Embed Size (px)
Citation preview
fy 4i
MENOTTI'S USE OF DRAMATIC IMPACT
IN THE MEDIUM
T HESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
by
Jimmy Tompkins, B. M.
Denton, Texas
August, 1968
TABLE OF CONTENTS
PageLIST OF TABLES......... ....................
LIST OF ILLUSTRATI ONS .......................
Chapter
I. INTRODUCTI)N........................................1
II. CONCEPTS OF MENOTTIS MUSIC DRAMA..................7
III. DRAMATIC RECITATIVE IN THEMEDIUM...............12
The Structure of The MediumSymbols for Analysis of Dramatic RecitativeAnalysis of Dramatic Recitative
IV. THE USE OF LEITMOTIFS IN THE MEDIUM...............27
Fear LeitmotifSpirit LeitmotifsGrief LeitmotifHope LeitmotifBaba LeitmotifMonica LeitmotifLove LeitmotifToby Leitmotif
V. THE USE OF TONALITY IN THE MEDIUM................105
The Tonality of Leitmotifs in The Medium
VI. CONCLUSIONS.............oo...................120
APPENDIX..................................................126
BI BLI OGRAPHY..........................................17 1
iii
LIST OF TABLES
Table Page
I. Individual Totals of Recitatives Used in TheMedium -. - 0-a-0-0-0-0-0-a- - 0-0-0-a. 0.0-0- 15
II. Individual Totals of Recitatives Used inSections of Dramatic Recitative . . . . . . 24
III. Moods and Forms Within Sections of DramaticRecitative . . . . . . . . . . . . . . . . . 26
IV. Uses of the "Fear" Leitmotif in Conjunctionwith Text or Stage Action in Act I ofThe Medium . . . . . . . . . . . . . . . . . 41
V. Melodic Uses of the "Fear" Leitmotif inThe Medium - . . . . . . -. . . . . . . . 55
VI. Rhythmic Uses of the "Fear" Leitmotif inThe Medium . . . . . . . . . . . . . . . . 58
VII. Uses of the "Spirit Leitmotif I" and "SpiritLeitmotif II" in Conjunction with Text orStage Action in Act I of The Medium . . . . 66
VIII. Melodic Uses of "Spirit Leitmotifs I and II"in The Medium . . . .*.*. .. 0** . . .. .77
IX. Uses of the "Grief" Leitmotif in Conjunctionwith Text or Stage Action in The Medium . . 81
X. Uses of the "Hope" Leitmotif in Conjunctionwith Text or Stage Action in The Medium . . 85
XI. Melodic Uses of the "Hope" Leitmotif inThe Medium . . . . . . . . . . . . . . . . . 90
XII. Uses of the "Baba" Leitmotif in Conjunctionwith Text of Stage Action in The Medium . . 93
XIII. Uses of the "Monica" Leitmotif in Conjunctionwith Text or Stage Action in The Medium . . 96
iv
Table
XIV. Uses of the "Toby" Leitmotif in Conjunctionwith Text or Stage Action in The Medium . . . 101
XV. Individual Percentages of Tonal Centers andIndefinite Tonality in Act I of The Medium . . 103
XVI. Individual Percentages of Tonal Centers andIndefinite Tonality in Act I ofThe Medium . . . . . . . . . . . . . . . . . . 110
XVII. Individual Percentages of Tonal Centers andIndefinite Tonality in Act II ofThe Medium . . . . . . . . . . . . . . . . . . 111
XVIII. Tonality of Concentrated Areas of Leitmotifsin The Medium . . . . . . . . ....... .116
V
Page
LIST OF ILLUSTRATIONS
Figure
1. "Where, Oh Where"--Monica, Act I, p. 2 . .
2. "1 Shall Be Your Servant"--Monica, Act I, p.
3. "It Happened Long Ago"--Mrs. Gobineau,Act I, p. 17 .0.*.0.*.*.#.a.0.0.0.a.0.0
4. "Mummy Dear".--spirit voice, Act I, p. 27 .*.
5. "Black Swan"--Monica and Baba, Act I, p. 48
6. "Dance the Waltz"--Monica, Act II, p. 60 . .
7. "Monica, Monica"--Monica, Act II, p. 63 ..
8. "Madame Flora," Act II, p. 88 . . . . .
9. "Afraid, Am I Afraid?"--Baba, Act II, p. 102
10. "Fear" Leitmotif, Act I, Measures 102
(a) Treble Portion of the Leitmotif
(b) Bass Portion of the Leitmotif
11. Diagrams of Complete "Fear" Leitmotifs .
12. "Fear" Leitmotif, Act I, Measures 23-24
13. Segments of the "Fear" Leitmotif
(a) Original . . . . . . . . . . .
(b) Variation of Original . . . .
(c) Inversion of Original . . . .
(d) Variation of Inversion . . . .
Page
..18
..185
. 19
20
21
21
22
23
23
28
. ..28
. . . 29
.. 32
. . . 33
33
34
34
vi
Figure Page
14. Ground Bass Figures Used with the"Fear" Leitmotif
(a) Ground Bass . . . . . . . . . . . . . . 35
(b) VariationI -1.,- -* .. - -a-35
(c) VariationII .-.-.--- -*-.-* 35
(d) Variation of1II -..- 4-* 35
15. The "Fear" Motif
(a) Rhythm of the Treble Figure (Fig. 10). - 37
(b) Rhythm of the Bass Figure (Fig. 10) - - 37
16. The "Fear" Motif
(a) Original Rhythm . . . . . . . . . -38
(b) Variation I . .1 - - . - . - - - - 38
(c) Variation II . . . . . . . . . . . . 38
17. The "Fear" Motif
(a) Original Rhythm . . . . . . . . . . . 8
(b) Segment of the Rhythm . . . . . . 38
18. The "Fear" Motif
(a) Ground Bass Rhythm . . . . . . . . . . . 39
(b) Segment I . . . . . . . . . . . . . . . 39
(c) Segment II . . . . . . - - - - - .* - 39
19. Melodic and Rhythmic Uses of the "Fear" Leitmotif
(a) Act I -. . . . . . . . . . . . 49
(b) Act II . . -.--. -. -. -. -. - 50
vii
Figure Page
20. Concentrated Areas of "Fear" Leitmotifs
(a) Act I - - . - - - - - - . - . . - . . . 52
(b) Act I11 - - - - - --0 - - .53
21. "Spirit Leitmotif I," Measure 2 After 18 . . . . 62
22. "Spirit Leitmotif II"
(a) Basic Leitmotif, Measure 5 After 1 . 64
(b) Variation, Measure 1 After 24 . . . . 64
(c) Inversion, Measure 8 After 37 . . . . 64
23. Melodic Uses of "Spirit Leitmotif I" and
"Spirit Leitmotif II"
(a)2Act.Concntrate Areas . "Spirit" Leitm70
(b) Act II . . . . . . . . . . . . . . .* 71
24. Concentrated Areas of "Spirit" Leitmotifs
(b) Act IIo . . . . . . . . . . . . . . . 74
25. The "Grief" Leitmotif, Act I, Measures 6-8after 13
(a) Antecedent Portion of the Leitmotif . .78
(b) Consequent Portion of the Leitmotif . .78
26. Melodic Contours of the "Grief" Leitmotif
(a) The Original Contour, Act IMeasure 6 After 13 . . . . ..... 79
(b) A Variation of the Melodic Contour,Measure 7 in ActII . . . . . . . . . . 79
viii
Figure Page
27. Rhythmic Forms of the "Grief" Leitmotif
(a) Original Rhythm, Act I, Measure 6After 13 . . . . . . . . . . . . . . . 80
(b) Variation I, Measure 6 in Act II . . 80
(c) Variation II, Measure 8 in Act II . . . 80
28. Melodic Uses of the "Grief" Leitmotif
(a) Act I1 .0 .0 .4.0. .*.0.6. . 0.0. a .0.0. 82
(b) Act II . . . . . . .0 .0 .a .# .a .&.0 .0.0. 83
29. The "Hope" Leitmotif, Act I, Measure 1 After 20 . 84
30. Melodic Contours of the "Hope" Leitmotif
(a) Original Contour.. ..... . . . 84
(b) Variation I of the Contour . . . . . . . 84
(c) Inversion of the Contour . . . . . . . .84
31. Melodic Uses of the "Hope" Leitmotif
(a) Act I . . . . . . . . . . . . . * . . * 89
(b) Act II . . o. . .*.0.0.a.a.0.6.0.*.0.0.0.89
32. The "Baba" Leitmotif, Act I, Measure Before 5 . 91
33. Uses of the "Baba" Leitmotif in Act II . . . . . . 94
34. The "Monica" Leitmotif, Act II,Measure 5 After 2 . . . . . . . . . .... 95
35. Uses of the "Monica" Leitmotif in Act II . . . . . 97
ix
Figure Page
36. The "Love"Leitmotif
(a) Basic "Love" Leitmotif, Act II,Measure 8, After 4 . . . . . . . .98
(b) Variation of the "Love" Leitmotif,Act II, Measure 10 After 4 . . . . . 98
37. Uses of the "Love" Leitmotif in Act II . . . . . . 99
38. The "Toby" Leitmotif, Act IIMeasures1-3 After 4 ... . ... . . . 100
39. Uses of the "Toby" Leitmotif in Act II . . . . . 102
40. Tonal Centers Used in The Medium
(a) Act I . . . . . . . . . . a . a a . a 107
(b) Act II . a a . a . . a . . a a a a a a 108
41. Locations of Bb Tonality and Leitmotifs Usedin Conjunction with Bb Tonality in Act II . 119
42. Master Graph I--Uses of Recitatives . a a a a . 127
43. Master Graph II--Uses of Leitmotifs . a a . a a 139
44. Master Graph III--Uses of Tonal Centers . . . a 159
x
CHAPTER I
INTRODUCTION
In the history of the American lyric theater, the opera
composer who has commanded the greatest amount of attention
in this country, and whose works have been the most consist-
ently successful is Gian Carlo Menotti. Employing a unique
fusion of music and drama, Menotti achieves a dramatic inten-
sity and clarity unsurpassed by any other American composer.
His has been the greatest single contribution to this branch
of our musical art. 2
Born at Cadegliano, Italy, on July 7, 1911, Gian Carlo
Menotti was the sixth of ten children. Having learned the
rudiments of music from his mother, he began composing as a
child and at the age of ten years attempted his first opera,
lMenotti terms his works "music dramas" rather than"operas" (this subject is discussed in Chapter II); howeverbecause -most sources used in this introduction use the term"opera" rather than "music drama," the term "opera" has beenused throughout the introduction.
2 Howard Groth, "Gian Carlo Menotti and the AmericanLyric Theatre," The Bulletin of National Association ofTeachers of Singing,, Inc., XV (December, 1958), 16.
1
2
La Morte di Pierrot. At the age of sixteen, after several
years of study at the Milan Conservatory, Menotti came to
the United States to study composition with Rosario Scalero
at the Curtis Institute in Philadelphia. It was here on
April 11, 1937, that his first complete one-act opera,
Amelia al Ballo, was performed. The work was later performed
in New York; and on March 3, 1938, it reached the stage of the
Metropolitan Opera House, where its reception confirmed the
appearance of a new talent in the American lyric theater.3
After completing his musical training at the Curtis
Institute, he strove to relate his skills more closely to his
American environment by writing his next opera in English
(his earlier works were written in Italian). This comic
opera, The Old Maid and the Thief, was commissioned by the
National Broadcasting Company for radio performance in 1939,
and it later proved equally successful on television.4 He
then changed to tragedy, rather less successfully, with The
Island God (one act), which was produced by the Metropolitan
3 Theodore Baker, "Menotti, Gian Carlo," Baker's Bio-graphical Dictionary of Musicians, 5th ed. (New York, 1958).
4 Gilbert Chase, "The Operas of Menotti," America's
Music (New York, 1955), p. 648.
3
Opera Company in 1942.5 A few years later he was commissioned
by the Alice M. Ditson Fund of Columbia University to write
an opera. The result was a work that made him famous: the
musical tragedy in two acts titled The Medium, produced at
the Brander Mathews Theater on May 8, 1946.. After considerable
revision by Menotti, this work was presented by the Ballet
Society at the Heckscher Theater in New York from February l
to February 20 in 1947.6 A month later The Medium and its
companion piece, The Telephone, written as a curtain raiser
for The Medium, opened on Broadway, with a run that began on
May 1st at the Ethel Barrymore Theatre. Thereafter the two
operas enjoyed continuous success, with many performances in
America and Europe.7
Menotti adhered to tragedy in his next work, The Consul.
This work, an opera in three acts, received its premiere
at the Schubert Theatre in Philadelphia on March 1, 1950,
and began its Broadway run at the Ethel Barrymore Theatre on
March 15, 1950. The popular success of The Consul exceeded
5Ibid., p. 650.
6Gian Carlo Menotti, The Medium (New York, 1947), p. iii.
7Chase, _op. cit., p. 648.
4
that of his previous operas. It had a long run in New York
and was later produced all over the world.
Another distinction came to Menotti when he was com-
missioned by the National Broadcasting Company to write the
first opera designed especially for television production.
This was Amahl and the Night Visitors, a short work which was
produced on Christmas Eve, 1951, by NBC-TV. It has become
an annual television production every Christmas in subsequent
years.9
His next opera, The Saint of Bleecker Street, was pre-
miered by the Broadway Theatre in New York on December 27,
1954. That same year it won the Dramatic Critics Circle
Award for the best play of 1954, and in 1955 it was awarded
the Pulitzer Prize.10
In 1957 he completed the opera Marie Golovin, written
expressly for the International Exposition at Brussels and
staged there on August 20, 1958.11
8Gian Carlo Menotti, The Consul (New York, 1950), p. iii.
9Gian Carlo Menotti, Amahl and the Night Visitors (NewYork, 1951), p. iii.
10 Gian Carlo Menotti, The Saint of Bleecker Street (NewYork, 1954), p. iii.
1 1 Baker, p_. cit.
5
His most recent opera, The Last Savage, was premiered
by the Metropolitan Opera Company in 1964 and was retained
for the 1965 season.12
Menotti has scored all of his operas for a small orches-
tra and virtually without chorus. The ensembles of solo
singers perform the function of the operatic choral groups.
This modest scoring has made it possible for his operas to be
performed by numerous student groups and small operatic
organizations.
Undoubtedly Menotti's fame must be attributed to his
operatic works; however, he has composed considerably in other
areas. His non-operatic works include Variations on a Theme
of Schumann (awarded the Lanber Composition Prize, 1931); six
compositions for carillon (1934); children's pianoforte pieces
Poemetti per Maria Rosa (1937); a Trio for a House-warming
Party for flute, cello, and pianoforte (1938); three ballets:
Sebastian (1944), Errand into the Maze (1946), and The Unicorn,
the Gorgon, and the Manticore (1956); a piano concerto (1945);
a symphonic poem, Apocalypse (1951); a violin concerto (1952);
12 Gian Carlo Menotti, The Last Savage (New York, 1964),p. iii.
6
and his most recent work, a cantata, The Death of the Bishop
of Brindisi (1964).13
Whereas general conceptions of Menotti's style are avail-
able in various articles, none of the previous writings on
this subject have attempted to give a detailed analysis of the
techniques and devices used by Menotti in his operas. As has
been stated, Menottils greatest asset as a composer of opera
is his genius for employing a unique fusion of music and drama.
The purpose of this study, then, is to isolate the various
concepts and devices of composition used by Menotti and deduce
how he has used them to create dramatic impact. The work
chosen for this analysis is The Medium, which established
Menotti as the foremost composer-librettist of modern opera.14
It is felt that this opera offers a cross section of the con-
cepts and devices used in all of the operas composed thus far
by Menotti.
13Baker, op_ cit.
14Ibid.
CHAPTER II
CONCEPTS OF MENOTTI'S MUSIC DRAMA
Since the purpose to be pursued in this thesis is to
establish how Menotti has used technical devices to create
dramatic impact, it is felt that this purpose can best be
accomplished by first examining two of Menotti's basic con-
cepts: (1) music drama versus opera, and (2) the recitative
versus the aria.
Menotti makes a distinction between the term "opera"
and his own works, which he terms "music dramas."' As
opposed to "opera," which places emphasis on the aria and the
virtuosity of the performer,2 Menotti's "music drama" tells
a story which is intensified with music. Secondly, Menotti
makes it clear that he considers the recitative, rather than
the aria, the most important element of the music drama, an
idea that he asserts in the following statement.
1Gian Carlo Menotti, "About The Consul," The Consul,Decca Recording Jacket DL 9500.
2Willi Apel, "Opera," Harvard Dictionary of Music (Cam-
bridge, Massachusetts, 1966).
3 Gian Carlo Menotti, "About The Consul," The Consul,Decca Recording Jacket DL 9500.
7
A composer today can not hope to build an
opera by stringing together a series of brilliantarias. He will simply fail to provoke excitementin any but the most effete of his listeners. Forthe contemporary composer the exciting challengeis the recitative. It is the logical instrumentof action, and he must find the way to make itwork for him musically and dramatically.4
In considering his works to be music dramas with the
recitative as the logical instrument of action, Menotti
aligns his concepts with Richard Wagner's concepts of music
drama, three of which are stated here: (1) there are no
formal divisions made between recitative and aria; (2) music
drama implies a polyphonic substructure which is realized by
the orchestra, and which embodies the "inner action" of the
drama (for example, the feelings) as the words embody its
"outer action" (for example, the precise ideas with which the
feelings are connected); (3) the music drama is unified by
the use of "leitmotifs," musical themes each connected with
a particular person, thing, or idea (or all three).
These concepts of music drama are basic to Menotti's
creation of dramatic impact in The Medium. Therefore, in
this analysis, each of the following areas will be considered:
4 Gian Carlo Menotti, "A Note on the Lyric Theatre," The
Consul, Decca Recording Jacket DL 9500.
5Willi Apel, "Opera," Harvard Dictionary of Music.
