Polyphonic Music Explained

Northern Advocate, 21 July 1949, Page 3

Polyphonic Music Explained

Taking as his subject "Polyphonic Music" Mr 1. Menzies gave the sixth of his talks to the Whanga/ei Turntable Club on Tuesday night. Stating that the round was probably the first and simplest example of this type. Mr Menzies said: “It had its beginnings in the church where monks were the only people with the incentive and knowledge to experiment with the theme.” He illustrated this with a recording of a "Nunc Dimittis.”

By the 15th and 16th centuries some composers had started the musical jigsaw puzzles, but these were of little value, being mostly vocal. To keep the singers interested each group was given its own part. Music of this period was rather an acquired taste—more pleasing to the singers than the listeners. "The Silver Swan” by Gibbons and "Fair Phyllis” by Farmer are examples of this period.

One of the greatest polyphonists was Bach, who gave a new impetus to music, like Beethoven he was able to break all the rules and get away with it completely with his new technicalities. Mr Menzies used "Fuge in G minor” from the composer as an example. Mendelssohn fought an u'phill struggle to bring this type of music before the public, and gradually the polyphonic style gained a fooling, an outstanding example being. “Variations on a Theme by Haydn” arranged by Brahms.

"An clement, of polyphony is to be found in most music, and its recognition can lead to increased enjoyment by many.” said Mr Menzies. "Cue of the major differences between the polyphony of the 171 h century and of 'the' present day lies in the fact that, whereas the older composers endeavoured to unite their counterpart within the strict framework of the harmony, there is a tendency now to develop their several themes and then search for a harmonic framework to draw them together."