Healing Heritage: Paul Nordoff Exploring the Tonal Language of Music
Print ISBNs: 1-891278-06-1 or 978-1-8791278-06-8
| $32 | ||
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Complete transcripts of the famous 1974 lectures by Paul Nordoff, the late composer-pianist, who with Clive Robbins, pioneered Creative Music Therapy. In these penetrating sessions, Dr. Nordoff dialogues with his students about the expressive dynamics of each tonal and rhythmic component of music, and through musical examples from various composers throughout history, demonstrates their therapeutic significance. This book is a foundational text for all music therapists who use improvisation as therapy. Its main goal is to develop the awareness, intuition, and experiential understanding of music needed to bring its healing powers to others through creative improvisation. (1998, Paperback 240 pages: $32).
| Table of Contents | |
| FOREWORD | xiii |
| ACKNOWLEDGMENTS | xv |
| INTRODUCTION
A short biography of Paul Nordoff The setting of the course The students The relevance of these explorations to other client groups Preparing the text On the typography The recordings A concluding perspective |
xvii xvii
xix xx xxi xxi xxii xxiii xxiii |
| EXPLORATION ONE
Scales: Steps and Skips The dynamic properties of scales Scale passages and skips in melodic construction The scale as a musical statement Dynamics of scalar movement Stepwise movement in the bass |
1 1
2 5 6 8 |
| EXPLORATION TWO
Steps, Skips, and Creative Leaps Exploring inherent tonal directions From the tonic upward From the second scale tone From the third scale tone Including the fourth scale tone Including the fifth and higher tones Inherent directions and creative leaps Completing melodic phrases Enlivening the melodic role of the dominant The need for creative leaps Editors note |
13 13
13 14 15 16 17 18 19 21 21 22 |
| EXPLORATION THREE
Tonal Directions and Creative Leaps in Polyphony and Homophony Directions of tones, reviewed Tonal directions and creative leaps in Bach fugue subjects Homophony: the influences of harmony upon tonal directions A principle of counterpoint disregarded Tonal directions in harmonic writing Editors note |
2323 24
27 29 29 30 |
| EXPLORATION FOUR
The Life of the Intervals Zuckerkandls imaginative thinking about music Experiencing intervals Steiners interval concept The character of the octave Practicing experiencing intervals Becoming aware of the life of the intervals in a composition Editors note |
32 32
32 36 37 38 40 |
| EXPLORATION FIVE
The Interval Concept and the Potential in the Single Tone The interval concept and its application to therapy The potential of the single tone Studying, absorbing, and applying: the living process |
42 42
42 45 |
| EXPLORATION SIX
Elaboration of the Interval Concept Inner balance, tension, then resolution The diminished seventh chord Analyzing intervallic movement Deriving inspiration from the great composers Intervals in alteration |
46 47
47 48 51 51 |
| EXPLORATION SEVEN
Triads and Inversions The triad in the root position The inherent qualities of inversions The sixth chord Inverted triads The six-four chord |
52 52
52 52 54 57 |
| EXPLORATION EIGHT
Triads and Inversions in Their Relation to the Interval Concept The intervallic components of triads and inversions Freeing triads from harmonic tradition The sixth chord The six-four chord Balancing tonal directions and rhythmic freedom Debussys contribution to creative freedom |
66 66
67 70 71 73 79 |
| EXPLORATION NINE
Two Musical Events An expressive change of tone in a melody An uplifting change of harmony Harmonizations with a common sung tone The harmonic-emotional experience of inversions |
80 80
81 82 84 |
| EXPLORATION TEN
Inversions and the Directions of Tones The importance of cultural nourishment Becoming more aware of tonal directions Musical limits as aids to improvisation Mompous use of sixth, six-four, and seventh chords |
88 88
88 90 91 |
| EXPLORATION ELEVEN
Introduction to Seventh Chords The liberation of the dominant seventh chord The diminished seventh and its resolutions The dominant seventh and its resolutions |
99 99
101 103 |
| EXPLORATION TWELVE
A Singing Experience with Seventh Chords The roles of seventh chords The seventh chord in melodic construction Editors note |
104 105
107 110 |
| EXPLORATION THIRTEEN
Tension and Relaxation Techniques for creating musical tension Melodic ornaments; prepared non-chordal tones Playing to emphasize ugliness Superimposing a seventh over the tonic Unprepared non-chordal tones Unprepared chords; silences; dynamics; harmonic progressions The momentum of a composition Tonal fluidity Chromaticism in chord progressions |
111 111
112 114 115 117 119 123 125 131 |
| EXPLORATION FOURTEEN
Musical Archetypes, the Childrens Tune, and an Introduction to the Pentatonic Musical idioms as archetypes The childrens tune as an archetype The connections among musical idioms Reaching beyond race and culture for the universal Harmonizing the childrens tune Organum, the childrens tune, and Chinese music Further harmonic developments in the pentatonic The pentatonic modes Pentatonic dominant-tonic harmonization Kublai Kahn and the pentatonic The dyad as the basis of pentatonic harmony Further harmonic, rhythmic, and stylistic elaborations Introducing the Chinese seventh chord Editors note |
134134 135
135 136 137 138 140 141 143 143 144 145 147 |
| EXPLORATION FIFTEEN
Pentatonic Harmonization and Styles of Improvisation Clinical improvisation using pentatonic harmony Harmonic thirds are inadmissible in the pentatonic Forming intervals on each tone of the scale The pentatonic excludes the intervals of greatest tension Improvising freely with the admissible intervals Tonal directions and resolutions Resolving the dominant: the fifth scale tone Three-tone pentatonic seventh chords Exercises in pentatonic improvisation Ostinato accompaniments The special qualities of the pentatonic Two-part melodies Barton, an illustration of clinical application Aspects of a Javanese gamelan style Pentatonic versus diatonic harmonization A student present a Chinese folk song Editors note |
150 150
150 151 153 153 154 154 156 158 159 160 160 160 162 164 166 167 |
| EXPLORATION SIXTEEN
Tonal Relationships That Link Archetypal Scale Forms Improvising in the pentatonic with diatonic passing tones Altered pentatonics and their clinical effects Altering the pentatonic to introduce tension Changing two tones creates a powerful change of mood Moving from altered pentatonics into the diatonic modes Moving from the modes into Middle Eastern scales Editors note |
168 168
171 171 172 174 176 180 |
| EXPLORATION SEVENTEEN
Introduction to the Spanish Idiom Similarities between organum and the Spanish idiom The Arabian influence and the dance-song-dance form The cante hondo The origin of the habanera rhythm Nin-Culmells compositions in Spanish regional styles Editors note |
181 181
182 184 186 189 193 |
| EXPLORATION EIGHTEEN
A Review of major and Minor Thirds, Leading to an Introduction to Romantic Music Minor and major thirds in the pentatonic Thirds as the foundation of Western harmonic construction The fallacy of considering major as happy and minor as sad Sudden, expressive shifts between major and minor The triad as an event Finding the right chords when writing music for therapy Singing non-chordal tones to lead into the romantic idiom Using romantic music to reach adolescents The cultural and clinical value of the song literature On the discerning appreciation of Schuberts songs An experience of the romantic idiom in a Fauré song In conclusion |
194 194
194 197 198 198 198 199 200 203 203 204 205 206 |
| REFERENCES | 209 |
| ADDITIONAL READING ON NORDOFF-ROBBINS MUSIC THERAPY | 211 |
| CREDITS FOR COPYRIGHTED MATERIAL | 213 |
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