9
1. "Dramatic Recitative" --a discussion of the types
of recitative that are used in Menotti's music drama, and the
grouping of recitatives into sections which contain definite
form. In this thesis these sections, termed dramatic reci-
tative, will be considered the counterpart of the aria used
in opera.
2. "The Use of Leitmotifs" --a discussion of the use
of leitmotifs and their function in unifying The Medium.
3. "Tonality" -- a discussion of the relationship of
tonality to the structure and the use of tonality in con-
junction with motives to create dramatic impact.
The source material for these three areas of analysis
is contained in the appendix of this thesis in the form of
three "Master Graphs": Graph I-- an analysis of the recita-
tives used in The Medium; Graph II-- an analysis of the leit-
motifs used in The Medium; and Graph III-- an analysis of the
tonalities used in The Medium. The graphs are drawn to scale;
one-eighth of an inch equals one second. Using this scale of
seconds, each graph shows the duration of every measure in
The Medium. The duration of measures in seconds was deter-
mined by using a stop watch and a metronome in conjunction
10
with the piano-vocal score and the recordings of The
Medium. The recording was produced under Menotti ts super-
vision and thus is considered to be a valid interpretation
of The Medium. Although each live performance of The Medium
will differ, the basic relationship of tempos within each
will remain essentially the same. Therefore, these graphs
give approximate measure durations of a typical performance.
The purpose of these graphs, scaled in seconds, is to
allow a picture of the duration of each measure. All three
graphs use the same scale in order to facilitate comparison
of material within each (for example, the "tonality" of a
specific "leitmotif").
Within Chapter IV, "The Use of Leitmotifs," and Chapter
V, "Tonality," Master Graphs II and III are reduced according
to scale; one-quarter inch equals ten seconds. This reduc-
tion permits a graph of an entire act to be placed on a single
page, thus allowing the viewer to see at a glance, for example,
the frequency of use of a motive within an act, the location
of each motive, and the duration of each motive. Two symbols,
numbers contained within circles, and numbers contained
6 Gian Carlo Menotti, The Mediu (New York, 1947).
7 Gian Carlo Menotti, The Medium, Columbia Masterworks
Recording #DSL-154.
11
within squares, are used in all of the Master Graphs con-
tained in the Appendix and in all of the reduced graphs
found in Chapters IV and V. The encircled numbers are refer-
ence points found in the score of The Medium. The numbers
contained within squares indicate minutes having elapsed
within a single act. Additional information necessary for
interpreting the reduced graphs found in Chapters IV and V
will be found beneath the individual reduced graph.
CHAPTER III
DRAMATIC RECITATIVE IN THE MEDIUM
The Structure of The Medium
The term "structure," as applied in this thesis, denotes
the basic framework of a music drama. This framework is com-
posed of various types of recitative. Recitative is defined
as a section of music in which the dramatic action is con-
tinuous. Thus either vocal or instrumental music, or both
in combination, may be considered recitative. Vocal sections
are considered recitative because of action shown through
narrative syllabic text; and instrumental sections are con-
sidered recitative because of the action inferred through
musical motives. A listing and an explanation of the types
of recitative are as follows:
A. Instrumental recitative -- a section in which the
dramatic action is carried on only by the instruments.
B. Vocal recitative -- a section, accompanied or unac-
companied, in which the voice or voices carry the dramatic
action. The types of vocal recitative are as follows:
12
13
1. Recitativo secco--the rhythm is free to follow
the verbal accentuation with the interest lying on the
vocal part, over a very simple accompaniment or without
accompaniment.
2. Recitativo stromentato--the vocal rhythm is
stricter than recitative secco due to a more elaborate
accompaniment.
3. Recitativo arioso--an accompanied passage con-
taining a very melodic vocal line.
4. Ensemble stromentato recitative--vocal passages
that are composed harmonically (either homophonically
or contrapuntally). All ensembles in The Medium are
stromentato recitative.
5. Parlato or decalamato recitativo--accompanied
or unaccompanied, used in the following ways:
a. Spoken dialogue, without vocal notation.
b. Conventional vocal notation, but the
rhythm and pitch are only approximate.
c. Sprechgesang notation, with approximate
rhythm and pitch.
6. Dramatic recitative--a composite of several
other types of recitative arranged in such a way as to
create sections with definite form. The sections are
14
considered dramatic recitative rather than arias
because the text of these sections is predominantly
syllabic with emphasis on a continuous flow of dramatic
action. As opposed to the dramatic recitative, the tra-
itional aria demands melismatic passages in order to
exhibit the virtuosity of the performer; such passages
sacrifice action for virtuosity. Sections of dramatic
recitative within The Medium were determined by analysis
of the text. Each section constitutes a different mood
or idea in the development of the plot. For example,
the first section, "Where, Oh Where," embodies the idea
of the happiness that Monica and Toby enjoy in their
make-believe world when they are alone together. The
section ends when Baba enters and completely changes the
mood.
The form within sections of dramatic recitative is
defined as a combination of thematic melodies. The
analysis of sections will be shown by diagrams in which
thematic lines constituting form will be designated by
small and capital letters. Thus form within a given
section will be indicated by a combination of these
letters.
15
Table I is based on the previously defined types of
recitative. This table shows the total number of measures
of each type of recitative which combined make up the struc-
ture of The Medium. Since dramatic recitative is defined as
a grouping of other types of recitative, the term has not
been included in Table I. However, the recitatives within
sections of dramatic recitative are listed individually.
Diagrams of dramatic recitative will appear later in this
chapter.
TABLE I
INDIVIDUAL TOTALS OF RECITATIVES USED INTHE MEDIUM
Types of Total Number ofRecitative Measures of Each
Type of Recitative
Ensemble stromentato recitative.................59Solo stromentato recitative....................468Secco recitative............................152
Arioso recitative............,. ........ ....... 173
Parlato or declamato recitative:a. Spoken dialogue.......b. Conventional vocal notation.............6c. Sprechgesang....................... ..... 2
Instrumental recitative........................338Silence ............ ......................... ..... 6
Total 1215
Table I is important to the analysis of the structure
because it allows one to see the predominant types of
16
recitative that are used in The Medium. Two kinds of reci-
tative are clearly predominant: stromentato recitative (468
measures) and instrumental recitative (338 measures).
Symbols for Analysis of Dramatic Recitative
An explanation of the abbreviations and symbols used
in the diagrams of sections of dramatic recitative is as
follows.
a. Encircled numbers--the system of numbering used in
the G. Schirmer edition.
b. Numbers (below the line)--the number of measures.
c. Intro.--introduction (recitative).
d. Inter.--interlude (recitative).
e. A, B, etc..--passages of arioso recitative.
f. a, b, etc.--passages of stromentato recitative.
g. Recit.--recitative
h. Stro.--stromentato
i. Par.--parle
j. Inst. -- instrumental
k. ' or " (after a letter)--a variation of a melodic
theme.
1. Titles of sections of dramatic recitative are
derived from the opening phrase or the central idea of each
17
section for the purpose of reference in this analysis.
Menotti has not titled any of the sections.
m. The proper name after a title indicates who sings
the section.
Analysis of Dramatic Recitative
Sections of dramatic recitative are the predominant
means by which ideas or moods are introduced into the devel-
opment of the plot of The Medium. Another method of inject-
ing moods is the use of motifs within passages of instru-
mental recitative. This use of motifs will be discussed in
Chapter IV. In the discussion of dramatic recitative, fre-
quent references will be made to the characters and plot of
The Medium; hence a short synopsis of plot follows.
The Medium is a music drama in two acts, with all the
action taking place in the living room of Madame Flora's
apartment. Madame Flora, a professional medium, is better
known as Baba to her daughter, Monica, and Toby, the deaf
mute who is a member of the family by adoption. The story
revolves predominantly around Baba, who is tragically caught
between two worlds, the world of reality and the world of
the supernatural, in which she cannot believe. The struggle
for inner peace eventually unnerves her to the point that she
gives up her profession and, in a state of rage, murders Toby.
Nine sections of dramatic recitative are found in The
Medium: five sections in Act I and four sections in Act II.
A brief description of the form and a statement of the mood,
the two components of a section of dramatic recitative, will
be given after each example of dramatic recitative. Figure 1
is a diagram of the first section of dramatic recitative in
Act I.
inst. secco inst.to. A ext. recit. inter., A ext.i11 6 16 1 1
Fig. 1--"Where, Oh, Where"--Monica (Act I, page 2)
The two A passages shown in Figure 1 are two verses of
a strophic song interrupted by a short passage of secco
recitative. This song establishes the first mood in The
Medium, that of the happiness that Monica and Toby find when
they are alone in their world of make-believe.
secco secco inst.rB I re B cit.inter.'3 82t 2
Fig. 2--"I Shall Be Your Servant"--Monica, (Act I, p. 5)
19
Figure 2 is also a strophic song form, but only one
verse is sung. The verse begins three measures after Qa second verse is suggested at fourteen after(D, but it
never materializes because of Baba's entrance (sixteen after
Q). In this section Monica expresses her love for Toby.
a (a)1 A (A) a(a) (a?) a (a?)5 7 3 6 3 3 4
15
(a') (A)
3 7
Fig. 3--"It Happened Long Ago"--Mrs. Gobineau (Act I,
p. 17).
Figure 3 is a combination of two themes, A and a. Theme a
is a dual theme in which one melody is presented in the
voice (a descending triad in root position), and the other
melody is presented in the accompaniment (three repeated
tones and then up the interval of a fourth or fifth). These
two melodies first appear together and then separately (indi-
cated in the diagram as a--voice and (a)--accompaniment).
Theme A is first stated with the voice and accompaniment
together; thereafter, it returns only in the accompaniment.
By grouping the small a's ( Q to ( ) into one passage, the
form of Figure 3 outlines a ternary form: into A b A. The
20
mood of grief is created by Mrs. Gobineau as she relates how
her child died.
T 0inst .A 1iter. Ati B A"' BloV 1 13 12 13 6
Fig. 4--'"Mummy Dear"--spirit voice (Act I, p. 27)
The form of "Mummy Dear" is A: B - A: , which melodi-
cally suggests a traditional dance form without the return
to A. As was the case in Figure 2, the form is incomplete
because of an interruption. In Fig. 4 this interruption is
caused by loss of contact with the spirit world. Menotti
has written out the repeat of A theme (beginning eleven after
U ), making slight changes in and extending the melody.
The return (A"--one measure after 9 ) shows an even more
radical variation of A theme than does the repeat; neverthe-
less, it maintains its basic melodic character.
This section (Figure 4) suggests "hope," a mood reflected
in the longing of Baba ts guests for the return of loved ones.
'David D. Boyden, "Melody and Simple Forms," An Intro-duction to Music (New York, 1956), p. 34.
21
6 inst. inst. vocal
intro. A B A B intrinter.IB' ext. 11 7 5 71 2 10
duet stro. dec. stro. inst.
A? B ext. recit. recit recit.1 inter.2 5 4 5 14 1 16 2
A' BI ext.5 4 5
37
A12
Fig. 5--"Black Swan"--Monica and Baba (Act I, p. 48)
The "Black Swan" section is a binary (AB) form2
repeated several times with some minor melodic alterations.
The two measure vocal interlude (thirteen after ) serves
as a substitution for A. There is an extended interlude
( G to ( ) because Baba hears the spirit voice and becomes
frightened. The final return of A (at C ) is Monica's
attempt to calm Baba. The mood of repressed "fear" is domi-
nant in "Black Swan.1"
inst.intro.. A B A B ext.
1 4 4 4 3 3
Fig. 6--"Dance the Waltz"--Monica (Act II, p. 60)
2 Ibid., p. 34.
22
"Dance the Waltz" is a simple binary form (AB) with a
short extension of the last occurrence of the B theme. The
mood is a re-creation of the "happiness" mood that was at
the beginning of Act I.
secco,7 B a A C BtI At recit.
3 3 4 4 2 5 2
0"Dance the Waltz"
inst. recite. C2 5
Fig. 7--"Monica, Monica"--Monica (Act II, p. 63)
Although the melodic lines vary considerably in Fig. 7,
"Monica, Monica," there is a unity throughout the section
because of the repetition of the waltz rhythm. The form
begins in a type of rondo (A-B-A-C) which is followed by a
variation of all three themes (A', Bt, and C). (a, before
0 , is considered an interlude which is not part of the
form). The recurrence of the "Dance the Waltz" theme ato
relates Figure 7 closely to Figure 6. However, Figure 7,
"Monica, Monica," is considered a separate section because
the emphasis is on the idea of the "love" which Toby feels
for Monica rather than the "happiness" mood that was
expressed in Figure 6.
23
The form of Figure 8, "Madame Flora," begins as binary
and continues to alternate a and b themes until ) , at
which point a variation of b is repeated six times (the
declamato passage, five after substitutes for b theme).
dec.?
a b aIrecit. a bl bl
b" b b" b" b
Fig. 8--1Madame Flora" (Act II, p. 88)
In this ensemble section (Fig. 8) the mood is that of
"hope" as Mr. and Mrs. Gobineau and Mrs. Nolan beg Madame
Flora to allow them to have a seance.
31,31inst. stro. recit. inst.intro. a b c ext. ext. b inter.A
2 8 4 7 4 4 1 83,
inst. (Bl. Swan--A) seccoe I ext.Iinter. i par.1 par. recite.4 6 12 2 3 1 2 1 6
Sinst.1 inst.-nter.inr,
6 11, AI i "(t ,2
Fig. 9--l'Afraid, Am I Afraid?"--Baba (Act II, p. 102)
24
Figure 9 is the longest and most unique section of
dramatic recitative in The Medium. The only thematic repeti-
tions used are theme A (Babats prayer for God to help her)
and a recall of the "Black Swan"--Theme A. With these two
exceptions, the form of "Afraid, Am I Afraid?" is through
composed. The mood in "Afraid, Am I Afraid" is "fear."
Table II shows the total number of measures of recita-
tive used in The Medium and the totals of the individual
types of recitative that make up dramatic recitative.
TABLE II
INDIVIDUAL TOTALS OF RECITATIVES USED INSECTIONS OF DRAMATIC RECITATIVE
Types of Total Number ofRecitative Measures of Each
Type of Recitative
Ensemble stromentato recitative..................39Solo stromentato recitative.....................96
Secco recitative......... .............. 10
Arioso recitative..............................114
Parlato or declamato recitative:a. Spoken dialogue.........................11b. Conventional vocal notation..............4c. Sprechgesang.............................2
Instrumental recitative......... . .............. .14
Total 290
Table II reveals that dramatic recitative comprises
23.8 per cent of the total structure of The Medium (1215
25
measures). It also reveals that dramatic recitative is pre-
dominantly composed of arioso and stromentato recitative.
Summary
The following statements and lists summarize the impor-
tant points discussed in this chapter.
1. Sections of dramatic recitative comprise 23.8 per
cent of the total structure.
2. Dramatic recitative is predominantly composed of
arioso and stromentato recitative.
3. There are nine sections of dramatic recitative in
The Medium. These sections contain the following moods and
forms as shown in Table III.
26
TABLE III
THE MOODS AND FORMS WITHIN SECTIONS OFDRAMAT IC REC IT AT IVE
ACT I
SECTION MOOD FORM
"Where, Oh Where" happiness strophic
"I Shall Be Your Servant" love strophic
"It Happened Long Ago" grief ternary
"Mummy Dear" hope dance
"Black Swan" fear binary
ACT II
SECT ION MOOD FORM
"Dance The Waltz" happiness binary
"Monica, Monica" love rondo
"Madame Flora" hope binary
"Afraid, Am I Afraid?" fear through composed
CHAPTER IV
THE USE OF LEITMOTIFS IN THE MEDIUM
The term "leitmotif" will be used to designate a melodic
or rhythmic fragment (or the two combined) which suggest a
character, an idea, or an object. The character, idea, or
object represented by a leitmotif has been determined by
examining the relationship of each leitmotif to the text or
stage action which occurs in conjunction with the leit-
motif. Names have been assigned to leitmotifs based on the
character, idea, or object with which the motif is associated.
In the following discussion each leitmotif will be presented
individually and will be accompanied by graphs which will
give a visual.picture as to where and to what extent each
motif is used in Act I and Act II. Information regarding
the construction of and the symbols in these graphs is given
in Chapter II.
Nine distinct leitmotifs occur in The Medium. Three
motifs originate in instrumental passages outside of dramatic
recitative, five originate in vocal lines of sections of
27
dramatic recitative, and one originates as stromentato reci-
tative outside of dramatic recitative sections.
Fear Leitmctif
The first and most important leitmotif, in terms of fre-
quency of use, is shown in Figure 10.
Fig. 10-"Fear" leitmotif, Act I, measures 1-2a) Treble portion of the leitmotifb) Bass portion of the leitmotif
The "Fear" leitmotif occurs in the vocal line only twice
throughout The Medium. Both of these occurrences are in Act
I (shown in Table IV). All other occurrences are in instru-
mental passages, or they occur as accompaniment figures in
conjunction with vocal lines. Figure 10 is considered a
leitmotif because, when used in conjunction with a vocal
29
line, the text implies the idea of fear, as will be shown
after a discussion of the melodic and rhythmic construction
of the leitmotif. The only complete melodic statements of
the "Fear" leitmotif (that is, the presence of the melodic
contours of the treble and bass figures as shown in Figure
10) occur in the overture of Act I (five statements: two
statements in measures 1-4, and three statements in measures
17-22), in the overture of Act II (two statements in measures
1-4), and in the closing moments of Act II (two statements
in measures 15-18 after Q ). Diagrams of the melodic
intervals contained in these nine complete statements of the
"Fear" leitmotif are shown in Figure 11. The two statements
in the overture of Act II (measures 1-4) are exactly the
same as the first two statements in the overture of Act I
(measures 1-4).
aOPS
of33
9: 0170
OP5 9~Op M9N0 ;,3 \00 'wo
O7
0
b
{
{
oet7
0
P5
0 m3 No 0,ml~
0M7
f same as #1, Act I
g same as #2, Act I
30
om70
C
d
e
9:
42:
27:
OPS
M3 \000m3
0P5
Orn \00M'3
9:
31
h
0ON2.
