A little of Modesta Bor. Here I love you...

In the dark pines, the wind is unraveling, the moon phosphorescent on the errant waters, the days, each equal to the next, chasing one another... The snow unties itself in dancing figures, a silver seagull lowers from the sunset. Sometimes a sail....High, high stars or the black cross of a ship. Alone... Sometimes I awake, and even my soul is damp, The faraway sea sounds and sounds again. This is a port,here I love you... Here I love you and the horizon hides you in vain, I'm loving you even among these cold things... Sometimes my kisses go on those solemn ships, that run on the sea toward where they do not arrive... So I see myself forgotten like these ancient anchors, the wharves are even sadder as the afternoon docks... My uselessly starving life grows tired... "Love that what I do not have. You are so far away My weariness struggles with the slow sundowns, but night comes and commences singing to me.. The moon makes its dream-twirling run.. The largest stars view me with your eyes.. And as I love you, the pines in the wind wish to sing your name with their wiry leaves... What Kind of Music is That?_ C. Mature Style Period: 1991-98 1. Aqu te amo (1993) In 1993 Bor set to music the poem Aqu te amo (Here I Love You), number 18 of Pablo Nerudas collection Veinte poemas de amor y una cancin desesperada of 1924 (Twenty Love Poems and a Song of Despair). The collection is filled with symboli sm and metaphoric images in which there is a direct relation between nature and lov e. Contradictory feelings of sadness and happiness exist at the same time in regard to the beloved. Particularly in Aqu te amo, unattainable love is reflected in the images of the moon, the stars and the sailboats that are far away; the water and the sea repre sent the time lost as well as the distance between lovers; the pier is a sad and lonely p lace where the poet stands.71 Bor did not set to music several verses of the original poem, specifically those that deal with torment, anguish, fatigue and depression. Instead, she added repe titions of 71Montes, Hugo, ed. Pablo Neruda: Veinte poemas de amor y una cancin desesperada (Madrid: Editorial Castalia, 1987), 25-28. 79 the main phrase Aqu te amo. In the following table, a translation by W. S. Merwin is

provided for the verses of the poem that Bor used in her choral work.72 Table 12. Aqu te amo. Text and Translation Original Text in Spanish Translation to English Aqu te amo. En los oscuros pinos se desenreda el viento. Fosforece la luna sobre las aguas errantes. Andan das Table 12. Aqu te amo. Text and Translation Original Text in Spanish Translation to English Aqu te amo. En los oscuros pinos se desenreda el viento. Fosforece la luna sobre las aguas errantes. Andan das iguales persiguindose. Here I love you. In the dark pines the wind disentangles itself. The moon glows like phosphorus on the vagrant waters. Days, all one kind, go chasing each other. Se descie la niebla en danzantes figuras. Una gaviota de plata se descuelga del ocaso. A veces una vela. Altas, altas estrellas. The snow unfurls in dancing figures. A silver gull slips down from the west. Sometimes a sail. High, high, stars. Aqu te amo y en vano te oculta el horizonte. Te estoy amando an entre estas fras cosas. A veces van mis besos en esos barcos graves, corren por el mar hacia donde no llegan. Here I love you and the horizon hides you in vain. I love you still among these cold things. Sometimes my kisses go on those heavy vessels, that cross the sea towards [sic] no arrival.

Aqu te amo. En los oscuros pinos se desenreda el viento. Fosforece la luna sobre las aguas errantes. Andan das iguales persiguindose. Here I love you. In the dark pines the wind disentangles itself. The moon glows like phosphorus on the vagrant waters. Days, all one kind, go chasing each other.

Se descie la niebla en danzantes figuras. Una gaviota de plata se descuelga del ocaso. A veces una vela. Altas, altas estrellas.

The snow unfurls in dancing figures. A silver gull slips down from the west. Sometimes a sail. High, high, stars.

Aqu te amo y en vano te oculta el horizonte. Te estoy amando an entre estas fras cosas. A veces van mis besos en esos barcos graves, corren por el mar hacia donde no llegan.

Here I love you and the horizon hides you in vain. I love you still among these cold things. Sometimes my kisses go on those heavy vessels, that cross the sea towards [sic] no arrival.

72Pablo Neruda. Twenty Love Songs and a Song of Despair, translated by W. S. Mer win (New York: Penguin Books, 1977).

Ya me veo olvidado como estas viejas anclas. Son ms tristes los muelles cuando atraca la tarde. Amo lo que no tengo. Ests t tan distante.

