As expected, these two pieces clearly have many differences. This makes sense as they originate from vastly different musical cultures. Nonetheless, they both share aspects of the musical elements of harmony and form.
Homophony is the most common harmonic texture in Western music and is the predominant texture in both “La Primavera” and “Go Tell it on the Mountain”. Homophony is when one voice/instrument (usually the highest one) plays a melody and all the other instruments play notes that align to form chords. These chords are usually traditional Western-style triads (a chord composed of three notes, each spaced a third apart) or seventh chords (a regular triad with another note added above, a third above the highest note of the triad). Both of these pieces follow this style of harmony. In “La Primavera”, the melody is carried (the majority of the time) by the 1st violin. The lower cello, viola, and violin parts form the harmonic structure of the chords. This can be seen throughout the piece and can be seen in the excerpt to the right (Vivaldi, m. 1-2). Most of the chords in “La Primavera” are regular triads with the occasional seventh chord added in for harmonic effect. Similarly, in “Go Tell it on the Mountain” the soprano voice carries the melody while the alto, tenor, and bass parts create the harmonic structure of the song (see excerpt of measures 1-2). Like “La Primavera”, “Go Tell it on the Mountain” is mostly composed of regular triads and sevenths but with some exceptions where a suspended chord is used. For example, in measure two, the first half notes form a 4-3 suspension and not a regular triad (Ryckeghem, m. 2). While there are slight differences in chords, both pieces are primarily homophonic in harmonic texture.
In addition to sharing commonalities in texture, “La Primavera” and “Go Tell it on the Mountain” share the similarities with their cadences, another important aspect of harmony. Cadences are the sequence of notes and chords at the end of a phrase. The perfect authentic cadence is a type of cadence, usually at the end of a phrase or section, where it goes from a V (or V7) chord to a I chord. Perfect authentic cadences are commonly used to conclude a piece or sections of a piece because they strongly resolve phrases. Other types of cadences, such as half or deceptive cadences, don’t have the quite the same sound of solid resolution; they sound incomplete. “La Primavera” abounds with perfect authentic cadences; measure 13 is an excellent example of a perfect authentic cadence concluding a phrase (Vivaldi, m. 13). The main motif ends with a perfect authentic cadence, as do all of the other major sections in the first movement. “Go Tell it on the Mountain” has several phrases that conclude with perfect authentic cadences and the chorus ends with a perfect authentic cadence as well. One such example, the final two measures, is pictured to the right (Ryckeghem, m. 20). Obviously not all the cadences in the two pieces are perfect authentic cadences, but they are the most common type in both and both conclude with a perfect authentic cadence.
Both pieces also share similarity in form. “La Primavera” is written in ritornello form (it is important to remember that, for purposes of this analysis, only the first movement of “La Primavera” is being analyzed). “Ritornello” means “little return” in Italian, and is typified by a repeating motif. This motif occurs at the beginning and then returns between each short section. The score excerpt below shows this motif (Vivaldi, m. 40-43).
“Go Tell it on the Mountain” begins with a chorus, then transitions to the verse. It repeats this two more times, then transitions to the end. In letter form, this form would be expressed ABABAB. While both the chorus and the verse repeat, the lyrics for the verse change each time, making it different for a listener. The excerpt below shows the first 5 measures of the 8 measure chorus (Ryckeghem, m. 1) 
While their forms are distinctly different, both are highly repetitious. “La Primavera” has a repeating motif, “Go Tell it on the Mountain” has a repeated chorus. This repetition, a common characteristic in many musical cultures, helps tie the piece together. According to Elizabeth Margulis, “Repetitiveness actually gives rise to the kind of listening that we think of as musical. It carves out a familiar, rewarding path in our minds, allowing us at once to anticipate and participate in each phrase as we listen. That experience of being played by the music is what creates a sense of shared subjectivity with the sound, and...each other, a transcendent connection that lasts at least as long as a favourite song.” Repetition draws in the listener and allows the listener to anticipate and engage with the music.
These similarities in form, in addition to the previously mentioned harmonic commonalities, are surprising considering how different the cultures of origin are. Vivaldi’s “La Primavera” is a typical piece of Baroque program music, while “Go Tell it on the Mountain” is a traditional African American spiritual. In fact, these pieces share countless dissimilarities. However, they still share elements of harmony and form. Each is primarily homophonic in texture and features perfect authentic cadences. Both pieces also have a repeating motif. These striking similarities show how music, even from disparate cultures, still is universally human.
These similarities in form, in addition to the previously mentioned harmonic commonalities, are surprising considering how different the cultures of origin are. Vivaldi’s “La Primavera” is a typical piece of Baroque program music, while “Go Tell it on the Mountain” is a traditional African American spiritual. In fact, these pieces share countless dissimilarities. However, they still share elements of harmony and form. Each is primarily homophonic in texture and features perfect authentic cadences. Both pieces also have a repeating motif. These striking similarities show how music, even from disparate cultures, still is universally human.