0 9
OO
OPS
M3 \, P
OT9
0
Fig. 11--Diagrams of complete "Fear" leitmotifsa) Act I, measures 1-2b) Act I, measures 3-4c) Act I, measures 17-18d) Act I, measures 19-20e) Act I, measures 21-22f) Act II, measures 1-2g) Act II, measures 3-4h) Act II, measures 15-16 afteri) Act II, measures 17-18 after
Examination of these nine diagrams shown in Fig. 11
reveals the following information regarding the melodic
structure of the "Fear" motif.
1. The "Fear" leitmotif is composed of two distinct
figures (in the diagrams one is the treble figure; the other
is the bass figure).
32
2. The fact that intervals in one figure differ from
corresponding intervals in another figure indicates that the
melodic contours of these two figures are important rather
than their exact intervals.
Figure 12, which occurs in the overture of Act I (meas-
ures 23-24) directly following the last complete statement
of the "Fear" leitmotif (Figure 11 #5), substantiates the
importance of the melodic contour.
Fig. 12--"Fear" leitmotif, Act I, measures 23 and 24
This figure is actually a dual statement of the treble por-
tion of the motif shown in Figure 10. Both the treble and
the bass figure of Figure 12 outline the contour of the treble
figure of Figure 10. However, both figures in Figure 12 con-
tain different intervals from each other and from intervals
in Figure 10.
33
With the exception of the complete statements of the
"Fear" leitmotif shown in Figure 11, all other uses of this
leitmotif throughout The Medium (including Figure 12) involve
only a portion of the complete melodic figure (for example,
the treble portion of Figure 10). However, it is these seg-
ments in context that cause the motif to be identified as
suggesting fear.
Not only are these segments found as shown in Figure 10
and Figure 12, but also the melodic contour of the bass
figure in Figure 12 is used in a variation of the original,
an inversion of the original, and a variation of the inver-
sion, as shown in the diagrams in Figure 13.
~N ~O00
b
Fig. 13--Segments of the "Fear" leitmotif
a) Originalb) Variation of original (the primary difference
is the center interval)
34
Co /
d0
Fig. 13--Segments of the "Fear" leitmotif--Continued
c) Inversion of originald) Variation of inversion (the primary difference
is the center interval
All four diagrams in Figure 13 contain the melodic con-
tour down-up-down, or the inversion, up-down-up. Thus these
four diagrams in Figure 13 will be the contours for melodic
classification of figures derived from the original treble
figure of Figure 10.
The bass figure of Figure 10 (a single interval down)
is also found in inversion (a single interval up).
35
One other melodic figure is considered a part of the
"Fear"' leitmotif in that the figure is used in combination
with one of the contours of Figure 13. This figure is a four
note ground bass (or a variation) in which the tones alter-
nate in fourths or fifths. This figure and its two varia-
tions are shown in the diagrams in Figure 14.
a. 0 PS 0
0 P5 0 PS
b.0 P4 ,O P+0P . Pq. 0
C. PS
0 P4
d. #"3
Fig. 14--Ground bass figures used with the "Fear"leitmotif.
a) Ground bassb) Variation Ic) Variation IId) Variation of II (the upper interval may vary,
but the contour remains the same, that is,three descending quarter notes)
36
The ground bass figures in Figure 14 are considered
parts of the "Fear" leitmotif for the following reasons.
1. The first time one of these ground bass figures
occurs in Act I (Figure 14-b at 0), it is used in conjunc-
tion with a statement of the variation of the original treble
motive which suggests the same relationship as is shown in
Figure 11 (that of the treble figure over four quarters in
the bass). This combination of figures (beginning at () is
repeated six times.
2. The first three times that a ground bass (Figure
14-a, b, or c) is used in conjunction with text in Act I, the
text implies fear (see TABLE IV).
3. When the ground bass (a variation of Figure 14-a)
first occurs in Act II (beginning at Q), it develops into
the actual statement of a portion of the "Fear" leitmotif
(five after ®) like the bass figure of Figure 11.
4. The last four statements of the treble portion of
the "Fear" leitmotif in Act II (beginning at 9 ) are in
combination with the ground bass figure Figure 14-c.
The ground bass figures in Figure 14 do not always occur
in combination with the treble figure of the original "Fear"
motif; however, once the idea of fear has been established
37
in connection with the ground bass, the ground bass is then
considered capable of carrying the idea.
The rhythmic figures of the "Fear" motif are as impor-
tant as the melodic figures. In fact, the rhythmic figures
are of such a distinct nature that they are used often times
independently of the melodic motifs. The basic rhythms are
contained in the examples shown in Figure 10 and Figure 12.
The rhythms taken from Figure 10 are as follows.
a mj
Fig. 15--The "Fear" motifa) The rhythm of the treble figure (Figure 10)b) The rhythm of the bass figure (Figure 10)
As was the case melodically, these two figures (a) and
(b) are used in combination and separately. Furthermore,
example (a) is varied in the following ways.
a
S D E ' #-
Jci
ci
Fig. 16--The "Fear" motifa) The original rhythmb) Variation 1c) Variation 2
In addition to the variations shown in Figure 16, the
following segment is also used.
arm 3
Fig. 17--The "Fear" motifa) The original rhythmb) A segment of the rhythm
39
A second rhythmic figure is used both as a ground bass
and also as a treble figure. This rhythmic figure is taken
from the bass figure of Figure 12, which is simply four quar-
ter notes (or a diminution of four quarter notes, four eighth
notes).
a 40
b
Fig. 18--The "Fear" motifa) Ground bassb) Segment 1c) Segment 2
Throughout Acts I and II the "Fear" leitmotif, or a
rhythmic or melodic portion thereof, occurs 362 times (see
TABLE V). These leitmotifs occur in one of the following
ways.
1. The statement of the text implies fear.
40
2. Fear is implied through the subject being discussed.
For example, in the second passage containing the "Fear"
leitmotif in Act I ( ® 1-15), Baba relates how she fright-
ened Mrs. Campi into paying her the money she owed Baba.
Thus, the general subject of this passage is fear.
3. The "Fear" leitmotif occurs in certain instrumental
passages which sound in conjunction with action occurring on
stage. Duririg these instrumental passages, fear is implied
by the atmosphere created on stage by the stage action.
TABLE IV contains all occurrences in Act I of the "Fear"
leitmotif in conjunction with the text or the stage action
in order of occurrence. In examples that contain quotes of
the text (shown in the first column of TABLE IV), portions
of the text are given which precede and follow the actual
sounding of the "Fear" leitmotif. This additional text is
included in order to clarify the idea that is being implied
when the "Fear" leitmotif occurs. The exact portion of the
text under which the "Fear" leitmotif occurs is indicated by
the underlining of that portion of the text.
0)-O CH
0~
0N
0C)
Co)
to ...... HH0 r- H H('H
0H
H0
00CfD
H
CO
11
4'
C C H 5o
4-) Q) H-
0 w 0 '0HH4DHC
H 1-HH CH I It)
Ha0a)000 -P
4D Cn PCI >n>C
co -PC
c 5 :4-) H00 c4
H H *0H C H)
-H 0 - 0 0 04-P 0-P) *HH -H 1 >H r .H
0 4-)H 4C- 4-) -
1 -d
CcQw c 9o
H H -H0 -PQ)5- 0 c
H0 o rd CH
C0 4-)C '00-P.C z*C)
9-,C ( D DA U )0 i 0-a) b > aa (
4- O 0 CH CFA C0 C) 4-D CO - CO C o
C-) o1 -OP
o -o ~o -A" Ho-C H
(D b.0 biD :z C
o H H - " - o o omz H H -1 ri rs-5 %
0 CO 0 (D 4-) G) tH 4-D 4-
) .0 --0
4-D C)H 43 c~
o 0 H 4 *Hr 'Ha) 0 04-H H0- 0 ~
8 b o 1-4 0C m o
H O l 4- (D o0 44
E -O d 4H- CQOl 041 00a)
0010
0) " H0 D 4D H
r~C - d-i Hc -H c10-H
ro CO rQH(D D 0 a)
PQ pq M (D4 O~
-IH
11
CTI0
11
U)
U)cli0
U)
0
AH
-H
-H
b0
-H
- P0.- -H
-P-H -H
H1
C -H
0
co
0Sa)
44 CH
-PCH
0
U) -H
-P0
SCO
CH
QC
0
C0
co
0
-P0
0C)
U)CO4)-IT
0 CHC0
00
C,)
0(Y'
_
42
-P
0
Hq
-W
11
I
I
d
H CH
r- t ea A o
4-) ) H4- d
p0CD 0HH H o
CHf4-) H H
0
>H
rd l 4) t A 0
) CH4o r.0 tOCO- 4D 0 'd -)CH 0 '0{)
-H Q )00 0 " L(\+D +DCH \O4- c r H co 0 HY) c "Hp
cd m)
0 )Ofz\ 4-
U4 )0 U) UH
HCdH:
09A o Cd C d 4
co. i Co
4 O3 H 0 4H 0)0C0 c-H
0 .a 5 r- : ., c o rdco - * o si
0 00
CO 4-D F4 o O u0O
CH- Cd fl
o i H 0 -HH -'
0 4 0 -) ,- >
q S-1 (L) q -i iCO 4-Dp
0 (1 -0) C-o C)\ 4-f) C1d)0 to
H-) Y ) H H) HCHCO4 -X ) HCdH
J-)4-)Cd 0 H d 0oU H J U -CH U) OCH
-I H Ocd o OI~C ? cH (\
0 4 d 0 co4- 01 o 0 *H*Hod Cd- ()0
*HI0 -1 04H 1 o# p 00cooC DC 60 o 0 O 0-H-cu
.Ho* -H 0 0 -) 0HCd U)O04) 4-) -f) U) H - 0
4)0U) W P- 4-D o 0 () z 1 )0COW D -D) )00 )I 0 0 >f4)
z ) o -(", -.- ,4HHAH -H- H OQ) 0) 4) '-001 0 O 4-
4-)faD O Q 1 0t ()1 -f) 4CdHH C-) M(1)UO4) 1I wC f)4-
() -) 10 +)0(1)f)I0 41 U 0 HU)r cf) (1) -0 rH CH r~ 0 CU
-0) -1 r 0 1O0 Cd a)S 0
COO 0H 00Cd Of) f)J d -
-P 10 O0 4)>HCd U)C-C CdO1 () -H
W (1U)0U) 4-P -Df4-D-Wd4) rH1 4 C
0CdO~4~O 0 A-0HH- d~0C- -0 Z: 0-H ~A ~
UO CHC0 0P-4o
0
CQ
cc" C-T(Y'
H CHcoU) r*H4- 1) -CH 4 H -)r0 U)0 0
CH 4-D
0 r l (1)o() H cH H H c -C)
00 0 4 -I)Io
00 H 4-cd*1- ) t(Q)O0 4CH (1) U) IJ U) CH U)Nk) U) CH U) CH
4-0 1 H 1 H o o co
U) U) U)CH. )U) C)
0 Wc 3 c3
0 101H 0 0o C C
4-) 4-)-P4-)~O0. 0 0 0 0 00
b)c60.0 u
CH co
0 4-)r40 u 20 /Q Qo 0 co H I tord.H -) W I\ I I I
o H U )CH [a UCH U) CH coCHcd co co m co z
-vr-0b.0
5--i'
4-D 05 (U *)c 004-0
H4-D 44-)3 c3 Cd-)4-)c3 U(0)PU)4SH -H U) -)0
o - 4d-) o o c CH
oH *H0 5 5 CH0-0O-D -P C 5- C 4-pTC(< U) 0 '0 -) a) H 0
4cH H - -00 04450c 0r-j -) 0CO 440 z
c o o S -) U) 4' <4'e C
i0c0- H U) C-: ) 0: - S0 C)H0 x i z ~ *09-
U)4-D 0 4 CO3Scd o r -P -P -- 0
4-D(1 1 a w0 - 0 *5-;f)aH H 0 - OCH <C1(a pq 00 4 o eo -)
H H H
0rH
HI
43
'H
00
H
HI
rH rHrH
0ciP-
0H0
0
0
CO
'tocrc
ON Omc 't
mY-It
cc-4
H CH
4-) CHf4) H 4C\H
H D
CH 4-)
0 z Q) H tr t0~440-) 0
0b.0C -) CH
Cu (1)( 0 0 0 01
04-CH H ) ) CH U)CH UCH U) CCH U)CH
-C- -- U)
0 --co.
o 0 H 0 0 0 ho4 0)(1) c-) *H HoH -H H
rO* - 0 l c c 10 0 1+D t ii ci ci
-0 (1) -H
COf4-) 0 o
H
o- -P
0 -
S e (1)
0I I IooI
H -)H H ci) Ii(\204cii ciii. cii
0rU)C H HCH U )C* H H cio o co z o z
ciito 4-JM 4 H >I
- - - 0 ,
Si0 *H CH - 4-)4-) 0 c c-
00 -O SI40H4 0-0 P (1) 0-
0HCOO 0 HHo(1 04-) .H 4 0)0 i 0 l ii. H U)
(1)Ciic17-0 00 (D
-0 CHI -0 P j Scoia)0 m CH H0ii m HCH l
0P4 :a) ii
ONH
0C\
44
H
4-P
0CD-H
HI
H
om 0
0.0C)CO
C'
4-) CH-
00 0 0 0
0 4- OIJ-)A 1CH m\IOtH 5::
-C a 0 ^C N0II I
DC1310m.H 0-\ H - C2 I 0 02 1
co a)-HN-().a) C\. C\2
0 0 - *c HON
Qd o I
O' -H 1H 10I
o 40 Cd CCC Cd- -
4J 4- rqI o-r
(D r0 (t-0 Cd
OED 00
0 4 100
i 0 (Db -0 3 H
0 CH 02
m + D cmo N
cdoOCO -
00
044-)
-A02
0 0H
4 OOC
4-341 00
~-H cd:
___ C 0 -0H
CHH
(1)0 C-r-am rA
45
to
0
0
H
40 CHc 0
0
0
CfO
ex
CHco) 0H OfrOPC0 0 14-)I )
CH 430 r1
H O C O -H \ I Cd
00 *H f) o *fI .... : of \C CO4C CCHDHCC CC
CH C
CdHH 4-)
\ (D
H )0(1) () 0 .. c+D U)C O tD f)- i 9C ) 001 ) Q\ d- *
0 CH () H (f WC *UH. U)I CH-
+D 0o do o o C
CH
C CH 00 ) %- 0 .
~4-) O() O4-)1 -
0 -) O
4-) bOCCd H-0db-0 (1)-H i H i M
-3)-H :i (D
H H
c o (2)0 4-) 4-3 <
- 0 ( u 4 -)
cd d *H*H
co m
SH H 0 b
C Cd CDco -0-qH
f-f Cd. -f).Z b0d 0 C A Cd 5
0H H 0
A 0 f)-CH 0o 0 D 00 cdOf) r-i HQ) c
X 4-) ) -H"S
-r-;> Cdp .- 1a)f4-DCd
E- 0 0 0 0(1)000D 4- 0o o
Cd -H ) 0 ,CH
- ) m '(1)C-) 0
m c 04
4-) 4-)
Cv
46
a)-H4-)
0
H
C 1
Lo CH 0co 00CL, ca)
0t U) 0 *H(- ) -:CH
4 o -H4
0 O CI --:- )0-C H*H0 C0 \0QI I 1 .1
4-)CO P-S O& N - r-H% IHc 4D a)p C 1\ 0 i CCa)) 0-H 0 4-D 4-) 4-) 4-) e
SOICa) W CH U H) CH-U)HCH jH "
CH0 9- CH
o H- I0 4-)-P 4-D r- I 4-H
co 0 -Scd ,.44CH
C 4-D 1-4
H0CH
0H C' H00 4-) p44-)
~100b00 c C O
00OH C .
0 0~
-H
o -*H ci4)4-)4-) 0
4-)
0 CI)H4-O 0
01)4-)o Cf)
co 0
Cr)Cii
H
-r-;> q
Nt-
47
0
0C
H
Hr
H
Table IV shows the relationships between text (or stage
action) indicating fear and melodic motifs (or portions
thereof) which occur in Act I of The Medium. The relation-
ships (in Table IV) between text (or stage action) indicating
fear and the melodic motifs serves as a basis for designa-
ting "Fear" as a leitmotif. A comparison of these relation-
ships in Act II can be made by comparing the "Fear" leitmotifs
shown in the Master Leitmotif Graph, Act II (found in the
Appendix) with the score of The Medium.
Figures 19-a and 19-b are graphs showing the melodic
and rhythmic uses of the "Fear" leitmotif in The Medium.
Examination of Figure 19-a and 19-b allows one to see
that the "Fear" leitmotif is used continually throughout
both acts of The Medium. With only three exceptions in
Act I ( to , 12 to 13, and 201 to 21 ) and
two exceptions in Act II ( 4 to , and to 26)
there is at least one occurrence of the "Fear" leitmotif, or
a portion thereof, in every minute throughout the music drama.
Based on the total time of this performance of The Medium
(58 minutes, 52 seconds), the "Fear" leitmotif occurs through-
out 88 per cent of the time-value units of one minute.1
1The percentage (88%) was determined by dividing thetotal performance time (3532 seconds) minus the exceptions(420 seconds) by the total performance time (3532 seconds).
