overview
|
Spring |
Nostalgia |
Similarities |
Both pieces
have homophonic texture. |
|
Differences |
Homophonic
texture is used, but accompaniment differs
in terms of rhythm. |
Monophonic texture and heterophony texture are used as well. |
Textural Analysis
Homophonic texture is used in both Spring and Nostalgia. Homophonic texture is defined as the texture with a principal melody and an accompanying harmony (Forney, Machlis 26).
In Spring, homophonic texture is used throughout the piece, where there is a distinct melody line and accompaniment. This is evident in Example 17 (1:24 – 1:33) and Example 18 (2:36 – 2:52), where the cello accompanies the solo violin.
In Spring, homophonic texture is used throughout the piece, where there is a distinct melody line and accompaniment. This is evident in Example 17 (1:24 – 1:33) and Example 18 (2:36 – 2:52), where the cello accompanies the solo violin.
Although the cello plays the accompaniment in both Examples 17 and 18, the accompaniment differs in terms of the rhythm. In Example 17, the cello plays a set of repetitive broken chords in semiquavers, whereas the accompaniment of Example 18 is long held and scalic.
Similarly, Nostalgia has a homophonic texture [refer to Example 19 (1:04 – 1:30)]. The suona plays the main melody, while the rest of the orchestra accompanies. The accompanying instrumentations play the same rhythm, which consists of crochet and minims. This set of accompaniment is similar to that of Spring (refer back to Example 18).
Similarly, Nostalgia has a homophonic texture [refer to Example 19 (1:04 – 1:30)]. The suona plays the main melody, while the rest of the orchestra accompanies. The accompanying instrumentations play the same rhythm, which consists of crochet and minims. This set of accompaniment is similar to that of Spring (refer back to Example 18).
Other than the use of homophonic texture in Nostalgia, instances of monophonic and heterophony texture can be found as well. Monophonic texture is a single-line texture where there is a principal melody without an accompanying harmony (Forney, Machlis 26), while heterophony texture is the texture whereby there are two or more voices or parts that are elaborating the same melody simultaneously (Forney, Machlis 26).
Monophony texture serves to emphasize the solo instrument such that the soloist can showcase his playing. This is evident in the introduction (0:02 – 0:48) and Example 20 (4:23 – 5:05) of the piece. As the solo suona is the only instrument playing at this point of time, the emphasis is on his playing, thus allowing the soloist to showcase his capability.
Monophony texture serves to emphasize the solo instrument such that the soloist can showcase his playing. This is evident in the introduction (0:02 – 0:48) and Example 20 (4:23 – 5:05) of the piece. As the solo suona is the only instrument playing at this point of time, the emphasis is on his playing, thus allowing the soloist to showcase his capability.
On the other hand, heterophony texture stresses on the melody line. Section B of Nostalgia is mainly based on this texture as the principal melody is realized at the same time by the solo suona and the accompanying orchestra. This can be in Example 21 (3:06 – 3:34), where the orchestra plays the realization of the melody line, so as to elaborate the melody line, which the soloist is playing.
Despite the use of homophonic texture in both pieces, heterophony texture is a prominent texture used in the Chinese Music, but rarely used in Western Music. Western music during Baroque Period generally uses homophonic and polyphonic texture. Heterophony texture, which is the fundamental musical texture of Chinese Folk music, is known to be “a system of great sophistication” (Thrasher 150) since the same melody has been varied simultaneously by the various instrumentalists. Through this heterophony texture, instrumentalists exhibit their “innate musical sense and skill” to vary the melody and this heightens the tonal colour of their own instruments (Witzleben 106), allowing each instrument to stand out.