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Eunsung Song
UWRT 1102-26
Instructor: Fran Voltz
7 October 2015
EIP Proposal: basic components and cases of program music
The extended inquiry topic incites the exploration of the origin and history of program
music, as well as its recent developments (and by extension, its predictable progression).
Program music is descriptive in nature. It facilitates a connection with elements outside of the
music itself; these elements may be real, fictional, or even abstract in nature. Depending on the
strength of the connection, some might even say that the music embodies the element it is trying
to depict.
Music is relevant to just about anyone. It is an integral aspect of human life, influencing
cognitive activities, sentiments, communications (e.g. TV shows, news, movies, advertisements),
various levels of social interactions, and venues. My personal fascination with music can be
traced to my grandparents and their love of music. In particular, I have learned to appreciate
instrumental music as a form of art. As it is the case with other realms of art, passion and
dedication are two of the determining factors in understanding and realizing a quality product.
These factors are also important in creating and maintaining opportunities for innovation. A
noteworthy perspective which directs both the technical capacity and the creative potential of the
innovator involves the use of pre-existing frameworks provided by a program or a context.
One may argue that traces of programs can be found even in music developed during the
Medieval Era, in the sense that there are characteristics that serve to distinguish sacred works
from secular works. Much of the surviving secular music during the medieval period
incorporated steady rhythms, stimulating a dance-like atmosphere. On the other hand, sacred
music did not possess a consistent rhythmic factor. In addition, vocals were used without any

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form of accompaniment, leading to a cold or otherworldly atmosphere. With regards to the
current development, electrophones and composition software play an increasingly potent role in
shaping music. It would be worth reviewing the change(s) that took place leading to the
widespread focus on free expression found in 19th century and early 20th century program music.
In order to facilitate the initial research, a number of general questions concerning the
origin and development of program music are identified first: When exactly did program music
gain its popularity in terms of appreciation and usage? Which factors, if any, influenced this
emergence? How might the initial exposure have influenced other thematic compositions that
were to come? How did the general public perceive, react, or contribute to the early development
of program music? What are the underlying parameters and/or constituents that aid in the
creation and interpretation of program music?
Some questions may delve into specific aspects of program music: What are some
musical examples that exhibit cultural or nationalistic implications, forming certain branches of
program music? How (if at all) do music inspired by abstract factors (i.e. emotions) differ from
music inspired by images, scenarios, or other communicative mediums (e.g. stories, poems)?
How do the parameters and constituents mentioned earlier ultimately attempt to bridge the gap
between a composition and the audience? What are some of the newer developments that enrich
the array of programmatic output? How much of these characteristics (old or new) are
expected to continue in future trends of music?
Video formats such as commentaries, masterclasses, and documentaries featuring a
particular piece should be able to project general insights and connections concerning the
elements outside of the composition (e.g. imagery, desired experience/outcome through the
coordination of articulation and timbre). Audio samples in conjunction with text commentaries

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should be able to fulfill a similar function to the video counterparts. Scholarly articles and
other journal entries may best be used in understanding the origin and the historical progression
of program music. Obtaining specialized information may be accomplished through interviews
with professional figures such as music professors, historians, and conductors.
Evaluating the validity of the proposal, it is difficult to ascertain the type or the amount
of information to be yielded during the course of research. Similarly, the way(s) in which the
analysis would be presented may have to change depending on the pool of information. There
would be no surprises, even if some of the major subtopics proposed underneath the umbrella of
program music should be replaced. The title reflects a conservative estimate of the compiled
research results. One foreseeable problem in attempting to take a consistent/streamlined
approach on the topic is that music whether it is based on a program or not cannot easily be
isolated from other fields such as politics, societies, natural environments, religion, and cultural
practices. In other words, since virtually all examples of music (especially program music) are
uniquely formed by some sort of context, finding even a single relevant, consistent pattern across
all of the cases would pose a challenge.
Studying the most basic components, applications, and effects of program music should
result in a deeper understanding of music (and its impact) as a whole. This statement stems from
the view that not many compositions (if any at all) can truly be considered abstract in form; it is
very easy for a piece of music to evoke an image or a mood. Cultivating both the historical and
artistic understanding of program music not only should improve the analytical ability associated
with classifying various aural samples into recognizable frameworks, but motivate the learner to
engage in a broader set of experiences, cultures, and thoughts while making critical connections
of the external elements to the learners self.