Music analysis writing paper


Music 301


Question Description

The detailed writing instruction is post in the attached file. Please follow the example essay part, finish rest of my paper. Word count added at least 650 words.

Need to add Context, poetic analysis and musical/setting analysis and source part.

Unformatted Attachment Preview

Carson Lott, Tenor Yaoyun Miao, Piano Chanson du chat Composer: Erik Satie (1866-1925) French Poet: Léon-Paul Fargue (1876-1847) French Published in: Ludions – 1926, Composed c. 1923 Text & Translation Chanson du chat Cat’s Song Il est une bébête, Tili petit n’enfant Tirelan C’est une byronette La beste à sa moman Tirelan Le peu Tinan faon C’est un ti blan-blanc Un petit potasson? C’est mon goret C’est mon pourçon Mon petit potasson. He’s just a little beasty Teeny weeny little baby Tirelan It’s a little lord The beasty of his mommy Tirelan The little baby It’s a little teeny whi-white A little fishie? It’s my piglet It’s my pourçon My little fishie. Il saut’ sur la fenêtre Et groume du museau Tirelo Pasqu’il voit sur la crête S’découper les oiseaux Tirelo Le petit n’en faut C’est un ti blo-blo Un petit Potaçao C’est mon goret C’est mon pourceau Mon petit potasseau. He jumps onto the windowsill And grooms his muzzle Tirelo Not because he sees on the ridge The outlines of the birds, Tirelo The little baby It’s a little whi-white A little fishie. It’s my piglet It’s my pourceau My little fishie. Context The song collection Ludions was Satie’s final vocal composition, published posthumously in 1926, one year after his death. All five poems were written by Léon-Paul Fargue, and many of them employ a sort of babbling and childlike speech. Kimball calls this “baby talk.” This style of poetry has been observed by many sources to be difficult to translate. Fargue was famous for riding cabs through the streets of Paris, and observing the vignettes of human life that went on around him. Much like much of his blend of symbolist/absurdist poetry, his observations from the cab often made very little sense taken out of context. Fargue saw these snippets of human life as perfect source material for his poetry. This practice certainly fits well into his absurdist poetic sensibilities. The title of this collection, Ludions, refers to a type of toy. As Kimball notes: “A ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase.” The figure that Kimball refers to is known as a “bottle imp” which is, in certain European lore, a type of tiny malformed creature that may be summoned and asked for knowledge. The title is often translated as “Bottle-Imps,” or more generally, “Toys.” Satie and Fargue were similar in nearly every way, and were fast collaborators as a result. As described on Wikipedia: “[Fargue] has been described as perhaps Satie's "nearest counterpart in literature."1 Both men were linked with various Parisian avantgarde movements but remained fiercely independent; both drew on absurd humor and childhood as sources of creative inspiration; and they delighted in wordplay and nocturnal strolls around Paris, a city they knew well.” After their friendship had developed, Satie became a part of Fargue’s close circle of friends and collaborators who called themselves the “Potassons.” Chanson du chat aptly became their “theme song” after its composition. Unique Characteristics of Chanson du Chat Poetic Analysis Fargue wrote this poem of cat-adoration from the point of view of a young child in an early stage of their language acquisition. As such, Fargue has included several intentional vocal typos in his poetry. Many of these words have proven difficult to research, and I can only guess at their intended meaning. Others, however, seem to be more clear. For instance, the inclusion of an n before enfant is common for young French speakers, because they often hear the word enfant in the context of un enfant, in which the n is elided. Fargue takes this misspelling a step further, and misspells the same words “petit enfant” three times. The first: petit n’enfant, the second: peu Tinan faon, and the third: petit n’en faut. This depicts the process of language acquisition in young speakers. Try it until you have it! This may also be a play on the French language itself in all of its government-ordained intricacies. 1 Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 58. In a similar but different depiction of language acquisition, Fargue uses made-up words to describe the cat from the point of view of the child. These words may be the child in process of naming the cat, and include tili (teeny weeny), Tirelan/Tirelo (an exclaimation?), byronette (little lord?), and potasson/ Potaçao/potasseau (potasser = to read up, potage = soup, potager = vegetable garden, poisson = fish), and goret (piglet). The child clearly loves the cat VERY MUCH and equates it with all sorts of adorable things, like fish and piglets. The only word for which I am completely at a loss is pourçon/pourceau. The only thing I can think of is that it sounds like “person” in English. The cat is my person? Satie sets only two of Fargue’s original four verses. In the remaining two verses, hilarity continues to ensue. To name only the most common words, Potasson mutates further to Pot-à-C and Pot-à-Sûr, while Tirelan becomes Tirelé and Tirelu. Musical/Setting Analysis Satie sets the poem in pure strophic form with a simple piano accompaniment. This mirrors the cabaret style which was popular at the time, and which is incorporated in several other songs in the Ludions. In nearly every musical way, Satie shows the audience that the poetic persona is that of a child. The entire piece is marked Gaiement and forte, and both the vocal and piano lines move clunkily, yet intuitively along. At times the piano seems to represent the cat, and the vocal line the child exuberantly running to catch up with it. The setting also has what may seem like miss-steps to the casual listener, further mirroring Fargue’s poetry. Sources Bernac, Pierre. The Interpretation of French Song. New York: W. W. Norton & Company, Inc., 1976. Goldsack, Christopher. Mélodie Treasury (website). Ludions. Kimbal, Carol. Song: A Guide to Art Song Style and Literature. Revised edition. Milwaukee: Hal Leonard, 2005. Wikipedia Contributors. Ludions. Orpheus with his Lute Composer: Ralph Vaughan Williams (1872-1958) Poet: William Shakespeare (1564-1616) Published by Metzler & Co., 1866. Text Orpheus with his lute, with his lute made trees And the mountain tops that freeze Bow themselves when he did sing. Orpheus with his lute, with his lute made trees And the mountain tops that freeze Bow themselves when he did sing. Bow themselves when he did sing. To his music plants and flow'rs Ever sprung as sun and show'rs There had made a lasting spring. To his music plants and flow'rs Ever sprung as sun and show'rs There had made a lasting spring. Ev'ry thing that heard him play Ev'n the billows of the sea, Hung their heads and then lay by, Hung their heads and then lay by, In sweet music is such art, Killing care and grief of heart, In sweet music is such art, Killing care and grief of heart, Fall asleep, or hearing die, Fall asleep, or hearing die. Context Unique Characteristics of Orpheus with his Lute Poetic Analysis Musical/Setting Analysis Sources ...
Student has agreed that all tutoring, explanations, and answers provided by the tutor will be used to help in the learning process and in accordance with Studypool's honor code & terms of service.

This question has not been answered.

Create a free account to get help with this and any other question!

Similar Questions
Related Tags