Te Deum (Kodály): Difference between revisions
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{{AFC submission|d|reason|3=Declining; article isn't ready for move into mainspace. Please remove empty sections and add more references to the analysis section. Keep in mind that anything presented here must be attributed to a source, and [[WP:OR|not your own opinion]].|declinets=20121202205211|decliner=Bjelleklang|ts=20121126012056|u=Lwhit|ns=5|small=yes}}{{AFC submission|d|exists|3=Zoltán Kodály |declinets=20121113011218|decliner=MatthewVanitas|ts=20121113005349|u=Lwhit|ns=2}} |
{{AFC submission|d|reason|3=Declining; article isn't ready for move into mainspace. Please remove empty sections and add more references to the analysis section. Keep in mind that anything presented here must be attributed to a source, and [[WP:OR|not your own opinion]].|declinets=20121202205211|decliner=Bjelleklang|ts=20121126012056|u=Lwhit|ns=5|small=yes}}{{AFC submission|d|exists|3=Zoltán Kodály |declinets=20121113011218|decliner=MatthewVanitas|ts=20121113005349|u=Lwhit|ns=2}} |
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| ⚫ | {{afc comment|My mistake, but the way your intro was written it looked like the article was about Zoltan rather than about one piece of music by him. I'm fixing up the format a little bit to make this clearer; feel free to clean it up further, but the intro should clearly be about the work rather than the author}} |
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| ⚫ | {{afc comment|You also have some issue here with presenting opinions: per [[WP:NPOV]], articles should state no opinions except when presenting the opinions of cited authorities. If you/I/whoever thinks the TD sounds chaotic but captivating, it doesn't matter, and that's not neutral. If music critic James Jamerson says so in his 2004 ''Annual of Hungarian Composition'', then by all means quote it as "Jamerson opines that..."}} |
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==Biography== |
==Biography== |
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{{afc comment|We have a full article [[Zoltán Kodály]], it is unnecessary to have a whole section here. Include only ''just'' enough bio info that is ''specific'' to the Te Deum, and the reader can follow the link to Zoltan's own article if he wants the story.}} |
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Zoltán Kodály was born in the small Hungarian town of [[Kecskemét]] in 1882 to musical parents.<ref> Gray, Cecil. “Zoltan Kodaly.” ''Tempo'', Vol. 3, Issue 63 (1963): 22-27 </ref> His father was a railway official, and his family moved across the country frequently throughout his childhood. Starting at age 3, he began to learn the violin and the cello, and his gifts quickly became apparent. However, despite his accomplishments, his father did not want him to become a professional musician.<ref> Ibid. </ref> Against his father’s wishes, he went to study at the Franz Liszt Music Academy in [[Budapest]], quickly falling more and more in love with the traditional folk music of his country.<ref> Ibid. </ref> It was at this time that Kodály began to work closely with [[Béla Bártok]], as Kodály quickly became a professor in the Budapest Music Academy, where Bártok was also employed.<ref> Szabolcsi, B. “Zoltan Kodaly.” ''Studia musicological Academiae Scientiarum Hungaricae'', Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266. </ref> Kodály first became recognized as a composer with the premier of ''Psalmus Hungaricus'' in 1923.<ref> Ibid. </ref> His use of folk concepts in opera and other vocal music became very popular across Hungary. Around 1925, his focus turned towards choral music, particularly youth chorus and music education.<ref> Ibid. </ref> It was during this time that he initiated what we know today as the “[[Kodály method]]” of music education, which focuses on the [[solfege]] system and singing. While music education itself was his focus, he continued to compose incredible choral works, Te Deum being one of them. Kodály continued his work as an educator, composer, and ethnomusicologist until his death in 1967.<ref> Ibid. </ref> |
Zoltán Kodály was born in the small Hungarian town of [[Kecskemét]] in 1882 to musical parents.<ref> Gray, Cecil. “Zoltan Kodaly.” ''Tempo'', Vol. 3, Issue 63 (1963): 22-27 </ref> His father was a railway official, and his family moved across the country frequently throughout his childhood. Starting at age 3, he began to learn the violin and the cello, and his gifts quickly became apparent. However, despite his accomplishments, his father did not want him to become a professional musician.<ref> Ibid. </ref> Against his father’s wishes, he went to study at the Franz Liszt Music Academy in [[Budapest]], quickly falling more and more in love with the traditional folk music of his country.<ref> Ibid. </ref> It was at this time that Kodály began to work closely with [[Béla Bártok]], as Kodály quickly became a professor in the Budapest Music Academy, where Bártok was also employed.<ref> Szabolcsi, B. “Zoltan Kodaly.” ''Studia musicological Academiae Scientiarum Hungaricae'', Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266. </ref> Kodály first became recognized as a composer with the premier of ''Psalmus Hungaricus'' in 1923.<ref> Ibid. </ref> His use of folk concepts in opera and other vocal music became very popular across Hungary. Around 1925, his focus turned towards choral music, particularly youth chorus and music education.<ref> Ibid. </ref> It was during this time that he initiated what we know today as the “[[Kodály method]]” of music education, which focuses on the [[solfege]] system and singing. While music education itself was his focus, he continued to compose incredible choral works, Te Deum being one of them. Kodály continued his work as an educator, composer, and ethnomusicologist until his death in 1967.<ref> Ibid. </ref> |