I see myself forgotten like those old anchors. The piers sadden when the afternoon moors there. I love what I do not have. You are so far.

Me miran con tus ojos las estrellas ms

grandes. Y como yo te amo, los pinos en el viento, quieren cantar tu nombre con sus hojas de alambre. Aqu te amo.

The biggest stars look at me with your eyes. And as I love you, the pines in the wind, want to sing your name with their leaves of wire. Here I love you.

Formally, this work follows a rondo structure but in a non-traditional way. Here , in the ritornello, a principle of thematic and motivic variation is employed, an d its sections are uneven in length. Bor achieved a delicate balance between unity and variety. Motivic repetition gives the elements of unity; however, even the ritornello mot ive (motive x) gets varied as well as the themes in the ritornello section. Themes are always varied and their variations are constantly changing the work. The recurre nt motive x announces each new A section with the text Aqu te amo or a variation of it.

Popular Songs The forms of popular folk music that Bor preferred were the polo, the fulia, and the merengue. The Venezuelan polo (derived from a Spanish form) is based on a functional harmonic progression, lasting eight or ten measures, over which the s ingers (usually two) compete with and confront each other by improvising musical lines. The ostinato harmonic sequence, realized by the guitar and the cuatro, begin with a D major chord serving modulation to inant D major to G. e counterpoint, nce. Meters as the dominant chord to the works tonic key of G major. After a E minor, the formula then resumes the opening progression from dom When more than two voices sing, polo melodies work as an invertibl offering a great richness of dissonance until arriving at the cade

alternates between 6/8 and 3/4, and the singers melodies freely overlap. Bor wrot e two versions of polo, one for three-voice choir and another for four-voice mixed cho ir, based on melodic motives, rhythms and texts she recall from her past. Each voice line performs one melodic phrase that covers the complete harmonic progression. In Bors four-vo ice version (simply called Polo Margariteo), the bass line presents its phrase first by itself. Then the tenor voice is added, so the two melodies overlap for the entire harmon ic sequence. Next, the alto line joins and finally, the sopranos entry completes the work. In the soprano melody, Bor wrote an important high pedal point, sustained for the c ourse of a complete phrase on the leading tone (F sharp) of G major. Bor explained that t his awkward dissonance is traditionally found in the polo. The fula is musically more elaborate than the polo and is religious in content. There are two types: one of Creole or Afro-Venezuelan origin, and the other of E uropean influence (deriving from the European folia). The fula of European origin is sung in the eastern states of Venezuela (Sucre, Anzoategui, and Monagas). According to Walte r Guido: The melody is in measured time and its distinctive characteristics and rhythm are very similar to the dances imported from Portugal and the Canary Islands. The galern, another type of fula, can also be heard in the eastern states. The song begins after an initial prelude by the accompanying instruments of guitar, bandoln and cuatro. A descending melody, corresponding to the Greek hypo-Phrygian scale, is sung, while scale, is sung, while the harmony progresses from the tonic to the subdominant a nd dominant with guitar, bandoln and cuatro accompaniment.77 Fig. 22. Fula. Basic rhythmic pattern The style is predominantly polyphonic. The introduction, interludes and coda use only the nonsense syllable word of quitiplin [kitiplin] imitating the sound of the bandoln. In the main sections, the bandoln motive (quitiplin) alternates with imitations of the melody (with text). Sometimes the text is presented in all 4 v oices and and other moments the textures is thinned to two or three voices and some homoph onic passages are presented with one, two or three voice parts. 77Guido Walter, Venezuela, Grove Music Online, ed. L. Macy (Accessed [2 June 2007] ), http://www.grovemusic.com.proxy.libraries.uc.edu/shared/views/article.html. 78Luis Felipe Ramn y Rivera, La musica folklrica de Venezuela (Caracas: Monte Avil a Editores, 1990), 45-50. Harmonically, Bor respected the traditional harmonic sequence of the folk tune. The piece starts in E minor and modulates to G major, returning at the end to th e original key. Besides the use of secondary dominants and dominant seventh chords, the dissonances occur by melodic motion of the individual voice parts. For example, in the

second measure, the soprano and the tenor line move in parallel sevenths (B-A in soprano, C-B in tenor). These dissonances abound in this work, but they occur fo r very short periods of time as passing motion within a very tonal functional harmonic framework.

I really like the way you gave a description of how some people may or may not l ike the book due to the descriptions given.