49
*0 t
45 *3
*7
-- ---- -. p-
owl ih
AP Hk
S.*1* .2
*&+ 2 * 1 + ++A*
3l I1jI I I T TT N
II
Ate
wimp 1 1 141 u -A.
mom I
TM 0177 16 -- I ---- --,- - -fl-
LIM, --I I Itu-7W7wftwmoft; ,, mini , at -
60a - -
I
*4 *i *2*1 AS
5,0
b
AIN S+9 *14)(3 *1 *3
FT (no a
2524*J +A
SN 1rI
Z ME4
a * * *6 A AAOOR% jVW
25 6S1S
*5 42 * 2 41 + 3 *t *7 *
Fig. 19--Melodic and rhythmic uses of the "Fear" leit-motif in The Medium.
a) Act Ib) Act II
Definitions of symbols:
The "Fear" leitmotif
SIWOI
51
The treble portion of the "Fear" leitmotif
The bass portion of the "Fear" leitmotif
A figure with the same melodic contour as thetreble portion of the "Fear" leitmotif or a varia-tion of this contour
A figure derived from the first two notes of thetreble portion of the "Fear" leitmotif
The inversion (or a variation of the inversion) ofthe melodic contour of the treble portion of the"Fear" leitmotif
AA These signs, found below the staff, indicate* a rhythmic patterns (as can be seen in the examples* * shown below). The numbers following these symbols+ A indicate the number of times that the rhythm occurs.
A
52
a
i i r ~ 9 9I r 1
L I I I _
, gNMII
13T
I,, p,
. a I I I - a a I I a a 2 . I
71 I- I
6v
'7
yo
41
MN -
99,
C 17
1 9
53
b
TIPv, I I t 0
Fig. 20--Concentrated areas of "Fear" leitmotifsa) Act Ib) Act II
54
Secondly, graphs 19-a and 19-b show the areas in which
the "Fear" leitmotifs are most concentrated (concentrated
areas are areas in which two or more forms of the "Fear leit-
motif sound simultaneously or alternate for approximately
30 seconds or more; the shortest passage is 28 seconds; the
longest passage is one minute and 12 seconds). These con-
centrated areas of "Fear" leitmotifs are indicated in
Figure 20-a and 20-b by darkened areas on the staff. Figures
20-a and 20-b are duplications of graphs 19-a and 19-b, but
20-a and 20-b show only concentrated areas of "Fear" leit-
motifs. The six occurrences of concentrated areas of "Fear"
leitmotifs in Act I and the three occurrences of concentrated
areas in Act II show repeated emphasis of the idea of fear.
The last concentrated area in Act I occurs during the "Black
Swan" section of dramatic recitative. This section of dram-
atic recitative contains the most important climax in Act I,
and the concentration of "Fear" leitmotifs is a primary fac-
tor in creating this climax (the other factors involve
another leitmotif and tonality, both of which will be dis-
cussed later in this thesis). The last concentrated area of
Act II, the climax of fear in Act II, follows Baba's act of
killing Toby.
55
Table V is derived from Figures 19-a and 19-b. This
table shows the number of times the melodic "Fear" leit-
motif, or a portion of the motif, is used in both Acts I
and II.
TABLE V
MELODIC USES OF THE "FEAR" LEITMOTIFIN THE MEDIUM
Melodic Contours No. of Times Used
Act -I Act II Total
Act 0i A0T\1.013
2 15 170 0
The symbols used in Table V correspond to the melodicsymbols used in Figures 19-a and 19-b.
Symbol
56
TABLE V--Continued
No. of Times UsedSymbol Melodic Contours
_______ iiali --Act I Act II Total
-- - --- - . 31 50 810-.
001 ! 0100
5 - 19 44 63
9A
0 P
6 - ; NO 65 90 165
Totals 124 209 333
* The symbols used in Table V correspond to the melodicsymbols used in Figures 19-a and 19-b.
Examination of Table V reveals the following facts:
1. The most used melodic portions of the "Fear" leit-
motif are the ground bass figures (156 occurrences) shown
57
in #6 of Table IV. The ground bass figures occur 65 times
in Act I and 90 times in Act II.
2. The second most used portions of the "Fear" leit-
motif in both acts are the melodic contours (81 occurrences)
shown in #4. These figures (the original contour and its
variation) are used 31 times in Act I and 50 times in Act
II.
3. The third most used portions of the "Fear" leit-
motif in both acts are the melodic contours shown in #5
(63 occurrences). These figures (the inversion of the con-
tour and its variation) are used 19 times in Act I and 44
times in Act II.
When the preceding points 1, 2, and 3 are considered
collectively in conjunction with the other totals given in
Table 'V, the fact can be deduced that all forms of the "Fear"
leitmotif (except #3) are used more in Act II than in Act I.
Thus, the idea of fear is more dominant in Act II than in
Act I because of the increased use of the "Fear" leitmotif.
This point remains consistent in Table VI, which shows the
rhythmic uses of the "Fear" leitmotif (the rhythmic totals
given in Table VI include the uses of melodic "Fear" leit-
motifs).
TABLE VI
RHYTHMIC USES OF THE "FEAR" LEITMOTIFIN THE MEDIUM -
No. of times used# Symbol Rhythmic Motifs_______ Act I Act II Total
I 8 13
2 4 10 19 29
3 A 6 12 18
4 r ,4 5 05
6 60 126 186
7 29 32 61
8 r19 20 39
Total 141 22 35
The symbols used in Table VIsymbols used in Figures 19-a
correspond to theand 19-b.
Example #4 is a variation of example #2.
Example #8 is the counterpart (in compound time)to example #6 (in simple time). This rhythmic figure(#8) is considered a "Fear" leitmotif only when itoccurs in conjunction-with, a melodic "Fear" leitmotif.
221 362
59
The number of occurrences of rhythmic figures given in
#6, #7, and #8 in Table VI corresponds to the number of,
occurrences of melodic figures given in #4, #5, and #6 in
Table V. There is no variation between these rhythmic and
melodic figures because the melodic contours are the only
basis for identifying these as "Fear" leitmotifs. However,
a comparison of the number of occurrences of the rhythmic
figures in #2, #3, and #4, in Table VI with the number of
occurrences of the comparable melodic figures, #2 and #3 in
Table V, reveals that there are more rhythmic uses of these
figures than there are melodic uses. The rhythmic figure in
#2 and #4 (a dotted eighth and a sixteenth) and in #3 (a
sixteenth and a quarter) in Table VI makes these two figures
identifiable regardless of the interval relationships
between tones. When the total of all forms of the rhythmic
"Fear" leitmotifs (362 occurrences) is compared. with the
total melodic occurrences of the "Fear" leitmotifs (333
occurrences, Table V), it can be seen that there are 29 more
rhythmic occurrences than there are melodic occurrences.
These additional rhythmic uses of the "Fear" leitmotif place
added emphasis on the idea of fear, which is stressed through-
out The Medium.
60
Spirit Leitmotifs
In order to understand the significance of the "Spirit"
leitmotifs (shown in Figure 21 and Figure 22), knowledge of
certain aspects of the plot of The Medium is necessary.
Therefore, a brief synopsis of the portion of the plot that
affects these leitmotifs follows.
In Act I of The Medium Mrs. Nolan and Mr. and Mrs.
Gobineau arrive for a seance appointment with Madame Flora
(Baba) in order to contact the spirits of their dead children.
This experience is the first that Mrs. Nolan has had with a
seance; she is afraid, but she desperately wants to contact her
daughter, Doodly, who has only recently died. Mr. and Mrs.
Gobineau have had previous seances with Madame Flora. They
make frequent visits to her in order to have fellowship with
the spirit of their baby son, Mickey, who drowned in a foun-
tain. The guests are not aware that Madame Flora is a fake.
Her daughter Monica creates the voices of Doodly and Mickey
that are heard by the guests. Toby, an adopted member of the
family who is unable to talk, handles the lighting effects
and slips around in the darkened room and touches the people,
making them think that they have been touched by their chil-
dren. During the seance occurring in Act I, something or
someone touches Baba's throat. She becomes frightened, stops
61
the seance, and makes the guests leave. Baba accuses Toby
of touching her throat in order to frighten her, but she is
not sure that it was not a spirit, and Toby will not give her
any indication as to his guilt. Throughout the drama Baba
is haunted by the spirit voice of Doodly, originally created
by Monica, but now only heard by Baba. She can not decide
whether Toby is trying to frighten her or if she is losing
her mind. In Act II she finally goes insane with fear.
Two leitmotifs are used in conjunction with spirits.
These leitmotifs are different melodically, but because of
the similarity of the subject (spirits) with which each
motif is associated, they will be considered together in
this unit termed "Spirit" leitmotifs.
"Spirit Leitmotif I" is a melodic motif that is found in
the vocal lines, in the accompaniment to vocal lines, and in
instrumental interludes. The basic melodic characteristic
of this leitmotif is that of a descending chromatic line
consisting of three to seven tones (the inversion of this
motif; an ascending chromatic line consisting of three to
seven tones is also used). The specific ideas attached to
this leitmotif are dependent on the text or stage action
used in conjunction with the motif. The text or stage action
implications are as follows.
62
1. The leitmotif (I) is used in conjunction with text
to create a spirit voice. There is only one passage of text
that is repeatedly used in this connection, the phrase
"Mother, Mother, are you there?" as is shown in Figure 21.
Moth- er, moth -er, are you there?
Fig. 21--"Spirit Leitmotif I," Act I, measure 2 after
01
When the leitmotif (I) is heard in conjunction with this text
(Figure 21), the motif contains four descending chromatic
tones. This particular combination of text and motif is
important because it forms the spirit voice that drives Baba
insane.
2. The "Spirit Leitmotif I" is used in conjunction
with text to imply the desire to commune with a spirit. For
example, the phrase "Send my son to me" (measure 3 before
®) :implies the desire for communion with the spirit.3. The "Spirit Leitmotif I" is sounded at the mere
mention of a dead loved one (whose spirit can be contacted
through a seance). The leitmotif occurs, for example, dur-
ing Mrs. Gobineau's statement referring to Doodly's spirit:
63
"Oh, yes, you may even see her" (measures 2 and 3 after ).
The leitmotif sounds in conjunction with the words "see her."
The leitmotif also occurs within sections in which the gen-
eral subject suggests a dead loved one. For example, through-
out the section of dramatic recitative "It happened long ago,"
in which Mrs. Gobineau describes how her son, Mickey, died
by drowning, the subject matter dealing with Mickey is suffi-
cient to recall the leitmotif.
4. Also the "Spirit Leitmotif I" occurs in instrumental
passages in which the stage action is related to the idea
of spirits. For example, the leitmotif sounds while Baba
and the guests are preparing for the seance (measures 3 and
4 after (D) in which they will commune with the spirits.
The "Spirit Leitmotif II" is also basically a melodic
motif which is found either in the accompaniment to a vocal
passage or in an instrumental interlude. The most frequent
use of the motif (shown in Table VIII) consists of two tones
a melodic half step apart as is shown in Figure 22-a, but
this interval varies in size up to a perfect fifth. In some
instances the leitmotif occurs in two or three instrumental
voices simultaneously, thus forming harmonic structures.
However, the identifying characteristic of this motif is the
contour rather than the harmonic structure or an exact
64
melodic interval. Thus figures 22-b and 22-c are all varia-
tions of Figure 22-a.
a
C
Fig. 22--Spirit leitmotif IIa) Basic leitmotif (measure 5 after 1 , Act I)b) Variation (measure 1 after 2 , Act I)c) Inversion (measure 8 after , Act I)
That figures 22-b and 22-c are variations of Figure 22-a is
supported by the fact that the text or stage action which
sounds in conjunction with these variations specifically
I - I
65
mentions the spirits or is actually a spirit voice speaking
(shown in Table VII). All occurrences of the "Spirit Leit-
motif II" imply the presence of a spirit.
Table VII contains all occurrences in Act I of "Spirit
Leitmotif I" and "Spirit Leitmotif II" in conjunction with
the text or stage action in order of occurrence. In examples
of quoted text (in Table VII) the exact portion of the text
under which a "Spirit" leitmotif occurs is indicated by the
underlining of that portion of the text.
Table VII shows the relationships between text (or
stage action) which implies the presence of spirits (or
refers to spirits) and the melodic motifs which occur in
Act I of The Medium. The relationships (in Table VII between
text (or stage action) implying spirits and the melodic mo-
tifs serve as a basis for designating these motifs "Spirit"
leitmotifs. A comparison of these relationships in Act II
can be made by comparing the "Spirit" leitmotifs shown in the
Master Leitmotif Graph, Act II (found in the Appendix) with
the score of The Medium.
Figures 23-a and 23-b are graphs showing the uses of
"Spirit Leitmotif I" and "Spirit Leitmotif II" in The
Medium.
66
OCHC 0
00C-CO
C'- 0H
HH
Fm
H OSH0
Cf
HZHO
Cf)H
CO
H M
SH
[EIHZ
HH2SO-H
['0
HIH
HHOHZ
H :D
HHU) . r-H
4-)0)CH 4) C\(2H44 00 w 0 0
CH O1 -0Y CH0 too I10
4H-) CH) CH- I 1-f
., ro o + 0 4- 1co LC\ w
a D
00CH CHO H a \ o4 cd I O I I-Pf C (\Mj Cc\ isL HH4 ltr&\CHICQ\0CdH (-a \ 0r cd H Cd H00 1Dj-p \ -J.. *'I<N. j.IfOH U--l)CH ./ U)CH U)4U)C\N U ON U)
HI ~cdj ~ Cd1 rH-H IE HI
CH '-1-H - dCd C)
00 -'- -'---
.H CH 1H HSH H H H H H
'H . I. 1 .10 (1)
HI CO IcaC I CO I co Ica
Ho oCH d 4T
-H 4-J ) - )091- c o 4-D P A
Cd cd CH 0)0 U) U
H U)I
co a) -I o4-)14-)l b.50 0
o U)j c HI 0r4S04 o C4 g0 d00 Hz HO ,
0 4-) )0f)4 -H
-S i-
4-< -H;: 4-) 0 0 c43 o
N a 0 - o C a ) o 0
HO~ e 0 -- CH d4 -Dm C H -HO 0i CH o
Cd'0 H U) 'riH 04 -Q0(D o> --I U)I H 0 r
cO r 0 0 0j -- a)-H0 Q 0a os- 4J~~P, 0
0 '91 Hl 4-D -P (D
0co xi0--> M4--0
0 (1) 01 f:: H cd 60%rj , : - C5 4-
HH
[>1
HI<qH
H
H
4-)0
o
'H iO iO bpNo
-OH
-H CH +S- -- -'-
0
H
4-) )
H '-
CH c
'H .4(
-P C
- -H U -r1- Q)4.
o ) H 0
o <r-
00-H00
U )U .
Cd Cd' - c'O a00Q'H
H
0
HH
bo H0 0IOCH
0
COcocl--0C\2 twmrm (Y' 0 H IH NI
cy- (\ YN cN(-----1
('\ (n--4:(-C
H CHcu) 'H
4-)0)CH 4-) t\ -H C(n\ 'to L-
oa U)0HCHD
-H sI * I r
0 4 H H 0 N
H -0a-
H \ t o 0 Q) C
co CO (- -H -\ Q-0 0 4-) 1i ) CHU U) I )H00U'HS Im1o -oo og I Io~
co a\ o-- e o CH -CC\CH H H~ Ho H H Cct*Ho 0 0 a 0 - ci c pCH -
-H -- 0 c5-P coc 0o
-f c C ') cr c co coef
$:i 0 H H .H
0 r4 0-PI Ac 10a
HH43;:HO 4 H N H4H H 3H cH
0 -Zci- P z
-- , zQC- U) COCO U) 4 D U) U -H HH
0 oP0 U43 00a) 0 a) \ S
0 ~ U Q)t O- I" U) c 00 D
cCH 0i0 -.i 0 0 .-OH C H4 *f U)\ 0 -40 co 'c -p U)-/ U H .)0cH III- H H-
*H 01 o C o- 01 - - s oX H(0U( 4-) 0(1)P4-) 01 01Q-91 0 -l 01 OCC
-4 0 )0 (1) -cd C-i p CO14) )0
0_4 0 0* 00110
4 % - 0 - o o41-HC 0 0 E Cii 'HG 0 U)~ a- 3
U)) -iH .4 H a 4 H Or-)) ~ 4U)p ~~0-p i U
(1))C. 0 () c,0
U) Hci05 C4H a () U () (1COO)-p o (0) Hqcs:,H 0U)U) P,
4-o4 o H>) D40) U4-D 'HO 41
0
67
cl0
-p
0
HH
H
-to] o
(1)00i 0
PHA
00Co)
0
q o O CHC U) *H4-)(1)CH 4) (Y\ \N .\ CIO - H0 00 7-H1
'00~HCH tOtj0/o\.-) CH Q-\0)4H)0 0CC H4-.
.r -f I-) I rH4 C4-) -CtI -4-)-H c-\ L C\CH - H i %H HtoHr-
c o C) o (4-) 4-*)*f4A /4-)N. 4- ./o U)OCH CO)CCH U)CH U) N CCHC HCco ~ c to cdco 04I-0 c co -
CH
f) Z H H HHH-H 1- - o -0 (
CC c OCoIco Co
0 00b (0 5Ct -t to w0 4) 0- f ( 4- O I I f W (
c 0f cp 0 0 H
0 U) CH CH S
- w --:
f-)f4) 4- )I(0) 0 )CHf-)0 U)11J-) 40
S H CH )
b o::
x 01 C P Si - f-)0 r)4)(1f4) bO a0 rH f) a) 4f) 0 '4
0 c ri - -(! H q U) b
Q)4-)4- 0 0 aC o . 0 0 10
< 0 Z -H H CHf4-) U)4 C
co 0 0 U)CO 0O 4-O0 o 4-H(D (D r:! Of)4- - 5 f()0i TI 0 4)
0 r - 4 -D a) .Y)0 -Hm 0 rjP m co
H C- -H - 0 0 .0 sH
DC c
H\ H-H-
-H4)
r-,
0
F4I
\10
69
to Ho 0bIJC
00
C'-)
4) ()0CH H (N N' O Q\ t r O0 U) 001
CH0OCH ' (Y'C\
4- 4) I4-)H. CH c00 CH CHL ' \ O ON H 0 Hw1HQH H:wH \Q 0 x 4 -D 04-3P43 -H r- - Lc'\ tO CH \,O 9q 4--0, 1,V o 00%c -H 0 0 C\ cI 0 0 0 0 000 Hi \ .f -j-C -p41(-)g\C - ) . .4- 1 - 4 -o0 4-1m CCHO CH UQ~C~z~CCO UCH CO CH 0 CH WCOCH
F4 EoHco a E <l co c c w EC
CH I
SH H H H
0 Qa )co I Io
HCH
0 - ---D4-$O 4-D +DC
0 a) l I CH o0 SCI im 4 cI-O*H-i ;: 10 H-PCH
co - ' -P0 Eco A-0
F4c
*H CI
CH cIP0 000
4-) 0 000 +COf)H-P
0 - H
u o "
W-o -0H P
4-D 4
cd A : : -7
-P 0 0:3: O-
;: C 0O 0 4
. q -S4 P z 19-1a
P4 C i -
0 H CIId S-1 -0 m 9A 00
-3 0
rH H
-P0
p-H
H
70
7M I
L J
I-. ! : : c e --.-.- -, .. -6'" -'-,-e...r.. .n..,. ..e
17Ia3 P,
9
&11
71
11T
9 4 9 s , tB
3*.,00 21 9514-T I q 9# 1 10 k
A-I
~ iy.