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==The ''Te Deum'': Purpose and Translation== |
==The ''Te Deum'': Purpose and Translation== |
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{{afc comment|Isn't most of this info at [[Te Deum]]? If so, it doesn't need to be repeated her ''except'' to whatever degree it frames this ''specific'' work by Zoltan.}} |
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[[Te Deum]] is a hymn of joy and thanksgiving used in the liturgy of the Roman Catholic church.<ref> Martin, Michael. “Te Deum.” ''Preces-Latinae Thesaurus Online''. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html </ref> It is sometimes referred to as the “Ambrosian Hymn,” because the church originally thought was written by [[St. Ambrose]].<ref> Ibid. </ref> It is now attributed to [[Nicetas]], Bishop of Remesiana.<ref> Ibid. </ref> It is used in the common liturgy of the Catholic church, and is excluded on special occasions such as Lent or during the Christmas season.<ref> Ibid. </ref> |
[[Te Deum]] is a hymn of joy and thanksgiving used in the liturgy of the Roman Catholic church.<ref> Martin, Michael. “Te Deum.” ''Preces-Latinae Thesaurus Online''. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html </ref> It is sometimes referred to as the “Ambrosian Hymn,” because the church originally thought was written by [[St. Ambrose]].<ref> Ibid. </ref> It is now attributed to [[Nicetas]], Bishop of Remesiana.<ref> Ibid. </ref> It is used in the common liturgy of the Catholic church, and is excluded on special occasions such as Lent or during the Christmas season.<ref> Ibid. </ref> |
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==Kodaly's ''Te Deum''== |
==Kodaly's ''Te Deum''== |
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{{afc comment|Again, these sections appear to be presenting your personal opinion about the merits of each recording.}} |
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===Recordings=== |
===Recordings=== |
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Revision as of 20:54, 2 December 2012
 | This article, Te Deum (Kodály), has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
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| This article, Te Deum (Kodály), has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
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Comment: My mistake, but the way your intro was written it looked like the article was about Zoltan rather than about one piece of music by him. I'm fixing up the format a little bit to make this clearer; feel free to clean it up further, but the intro should clearly be about the work rather than the author- Comment: You also have some issue here with presenting opinions: per WP:NPOV, articles should state no opinions except when presenting the opinions of cited authorities. If you/I/whoever thinks the TD sounds chaotic but captivating, it doesn't matter, and that's not neutral. If music critic James Jamerson says so in his 2004 Annual of Hungarian Composition, then by all means quote it as "Jamerson opines that..."
 | Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (November 2012) |
Te Deum is a work by Zoltán Kodály, who stands with Béla Bártok as one of the most prolific Hungarian composers of all time.[1] While best known for his work in music education, Kodály has composed many great works that often go unnoticed or ignored. One of such works is his Te Deum, composed for use in the Roman Catholic mass.[2] Like most of his compositions, he employs traditional Hungarian folk music idioms, as well as creative compositional methods of his own. While exceptional, this work is unfortunately overlooked by most musicians and choral conductors.
Biography
- Comment: We have a full article Zoltán Kodály, it is unnecessary to have a whole section here. Include only just enough bio info that is specific to the Te Deum, and the reader can follow the link to Zoltan's own article if he wants the story.
Zoltán Kodály was born in the small Hungarian town of Kecskemét in 1882 to musical parents.[3] His father was a railway official, and his family moved across the country frequently throughout his childhood. Starting at age 3, he began to learn the violin and the cello, and his gifts quickly became apparent. However, despite his accomplishments, his father did not want him to become a professional musician.[4] Against his father’s wishes, he went to study at the Franz Liszt Music Academy in Budapest, quickly falling more and more in love with the traditional folk music of his country.[5] It was at this time that Kodály began to work closely with Béla Bártok, as Kodály quickly became a professor in the Budapest Music Academy, where Bártok was also employed.[6] Kodály first became recognized as a composer with the premier of Psalmus Hungaricus in 1923.[7] His use of folk concepts in opera and other vocal music became very popular across Hungary. Around 1925, his focus turned towards choral music, particularly youth chorus and music education.[8] It was during this time that he initiated what we know today as the “Kodály method” of music education, which focuses on the solfege system and singing. While music education itself was his focus, he continued to compose incredible choral works, Te Deum being one of them. Kodály continued his work as an educator, composer, and ethnomusicologist until his death in 1967.[9]
The Te Deum: Purpose and Translation
- Comment: Isn't most of this info at Te Deum? If so, it doesn't need to be repeated her except to whatever degree it frames this specific work by Zoltan.
