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<TITLE>Re: [Smt-talk] Pieces contrary to the minor/major = sad/non-sad stereotype</TITLE>
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<FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:14.0px'>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>
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Dave Headlam<BR>
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On 10/1/09 12:45 PM, "Randolph Johnson" <randolph.johnson@gmail.com> wrote:<BR>
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</SPAN></FONT><BLOCKQUOTE><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:14.0px'>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>
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Thanks for your suggestions.<BR>
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Randolph Johnson<BR>
randolph.johnson@gmail.com<BR>
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</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>
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