5 Z 9
Fig. 23--Melodio uses of "Spirit Leitmotif I" and "SpiritLeitmotif II" in The Medium.
a) IlAct Ib) Act II
Definitions of symbols:
fl"Spirit Leitmotif I"
72
Definitions of symbols--Continued
"Spirit Leitmotif I" (inversion)
U "Spirit Leitmotif II" (includes all variations)
"Spirit Leitmotif II" (inversion)
Numbers above the staff--indicate the number of occur-rences of "Spirit Leitmotif I" (or its inversion).
Numbers below the staff--indicate the number of occur-rences of "Spirit Leitmotif II" (or its inversion).
Examination of figures 23-a and 23-b allows one to see
that once "Spirit Leitmotif I" and "Spirit Leitmotif II" are
introduced in Act I (four seconds after 9 ), the two leit-
motifs are used continually throughout the rest of The Medium.
After the spirit leitmotifs are introduced (seven minutes
into Act I), with only one exception in Act I ( 1141 to 115)
and three exceptions in Act II ( to 11, 7 to , and
to ), there is at least one occurrence of a "Spirit"
leitmotif in every minute throughout the music drama. Based
on the total time of this performance of The Medium, "Spirit"
73
a 2
1=0II lip 101111P
oil aNow$*9"! I
* ,, ~7I
~~~___
13re
WT
9 I
:JEEI
I'
I c%
74
b
9 9 9A1 tos Am. W-
LOW
A l b
vrol 9
9 0 9 ,a -99- + '4-
1 ,E Q9>99 9p 9 9I31.0
1 9~9 ; ~ mlm 9
1* 0 1 I
26
III N
I 94E]
Fig. 24--Concentrated areas of "Spirit" leitmotifsa) Act Ib) Act II
I ii_ a t I
ii I :iii
y I - '- V
L v- :: -'j-I j:j
.AVM~k
OL
&Il
75
Leitmotif I" or "Spirit Leitmotif II" occurs throughout 78
per cent of the time-value units of one minute.2
Figures 23-a and 23-b also show the areas in which
spirit leitmotifs are most concentrated (concentrated areas
are areas in which two or more "Spirit Leitmotifs" (I or II)
occur simultaneously or continually for approximately 30
seconds or more). These concentrated areas are indicated in
Figure 24-a and 24-b by darkened areas on the staff. Figures
24-a and 24-b are duplications of graphs 23-a and 23-b, but
24-a and 24.-b show only concentrated areas of "Spirit" leit-
motifs. The five concentrated areas in Act I show repeated
emphasis on the idea of "the presence of the spirit." The
first concentrated area (approximately Q to Q ) occurs
during the time period preceding the seance in which the
guests are anticipating communion with the spirits. The
seance occurs from approximately CA to Q in which three
concentrated areas appear. The longest and most concentrated
of these three periods occurs at the latter part of the seance.
The last and longest period of concentrated "Spirit" leit-
motifs in Act I occurs from approximately Q to . In
2 The percentage (78%) was determined by dividing thetotal performance time (3532 seconds), minus the exceptions(360 seconds) and the tiie before the leitmotifs entered (420seconds), by the total performance time (3532 seconds).
76
this period Baba becomes hysterical and accuses Toby of
trying to frighten her. In Act II there are six concen-
trated areas of "Spirit" leitmotifs. The third, fourth,
and fifth of these areas occur in the section of dramatic
recitative, "Afraid, Am I Afraid," during which time Baba
continually hears the Spirit voice.
Table VIII is derived from Figures 23-a and 23-b.
This table shows the number of times "Spirit Leitmotif I"
and Spirit Leitmotif II" are used in both Acts I and II
of The Medium.
Examination of Table VIII reveals the following fact
1. "Spirit Leitmotif II" (#3--194 occurrences) is ti
most used "Spirit" leitmotif.
2. "Spirit Leitmotif II" (#l--157 occurrences) is ti
second most used figure.
3. When both "Spirit" leitmotifs are considered to-
gether, the totals show slightly more uses of leitmotifs
in Act II (242) than in Act I (227).
"Grief" Leitmotif
One leitmotif is used in conjunction with the idea of
s :
he
he
77
TABLE VIII
MELODIC USES OF "SPIRIT LEITMOTIFS I AND II"IN THE MEDIUM
Symbol "Spirit Leitmotif I"
0
IlEll 2-*
"SpiritLeitmotif II"
No. of times used
Act IJ Act II Total
105
13
93
16
52
67
101
22
157
194
Totals 227f 242 469
Figures #1 and #2 of Table VIII include all "Spirit" leit-motifs consisting of chromatic lines containing fromthree to seven tones.Figure #4 includes all melodic variations of "Spirit Leit-motif II" (intervals vary from a minor second to a perfectfifth).
1
2
3
4
2 RAI
0
0001 02
grief felt by Mr. and Mrs. Gobineau. The "Grief" leitmotif
which occurs in both vocal and instrumental melodic lines,
is given in Figure 25.
Ft 6 25--the "Grief" leitmotif, Act I, measures 6-8after
a) Antecedent portion of the leitmotifb) Consequent portion of the leitmotif
Figure 25 shows the complete "Grief" leitmotif; however
in some instances only the antecedent portion of the leit-
motif is used. Two characteristics make this antecedent
portion identifiable: (1) the contour of the melodic line;
and (2) the rhythm of the first four notes . The
melodic contour of the first antecedent portion of the "Grief"
leitmotif is shown in Figure 26-a. The intervals of the
"Grief" leitmotif may vary, but the contour of the first
five notes (down a small interval, up a larger interval than
the first, and down an interval--usually to a tone the same
79
as the beginning tone) remains the same, with one exception,
which is shown in Figure 26-b. In this variation (Figure
26-b) of the antecedent portion of the "Grief" leitmotif,
the third tone is repeated at the same pitch level as the
first two tones, and then the contour continues as shown
in Figure 26-a.
O- O\ / o
0-0-0\ / 0
Fig. 26--Melodic contours of the "Grief" leitmotifa) The original contour, measure 6 after Q
Act Ib) A variation of the melodic contour, measure
7 in Act II.
The rhythm of the first four notes of the "Grief leit-
motif does not vary. However, beginning with the fifth
note (notes under the bracket), the rhythm does vary. The
original rhythm and variations of the original are shown in
Figure 27.
Fig. 27--Rhythmic forms of the "Grief" leitmotif
a) The original rhythm, measure 6 after QAct I
b) Variation I of the original rhythm, measure
6 in Act II
c) Variation II of the original rhythm, measure
8 in Act II
Table IX contains all occurrences of the "Grief" leit-
motif in Act I and Act II in conjunction with the text or
stage action in order of occurrence. When the "Grief" leit-
motif is used in conjunction with text, the exact portion of
0 MH
bQli 0C.cdP o CA CO
to 0H
H (Y'\to to
E-
SHHE0
c)
HH
EdHHHEs
HHEM
0 o
E~
EJ4H
H
H
H Cco (f) -H4-) ) H
Ed Do CQO
CHo CH
-H m - n0
00%O0/0
0 a*a4-) 4-) 4-~ -PO 4 U) CHWCH CCH0.CH
CH
4-) L\00 (1)C2
S -HH
CH
0H (D H Q0 .0 x.0
-H 4-) 4-)0 H 0
p H c3 r
100
CtI 0 t)~1 O - I 4-U) 4- Oo4 .) 0.: 005
- 4- -C H 4 * -H 00- - 1 -05 -PcdHm
4- -) b 0.C) (a) 0 .H0 - co 1)0 r:4)0 (1!) 511 H - ()Q) H H -
-H d5 H ) -) D UD ) 0 '
10 -Hcco c!)p (D
CoO .t o .c5
a C) 0 U) co 0 d+D
Q) 4D N 0 H 0CH O 10 m0
M H4 4-)Hcoc c
43 Z M 4)P
cPHHd odW0H-P-
H
E0)
(
H 0 U)0 C D (
co 0-H 0 Q) 4-) 0-HU) r-, .4-D 0y p
0 -r-4 -P U)H r4 o43 0 - 0 Q <A - 0 i 4 o -) HDH Q)
<0<H -H H Hd 0 i r Xj(D H AC 0-(:z 4- 77; 4--) C H M - 4-
(I)
ci cii
I III1CQ
the text under which the leitmotif occurs is indicated by
the underlining of that portion of the text.
The "Grief" leitmotif, or a portion thereof, occurs in
Act I six times, and in Act II eleven times (a total of
seventeen occurrences throughout The Medium) as shown in
Figure 28.
a
V p eY5
" Ni t s p
-T-
13IT
WA
419 9 1aim"9, 1
b6) Y17
AL
7 771 L -ow M. I'm
I -Aj it
b
9^2Y
Fig. 28--Melodic uses of the "Grief" leitmotif in TheMedium.
a) Act Ib) Act II
Definition of symbo]s:
*g ?Grief" leitmotif
Numbers beneath the staff--indicate the number ofoccurrences.
"Hope" Leitmotif
The "Hope" leitmotif is a melodic motif found in the
accompaniment and in vocal lines. The basic "Hope" leit-
motif is shown in Figure 29.
Fig. 29--The "Hope" leitmotif, Act I, measure 1 after
Two melodic variations of the "Hope" leitmotif are also
used. The melodic contours of the original and these two
variations are shown in diagrams in Figure 20.
000
b a 'w
C
Fig. 30--Melodic contours of the "Hope" leitmotifa) The original contourb) Variation I of the contourc) The inversion of the contour
bo C0P-4C
Q)00
C)CO
0 toto \
H
0
H
00
H
Fm
0 Cf
H
00
HD
H C
43 Q)CH4-) -z -0U)00 H HI
CH - NO CH IH >
.HON I~'t4-) - N N N4D
0 0 N Ne to Q) C
H -4I 1 3Ic If)44- 4) HI S rq-z H (2) o i I o LNl
(H O 0 HO 0 0 H i CH iCH oH lF-q H CO o NHco zo z
CH coO
0 -0 0 0
0 )
.H L~ bi b-0 r-4
H
CH co50 f)
CH 4?r
C0 0 0)
H 4 ) CO 4- C(2)4-
0 4 l--
HI H cr5o a
C-) E-C ) (
44-)
Ce< H 0 b>o m c -rq
0 0 0 c 4-)~
OH 4o0 444- 4) 4 4-) 4-D
4 0 0OOCHO HrqcowH *-H ">O r) H :4P444
x )4)CO C) 0 -C0 C) -0 -Ho)c4-) 40 0 0) m H0 0 CO 4- 0
o co 4-)-'ri CH
04-) 0OF H0d
CT) f) 4) 'd 0cU 4-cr0 0 H 40
0-U) . -r-4 o s:!Cr4- dOU))4r)
co U) co -H 0 4-
rwi b 0E o rc
COO0 H (D CO b.0
H 0 00 o a-0 -P o Z-- H+~~44HO 4 00H4
FrIHIFrE~
H
(f)
C e
I II I
040OCHcxo
PL
000
CO
I I,T10rHi
0r-i(n0rH
-0rH
CH
- ( ) H -I0U0 0 0
CH IO CH
00 P k r l I\
PP -H Io -I~ H CC\o 004 .) -1 wH-, CH 4-) H
HI 4UCH OC2lC~f) CH
Ce [-o lo-H I I I-P 0 10 1O
0 (D N C\2 C\
b0 I
toCH CtS0 4P
Q~)
0 H r U) 4
HI Hco
I ( 1 0 -H
U) -P q ~O~U > U)
P0 4HL)0U-H -it-F-i -r- 4 " 4-
-P 4 H c 0 o -
o -H -H e4-) 0 0 (P) rC
a)CI -PP 00u4P3QCU) U) (
- C H -rO r 0
CH OP0-)
*HE 0-H *H -H
-z1 *<H1 0 0 0.4 'H U) C 1
U- oe
'H
0
(3
Pra
Both variations (b and c) retain one basic melodic charac-
teristic of the original "Hope" leitmotif, that of an inter-
val of a second followed by a larger interval.
Table X contains all occurrences of the "Hope" leit-
motif in The Medium in conjunction with the text or stage
action in order of occurrence. The idea of hope relates only
to the guests who attend the seance (Mrs. and Mrs. Gobineau
and Mrs. Nolan). The leitmotif implies the hope that these
three people have of regaining fellowship with their children.
Figures 31-a (Act I) and 31-b (Act II) are graphs show-
ing the melodic uses of the "Hope" leitmotif in The Medium.
Table XI is derived from Figures 31-a and 31-b. This
table shows the number of times the various forms of "Hope"
leitmotifs are used in Act I and II of The Medium.
6I NNO
IF4
a Won"- V
4 -'4-. -- '-
T A A
SI ~ *--opiumINot w" 0
b 'I I I I C I I4
U 0I -.11, W-M
7p*
-42
T: ';'1 iTT' LiLJ
IIIIII i I t
4
4 " I rt
E I - " -
4 1 '- i i - r L 1
I
I $
I
I I I
go
bz
9 ? 9 9, I I * .,09%
WA'9
9OWI Ago%,9 AII 9 9
*Ztq.Sam
4 ~t qftl9,, 92z , , rz- 9~
* a I W. I a--l
.~ ~. B .13
lee P a ~ I = I
( D0 91 30
Fig. 31--Melodic uses of the "Hope" leitmotif in The Mediuma) Act Ib) Act II
Definitions of symbols:
The "Hope" leitmotif (original, Fig. 29)
717'
1 772-
I
-1
90
Definitions of symbols--Continued
Variation I of the "Hope" leitmotif
II| |llJ Inversion of the "Hope" leitmotif
Numbers beneath the staff--indicate the number of occur-rences of the "Hope" leitmotif.
TABLE XI
MELODIC USES OF THE "HOPE" LEITMOTIFIN THE MEDIUM -
No. of Times Used# Symbol Melodic ContoursW-
Act I Act II Total
10 033 15 48
2 004 6 10
3 0 12 12
Total 37 31 70
The symbols used in Table XI correspond to themelodic symbols used in Figures 31-a and 31-b.
Melodic contours are explained in Figure 30.
91
"Baha" Leitmotif
The "Baba" leitmotif is associated with the character
Baba. An entrance by Baba, or merely the mention of her name
is sufficient to cause the "Baba" leitmotif to sound. This
motif has both melodic and rhythmic characteristics that
make it identifiable, as can be seen in Figure 32.
Fig. 32--The "Baba" leitmotif, Act I, measure 1 before
The melodic contour of the "Baba" leitmotif is consis-
tently down a small interval (a major or minor second) and
up a larger interval (varying from a minor third to a per-
fect fourth). All occurrences of the "Baba" leitmotif con-
sist of three eighth notes, but in some instances the rhythm
is broken by an eighth rest between the second and third
tones (JrYP rather than 7 P ); however, the melodic con-
tour makes the rhythmic variation identifiable.
Table XII contains all occurrences of the "Baba" leit-
motif in Act I and Act II. These occurrences of the leitmotif
92
are shown in conjunction with the text or stage action in
order of occurrence.
The "Baba" leitmotif occurs only twice in Act I: once
in measure 1 before (, and once in measure 4 after 0
In Act II there are sixteen occurences of the "Baba" leit-
motif, the locations of which can be seen in Figure 33 (a
graph of only Act II is shown in Figure 33 because of the
limited use of the leitmotif in Act I).
93
o CHCt 0
00
Co00
H
CHU~C) *H
) OCH4) H H to NC N NC U) 0 0
CH Q) c0u -H H tr -1
0
C)PC-CH0 001)cC
C-) 04-) to
CO I N c cI0 ) 0 4-) 4-) o- 4-)0 C)HC\U C CoC C CC (CH
F-4 . 0c 0cd Dcdo c o cCH
H -U - q(H H -H -H MmC-H U
0O 0 0 0 bP-0 O0b PA0
0 H H cHC(1)H CHC1-H -Pf ) 1cC\2
x Un to \0 > H A 1) f- H Wo1) Q ( C) Srl C 0 C U C
14 - o o o c
NHto 0 HQPA -D0 0 0
-H) -)Jo-) of) o
HI H H M ec~ oc Q
P-u0oCH 4 00H C 04-) U) 0 0f)
- ci H -- 0 1m 4 0 - 4,43E co 9 , c t C16 $z
a) 4-) f t foM Q CHQC Q OSu
(D 4-) b cd o cd r , O 10 H0 C O0<4) QO H H c cQ)f 4- )4 -D C)-H M
co: e H - S>-1 J-)
Q-t H 0 Hm60-o~ e 4 0
b- 0C Ct
N 0 fcH( )o 4- Ct >0H4-) U -H- . "H C o H
H Ct04-0U) 0O-H C15 ()Ct
cO)( 1 ) *0HDH-
10 Ct*H(a ^ *(f)
U)O!) ~000o f1) 10 co)10 r
co)-Z! O C O CO' 4-)0 0
Ct 44o4Ctq4 CU)0Co ,Q oHcf odH -Q c Q-
(N
HH
HI
N I
H
H
:H
0
Z H
0
H
H
EH
HHo
Cf)
W0r
(Y'
94
I lx
9 " , 9 19 V
.M IN-, ,, 1*4
MW9 T
i I n- - -.m I --m I I a I I -- ,- --V, I -- , - , IN M- wOHM." -,,-.A IN, W.-IN7---,"pmpm 3 WW- A vI I -- 1ow .. I I I - - - 00,
1 ' ! 9
,9p9U PU . P ~ ~imp am , i I 0 "I - I A -, -- , 1 1, v -W .- -j - - I -- -- , I I" --- . --.- - T I , A I I
W-W so - -op -
y 90"% ldpwlft Nonedgx% raft
AwlILI Is
y
lip10 01 NO IMPML
Ak
A
fA
MOM PON, OWN 000- almgo""
too""M-10 . - a -- ' - - -- a A
------- MINOR
0m0i0-1tFig. 33--Uses of the "Baba" leitmotif in Act II of The
Medium.