Te Deum is a hymn of joy and thanksgiving used in the liturgy of the Roman Catholic church.[10] It is sometimes referred to as the “Ambrosian Hymn,” because the church originally thought was written by St. Ambrose.[11] It is now attributed to Nicetas, Bishop of Remesiana.[12] It is used in the common liturgy of the Catholic church, and is excluded on special occasions such as Lent or during the Christmas season.[13]
For the text, refer to Te Deum.
Kodaly's Te Deum
- Comment: Again, these sections appear to be presenting your personal opinion about the merits of each recording.
Recordings
Janos Ferencsik and the Budapest Symphony Orchestra[14]
Zoltán Kodály and the Budapest Chorus[15]
Analysis
The first thing to note about this work references a stylistic choice used in all of Kodály’s compositions. Kodály consistently desired to reference the tools used in traditional Hungarian folk music. In this way, he was quite similar to Béla Bartók, who also used these traditional resources in his compositions. The works of these two composers use certain pentatonic groups, isometric strophe structure, and tempo giusto most commonly.[16]
Picture here[17]
It can be seen from this example that most of the Te Deum follows the traditional compositional style of Kodály. Not only does one see stepwise motion in two of the voices (one of the common pentatonic groups he uses), but one also notices the leap of a fourth in the first measure in the bass line. This is a technique of Hungarian folk music that Kodály commonly uses, and continues to use consistently throughout Te Deum, particularly in the bass line.[18]
As is common in Hungarian folk music, he employs verse structure, giving each section of the text its own individual musical style. There are no true or even tonal repeats at all throughout the work. Kodály begins the work in A minor, however he modulates multiple times throughout this lengthy work. He slowly modulates upward by step until the B section, during which he moves to E-flat major. The C section moves to E major. The D section slows down significantly, changing from 4/4 to 3/4 and introduces B-flat major. This is the solo section, and continues on in B-flat major, and it finally returns to E major. The remainder of the work contrasts between E major and E-flat major, ending with a big IV chord in E major. This emphasizes the characteristic use of the interval of a fourth often used by Kodály. The work contains a large amount of dynamic contrast, consistently alternating between forte and piano (or pianissimo). The overall mood of the dynamic seems to start forte and slowly wind down to a pianissimo finish.
Throughout the work, Kodály seems to be less concerned with overall text painting, and seems more focused on portraying the folk music of his country. There are occasions when the dynamic level or the chord structure used doesn’t quite match up. For instance, he uses a strong fortissimo marking with the text “pleni sunt coeli et terra” ("heaven and earth are full of majesty"), which most composers paint in a soft and subtle manner. However, it is a very powerful and influential work with beautiful, folk-style harmonies, intervals, and rhythms. His use of frequent key change, though may seem a bit chaotic at times, is truly unique and beautiful.[neutrality is disputed]
References
- ^ Eosze, Laszlo. Zoltan Kodaly: His Life and Work. London: Collet’s Holdings Ltd., 1962.
- ^ Kodaly, Zoltan. Selected Writings of Zoltan Kodaly. London: Boosey & Hawkes Music Publishers Ltd., 1974.
- ^ Gray, Cecil. “Zoltan Kodaly.” Tempo, Vol. 3, Issue 63 (1963): 22-27
- ^ Ibid.
- ^ Ibid.
- ^ Szabolcsi, B. “Zoltan Kodaly.” Studia musicological Academiae Scientiarum Hungaricae, Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266.
- ^ Ibid.
- ^ Ibid.
- ^ Ibid.
- ^ Martin, Michael. “Te Deum.” Preces-Latinae Thesaurus Online. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html
- ^ Ibid.
- ^ Ibid.
- ^ Ibid.
- ^ Ferencsik, Janos and the Budapest Symphony Orchestra. Kodaly: Budavári Te Deum & Missa Brevis. Hungaraton, 1994, CD.
- ^ Kodály, Zoltán and the Hungarian National Philharmonic Orchestra. Kodaly Conducts Kodaly: Psalmus Hungaricus/Budavári Te Deum/Missa Brevis. Polygram Records, 1990, CD.
- ^ Wikipedia. “Hungarian Folk Music.” Accessed on November 4, 2012 at http://en.wikipedia.org/wiki/Hungarian_folk_music.
- ^ Kodály, Zoltán. Te Deum, Choral Score. London: Universal Edition, 1952.
- ^ Ibid.