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<DIV>Beethoven op. 57, 2nd movement. Brahms op. 118 # 2, though "nostalgic
and regretful" might better describe it than sad.</DIV>
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<DIV>Leslie Kinton, Ph.D.<BR>Assistant Professor, Piano Performance<BR>Don
Wright Faculty of Music<BR>University of Western Ontario<BR>Anagnoson &
Kinton website: <A
href="http://www.pianoduo.com">www.pianoduo.com</A></DIV>
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<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; PADDING-LEFT: 5px; PADDING-RIGHT: 0px; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=dheadlam@esm.rochester.edu
href="mailto:dheadlam@esm.rochester.edu">Dave Headlam</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=randolph.johnson@gmail.com
href="mailto:randolph.johnson@gmail.com">Randolph Johnson</A> ; <A
title=smt-talk@societymusictheory.org
href="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, October 02, 2009 5:42
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [Smt-talk] Pieces contrary
to the minor/major = sad/non-sad stereotype</DIV>
<DIV><BR></DIV><FONT face="Verdana, Helvetica, Arial"><SPAN
style="FONT-SIZE: 14px">Hi. Not exactly in the major mode, but nothing
sadder than that big old C major triad when Wozzeck gives his hard-earned pay
to Marie in Berg’s opera — Act I, sc ii. Mm. 116-123 -- (mmmm, 123!)
after noticing her earrings, which she got from the Drum Major, but
which she claims she found . . .<BR><BR>Dave Headlam<BR><BR><BR>On 10/1/09
12:45 PM, "Randolph Johnson" <<A
href="mailto:randolph.johnson@gmail.com">randolph.johnson@gmail.com</A>>
wrote:<BR><BR></SPAN></FONT>
<BLOCKQUOTE><FONT face="Verdana, Helvetica, Arial"><SPAN
style="FONT-SIZE: 14px">I'm interested in identifying pieces that are
contrary to the<BR>minor = sad stereotype. For example, no one would
consider<BR>Mozart's "Rondo Alla Turca" to be "sad" even though it
is<BR>(mostly) in the minor mode. At the same time, the aria<BR>"He
Was Despised" in Handel's Messiah is very sad, but<BR>in the major
mode.<BR><BR>Any suggestions about other works that go contrary to<BR>the
stereotype? I'm especially interested in nominally "sad" works<BR>in the
major mode and "non-sad" works in the minor mode.<BR><BR>Thanks for your
suggestions.<BR><BR>Randolph Johnson<BR>randolph.johnson@gmail.com<BR><BR>
<HR align=center SIZE=3 width="95%">
</SPAN></FONT><SPAN style="FONT-SIZE: 14px"><FONT
face="Monaco, Courier New">_______________________________________________<BR>Smt-talk
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href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</A><BR></FONT></SPAN></BLOCKQUOTE><SPAN
style="FONT-SIZE: 14px"><FONT face="Monaco, Courier New"><BR><BR></FONT><FONT
face="Verdana, Helvetica, Arial">-- <BR><BR> Dave
Headlam<BR> Professor of Music Theory<BR> Joint Professor of
Electrical Engineering<BR> <BR> Eastman School of Music<BR> 26
Gibbs St<BR> Rochester, NY 14604<BR> (585) 274-1568
office<BR> dheadlam@esm.rochester.edu<BR> <A
href="http://theory.esm.rochester.edu/dave_headlam">http://theory.esm.rochester.edu/dave_headlam</A><BR><BR></FONT></SPAN><BR><BR>__________
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