Definitions of symbols:
The "Baba" leitmotif
Numbers beneath the staff--indicate the number ofoccurrences of the "Baba" leitmotif.
Vp I
1 1 , - " I , ".- I - l !T lof wmw 0 1 1 p VI a , a,,, ..- . m -- -- -10- - I
7T_47-7-0 -MMMA
-No-
I I I
r7-
Avow& AO&L
I Q q I optI
95
"Monica" Leitmotif
The "Monica" leitmotif is a melodic leitmotif that occurs
only in Act II of The Medium. The leitmotif is found in the
voice line and the accompaniment when Monica's name is men-
tioned, when she speaks, or when someone speaks directly to
her. The "Monica" leitmotif is shown in Figure 34.
Fig. 34--The "Monica" leitmotif, Act II, measure 5 after
The four occurrences of the "Monica" leitmotif in The
Medium are given in conjunction with thetext or stage action
in Table XIII. When the leitmotif is used in conjunction
with text, the exact portion of the text under which the
leitmotif occurs is indicated by the underlining of that por-
tion of the text.
Figure 35 is a graph of Act II which shows the four loca-
tions of the eight occurrences of the "Monica" leitmotif.
01 0
0
CO)
H CO H
H
SH0H
H eDH
rxq
C)
H H
H
HHHF'I0H<
HH
0
CO
CO
96
HHH
F'IHI
H
H HIfrj) r-H
4 1)0CH4- )N N NN0 o 000
CH)
o CH.H
o 0 \. CQ I, CH0 OH -HI I I 14-)4--) Hr- rH 0\ qNC.H (0 0D 0(000 )-p * 4 -) -)
4- 'c c0 c00(a CI -H -H *H
4- D bo t0 bH H -H -H
HI0 0 0
CH zt0 4-
0 0 I00 co \OC\2 H
f 0 (1 101I\-0pc5 0o 0 0 00
0HC a, J0-) *4-) .~ 4-)0 ~00 CHCOCH U)CH U)CHI H Z m o 5M MF-q z cd o Iz
0-D 0-) 0 c10o "4 1 * -C ij
0C0 -)H r- --
4-1 ) oloO -HHo4-)0 H cZ C 0 4-)
0 04 -)0 o 1o)00 o4-) 4-) ) 0 4-0-p Ho N o C (0 4-) 0
C) C 0 0 4-c D ) Z +D4(1)4O) rq C - - 0 () *2 H O-~
0 Q- 0 - ;A w 0 (1) 4i(1) c 1 co 'EO C ) o
0 0 4-"*H c -H tq H H -H
O OH O C 00 c0 0- 0 15P-H N -H H cQ 0-0
4-D 4) CH
Cl)00A
CO l
I I.0
97
75
-,4r q3 g
- Y
sofs
; ' "+l-, 7
Z*
Fig. 35--Uses of the "Monica" leitmotif in The Medium(Act II).
Definitions of symbols:
The "Monica" leitmotif
Numbers beneath the staff--indicate the number of occur-rences of the "Monica" leitmotif.
"Love" Leitmotif
The "Love" leitmotif is a melodic leitmotif which con-
veys the idea of the love that Toby and Monica feel for one
another. The "Love" leitmotif, which occurs only in Act II,
is shown in Figure 36-a. Figure 36-b contains a slightly
varied form (melodically) of the same leitmotif.
a
Fig. 36--The "Love" leitmotifa) The basic "Love" leitmotif, Act II, measure 8
after®-b) A variation of the "Love" leitmotif, Act II,
measure 10 after (D
The "Love" leitmotif occurs five times in Act II. The
first four occurrences are found in the section of dramatic
recitative "I Love You, Monica" (Figure 36-a and 36-b are the
first two occurrences. Occurrences four and five are in mea-
sures I and 3 after Q). The last occurrence of the "Love"
leitmotif sounds when Toby knocks on the door of Monica's
room (measures 12 and 13 after 0 ).
The locations of these five occurrences of the "Love"
leitmotifs are shown in Figure 37.
99
%
T PT
99* * 2
D io m
* The Love leitmoti
-1 -IZ-*--
IMmbe0 bene t the taf-idte thnuber, f ocuI
ce ov
Fig. 37-.-Uses of the "Love" leitmotif in Act II of TheMedium.
Definitions of symbols:
,MThe Love" leitmotif
A variation of the "Love" leitmotif
Numbers beneath the staff--indicate the number of occur-
rences of the "Love" leitmotif.
100
"Toby" Leitmotif
The "Toby" leitmotif sounds only in conjunction with
stage action which revolves around Toby. One occurrence of
this leitmotif is shown in Figure 38.
FI .38-The "Toby" leitmotif, Act II, measures 1-3after (
The "Toby" leitmotif occurs only four times, and these
four occurrences are in Act II. Table XIV shows these four
occurrences in conjunction with the stage action.
Figure 39 is a graph of Act II which shows the location
of the occurrences of the "Toby" leitmotifs.
oP-0 AHcii
0
C.)COm
11-,to 0
H
LrxHH
I c H H H H~CH
CHo CH
000-H S
0 0 ) 0 0C 0) J-) .4-)- .
OH - H U)CH ()-CH U)CA
F4 z l- 6 mo ceo oCH
-H H r0 H t-H M H M
0 -'H % 4DO M )O M POj4) OrIn 0- - O--Iz o Icii
bL b0 d () .0C5 ) tI
O 4-)
0 o E) ,) 4,eI-H ) C < i ) iCO'H - ) CO 0(0 (D I a)
Cii U)D0ii (0 0 0 0- 0-0 0HU(D U') H ) U'-P )CO 4 00C CH COCH C D H U
o ~ ~ ~ c 0 ,; 9 - '&:
-P OH
) 4-) H Oa C *Hci sH
-HH 0 ii0 o4H-P 0 (D - U) (0
4-) Cd _i H 1 4 - -
-Cii)H HH0 0 0 O O0 H4-D rl 'C, -P 4H0 rd D 1coi
x (D 4) +D 0 4-) 4-) 0 CH(DP 0D 0 0 4 0-0
E-ii O HO010 z i0 r,04-) CH4 40 coCH - 00ciiUo -A0 0 o a)
0 o- U -pUo o04
Ucii U)H- ) S00004 HiiOO) O OU)0 4-D 3 CH ,C0 o U) 0 u H-D o
So (1) o CT H (1) 0 0PO 4-) 4-) Cd O O o
101
H
HrP
SH
Z Q
H 2H
HZ2H O
O H
HO
0*-0
F'IHHFo
HFin
0
U)
t 0I II I'U)
102
Lan
9 tS9Y79 99 49To* * * *i i _4
25 1261 Noa
~:
T1 T
wat
130
V2 7
2526 9 3 2
Fig. 39--Uses of the "Toby" leitmotif in Act II of TheMedium.
Definitions of symbols:
U The "Toby" leitmotif
Numbers beneath the staff--indicate the number of occur-rences of the "Toby" leitmotif.
103
Summary
Table XV shows the total number of uses of each leit-
motif in The Medium in decreasing order of use.
TABLE XV
THE TOTAL USES OF LEITMOTIFS INTHE MEDIUM
No. of UsesLeitmotifs
Act I Act II Total
Fear 141 221 362
Spirit I 118 119 237
Spirit II 105 123 228
Hope 37 31 70
Baba 2 16 18
Grief 6 11 17
Monica 0 8 8
Love 0 5 5
T oby 0 4 4
The following statements summarize the important points
discussed in this chapter.
1. There are nine leitmotifs used in The Medium.
104
2. Leitmotifs occur in conjunction with text or stage
action which conveys or suggests an idea, character, or an
object.
3. Leitmotifs occur in concentrations in order to
emphasize an idea or an object within a passage.
4. The most important leitmotifs in terms of use in
The Medium are "Fear" leitmotifs (362 occurrences). "Fear"
leitmotifs occur throughout 88 per cent of the performance
time-value units of one minute.
5. The second and third most important leitmotifs in
terms of use are the "Spirit" leitmotifs: "Spirit Leitmotif
I" (237 occurrences) and "Spirit Leitmotif II" (228 occur-
rences). Considered together, the "Spirit" leitmotifs occur
throughout 78 per cent of the performance time-value units
of one minute.
6. The "Fear" and "Spirit" leitmotifs are used to the
extent that at least one of these leitmotifs sounds in every
minute-unit throughout The Medium.
7. All leitmotifs except the "Hope" leitmotif occur
more in Act II than in Act I.
CHAPTER V
THE USE OF TONALITY IN THE MEDIUM
Due to the use of complex sonorities in The Medium, and
due to the ambiguity concerning definitions of tonality in
context with contemporary music, the following definitions
of tonality will be used in this thesis.
Tonality--implies the presence of a "tone center" (orhome base tone) about which the surroundingharmony (or implied harmony) evolves.1
Indefinite Tonality--passages in which the tonality isobscure, as in sequential passages; serialpassages, where tones are organized in sucha way as to aurally obscure any tonal center;and passages that involve continuous modula-tion.2
Tonal centers were determined by traditional analysis
of (1) harmonic and (or) melodic progressions (particularly
'Robert Erickson, "Tonality," The Structure of Music(New York, 1955), p. 78.
2Vincent Persichetti, "Tonality," Twentieth CenturyHarmony (New York, 1961), p. 248.
This system of traditional analysis is based on twobooks by Robert Ottman, Elementary Harmony (Englewood Cliffs,N. J., 1961) and Advanced Harmony (Englewood Cliffs, N. J.,1961) and one book by Vincent Persichetti, Twentieth CenturyHarmony (New York, 1961).
105
106
of cadences, or implied cadences of progressions), or (2)
by analysis of the duration of a tone or tones. The latter-
primarily concerns pandiatonic passages. For example, in
measure 5 after Q in Act I of The Medium, p. 7, the tonal
bcenter is considered to be E because the melodic line re-
volves around Eb (over an Eb pedal) for 34 seconds (shown
in the Master Tonal Graph in the Appendix of this thesis).
Figure 40-a and 40-b are graphs showing the tonal centers
used in The Medium. Figure 40-a shows Act I and 40-b shows
Act II. Information regarding the scale of the graphs is
given in Chapter II.
107
ao IAr T 1~'lion -I
Ilk VIM Z I
5o
Epp, C #-1111 i l
J_1_ -_ _ _ _ _ _ _ _ _ _ _ __L 9I9'I" p
IIr
7 & p -Cap
9 9A17 z A6
I F4'- F# C. ~
~ tttt'P91%,lo min
-A,- II a
'U
F CO A G G A O F
Oftamm
hL A-ML A
Wo
am
71
V
A G
b
0" M P-
v C
A?,.CA I77 99
F m w
Ara" 9 99 9 9 *49
prj 1 1
promp
Is flF
Fig. 40--Tonal centers used in The Medium.a) Act Ib) Act II
Definitions of symbols:
Darkened areas on the staff indicate the approxi-mate pitch and the duration of tonal centers.
r -L T ~ iL _ _
109
Definitions of symbols:--Continued
Letters below the staff give the exact pitch ofthe tonal center sounding above the letter.
Areas in which no tonal centers (darkened areas)are shown indicate indefinite tonality.
Two facts become apparent when Figures 40-a and 40-b are
observed: (1) In Act I (Figure 40-a) every possible tonal
center of the chromatic scale is used (or its enharmonic
counterpart); (2) In Act II (Figure 40-b) every chromatic
tonal center is used except Ab (or G#). However, in terms
of duration, certain tonal centers clearly come into focus
as being predominant, as can be seen by examination of the
percentages given in Table XVI and Table XVII.
In order to derive a complete tonal picture of The
Medium, the percentages in Table XVI and Table XVII must be
considered in conjunction with the graphs from which they
were derived (Figures 40-a and 40-b). In Act I the tonal
center G (22.2 per cent) is clearly predominant according to
percentage in seconds. Also, the importance of G is con-
firmed by examining the various locations of this tonality
in Act I (Figure 40-a). Act I lasts approximately twenty-
seven and three-fourths minutes (1670 seconds). During the
first fourteen minutes, G tonality is used eighty-seven
seconds; whereas in the last thirteen and three-fourths
110
TABLE XVI
INDIVIDUAL PERCENTAGES OF TONAL CENTERS AND INDEFINITETONALITY IN ACT I OF THE MEDIUM
Tonal Number of % of theCenters Seconds Total Number
of Seconds
G 370 22.2%
C 123 7.4%
F# 113 6.7%
D 94 5.6%
A 89 5.3%
E 59 3.5%
F 55 3.3%
B 52 3.1%
Db (C#) 51 2.9%
Eb 49 2.9%
Bb 17 -1.0%
Ab (G#) 15 .7%
IndefiniteTonality 583 34.9%
Total 1670 100.0%
111
TABLE XVII
INDIVIDUAL PERCENTAGES OF TONAL CENTERS AND INDEFINITETONALITY IN ACT II OF THE MEDIUM
Tonal Number of % of theCenters Seconds Total Number
of Seconds
E 216 11.9%
F 200 11.0%
D 176 9.7%
G 165 9.1%
C 8 5.0%
Bb_84_4.6%
Db (C#) 66 3.6%
Eb 64 3.6%
A 49 2.7%
F# 30 1.6%
B 25 1.4%
IndefiniteTonality 646 35.8
Total 1802 100.0%
112
minutes G tonality is used two hundred and eighty-three
seconds. Thus G tonality becomes more predominant as Act I
progresses. Also, as can be seen by observing Figure 40-a,
the duration spans of G tonality become longer in the latter
half of the Act.
Two other factors indicate that G is the most important
tonal center used in Act I: (1) Act I concludes on the
tonal center G; and (2) the relationship of the other per-
centages in Table XVI complement G tonality; in decreasing
order of percentages: C (7.4%) is subdominant to G; F#
(6.7%) is leading tone; D (5.6%) is dominant; and A (5.3%)
is supertonic.
Although all tonal centers of the chromatic scale
except Ab (_#) are used in Act II, four tonal centers come
to the forefront in terms of percentages: E (11.9%); F
(11.0%); D (9.7%); and G (9.1%). Not only are these four
tonal centers (ME, F, D, and G) predominant in terms of per-
centages, but they also occur individually in longer dura-
tion spans than other tonalities in Act II. This fact can
be seen by observing Figure 36-b. According to percentages
of use (Table XVII) G tonality is not the predominant tonal-
ity in Act II, but examination of Figure 40-b shows that G
tonality is important because of its location in the act.
The G tonality is introduced in the opening motifs of Act
113
II, but then it occurs for only short periods of time until
Q . At this point G tonality is maintained for one hun-
dred and five seconds, the longest single duration of any
tonal center found throughout The Medium. Thus G tonality
is important in Act II because (1) G tonality is the long-
est single passage of a continuous tonality used in Act II;
and (2) the fact that this passage occurs in the latter half
of the act re-establishes G tonality. By treating the tonal
centers of Figure 36-b (Act II) as a melodic line, the rela-
tionships between tonal centers can be analyzed. The remain-
ing three predominant tonalities (G tonality having been
established) in reverse order of their percentages of use
(D, F, and E) are as follows.
D tonality functions primarily in relation to three
other tonalities: (1) as dominant to G ( ) to and
22 to 2 ); (2) as submediant to F ( to (D); and
(3) as mediant to BID ( to Q ).
F tonality functions as: (1) tonic ( Q to Q , Q
to , ® to , J to O ; and (2) dominant to Bb
(~~~ o t0 , t0 to G ,0 to .
E tonality functions as: (1) leading tone to F ( Q
to®n, G to G , 3 to® , 0 to 0 ,and (2)
tonic ( to®0, ® to 0, to )
114
Although Bb tonality is not important in terms of
percentage, it is important because of its location and the
way it is used in Act II. The first six (of seven) occurrences
of Bb tonality are approached from its dominant tonality (F).
The tonal surprise, and consequently the climax of Act II,
comes in the final minute and twenty-five seconds when the
tonality returns briefly to G and then quickly moves through
centers of B, F#, and D to end on a center of Bb. Thus,
because Act II ends in Bb tonality, this tonal center is
considered of primary importance.
Based on Bb and G tonalities being the most important
tonalities in Act II because of their location, tonalities
in Act II previously discussed can be summarized by the
following statements.
(1) G tonality functions as the primary tonality of
Act II until the surprise shift to Bb in the closing moments.
(2) The strongest of the three functions of D tonality
is as dominant to G tonality.
(3) The strongest function of F tonality is as dominant
to Bb. This function is supported by the fact that the first
six minutes of Act II evolve around F tonality and the act
ends in Bb tonality thus forming an overall dominant to
tonic relationship.
115
(4) E tonality, although the highest according to per-
centages, is subservient to the other four tonalities (Bb5
G, F, and D) because of where it is used. It primarily func-
tions as leading tone to F (the dominant to Bb.)