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http://dictionary.reverso.net/english-cobuild/music%20appreciation http://dictionary.reverso.net/english-cobuild/music%20appreciation music 1 n-uncount Music is the pattern of sounds produced by people singing or pla ying instruments. ...classical music., ...the music of George Gershwin. 2 n-uncount Music is the art of creating or performing music. He went on to study music, specialising in the clarinet., ...a music lesson. 3 n-uncount Music is the symbols written on paper which represent musical so unds. He's never been able to read music. sheet music 4 If something that you hear is music to your ears, it makes you feel very happ y. music to one's ears phrase v-link PHR (feelings) Popular support<endash >it's music to the ears of any politician. 5 If you face the music, you put yourself in a position where you will be criti cized or punished for something you have done. face the music phrase V inflects Sooner or later, I'm going to have to face the music. ________________________________________ chamber music Chamber music is classical music written for a small number of instruments. n

-uncount incidental music In a film, play, or television programme, incidental music is music that is play ed to create a particular atmosphere. n-uncount music box (music boxes plural )A music box is a box that plays a tune whe n you open the lid. n-count (=musical box) music director (music directors plural )The music director of an orchestr a or other group of musicians is the person who decides what they will play and where, and usually conducts them as well. n-count (=musical director) music hall (music halls plural ), music-hall 1 n-uncount Music hall was a popular form of entertainment in the theatre in the nineteenth and early twentieth century. It consisted of a series of perform ances by comedians, singers, and dancers. (mainly BRIT) oft N n ...an old music hall song. in AM, usually use vaudeville 2 n-count A music hall was a theatre that presented popular entertainment. (mainly BRIT) in AM, usually use vaudeville theater music stand (music stands plural )A music stand is a device that holds pa ges of music in position while you play a musical instrument. n-count piped music Piped music is recorded music which is played in some supermarkets, restaurants, and other public places. (BRIT) n-uncount in AM, use Muzak sheet music Sheet music is music that is printed on sheets of paper without a hard cover. n-uncount ...a copy of the sheet music to `Happy Days'. soul music Soul music or soul is a type of pop music performed mainly by black American mus icians. It developed from gospel and blues music and often expresses deep emotio ns. n-uncount English Collins Dictionary - English synonyms & Thesaurus

http://www.docstoc.com/docs/96861335/Music-Appreciation

http://www.youtube.com/watch?v=dVk21m8a140&feature=related http://www.youtube.com/watch?v=i1CfntMKcWs&feature=related Cira Gudalupe Parra, DMA, University of Cincinnati, College-Conservatory of Music : Conducting, Chora

l Emphasis, 2006. Abstract Modesta Bor (1926-1998) was one of the outstanding Venezuelan composers, conduct ors, music educators and musicologists of the twentieth century. She wrote music for orchestra, chamber music, piano solo, piano and voice, and incidental music . She also wrote more than 95 choral works for mixed voices and 130 for equal-vo ice choir. Her style is a mixture of Venezuelan nationalism and folklore with Eu ropean traits she learned in her studies in Russia. Chapter One contains a histo rical background of the evolution of Venezuelan art music since the colonial per iod, beginning in 1770. Knowing the state of art music in Venezuela helps one to understand the unusual nature of the Venezuelan choral movement that developed in the first half of the twentieth century. The second chapter contains a biogra phy of the composer and takes into consideration the three main areas of influen ce in her musical style. In the third chapter, I discuss Bors compositional trait s as they pertain to melody, harmony, rhythm, texture, form, and performance pra ctice of her works, paying particular attention to providing useful information to conductors. I provided a guide to conductors in matters such as: realizing th e rhythmic content of her music and interpreting rests in her music; approaching the polyphonic textures that often accompany a melody; recognizing implied temp o changes and rubato within a work that are not specified in the score; interpre ting the presence or absence of dynamics in her scores; understanding the relati onship between text and music; providing information to the pronunciation of the nonsense syllables. Bors works discussed in Chapter Three are: Balada de la luna , luna, Canto a la vida, La cabrita, Regreso al mar, Canto de paz, Manchas sonor as and Aqu te amo. Bors folk-influenced music and choral arrangements are addresse d in Chapter Four. In some of her aguinaldos and other folk music, rhythmic and textural elements are discussed. Chapter Five consists of a complete list of Bors choral compositions and sources where these works may be obtained. A summary an d conclusions are presented in Chapter Six. Subject Headings Women's Studies ; Music Keywords Venezuelan Choral Music; Modesta Bor; Women in Music Advisor Dr. Stephen Coker Pages 146p.