Sonic Boom

Richard Strauss’s Salome shocked audiences not only because of its scandalous subject matter, but also because of its music. The work was described by contemporary operagoers as “thunder,” “noise,” and “orchestral cacophony.” Indeed, Strauss scored Salome for a massive ensemble comprising approximately 100 instrumentalists—18 woodwinds (including a heckelphone, similar to a bass oboe), 15 brass, nine percussionists, two keyboard players, two harps, and roughly 60 strings.

In this activity, students will explore how Strauss crafted the unique soundscape of Salome through chromaticism, dissonance, polytonality, and other techniques played by a large variety of instruments. After exploring the sound profile of the music Strauss composed for his controversial work, students will be tasked with crafting their own Foley art, or sound effects, to accentuate a dramatic retelling of the opera.  

STEP 1. LISTEN

To begin the activity, place students in groups of three and assign each student in the group one of the following roles: illustrator, poet, or music critic.

Once students have been divided into groups and assigned their roles, they are ready to listen to excerpts from Salome. As they listen together as a class, each student will be tasked with analyzing and responding to the music based on their assigned role. Illustrators will draw whatever images come to mind; poets will write a list of words, phrases, and descriptions that represent the music; and music critics will use musical terminology to analyze the excerpt (e.g., orchestration, tempo, dynamics, timbre, melody, rhythm). You can use the handout included with this guide to help students organize their work.

As students actively listen to the excerpts from Salome, remind them to show (illustrator) or describe (poet and music critic) what they are hearing with as much detail as possible. Remind students that no observation is too basic! In between excerpts, have students share their analyses in their groups and/or with the entire class.

Track 2: “Wie schön ist die Prinzessin Salome heute Nacht!”
Track 3: “Jochanaan! Ich bin verliebt in deinen Leib, Jochanaan!”
Track 4: Orchestral Interlude
Track 5: “Salomes Tanz” (“Dance of the Seven Veils”)
Track 6: “Man soll ihr geben, was sie verlangt!”
Track 7: “Es ist kein Laut zu vernehmen”
Track 8: “Ah! Ich habe dienen Mund geküsst, Jochanaan”

STEP 2. REFLECT

As students listen to the excerpts from Salome, you can use the following questions to guide discussion:

• How did this excerpt make you feel? Go with your gut instinct—what is the first word that comes to mind?
• What images did you see in your mind?
• What stood out to you?
• What similarities did you notice between the illustrator’s and poet’s analyses?
• What effect do you feel Strauss is seeking in this excerpt? How do you know? What exactly are you hearing?
• What catchphrase can be used to encapsulate the part of the plot you think Strauss is portraying in this excerpt?
• Using onomatopoeia, what one word would you use to capture the sound profile of this excerpt?

STEP 3. EXPLORE

Sound is an integral part of storytelling. In the world of cinematography, Foley artists—professionals who record Foley, or everyday sound effects, for films—are tasked with using sound to bring a story to life. Opera is no different! Before stories were told on the big screen, they were told through song and on the stage.

Much of Strauss’s orchestral music lies in the realm of tone poems—extended orchestral works that are programmatic in nature, telling a story of a person or place. (For students with more advanced knowledge of music, you might contrast a tone poem with a symphony, which typically has a standard four-movement structure.)

Just as Strauss used specific instruments to paint musical scenes and emphasize plot aspects, Foley artists use ordinary objects to create extraordinary moments in film and on stage. Ask students to consider: What does celery have to do with broken bones?

As a group, have students brainstorm which everyday objects can be used to create the following sounds:

• Horse walking (coconuts)
• Rain (sizzling bacon)
• Grass (newspapers rustling)
• Thunder (shaking aluminum)
• Fire (creasing cellophane)

STEP 4. CREATE

Students should return to their original groups of three. In their groups, they should use miscellaneous objects and materials found around the classroom—or at home—to make sound effects that accentuate a dramatic retelling of Salome. If students need to review the plot of the opera, they can consult the synopsis included in this guide or the illustrated synopsis (metopera.org/salome-illustrated).

Once they have reviewed the synopsis, students should record a retelling of the opera’s plot through dramatic reading, acting, or an original summary. Their retelling must include a minimum of seven unique Foley effects that bring the opera synopsis to life. Students are welcome to use any editing software (e.g., GarageBand, iMovie) or online tools to complete their projects.

STEP 5. SHARE

Once each group has recorded their version of the synopsis with original Foley effects, have students watch and/or listen to each other’s final products. When watching and listening to their peers’ projects, ask students to identify which moments they felt had the most impactful sound effect. They can also try to guess what items each group may have used to create that sonic accent!

If students show an interest in the art of Foley, encourage them to check out the work of Foley artist Stefan Fraticelli (@oddiostudio on Instagram) as well as the YouTube video, “Foley Artists: How Movie Sound Effects Are Made” (youtube.com/watch?v=U_tqB4IZvMk).

For any students interested in Strauss’s musical language, especially his tone poems, encourage them to listen to works like Also Sprach Zarathustra (1896) or Ein Heldenleben (1898). For an additional assignment, have students imagine they are being commissioned to compose a tone poem of their own. Ask them to identify a subject, explain the work’s tonal palate and orchestral landscape, and articulate why they made those specific creative choices.