The Tonality of Leitmotifs in The Medium
The tonality of any leitmotif discussed in Chapter IV
can be determined by comparing the passage in which the leit-
motif occurs with the corresponding passage in the tonality
graphs Figures 40-a and 40-b.
Table XVIII shows the tonality of concentrated areas
of each of the leitmotifs discussed in Chapter IV. In the
cases of the "Fear" and the "Spirit 4 leitmotifs, concen-
trated areas in Table XVIII represent only the concentrated
portions of the total leitmotifs used in Act I and II (these
concentrated areas are shown in Figure 20, "Fear" leit-
motifs, and Figure 24, "Spirit" leitmotifs). However,
because the other six leitmotifs discussed in Chapter IV
("Grief," "Hope," "3aba," "Monica," "Love," and "Toby")
occur in limited numbers, all of the tonalities of these
leitmotifs are shown in Table XVIII. In passages where more
4"Spirit Leitmotif I" and "Spirit Leitmotif II" are con-
sidered together as "Spirit" leitmotifs in Table XVIII.
116
TABLE XVIII
THE TONALITY OF CONCENTRATED AREASOF LEITMOTIFS IN THE MEDIUM
Leitmotif Act I Act IIUsed Location of Location or
Concentrated Ton- Concentrated Ton-Areas ality Areas ality
Given in B Given inFig. 20-a Fig. 20-b F
I FearDbU Bb
G G
D BbGiven in Given in
II Spirit Fig. 24-a C Fig. 24-b FF# EG E
E
III G'rief Given in D Given in F,-Fig. 28-a G Fig. 28-b B
IV HpGiven in G Given in BbIV . HoFig. 31-a G Fig. 31-b G
GMeasure 1 9
V Baba before C Given in BMeasure Fig. 33 Ebafter Q C ?
Given in DVI Monica Not used Fig. 35 E
EJ-__F
117
TABLE XVIII--Continued
Leitmotif Act I Act II
# Used Location of Location ofConcentrated Ton- Concentrated Ton-
Areas ality Areas ality
EVII Love Not used Given in CFig. 36 Bb
GVIII Toby Not used Given in F
Fig. 39 BBu
than one tonal center occurs in conjunction with occurrences
of leitmotifs, the predominant tonality is given in Table
XVIII (the tonality of such passages was determined by ana-
lyzing the tonal centers collectively as a melodic line).
Leitmotifs that occur in passages of indefinite tonality are
followed by a question mark indicating that the tonality is
indefinite. Examination of the tonalities of leitmotifs in
Table XVIII reveals the following facts.
1. Of the five leitmotifs that are used in Act I,
four of these (I, II, III, and IV) occur in G tonality.
2. The other tonalities used in conjunction with leit-
motifs in Act I complement G tonality (with the exception of
Db--the tritone of G) : D is the dominant of G; F# is the
leading tone of G; C is the subdominant; and Bb is the
mediant.
3. In Act II seven of the eight leitmotifs occur in
Bb tonality. The only exception is the "Monica" leitmotif.
The fact that seven leitmotifs occur in Bb is significant
because: (1) Bb tonality occurs in Act II only when one of
these seven leitmotifs is used; and (2) because Act I ends
in Bb tonality.
Figure 41 shows the locations of all occurrences of
Bb tonality, and the leitmotifs that are used in conjunction
with Bb tonality in Act II (the occurrence of the "Monica"
leitmotif in F tonality (the dominant of Bb) is also given
in Figure 41). Examination of Figure 41 shows that the
"Toby" leitmotif occurs in Bb at and also in the closing
moments of Act II. Also Figure 41 reveals that the passage
to is important because four of the eight leit-
motifs occur in a short period of time, the "Toby" leitmotif
in Bb, the "Baba" leitmotif in Bb, the "Monica" leitmotif in
F, and the "Spirit" leitmotif in Bb.
119
ON B B 9 B 9logoI Mi~ t
_________________________________I______ ' : :
13Vs 14 0)
017MUM T
on
IMP
[Ala
lift "Oraib
"twill a yi a
(3- Va'
was".i ~ ~~
Adl W
30 9
Fig. 41---Locations of Bb tonality and leitmotifs usedin conjunction with Bb tonality in Act II.
Definitions of symbols:
Roman numerals enclosed in diamonds correspond tothe Roman numerals in Table XVIII.
wo
-or. - m 'm m A a 9 lw w RArt- a
16-Iff,
I
CHAPTER VI
CONCLUSIONS
The purpose of this thesis is to determine how dramatic
impact is created in The Medium. Three musical devices have
been discussed which are considered to create and control
dramatic impact in The Medium: the use of dramatic recita-
tive, the use of leitmotifs, and the use of tonality.
Therefore, conclusions will be based on the way in which
these three musical devices are combined in The Medium to
create dramatic impact.
In The Medium the recitative is the instrument of
action. Based on definitions of recitatives given in
Chapter III, the following kinds of recitative and the num-
ber of measures of each occur in The Medium: ensemble
stromentato recitative (59 measures); solo stromentato reci-
tative (468 measures); secco recitative (152 measures);
parlato or declamato recitative (19 measures); and instru-
mental recitative (338 measures). The two kinds of reci-
tative that are predominant throughout The Medium are solo
stromentato recitative and instrumental recitative,
120
121
No distinct divisions are made within acts of The
Medium; however, recitatives are arranged in such a way as
to create sections which contain definite form. These sec-
tions are termed "dramatic recitative" because each section
contains a sepecific dramatic idea. The thematic material,
of which these forms of dramatic recitative sections are
constructed, is predominantly (1) arioso recitative (114
measures) and (2) stromentato recitative (96 measures) out
of a total of 290 measures of dramatic recitative. Thus
arioso recitative and stromentato recitative carry the dra-
matic action within sections of dramatic recitative. Sec-
tions of dramatic recitative comprise 23.8 per cent of the
total structure of The Medium. These sections and the idea
(mood) and the form within each section are as follows: in
Act I there are five sections in which the moods are hap-
piness, love, grief, hope, and fear; the corresponding forms
are strophic, strophic, ternary, dance, and binary. In Act
II there are four moods: happiness, love, hope, and fear.
The corresponding forms are binary, rondo, binary, and
through composed. The sections of dramatic recitative in
Act I and Act II convey the same ideas in the same sequence
(with the exception of grief, which is omitted in Act II).
Both acts begin in an atmosphere of happiness and end in an
122
atmosphere of fear. In Act I the element of fear is not
allowed to gain control because Monica manages to calm Baba
temporarily; however, in Act II the same series of ideas
leads Baba to the point of insanity. Thus the repetition of
ideas conveyed through the music and the text is one basic
element of dramatic impact used in The Medium.
The most important unifying device in The Medium is the
leitmotif, a melodic or rhythmic fragment (or the two com-
bined) which suggest an idea, person or object. Leitmotifs
have been determined by the comparison of the text or stage
action with the melodic motifs. The results of these com-
parisons show that nine leitmotifs occur in The Medium: four
ideas ("Fear," "Grief," "Hope," and "Love"); three charac-
ters ("Baba," "Monica," and "Toby"); and two objects
("Spirits I and II"). The four ideas expressed by leit-
motifs are also expressed in sections of dramatic recitative,
and three of these four leitmotifs originate in sections of
dramatic recitative ("Grief"--"It Happened Long Ago," "Hope,"
--"Mummy Dear," and "Love"--"Monica, Monica"). The most
used leitmotifs throughout The Medium are the "Fear" leit-
motifs, which occur (complete or a portion thereof) 362
times, and the "Spirit" leitmotifs ("Spirit Leitmotif I" and
"Spirit Leitmotif II") which occur a total of 465 times.
123
These leitmotifs are important in that they represent the
two central elements of the plot of The Medium, the fear
which gradually consumes Baba and the objects of that fear,
the spirits. The "Fear" and "Spirit" leitmotifs are used
to the extent that at least one of these leitmotifs sounds
in every minute-unit throughout The Medium.
Ideas or objects are emphasized by concentrations of
leitmotifs in certain passages in The Medium. Concentrated
areas of "Fear" leitmotifs and "Spirit" leitmotifs are the
most numerous and the most important of these areas because
of their relationship to the plot of The Medium. In Act I
there are six concentrated areas of the "Fear" leitmotifs
and five concentrated areas of "Spirit" leitmotifs, and in
Act II there are three concentrated areas of "Fear" leit-
motifs and six concentrated areas of "Spirit" leitmotifs.
The remaining six leitmotifs, "Hope" (70 occurrences),
"Baba" (18 occurrences), "Grief" (17 occurrences), "Monica"
(8 occurrences), "Love" (5 occurrences), and "Toby" (4
occurrences) are used sparingly in comparison to the use of
the "Fear" and "Spirit" leitmotifs; however, the importance
of these six leitmotifs lies in their locations throughout
The Medium rather than in the number of occurrences. All
of these leitmotifs, except the "Monica" leitmotif, occur
124
more frequently in Act II than in Act I ("Monica," "Love, "
and "Toby" occur only in Act II). Of these six leitmotifs
the "Toby" leitmotif is the most important because it is
the last leitmotif to sound in Act II.
The source of power that propels the ideas, characters,
and objects (indicated by dramatic recitative sections and
leitmotifs) is the tonal scheme used in The Medium. Menotti
creates tension through tonality in certain passages by con-
tinuous changing of tonal centers or indefinite tonality.
He creates release by sustaining tonal centers. He thus
controls the flow of dramatic action by these two means.
In Act I, based on percentages and location, G tonality
(22.2%) is predominant. Two other factors also indicate
that G is the most important tonality: (1) Act I concludes
in G tonality; and (2) the relationship of the other tonal-
ities (in decreasing order of percentages) complement G
tonality: C (7.4%) is subdominant to G; F# (6.7%) is lead-
ing tone; D (5.6%) is dominant; and A (5.3%) is supertonic.
Also the leitmotifs of "Fear," "Grief," "Hope," and the
"Spirits" occur predominantly in G tonality in Act I.
In Act II, according to percentages, G tonality is
fourth in terms of use: E (11.9%); F (11.0%); D (9.7%); and
G (9.1%). However, G tonality is important because it
125
returns in a strategic location (during "Afraid, Am I
Afraid," the longest section of dramatic recitative in The
Medium) and thus forms the impression that The Medium will
logically end on a C tonal center. Instead, Menotti creates
a tonal surprise by ending in Bb tonality. In preparation
for this climax, the leitmotifs representing the four ideas
("Fear," "Grief," "Hope," and "Love"), the object ("Spirit"),
and two people ("Toby" and "Baba") are all stated in Bb
tonality. In so doing Menotti heightens the moment of cli-
max by placing all seven of the leitmotifs on an equal tonal
plane, thus giving no hint as to how The Medium will end.
The climax occurs in the final moments of Act II (mea-
sure 6 after 0 ) as Baba shoots what she thinks is the
ghost. Eight statements of the "Fear" leitmotif follow the
shot, during which time Toby falls from behind a curtain;
and Baba, though drunk, gradually realizes that she has
killed Toby. The apex of the climax is reached as the "Toby"
leitmotif sounds in Bb tonality. Thus through the use of
the musical devices of dramatic recitative, leitmotifs, and
tonality, Menotti has controlled the flow of ideas, in The
Medium and has guided the dramatic action to a successful
point of impact. This ability to control dramatic intensity
with musical devices is an outstanding factor in Menotti ls
recognized success as a composer of music drama.
APPENDIX
An explanation of the dimensional scales used in Master
Graphs I, II, and III and definitions of symbols and abbrevia-
tions used in all three graphs are given in Chapter II,
pp. 9-10.
Specific abbreviations used in Master Graph I--Uses of
Recitative are given in Chapter III, pp. 12-13
Specific symbols used in Master Graph II--Leitmotifs are
found after each reduced graph in Chapter IV. The following
list gives the location of each page of definitions of symbols.
I. Fear . . . . . page 49
II. Spirits . . . page 71
III, Grief . . . . page 83
IV. Hope . . . . . page 89
V. Baba . . . . . page 94
VI. Monica . . . . page 97
VII. Love . . . . . page 99
VIII. Toby . . . . . page 102
Specific definitions-of abbreviations used in Master
Graph III--Tonality are given on the first page of the graph.
126
127
4.4
* U3
~~C)fF~ 4
We-
os 0 ~* 4)e
128
hi
*0
*9..
~4)
9.
I%9
1~~
9.
hi
4
4..9.
Yb*
p.Yb
Ybp..
'U
0
to
4
(0
Q
U
0'
-i
4
N
4.
11)
d9f4
'A
9.9.-
9.t
t~.4
p.*
0..
'S
N
0100
0
to
LZJ
ON
hi
"awl
9S
ON"
0
'0
cjI
4-)
-p0
It
*ci
FCl)
4-)U)
0
4-)
0
to
129
-
0
31
V.
*.
p.
1 '
p.
rc4.
41
(a
...
0.
4.)
to
0
0
4-)toa
0to0
e.'4
4.
-.
I:11-l
N
41I
0
4)
IAHA.4
NV.'.4
4....4
*E'4
A.'.4
A-A'4..
NA'4
'.4
'A'A
mLZJ~.S.4
4.P.S...p.'
'V.P.1I'
'.4.-
'.4
A.
'.4
.4
*'.4
(4'
"4N
tUh'.4
A4.A.
'4
'4
.4
-)
0
C\)
co
o-p.
'H-
to
0cai
0
0C)
4.>
4
0U00o
(0 0
4.)
=.4
0
'IN
A.54r'4
It
N
-I
A.'4'4'.4
'4
..1
p.
If.
0
4-)to
130
i tA01%
-C-1
I'I
ott
-t ol
--
~4 4)4
a0
#4 C)
#4- -- r
Att )6 #4 4
131
oft-
0
P.9%S.,
1.9E.g
W.
goo
-o
(a
C
C
rim
4C
-C
-,
'Woo
4
'
IW4
*
-
IT *
44
NOW
0
-)
4-)o
4
-
@4
'4
4.)
0
mI__
4.0s*
Ii-.ow4.
ow4.
4.
4.
owI..4.
I::9%
41~.4.-
I.'4.
9491.4.
N
*
*1.~4.
0to0-r
iTh
*
4'RI
0IA
owSIA
9.
949.*
*
9
4%
Ngo
0o0
OH
0C
H
c4
0cx5
-4F-.*IA
4IA(SI
132
011-4
(0 1
*0
0
.4IA
4#4IA
.9
I4
.9
I.
-
ft
0
0S.'
0
01
PAdo
4w
%A
'th
IA
.9
too
to-
%b
O
-)1001
i
4-)U)
C\J
bD~f
.9VI
94IA
0.9
.9IA
I.VI
N011%
0IA
133
Il-4
4-)
00
0
'H
(0
0
to
I *1'~~:034
'44
0OZ4.
9-,
I.
4'a
U'Ii'
0
to3
430
'H
00010
000i
IF'-nOW
too
S
w4
N
Wo4
4
0to0
OH
*43
co)
It
46)0r-0M
'a
4,
1'~*
*
'4
9.
we
1%
4J
p.'4
duo,
'4i
I"als
Ila
GN
'4
%JD
E7"
El-
on
C4
a
OS-
'S
I.
-o
IiiH~l
N
o
-he
134
(0-um.
00lto0
0o*rl
4
-o
Mo~
-
4J,(0
00
0
Me401M
9
di.
oft
+-
0
4>
441
oL
P
*
*
p0
9%S
-I
I0
5554
#44
a,.
LJ0
'44-
4
444-
to
9-44
'S44
'-4Sn
low
sof
Gob*
0-H
0
0OoC')
0UU0,a,
0
0(J
0
4f)
4-)
135
4togo
IOWN
NOO
w"U'
04
-3
0
Q
0
LZJi.

N4
114N4'N
#4
4-'p.
I.4.
V
N'p
'lbIA
*
4*N
N
'#4
T-
0
N
I ..
U)
0
'I
1--
#4 -
#4
01
0"
04
IA
#4
.
-4
'4
4)0
*r-I
0
~00
4)0
-H
0UU0(0
4)
11149.'4
#0V.94
'4
9,#4
#0
0"
4'.IA#4
'p#4#4
"4
'#4'S.4
p.
#4
'4
0
(4
#4.I'.'4
#44'#44
NN9.
'IN'I
'pN
0*
A'N#4
#4N'1
N'-4
#4N#4
0
Co
(0
4.)
0
C)
4.)to
0
0Ui
ol
0>
Hj-
0
rci:
-DU)ctS
0s.4
to
0Wim
136
99
(9.
.9
IA
9'.
'V.
Yb
9'
9%
0
0'9
49'9
140I,
9%0
9%
940
99%
i'9
0'0
.5,
.99.9%
9%
9'
49.94
.99.
V.9.,.Q 99
4
.I
00
0
9%
94
4
9'.
9,
0UU0U)
I
0
4.-
4
'.
L~J
9.9'4.
4.
*9%9.
.9
9.
.10'
9$V.
99
0
4)
4)
0
-4)1to 1
(4.
-)
0
4
ci)
4-
It
0144-)
0
0
0
-)co0
137
401
am
r
.1
N
II~II-~4,
4,
IN'44'
4,
4,
4,
4,
'44,
4,
4,
*'44,
4,
4,
N
4I',4,
'pIA4,
4.4,S.
4.
N4,4.
IAC
1'~p4.
44,4.
*1
p'.
*
p.'
'I,
mIA.
I:
2*
p.
S
10
'I,
S40
4
A
0
0*~
0to0'H
0
4)10
14
ct 4
to
0
0
0
P4
0(0
0
$4
0d
to
V
0'
U
-r-
0
4HI
-r-,
C#4It'
4
Ii
0
138
'4
9%
U,
-,
a
S A..
0
4.)to0H
p4
a
-
E
I'
41-
p.
4
-
-
4
04
t4
-'I
NA
t'I
i
I
U-,
N
9.
0
-)to
4-)
74
IIHU,"9'4
9%'4"4
if-,094--,
'44"
09%4
9,9(4
9%'-9.4
4'44
9%A'4"
'44
0'9%-,..'9
9,.
4-.
9%
4
49%'.9
4
4-,
.0UU00
0
UU00
0
'H
0
4.)
"c4
Llb
lb.
4
U.
'4
0
'4
4
4
lb.
L.
K
4.)0
'H
0()
()
4-)
-o
4-)0
$zi
0
co
Cul
Fm
HHH HHHHIHH >HH
H
139
4S
9'
, It "7""""1 -- 11,810"
--
* 0U)H0
CH0
0'H-P
-H
-H
0
H
-P-P
00z|<<
fa
H H H| H H HHIHIH >HH
H
U)CH
-P
rd
0
0
4-)
co
) ' -H UCH 4- 'H-H 0 -P --P50-P0 4-) 505 -H 5r-P 0 -H -
0 H OH& H
F- 00Cd .H 'H P~0 P-
I I I-I I I I
HHH
4- CH CH
-H 5 -5-
-HH -H -HO 0 0r__ -H 0 iH H
co
Cd 00 0PCI E-1
I I I I
H H -HH -H
Now
on"
so"
mom
OR*
WA%*
RM
--r"
--7
WAWA"= okpo" mm"m ow"No"
womwom wmmww d.10MOMMOL
WWA
pumas" *sow"
mow~
I---- T-J I
LL !--T---MM OWA6
I2J E:F1ji4
9.0'
A*
4
N
.94
39,
eL l.ue I
49
- - -'l-
HI HH >H-H H
0 M.H
'I
U,A.
p-
*&_____-------- --.
140
H H-IH >>H HIH
H>H
Li
4,
0-
NLi
9.,9%
LALi
Co
WNm
17"-
H--
rd
ri)
-)0--0
Ii
-)Ul)
AulI I
:1:1: -*om
43 AA"I-
IEa~w:
N
*1-
"I
qp
I
of
do
04
i:LLi: '. I -
some~ "ONAWN"
woomp"
E ft**WE
owmqwa wwanwo
On 1. N U 0 'w~
RON
"4
~A.N
N
'4'I
N
"II"
SN
#4
'44
N
impjIII4II
-H
0H
c3
0L
Sri
HI HIHF-I >MH HH H > "H HHIH AH
I ]
jI .j
Pb
NN
SI
4,
rctHH HI>> HI HI HI
HI >H
'.
.4
I--
.. -l- - - -2 ONO
9
.. ... ,
14
gm i ,..a.. ...
FH - H HHH H H HH
H HH HI E-I
HIH-1 FIHH-HHI -- HHHI H NH
5%Wb
04e..w
maass a.e a
aan-
--
u.a..nc
n
a.nu
1 low
'41
9'~*5
ro
at
1
WAM Nmw nus
IA
-
N4
'a Flo -to
-"mow"
mom
44M
L
-ROW
sis
L
wa mw
KWOM
Now
I R7
Wow
wlwm
,I-
- ----- - ----
N
WI
V.
A
11111--- --
All11il114lilt
woo"
Now"
OWAN"
womm
WAN"
r7-
-)0z01
(Y)
f4
-w
Owosso
-a 001
*WOOD"
wSba"
F A
F ! OVANOPM
11 "Pokow
OWNWA
wamim
po
on
I
HE1E
r~LLZJ.4.4
'4
-1
.**~1 hs
C4
9.4vim
ft
w.
a4
OW
'4
'4
--Nrri m-
12A]M k-0.00
r41
v.
14
ft
If
H HH > > H HHHH H HH
H>H
-111-0 -4 vL J. : " _ ' 1 I
t4L
ftN
'I-'4'4
'4.
'.4
H MMH FHHIHIH > HH
H H
-Fl -w.w
poop-
H mm H- HH-H
H HH M H HH >H
rd
-)
0
-)
-0#T-I
--.- ---
AL-
Om"
143
1
In KFICI:I:I I I
H H H > H HHHHH HH
H
ii'
94
No
No
wo
WA
No
no
om
.0"m I if P -1 ft"pjo*. or
9.'4
.4
ft
9.ft
ft
ft.4
ftft
ftft
9%.4
'4
N9%
(jt4
'a1%.4
'S5%'V
N94
'4
t4
9%'I
Nw
o III
N
94
ra
lowI.-
-f:1.
...... .....
7 L_ -- 7
H
HH H H H HHHH >H H-
H H
-SI
I5~I's -
'8.~
6-0Pt-
0
CIi --
'B* - -S
Pt
Cft
~40* - - -I"
'44ft
C.5-S - -
a0
itt
a'ft.-5'-. - -
9.ft.-.4
ft- -S ~
ft0%'4
ft
4.-S. -'I'N--S.
HHHHH ~HH
H
rd
0
P,
4-~)0
(U)
0
OH
F-i
imm"
00400"
owla-wo
Now
maiamd
owww"m
ftmwm
:tl
"*ova*
ow" 4"I
T'
N(9'9',
'49',N
Wf W-
HI H Fi
am
laip I1ffia.7
A
-
NlP
HHIHH
[~L~I~[
a4
IKL.
14-
A "I-J,
F~LLWIA
hN
Ii
N'a,N
NON
Im "-Pm
k
'4
9'NN
N
149"
9').'NN
N
'4
*N
NN
N
4
M
I~as0~"'40a,'9'NN
90N
'4N
IAN
0!9'N
N.N
4N
4-)z
-p-
01
xi
HiL- 0.1 1
HIHIHI
wtoHI
UPI
svp
-*-
* 1 0-
N9,
I UM immov"Pal"
a - --
lt
T-'
.11 No 4. -. 1 -A-W4-M4 -- .;- 11 - - .- I
TI-W"OAL-
HI
0-0 ormopwom olmomm"m
$" mopwao WAMPOWN
WA mmw*owm
ON ow"o-o" woopow
No
mompow
No"
so"
"o'!
owo
u
Now
*AN
'Room
low"
-Wawa
""woo
-wow
pomp~
omosom wo"imm wwww
'a'
lee
H- -
I0i
J,.-
i1 -- - - -
- - -
'a a-
*
a.-
'I
HI
1w 6 1
a.
'a'a
4'
'a.'a4-
0a.'a
a.Ia
4-
I.
a.'a
'a
a.'a
'a'U'
a..,
'a* a."'
I.'
4.
* ~ -a VA-a
A*".6'A
fu
146
rd-
01
-D
90
HRHH H HH HH !
2aa~
~aa
~aaa
mom
WAIO
m"dm
WASP
W"
wam
no"
up*
*1
ww
0000,
"OW
Now
W"
0 wo
e a
'"soi; - . - .- 0aYI-
1 TmM 1 - - -ow
14
H H H H HHHIH H !HH
I
3:
0
V.
I.5'4.
H-HH HHHIH
~I1-~' g J
'V
rm
I, E
tin
WA hM
#4
or
H HHS
hHH
'Si
HIHH> HIH
r~LLriF
lbI.
-Slb~0
9'lb'IS
lbI'S
lblb'S
4
V.4.
'6V.4.
...........
-Wqpwom
-N^%Wmw
I'-- V
Woo""
momm"W"
owmm 'Wmw~ M"W.
WWA*V"
doomw" wffta
I
"
0-
Np4.
N
0N4.
rU*
0
P0
HI
HI
't
4~ i -l u - -f 1, m- I . - Y ,
'4b
'4
I.
k~2E'S
'0
i
s
8
M
'S
MMullag
-- -
HHH
HI
148
LA
L4
co
noU:"
I
0----
R
4-3~
0
P~i
4-)Ul)
C,
H H> HHH >H
p. I
lbIm
a4~ft
P.
4
LA
A14
A,*'A
HHIH HIHIHH
H NH
F Ul
.mtom
%WAN" wvm" "mup" mmom,
woo" ftwmmwbi ftwlw
i
K
H HH N H HH H
[k1~~T-T N.
C4
t4
t4
-S
EF
4.*
94 0m *1 ;1,- 1
- T
H HH > > H HHHH H !>HH
H H
4
5.
4'-
WI
9#1
em,dMM
4
4
4
-
.6~
wwmNN
I N N I
I- t
HH H >H H HHHH HFH
H H
149
*j
K,
Mobr
0rA
00
H
HA-4
(Y-)
-I-01
#4*
415*
_ L~ImLNmNiJ
I-
.1
r4
0j
4
.4
L'4
H H H >> H HH
H NHN
FT**0
.4LI
1Z
in
to
Y~~~ AT~P
sass,
"
I
" -- -
- - , . -
HiH> HHH >
L:H~LHi
*l4;
LALA
on";
[-
H >H
. I - I I A- I.- it "" '! 11 14
Ili , 11 4 !v-iw l F. - ' ! , !.!,-!
rd
-)-0
0
HiH
P-4
0
-)U,)
rt)
151
PROM"
""Room"
N
H HH >> H HHHH H > HH
H |H
EIV
H HH 1b H HHHHH F-IH
H
1I~1
OU
4
I%
'a9~
C'
41
OWN
*1
4m
N
"I
-"oo
H H H HHHH HH 'HH
H |H
4'F'
I"
Vq'4
U'-
90~
1%
'4
Lei
0
wwpww
da
rd
4-3
-I0
cy'1
o-pFM,
LJI
--
[I~Y'S
95~
'.1
"S4
3IASI
IA
rl
H HH~ >H HHHH H >HH
H H
abll-- --IN-
152
MWN-- ONOB 0PW " w-
4
N
4
Iwo
,A
0I
lm-_
ILSW
-o ~J:H H H > H HH
H H H > HHH H
~SW SW
~SW 55 SW
SW SW SW 2
SWSWSW~
~SWSWs~~
SWSWSW:i1
.SWSWSWJ
~
L~1~a
N
S.,
'AIi-
'S.
4,
IS.CA
4
9..
4'0.
4,9,
ti'9.
e9..
9.
4',k
E'~
2 a -----.-4-
jSW
H
SW SH w
HW SW Sb W SW
rd
H-4-)00
H
H0
(-)
awnumm p
mom" womowo a
4w
OPOWNWOwomp"
I op""Now
pmb
wompam wftvmwm AW
meow
4*00" owsomms.
K,.A*Owlm
~*Ok"M 4kn -
op -Nmwjo*Aw AmA. ft
owww-
v
,**
wk*A~
woo":J 11-44p"4
wmm"m *Aw*w^ ftov "ft
vftww womk-
owo4m~ 4444-W A
I
am- - -
low WAMNvol
ON wobooll
153
IN
r4---
4
a0
we
HHHHH
H > HH >HH p 0
E9
!1
ol
HHHH HHHH H >HH
HH
H H H H HHHHH -H
H
154
p.
0.
0
0
0
0
0,
0a
*
[IiN4
N
~I.
N
C.*N
N*9'
S.
NN
IA
NN4NN
IANN
*NN
9%NN
NNN
N
N9~19.'4N
N'4N
N
5'IIN
N'4(~1
weII
N
:4I :4A :
I wwp
HHH HHHHHH H H
H
--L~IF
NNN
'4NN
NN
0NN
4N
h4N
N'4N
C.
'4N
N~0N
'44N
'I.
Ii
lbI',N
N
411%N
NIAN
IAN
N
N
ii
5.WFkli mJl
do
+
"M ami i i i imil
01
4.>U)
(Y)
tOWN
V ----I
155
*'4
N
'V
'4
e4
0
Uh.
9
0
1iwpI"Wt3HH
1*
p-"1 -, 1 'r," I I U"
'44,
'44,
H H H H H HHHH HH
H
HH HHHH HH > HIH
HH
WO
-t, J MAN""
!I
op-m-
N
*N4,
9,
-
.eIen4-
WAN - 4.00 -"O N
H H H>> H H HH HH > H H
H H
-'
4
O T ......
mows"11
4 -- 14-A-W44
::::::
: : : ::
2as.i..
rd
4-)
-I0
04
HoH
U)
co1
5.0t'H
ll
~1
i
I
N' --
S H
I-
4
*1
N
aw
.1~
H H HMHH
H H
4 -4 1 i4.--4 - -
HHHHH-H-H N HH
H N
156
0Ii
0
4IA
4IA
014
IAq
4IA
0IA
4'I0IA
4IA
94WI
0~4.
'49.
4.4.
'44.
*
-wo
H zv 1T" v Or 0, wl 0 ... I I .I .wo
i i f
mow
WOON"
'
-)
0
0
4-
--t
40-
4w
ofto
low
do
ow
woo"
WWANIM
MWAMWO
too.
rll U-0- 11 -too
4 41tli
Ii !~4
'.4
t4
'4IA
91
'.4.Lr~
IA
IA
1~
IA
I~~1
IF,
'S
N
L~!J
IA
4'-IF'
'I'
("1IF''A
'4'AIA
If'IA
0If'
*
~Q
IA
4
'A
IA
WIq.
NF,'
'F.
'F"
N"I-i
HH HH
tas.
146ft
Ijl~t o~
LA
H-- H !> !> H HI H
H !>H
:1
L~J
0
'I.'
IA
4
F.'cI"
0
IA
IA~
'S
IA
4'
'S
H- H
H H>HHH>-H
I
H
iONIANW
ihIwH
ci)
4~)
00
44
cr3
0
tD-pCocr3
CY~~)
bfl'H
name-
NO H-
4
4w
... ..
~iIij:Iz
j07
liii
04
4
(0
tJ~
11- ~F'
Fi
_ ~IIL1&I
i
i~12
-$"i-i
."No wi
ElaE
9.w'F
S..9'F
5%.
4
'.1
tA~1'F
*ti4
4
0
'F
'F
H H I
H H. H >H
H N
*4
LeJ4z~
kA
vivo
*4
AdM
.No
.1mv
od
0
0
II'
IN
'F1.
a
"WO
IK:
'S"S4
NM4
4
4
'414.
H H H> H HHHHH H >HH
HH
Mae"*I
iHH
.:.- -
-4t
nmillion
rI I- I I -- I -~ I
-4)
0
0
159
05 4
a-I
A"4
0s
pq
IsIE
S.
14'
$o
am
HH H
C-Q
*
Tz:
1
Ic!)
r
.'O
-4rf
4'
a
4.SE,
Cl)
4-)
04-)
CH
co
*H0r-
Cu
160
-ooNo
Id'f
vo-
4.0
0- -
-woo
4.b.0
-4
161
daim
ew
Now
7r
..
'P
ow
PU
0
0
F1
., '
0
I
SI0
AAaA
p.
a
LA
-K
-..
1-
-
'F
@jJ
0
*rz~
U
0
H
pCl,
-I
162
2
4
iv
I.
0
(b
L-
'4
S
7'.
"0
F
g
0
Si
a
-
0
F31:*r0l
'4
i-
&
0
4
a @
9.
U
0
1;:
0i
0)
'H
0
H
H
U)
onS
163
moo
010-
- 0r#
* * H
- .a ' -
* Ir
164
r3
-
e.
q'
to
10
an
10to
Sol
fr
0
e,4-)
-I-0
0Q
H,
C!
U)co~
0
165
0
0
I-
---
I
V4,
43
In4.
jq*4,
In
in
fz-
*0
0
3
04
V.
+w
too
il)
9D
*UO
too
C
S
S
U'
4
rd
01
4-)
co
*H
0
0
..K
'I
aWNW
0
F:ri
r-rm -
166
F4
--4
qJp
40L4
-. 00
Ir
pqq
400
orr
Lq L0
EIH
-0
6%
48
167
%r4
I0
C0
0
'4a
(4
0
34,
Idim
-:
4
.
a
"0o
0
L0
4
06'
-4
0S
I A
PEA
*rd
01
168
a
4
-
10
[F}-
-,
?0
*0
r .
0
nI qI
CO
0
AM01
0
,
I
0
0
-
0
*1
-~
@.
09
'4
dow-
4-.
doOW
4,
dip
rcir1-p
Qi)
-p
LA
r0
FL
-4i
0l
Fnq
169
IfrTOQ~
(4
4.
tE~(0
d
0
w
SO
UP.94-
V
'4T
sop
0
14
40~
0
4o
1
i4r,
(40
4o.
---
,I
d.
Am
F'1
dm
to
0
U,)
-W
amb
rz.
-)
0
H-
H
-)co
Fj-
170
2 - r- '
a- *
pp
4
to-
r 6 -
&F-
4-
(4M
BIBLIOGRAPHY
Books
Boyden, David D., An Introduction to Music, New York, AlfredA. Knopf, Inc., 1956.
Chase, Gilbert, America's Music, New York, McGraw-Hill BookCo., Inc., 1955.
Erickson, Robert, The Structure of Music, New York, NoondayPress, 1955.
Ottman, Robert, Advanced Harmony, Englewood Cliffs, N. J.,Prentice-Hall, Inc., 1961.
Elementary Harmony, Englewood Cliffs, N. J., Prentice-Hall, Inc., 1961.
Persichetti, Vincent, Twentieth Century Harmony, New York,W. W. Norton and Co., Inc., 1961.
Articles
Groth, Howard, "Gian Carlo Menotti and the American LyricTheatre," Bulletin of National Association of Teachersof Singing, Inc., XV (December, 1958)p 16.
Menotti, Gian Carlo, "About 'The Consul,'" The Consul, DeccaRecording Jacket #DL-9500.
The Medium, Columbia Masterworks Recording Jacket#DSL-154.
Encyclopedia Articles
Apel, Willi, "Opera," Harvard Dictionary of Music, Cambridge,Massachusetts, Harvard University Press, 1966.
171
172
Baker, Theodore, "Menotti, Gian Carlo," Baker's BiographicalDictionary of Musicians, 5th ed., revised by NicholasSlonimsky, New York, G. Schirmer, Inc., 1958.
Music Scores
Menotti, Gian Carlo, Amahl and the Night Visitors, New York,G. Schirmer, Inc., 1951.
The Consul, New York, G. Schirmer, Inc., 1950.
The Last Savage, New York, G. Schirmer, Inc., 1964.
The Medium, New York, G. Schirmer, Inc., 1947.
The Saint of Bleeker Street, New York, G. Schirmer,Inc., 1954.
